Pop & Rock Vinyl New Releases - News

For the first time since it's original release in 1980, FUTURISMO are proud to announce the reissue of the first solo Self-Titled LP by ALAN VEGA, one half of electro punk legends Suicide.

ALAN VEGA's Self-Titled LP is a piece of work drenched in the musical influences of his teenage years, and an album that welded an unexpected hit in the stand out opener 'Jukebox Babe', a track of frantic rockabilly delivery and sparse instrumentation that seduces the listener by sculpting a sound that owed little to the 50's revival yet everything to the sensibilities of rock 'n' roll futurism.

Echoing the Suicide staple 'Ghost Rider' - itself a construct of repetitive rhythms and minimalist drones, punctuated by a classic vocal delivery that harnessed Gene Vincent, Elvis and the idols of Vega's youth - 'Jukebox Babe' was the cornerstone to an artistic expression that ALAN VEGA continued to experiment with and implement throughout his solo Self-Titled LP and recordings beyond.

With Suicide he and Martin Rev where responsible for the deconstruction of punk rock, a catalyst for the musical and aesthetic blueprints of what became post-punk, industrial rock and even synth pop. On his Self-Titled solo outing he takes a side step into the deconstruction of rock 'n' roll itself.

Coming 12th May 2017 for a worldwide release, FUTURISMO present ALAN VEGA's Self-Titled LP on 180g Limited Coloured Vinyl, in the choice of two colours 'Rockin Fireball' and 'Vapid City'. Contained within a neon printed sleeve that utilize scans from the original Curtis Knapp negatives, is a huge A1 Screenprinted Poster, a Digital Download of all the tracks, and to top it off brand new Liner Notes by musician and friend HENRY ROLLINS. Having sadly passed away in 2016 this release is a tribute to his incredible talents and total lack of artistic fear, for fans of ALAN VEGA and Suicide this out of print gem is essential!

Album of all new material from this maverick Spanish producer.

All I am about is making history,' says Janka Nabay. After a string of cassette releases, Nabay became a star of electronic bubu music back home in Sierra Leone. But he was soon forced to escape his homeland's explosive civil war in the 1990s. Over the years, Nabay gradually rebuilt his musical life in the United Stat e s while supporting himself working at hotels and fried chicken restaurants.

Nabay's bubu music may sound futuristic, but its existence spans centuries. The original bubu is cloaked in mythology: as legend has it, a young bubu boy' took the music from witches 500 years ago, brought it to the public at large, and sacrificed his own life in the process. Over time, bubu evolved into a music played collectively on percussive instruments and bamboo horns. Upon the arrival of Islam in Sierra Leone, the hypnotic sound of bubu music was adapted for processionals during Ramadan. As Janka says: Bubu is an old, old music, but people don't know about it. You can add new things into the beat if you know it really well, and make your own sound out of it.'

Powerfully strange, melancholic, Londoner meditations about the roots, routes and after-lives of the West African diaspora. Rollicking recordings at the Christ Reformed Church in Peckham are combined with LA's own sombre, throbbing, oscillating synth-work. Moodier and deeper than his precious Mogya albums, but extending their troubled consideration of cultural legacy. Like them, self-released in a short run, soon gone — so don't hang about.

An artifact. 80s Beppe Loda. Recorded live at the Typhoon club Italy, 1985

The Japanese punk rock movement known as Tokyo Rockers began in the summer of 1978. It incubated an independent music culture as well as a host of fascinating, individualistic musicians.
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One of the more striking units was the male-female duo Maria 023. NON played bass for them, and it was here that she first attracted attention. However, Maria 023 was short-lived, and NON would not
reappear until the following year, August 1979, on stage at the legendary concert event "Drive to 80s". Her unbilled performance at the event consisted of several songs for solo bass and vocals, and her combination of intensity and a distinctly female emotionality made a striking impression. In the months that followed, NON continued to play solo and she became a pivotal presence among the female rockers on the scene at the time.
Finally she shifted from solo to group performance, and formed NON BAND. After several member changes, the line-up stabilized into a unique trio with Kinosuke Yamagishi on violin and
clarinet, and Mitsuru Tamagaki on drums. It was with this line-up that the group reached a musical peak.

At the same time, the Japanese punk and new wave rock scene was moving in a new direction, as a second generation of artists appeared and mushrooming independent labels began to
play an increasingly important role. I myself started a label called Telegraph Records in 1981 and worked hard on record releases and building a distribution network.

Since starting the label, I had wanted to release a record by NON BAND. There were many vicissitudes before it could happen, but in February 1982 NON BAND's first album was released as a
10-inch LP on Telegraph Records, the label's fifth release. In the early Japanese indies scene, if a release sold 1000 copies it was counted as a significant success. The NON BAND album went
through several repressing and sold 2000 copies. The album was a hit and the band's critical reception and popularity suddenly took off.
The shows that followed the release of the album were given a boost by the addition of two female rockers, the guitarist Kummy and keyboard player Mitsuwa. The group was reaching a real musical peak and everyone expected more great developments, but just six months after the release of the album the group would grind to a halt. Members quit the band one after another, and with no possible replacements to be found, NON herself faded away from the scene.
NON BAND's career in the early Japanese indies scene was thus short-lived. But their sole album was reissued twice on CD, and remained popular with listeners. However, the group's history
was to have a second chapter.

NON ended up returning to her hometown, snowy Hirosaki in the far northern prefecture Aomori. There she raised two children and took over the running of the family business, an arts supplies store. Her thoughts turned once again towards music, and in 1999 she took up her bass again and began to sing. She invited two fabulous musicians, Keiji Haino and Tatsuya Yoshida, to Hirosaki, and performed together with them as well as solo. This marked the beginning of a new phase for her, and she played live in Tokyo and released a solo album, "ie". She got back in touch with Yamagishi and Tamagaki and reformed NON BAND. They added Emi Sasaki on accordion and began To play a handful of gigs each year, bringing a mature depth to their undiminished power and dazzling a new generation of fans.

In 2012 the group released an album of recent live performances entitled " NON BAND Liven' 2009-2012". I released the album on the newly reanimated Telegraph Records. NON still lives in the north, in Hirosaki. The city is famous for its summer Neputa festival. The first track on this album, "Duncan Dancin'" is almost a theme song for NON BAND, but its rhythm is taken from the ohayashi music that is performed in this festival, as large floats and troupes of dancers wind their way through the streets. The title refers to the legendary dancer, Isadora Duncan. The image perfectly represents NON herself: Isadora Duncan dancing to the earthy rhythms bubbling up out of the north land.

Green" ist das sechste Album von R.E.M., wurde 1988 erstmals veröffentlicht und gilt als Meilenstein. Es beinhaltet Singles wie "Stand" und "Orange Crush" und erhilet Doppel-Platin in den USA, sowie Platin in UK. Dieses Reissue stammt von dem 25th Anniversary Remaster und erscheint als 180g Vinyl inklusive
Download Card.

LP in printed innersleeve + download code. STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.

STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.


With fans that include Plaid, Kev Beadle, Kutmah, Lefto and Gilles Peterson, STUFF. began life in 2012 when drummer Lander Gyselinck was asked to play live music in-between DJ sets. Collecting together like-minded musician friends, they would keep the vibe of the room bubbling, with spaced-out jams and improvisation, taking elements of funk, RNB, electronica, jazz and hip-hop, forming their own compositions as a result.


Hotly tipped in Belgium as one of the country's brightest new hopes, they released their first EP the same year, which included the track D.O.G.G. and it caught the attention of bloggers, 22tracks and DJs across Paris and Brussels. Supports slots with D'Angelo and Robert Glasper soon followed and the band would go on to share the stage at the Dour Festival with Hiatus Koyote, Flying Lotus and Lefto.


In 2014, STUFF. were invited to perform a Boiler Room session for the prestigious global, online music broadcasting platform, the first European live band to do so.
The band's self-titled debut album, released in 2015, received critical acclaim, with the Belgian press citing the release as the "record of the year" and "the best thing that happened musically in Belgium since the last 25 years". Mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), several tracks from the album received airplay on leading dance and electronica radio stations across Europe, and included support from Gilles Peterson on BBC Radio 6 Music and Phil Taggart on BBC Radio 1.


STUFF. have performed sold out shows across Europe and have gained a growing reputation for their explosive eclectic live sets, playing over 150 shows on such diverse stages as the North Sea Jazz Festival (Netherlands), Pukkelpop (Belgium), Secret Garden Party (UK), Shambala festival (UK), Dimensions (Croatia) and Fusion (Germany). The band were also personally invited by Gilles Peterson to perform at On Blackheath, London.


Accolades in Belgium include two MIA's (Belgian Music Industry Awards) for 'Best Musician' (Lander Gyselinck) and 'Best Artwork' (Rinus Van de Velde).
STUFF. are Andrew Claes (ewi/sax), Lander Gyselinck (drums), Joris Caluwaerts (keyboards), Dries Laheye (bas), Mixmonster Menno (turntables)

"Like a careening, uncontainable torrent of Buckfast-powered kosmische chaos, whatever your feelings towards the Scottish quartet's synth-washed space-jams on record, their performance is something like having Ken Kesey and Spacemen 3 pour Irn-Bru directly into your third eye." The Quietus

LIMITED EDITION WHITE VINYL LP (700 FOR THE WORLD) AND DIGIPACK CD (500 FOR THE WORLD). VINYL IS NON-RETURNABLE.

Their last album 'Rainbowhead' came out last year on Blackest Rainbow.
Scotland's favourite space-psych-rock-gods return with a new album 'Psych Is Dead' before heading out on a lengthy UK/European tour including appearances at all the key genre festivals such as Safe As Milk, Wrong Fest, DesertFest, Raw Power Festival and Karma Fest.

Formed in 2010, The Cosmic Dead are a quartet from Glasgow, Scotland who share their music through good vibes and better vibrations. Known for their improv, chaos strewn, Buckfast smashed against the wall take on space music, they have roamed from Roadburn to Las Vegas, Dundee to Bangalore with each album offering a meditative window into a certain time and space.
 
'Psych Is Dead' is the sixth full length album from the band, the glowing embers of a a few days spent recording in a sweaty Sardinian kitchen overlooking the Mediterranean Sea. Soon to be available on LP and CD via Riot Season Records, 'Psych Is Dead' is an aural exploration of their tumultuous universe.

The band will be embarking on a selection of dates across Europe to celebrate the release :

TONITE LETS ALL MAKE LOVE IN LONDON

A FILM BY PETER WHITEHEAD

THE COMPLETE ORIGINAL SOUNDTRACK RELEASED FOR THE FIRST TIME SINCE 1968!

INCLUDES THE PINK FLOYD'S 'INTERSTELLAR OVERDRIVE' & CLASSIC HITS 'OUT OF TIME', 'HERE COME THE NICE' & MORE!

This newly restored and remastered edition of the soundtrack to Peter Whitehead's first commercial film made during the Summer Of Love 1967, has not been available in its complete form since the original LP was released by Immediate Records' Instant imprint in 1968.
A unique commentary of London during a time when the world said it was the first city, the soundtrack features The Pink Floyd, Small Faces, Chris Farlowe, Vashti and more, with spoken-word contributions from Mick Jagger, Michael Caine, Andrew Loog Oldham, David Hockney, Allen Ginsberg and more.
As Andrew Loog says in the sleeve notes: "The people in the film created the different image for everyone, their contributions are reflected in the attitudes and music contained in this album. "

TONITE LETS ALL MAKE LOVE IN LONDON

A FILM BY PETER WHITEHEAD

THE COMPLETE ORIGINAL SOUNDTRACK RELEASED FOR THE FIRST TIME SINCE 1968!

INCLUDES THE PINK FLOYD'S 'INTERSTELLAR OVERDRIVE' & CLASSIC HITS 'OUT OF TIME', 'HERE COME THE NICE' & MORE!

This newly restored and remastered edition of the soundtrack to Peter Whitehead's first commercial film made during the Summer Of Love 1967, has not been available in its complete form since the original LP was released by Immediate Records' Instant imprint in 1968.
A unique commentary of London during a time when the world said it was the first city, the soundtrack features The Pink Floyd, Small Faces, Chris Farlowe, Vashti and more, with spoken-word contributions from Mick Jagger, Michael Caine, Andrew Loog Oldham, David Hockney, Allen Ginsberg and more.
As Andrew Loog says in the sleeve notes: "The people in the film created the different image for everyone, their contributions are reflected in the attitudes and music contained in this album."

Christopher, Henning & Severin sind AnnenMayKantereit. Sie leben in Köln, sind zusammen aufgewachsen und schreiben heute Songs darüber, wie sie das Leben und die Liebe zerreißt, ratlos macht und beflügelt. AnnenMayKantereit haben sich mit ihren Konzerten von der Straße in ausverkaufte Clubs gespielt.Ihre Videos drehen sie selbst und das erste Album haben sie im Alleingang live eingespielt. Die Fangemeinde ist im letzten Jahr beeindruckend gewachsen,die Videos werden tausendfach aufgerufen und ihre Shows sind immer öfter ausverkauft.Viel Aufmerksamkeit für eine so junge Band, die gar nicht versucht hat, jeden Blick auf sich zu ziehen. Schlagzeug, Gitarre, Bass, Gesang, Klavier,Mundharmonika - das ist das Besteck - und mit guten Songs, viel Blues und Hennings unverwechselbarer Stimme treffen AnnenMayKantereit die Herzen ihrer
Generation, der davor und der danach.

Es gibt den Komponisten Volker Bertelmann, der für seine oundtrackarbeit gerade erst für den Golden Globe, BAFTA Award und Oscar nominiert wurde - und es gibt den Musike HAUSCHKA und der hat ein neues Album namens ‚WHAT IF', das am 31.03 veröffenlicht wurde. What If ist ein radikales, forderndes und komplexes Meisterwerk dessen Klang-Collagen viel zu
aufgeregt und spannend für die Chillout Piano Playlisten diese Welt sind. Es klickt, scheppert und rumpelt sich durch neue Klangwelten, die wir so von Hauschka noch nicht kannten. What If - was wäre, wenn unsere Kinder auf dem Mars lebten Oder jeder von uns 1000 Jahre alt werden würde Die Songtitel der neuen Platte spielen mit diesen Fragen und bebildern sie in einem
durchweg abenteuerlichen Soundspektrum, das von Highspeed-Tracks auf dem programmierbaren Player-Piano bis zu spacigen Stücken mit Moog-Bass und gut präparierten Beats reicht. What If wird uns 2017 nicht mehr loslassen, Hauschka spielt immer noch Piano zum Schwelgen, im selben Moment aber schickt der Künstler sein Publikum in einen Parcours mit herausfordernd holperigen Beats und schön schwierigen Fragen.

ohesive' ist sicher ein eher überraschendes Wort, wenn es darum geht, was man erwarten darf, wenn man New-Pornographers-Gründer A.C. Newman darum bittet, Whiteout Condition, die neue, siebte, Platte der Band zu beschreiben. Es ist eine Qualität, die man intuitiv vielleicht nicht in erster Linie von einer sogenannten Supergroup erwarten würde, welche schon auf Grund ihrer - kollektiven' Natur einer gewissen stilistischen Bandbreite verbunden sein müsste. Kann eine Gruppe, die gewissermaßen erst durch ihre diversen Frontmen und - frauen wird, was sie ist, tatsächlich so etwas wie einen Signature Sound entwickeln Vielleicht. Und vielleicht besser spät als nie. Der Fokus auf Whiteout Conditions liegt auf einigen bemerkenswerten Verschiebungen im Sound der Band: ein deutlich gesteigertes Tempo ist kaum zu überhören, ebenso die Vocals, die sich mehr denn je umspielen und verbinden. Es gibt viel weniger Solo-Vocals und weit häufiger Chor-Arrangements.
Ab einem bestimmten Alter könnte man die New Pornographers beinahe für so etwas wie die Indie-Mamas+ The Papas halten.

"I can't talk right now, I got the wife and kid in the car with the poodle"

Holy Cow...perhaps the greatest avant new wave pop album you've never heard of, until now! courtesy of this re-issue via FUTURISMO. MARTINI RANCH were a project made up of the cult Hollywood actor BILL PAXTON (Near Dark, Weird Science, Aliens) who sadly passed away recently, and the multi-talented musician Andrew Todd, who between 1986-1988 carved out this bizarre yet pop synth laden venture that not only encapsulated their own unique musical and visual talents, but also those of their peers. Along for the ride on Holy Cow (the bands only ever LP) are Mark Mothersbaugh, Bob Casale and Alan Myers of the seminal DEVO, Cindy Wilson from THE B-52's on vocal duties and perhaps even more intriguing is the appearance of follow actors Judge Reinhold (Beverly Hills Cop) and Bud Cort in the proceedings.

But the madness doesn't stop there, oh no! As witnessed on the DVD - included alongside the vinyl on FUTURISMOs' redux version of Holy Cow - visual duties were in the hands of Hollywood luminary James Cameron (The Terminator, Aliens) who directed an epic neo-western video for 'Reach'. Featuring faces from the era including fellow director Kathryn Bigelow (Point Break, Near Dark) and Aliens/Terminator alumni Lance Henriksen, Paul Reiser and Jenette Goldstein. Dust, motorcycles, female bodybuilders and sci-fi leanings, and as large in scale as you would expect.

A second video, this time for 'How Can The Labouring Man Find Time For Self-Culture' was directed by photographer Rocky Schenck, trading the wild west for the dystopia of Fritz Lang's Metropolis and German Expressionism, once again with friends and acquaintances in tow including Paxtons' Weird Science co-star Anthony Michael Hall and Aliens co-star Michael Biehn.
MARTINI RANCH were maybe an indictment of the time, yet it's undeniable the talents of Todd and Paxton do in fact make for one hell of an interesting pop group. For fans of DEVO and 80's cinema in general this record is a must!

Coming 5th May 2017 for a worldwide release FUTURISMO present Holy Cow on 180g Limited Edition 'Ranch Dressing' Coloured Vinyl with redux artwork in a Gatefold Sleeve. It comes complete with the two Bonus Tracks 'Fallen Idols' and 'Back at The Ranch', a Free Download, PLUS a DVD of their two epic music videos. Rounding off a heartfelt tribute to the wonderful memory of Bill Paxton.

Infectious, satirical, avant, pop and unashamedly overboard, it's hard to believe a musical project this big yet bizarre even existed. Well it did, and here it is.

Love and Money front man James Grant has collaborated with producer Gordy Goudie to form The Korvids, releasing a dance album "... for the older generation who might want to bust a move once more in honour of their younger selves." James says, "I wanted to be someone else for a while. Sound different. Write different. It can be dreary being me all the time..I sing most of my vocals on the record in falsetto, which, as we know, is the international language of disco." The Korvids marry their love of disco and 70's funk with influences such as Deodato, Massive Attack, Miles and anything else that takes their fancy. After the success of their debut release Beach Coma, which was picked up by Sirius US radio and remixed by Balaeric legend Jose Padilla, the duo released Bad Faith, a beauteous cut of late 70's disco remixed by Love & Money and Steely Dan's producer Gary Katz. James was the front man for Love and Money, everyone's favourite band from the 1980's who should have been massive but somehow weren't. The other half of The Korvids, Gordy Goudie, is also no stranger to the business having produced Simple Minds and playing bass and guitar for The Primevals and Echo And The Bunnymen.

Coming four years after their self-titled debut album, North London trio Theme Park embrace a new independent spirit, a bold sense of defiance and a fearless pop-fuelled vision with their second album 'Is This How It Starts'.

Three years in the making and completed on an ad hoc basis, 'Is This How It Starts' is the result of the band's collaboration with their old friend Ben Garrett who, under the artist name Fryars, masterminded his own remarkable 2014 album 'Power' and has also collaborated with artists such as Lily Allen and Mika.

Fully in control of their destiny, Theme Park's open-minded approach to the album was to remain true to their vision, to take the bolder option when a safer option presented itself, and to take risks in all of the right places. Lyrically, it focuses on two different yet immediately complementary styles: for some tracks, notably last year's 'L.A. (Is Stealing My Friends'), Miles Haughton (vocals/guitar) adopts a direct and abrupt persona based upon his snappy Tweets, while on others he explores ideas more reflective and personal in nature.

Completed by Miles's twin brother Marcus (bass/guitar/synths) and Oscar Manthorpe (bass/guitar/synths), Theme Park have created a record about growing up, about hitting your mid-20s and seeing the world differently, and about the schism between real and online life. It often pits challenging emotions against uplifting, unashamed pop.

"Without getting too philosophical, you're always looking for stories and meanings in the blank space of life," says Miles. "Lots of the songs are about the start of relationships, the start of things, reading meaning into things, trying to find the stories."

After the scene-setting title track, the album bursts into life with 'You Are Real', a song which tops swirling psychedelic pop and tropical, world music-tinged grooves with a chorus that's both confidently immediate and atmospherically ethereal. That irrepressible sense of elation is also prevalent in 'Something Good', a track that prompted DIY to draw comparisons with Jungle and Jai Paul. Whether exploring vibrant disco vibes on 'Dancing With The Other Girls' or moodier 80s pop on '10AM', Theme Park exude a bright and buoyant soundscape layered with elastic bass, luminous guitars and rich array of synths.

That summery concoction stands particularly proudly in the album's new track 'I'll Do Anything' which is available now. "It's about feeling a connection with someone when they've got a boyfriend," says Miles. "It's nice to write a song from the point of view of a villain."

Coming four years after their self-titled debut album, North London trio Theme Park embrace a new independent spirit, a bold sense of defiance and a fearless pop-fuelled vision with their second album 'Is This How It Starts'.

Three years in the making and completed on an ad hoc basis, 'Is This How It Starts' is the result of the band's collaboration with their old friend Ben Garrett who, under the artist name Fryars, masterminded his own remarkable 2014 album 'Power' and has also collaborated with artists such as Lily Allen and Mika.

Fully in control of their destiny, Theme Park's open-minded approach to the album was to remain true to their vision, to take the bolder option when a safer option presented itself, and to take risks in all of the right places. Lyrically, it focuses on two different yet immediately complementary styles: for some tracks, notably last year's 'L.A. (Is Stealing My Friends'), Miles Haughton (vocals/guitar) adopts a direct and abrupt persona based upon his snappy Tweets, while on others he explores ideas more reflective and personal in nature.

Completed by Miles's twin brother Marcus (bass/guitar/synths) and Oscar Manthorpe (bass/guitar/synths), Theme Park have created a record about growing up, about hitting your mid-20s and seeing the world differently, and about the schism between real and online life. It often pits challenging emotions against uplifting, unashamed pop.

"Without getting too philosophical, you're always looking for stories and meanings in the blank space of life," says Miles. "Lots of the songs are about the start of relationships, the start of things, reading meaning into things, trying to find the stories."

After the scene-setting title track, the album bursts into life with 'You Are Real', a song which tops swirling psychedelic pop and tropical, world music-tinged grooves with a chorus that's both confidently immediate and atmospherically ethereal. That irrepressible sense of elation is also prevalent in 'Something Good', a track that prompted DIY to draw comparisons with Jungle and Jai Paul. Whether exploring vibrant disco vibes on 'Dancing With The Other Girls' or moodier 80s pop on '10AM', Theme Park exude a bright and buoyant soundscape layered with elastic bass, luminous guitars and rich array of synths.

That summery concoction stands particularly proudly in the album's new track 'I'll Do Anything' which is available now. "It's about feeling a connection with someone when they've got a boyfriend," says Miles. "It's nice to write a song from the point of view of a villain."

Coming four years after their self-titled debut album, North London trio Theme Park embrace a new independent spirit, a bold sense of defiance and a fearless pop-fuelled vision with their second album 'Is This How It Starts'.

Three years in the making and completed on an ad hoc basis, 'Is This How It Starts' is the result of the band's collaboration with their old friend Ben Garrett who, under the artist name Fryars, masterminded his own remarkable 2014 album 'Power' and has also collaborated with artists such as Lily Allen and Mika.

Fully in control of their destiny, Theme Park's open-minded approach to the album was to remain true to their vision, to take the bolder option when a safer option presented itself, and to take risks in all of the right places. Lyrically, it focuses on two different yet immediately complementary styles: for some tracks, notably last year's 'L.A. (Is Stealing My Friends'), Miles Haughton (vocals/guitar) adopts a direct and abrupt persona based upon his snappy Tweets, while on others he explores ideas more reflective and personal in nature.

Completed by Miles's twin brother Marcus (bass/guitar/synths) and Oscar Manthorpe (bass/guitar/synths), Theme Park have created a record about growing up, about hitting your mid-20s and seeing the world differently, and about the schism between real and online life. It often pits challenging emotions against uplifting, unashamed pop.

"Without getting too philosophical, you're always looking for stories and meanings in the blank space of life," says Miles. "Lots of the songs are about the start of relationships, the start of things, reading meaning into things, trying to find the stories."

After the scene-setting title track, the album bursts into life with 'You Are Real', a song which tops swirling psychedelic pop and tropical, world music-tinged grooves with a chorus that's both confidently immediate and atmospherically ethereal. That irrepressible sense of elation is also prevalent in 'Something Good', a track that prompted DIY to draw comparisons with Jungle and Jai Paul. Whether exploring vibrant disco vibes on 'Dancing With The Other Girls' or moodier 80s pop on '10AM', Theme Park exude a bright and buoyant soundscape layered with elastic bass, luminous guitars and rich array of synths.

That summery concoction stands particularly proudly in the album's new track 'I'll Do Anything' which is available now. "It's about feeling a conne

Fuck me! I think I've died and gone to psychedelic heaven! If anyone had asked me what I would really want from a freak out, heavy-as-fuck psych band I would have to say I would want the sheer guitar pyrotechnics of Acid Mothers Temple, the hard-as-nails scuzziness of The Heads, the lead heaviness of a fucked-up Blue Cheer and the instrumental dexterity of Hendrix on speed. Guess what, that band exists and they are called HIBUSHIBIRE..
IMITED EDITION 400 ONLY MAGENTA COLOURED VINYL LP HOUSED IN PRINTED 350 GSM CARD OUTER SLEEVE WITH BLACK INNER BAG & DOWNLOAD CODE

Hibushibire are an Osaka based Japanese hard psychedelic freak out rock band. The band which consists of a member with many carriers, and their musical style changed to hard psychedelic rock accompanied by several times of members change. The large portion of the Hibushibire's musicality is influenced by Acid Mothers Temple, 60's Hard rock, 70's Progressive rock and additionally various psychedelic music, and they are pursuing original music committed to be ROCK and PSYCHEDELIC.

Hibushibire is called the 'advance party of a next generation psychedelic rock band' by Kawabata Makoto (Acid Mothers Temple/Mainliner etc)

ABOUT THE ALBUM

Freak Out Orgasm! is first studio album by Hibushibire in their 4th year.
 
They had chance to record studio album during 4 years, several times, but they could not because of member change, etc The 'Freak Out Orgasm!' album was recorded in just one day at Helluva Lounge (their home ground venue), and it was overdubbed with folk instruments such as Zurna, Santur, and an electronic sound of synthesizer in order to make more psychedelic.
 
It was mixed by Kawabata Makoto of Acid Mothers Temple as as a producer at his mountain top studio temple. It became more psychedelic and exciting by making him a producer. When the show, they play songs with interplay, so it is often played long length. Tracks that are included in the album are the shortest version. 'Deep Throat River Holy Mountain High' is representative song of Hibushibire, and the band often play that various versions. Freak Out Orgasm! is the album just like a business card for the rock scene around the world to Hibushibire. However, it might be not limited to that...
 
THE BAND
 
Chang Chang (freak out guitar/vocals)
821 (freak out bass/chorus)
Ryu Matsumoto (freak out drums)
 
FOR FANS OF
 
Acid Mothers Temple Official / High Rise / Mainliner Official / Blue Cheer / Cactus / Captain Beefheart / Comets on Fire / Frank Zappa / Funkadelic / Gong - Band / Grand Funk Railroad - Band / Hawkwind / King Crimson / Mountain / Sun City Girls / Sir Lord Baltimore / Träd Gräs och Stenar / Ash Ra Tempel / CAN / Black Sabbath etc
 
The band plan to tour the UK and Europe for the first time during 2017.

Nothing is a random act. Things come and go in a seemingly unpredictable order, but truth be told, it's all meant to be.Take Deep State, toiling under the low lights of Athens, making some of the best, pure-bent, rock joy heard in a generation in their crook neck portion of the east coast. Power, volume, transition, and then suddenly, they're here: one of your new favorite bands, wearing out the motor on your turntable.
Deep State formed in Athens, Georgia not so long ago. Friends from bands, college, restaurant jobs — is there any other way this is done Ryan was getting a master's degree in guitar performance. Taylor wanted to form an aggressive/cathartic/punk band that was undeniably catchy. Melodies were floating around constantly in Taylor's head until the noise became too much. He asked his friends for a hand fleshing out his ideas, and lo and behold, everything meshed in a beautiful way. The songs finished themselves. As the band tells it, Ryan, Michael, and Christian are the pros, and the most amateur musician in the band fronts it. A memorable, moment-producing formula.Athens, Georgia. Just saying those words references several chapters in the music history annals, and many of those tales rattle around in the brain of Deep State. Influences stacked like pennies on the dash of the tour van: Albert Camus, Fleetwood Mac, Bruce Springsteen, Bent Outta Shape, Pride & Prejudice, dogs, cats, Silver Jews, NFL Football, State Champion, Devo, Harold Pinter, thousands and thousands of things, Blinky Palermo, myths. So much to answer for.
Seated front to back on any given day, and given to bouts of lively conversation (trust us): Taylor Chmura (guitar, vocals), Christian Deroeck (bass), Michael Gonzalez (drums) and Ryan Gray Moore (guitar). Ideas abound, the list grows. And the best part They're just getting started.When searching for metaphors, forgo the thesaurus, and try these on for size: driving guitars, drums and bass, all competing for attention, while a singer describes affecting life events, whether it's drunks in a bar or losing yourself in a guilty pleasure record.Deep State knows there's a vapor trail of goodness that's been spread across the planet, so there's the challenge. Follow it. Do it. The band plans to burn the wheels off the van with the release of 'Thought Garden

Nothing is a random act. Things come and go in a seemingly unpredictable order, but truth be told, it's all meant to be.Take Deep State, toiling under the low lights of Athens, making some of the best, pure-bent, rock joy heard in a generation in their crook neck portion of the east coast. Power, volume, transition, and then suddenly, they're here: one of your new favorite bands, wearing out the motor on your turntable.
Deep State formed in Athens, Georgia not so long ago. Friends from bands, college, restaurant jobs — is there any other way this is done Ryan was getting a master's degree in guitar performance. Taylor wanted to form an aggressive/cathartic/punk band that was undeniably catchy. Melodies were floating around constantly in Taylor's head until the noise became too much. He asked his friends for a hand fleshing out his ideas, and lo and behold, everything meshed in a beautiful way. The songs finished themselves. As the band tells it, Ryan, Michael, and Christian are the pros, and the most amateur musician in the band fronts it. A memorable, moment-producing formula.Athens, Georgia. Just saying those words references several chapters in the music history annals, and many of those tales rattle around in the brain of Deep State. Influences stacked like pennies on the dash of the tour van: Albert Camus, Fleetwood Mac, Bruce Springsteen, Bent Outta Shape, Pride & Prejudice, dogs, cats, Silver Jews, NFL Football, State Champion, Devo, Harold Pinter, thousands and thousands of things, Blinky Palermo, myths. So much to answer for.
Seated front to back on any given day, and given to bouts of lively conversation (trust us): Taylor Chmura (guitar, vocals), Christian Deroeck (bass), Michael Gonzalez (drums) and Ryan Gray Moore (guitar). Ideas abound, the list grows. And the best part They're just getting started.When searching for metaphors, forgo the thesaurus, and try these on for size: driving guitars, drums and bass, all competing for attention, while a singer describes affecting life events, whether it's drunks in a bar or losing yourself in a guilty pleasure record.Deep State knows there's a vapor trail of goodness that's been spread across the planet, so there's the challenge. Follow it. Do it. The band plans to burn the wheels off the van with the release of Thought Garden

Produced with James Maddock and featuring core touring band, guests Brian Mitchell and Ben Stivers, a duet with daughter Savannah and a radiant violin solo by Laurie Anderson, this record delivers Jeffreys' literate, emotionally raw lyrics coupled with a still supple voice capable of singing in a practically limitless number of styles. Garland Jeffreys has been making provocative, personally charged urban rock and roll since the late 1960s. This New York native continues to record and perform with the energy of a man half his age.

Produced with James Maddock and featuring core touring band, guests Brian Mitchell and Ben Stivers, a duet with daughter Savannah and a radiant violin solo by Laurie Anderson, this record delivers Jeffreys' literate, emotionally raw lyrics coupled with a still supple voice capable of singing in a practically limitless number of styles. Garland Jeffreys has been making provocative, personally charged urban rock and roll since the late 1960s. This New York native continues to record and perform with the energy of a man half his age.

The most celebrated Grateful Dead show in history is finally getting its official release. The forces aligned for the Dead on May 8, 1977, at Barton Hall, Cornell University, Ithaca, NY, for what many hail the pinnacle performance of their 30-year career. So revered is the performance, that an audience recording of this show joined Prince's Purple Rain and Dolly Parton's Coat Of Many Colors as 2012's inductees into the National Recording Registry of the U.S. Library Of Congress, an honor bestowed upon music/songs that "are culturally, historically, or aesthetically important."

Cornell 5/8/77 was recorded live directly from the soundboards by Betty Cantor-Jackson. After several years the master tapes were seemingly lost for good, but that all changed at the end of 2016. The lost tapes, or lost Betty boards' as they are commonly known, finally made their way back home to the Grateful Dead vault, making it possible to officially bring the world this legendary show just in time for its 40th Anniversary. The complete live show has been remastered by GRAMMY award-winning sound engineer, Jeffrey Norman and packed into a unique and limited edition five-LP set. In addition to this, the transfers from the master tapes were produced by Plangent Processes, making of this the best, most authentic that Cornell has ever sounded.

Alphaville hatten Welthits wie "Big in Japan", "Sounds Like A Melody", "Jet Set", "Dance With Me" und natürlich "Forever Young". Mit "Strange Attractor" veröffentlicht die Band nun ihr siebtes Studioalbum und präsentiert darauf die Kreuzung von pumpenden Funk- und Soul-Zitaten mit hymnisch-barocker Euphorie à la Frankie Goes To Hollywood, ABBA und Pink Floyd und einer Reinheit im Elektro-Pop, die an den Beginn der Achtzigerjahre erinnert, als das Genre noch jung war "Strange Attractor" erscheint am 07.04.2017 auf CD und Vinyl, sowie digital.

Dion had an album ready for release at Columbia in 1965, but it never made it out of the gate until now! Dig the sound and fury (and the incredible back story) of KICKIN' CHILD when it hits the streets on May 12. Recorded fifty-two years ago, it is as atom-smashing now as it was when Dion rolled tape with producer Tom Wilson at Columbia Studios in '65. This is the most pertinent and soul searing album of 2017 and it isn't even out yet! It takes a big chomp out of what you think you know about music history and the music biz in general. Go, Dion!
Ships May 12! The lost 1965 Columbia album arrives- 52 years later! Here it is on compact disc with all of Dion's blueswailin', folk-blazin', rock n' stormin' monsters, track after track after track. Cut in '65 with producer Tom Wilson on all but three tracks, this album was slated, then shelved, for reasons that come to light in Scott Kempner's illuminating liners. Whoever's got the crown, label it DIMUCCI and express it to Dion, with love. Absolutely ESSENTIAL. Also available on vinyl LP and pick up the 45 RPM vinyl single (non-LP b-side)!

Dion had an album ready for release at Columbia in 1965, but it never made it out of the gate until now! Dig the sound and fury (and the incredible back story) of KICKIN' CHILD when it hits the streets on May 12. Recorded fifty-two years ago, it is as atom-smashing now as it was when Dion rolled tape with producer Tom Wilson at Columbia Studios in '65. This is the most pertinent and soul searing album of 2017 and it isn't even out yet! It takes a big chomp out of what you think you know about music history and the music biz in general. Go, Dion!

Ships May 12! The lost 1965 Columbia album arrives- 52 years later! Here it is on compact disc with all of Dion's blueswailin', folk-blazin', rock n' stormin' monsters, track after track after track. Cut in '65 with producer Tom Wilson on all but three tracks, this album was slated, then shelved, for reasons that come to light in Scott Kempner's illuminating liners. Whoever's got the crown, label it DIMUCCI and express it to Dion, with love. Absolutely ESSENTIAL. Also available on vinyl LP and pick up the 45 RPM vinyl single (non-LP b-side)!

Dion Kickin' Child b/w Too Much Monkey Business (Norton 45-196) Stormin' title track from the album plus a non-LP never-heard and never-released flipside of Chuck Berry's Too Much Monkey Business! It doesn't come cooler than these two '65 tracks cut at Columbia. From the vaults Absolutely- this is concrete evidence that the King of the New York Streets is most definitely the King of the rockin' rollin' universe!

'Stone Garden' is a window into Kikagaku Moyo's experimental side. 'Stone Garden' started in a basement studio in Prague with a nearly continuous session over several days and nights. The original concept was influenced by the raw and seemingly endless jams of psychedelic pioneers. The freeform songs that emerged from these sessions were refined over several months at the band's home in Tokyo where each song was sculpted into an uncommon form.

Repress! This Tokyo band started channeling the spirits of the Japanese psychedelic underground in the Summer of 2012, quickly developing the sound of '60s psychedelia to a breathtaking degree. The band's s/t debut exerts an elemental power. Enlivening its sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once.

After becoming the biggest breaking British rock band with their self-titled 2014 debut album, Royal Blood's eagerly anticipated second album 'How Did We Get So Dark' will be released on June 16th on Warner Bros. Records.

Royal Blood's breakthrough was huge. Their debut album was the fastest-selling British rock debut in three years, hitting #1 in the UK, going Top 20 in twelve countries, and selling over a million copies. Before they knew it they were performing for Howard Stern, touring with Foo Fighters, holding dressing room audiences with Jimmy Page in New York, and being presented with a BRIT for Best British Band in 2015 by the very same guitar god. Their ascendency was further underlined with major awards courtesy of Kerrang!, NME and Q.
The ten tracks that feature on 'How Did We Get So Dark' were written in instrumental form during sessions in Brighton, Hollywood, Los Angeles and Nashville. Always trying to explore ways of stripping their enormous sound back to give it more space and impact, inspiration for the lyrics came from events in vocalist/bassist Mike Kerr's life since the band first found huge success.

In November 2016. Kerr and drummer Ben Thatcher, along with producer Jolyon Thomas, spent six weeks in a studio in Brussels that was decked out like a New York diner and featured a warehouse of antique gear. 'How Did We Get So Dark' was subsequently completed after a final session in London with their debut album's co-producer Tom Dalgety.

The album's first single 'Lights Out' ups the ante from their debut with a wrecking ball of a groove cemented by Thatcher's thunderous rhythms, while Kerr wrangles the twisted invention of his bass riffs to a whole new level. Their patented two-man artillery of carefully constructed melodic aggression is prevalent throughout, especially in 'I Only Lie When I Love You' which is a compelling cowbell-assisted reminder of the power of a stop-start riff and a strident chorus. There are times where Royal Blood are more visceral than ever - notably the gargantuan introduction to 'Hook, Line & Sinker' and also the intense denouement that brings 'Looks Like You Know' to a close.

While the album finds Royal Blood refining their melodic might, there are other moments that fulfil their aim to create songs that will add new dimensions to their live sets. Adorned with Kerr's falsetto, 'Don't Tell' drops the intensity to mesmerising effect, while 'Where Are You Now' pulsates with a bounding energy that's quite a step apart from anything else in their catalogue. The Royal Blood palette is also expanded with the complementary addition of piano or keyboards on four tracks, including the foreboding album closer 'Sleep'.

Royal Blood's summer festival touring commences at The Governors Ball in New York City in June and concludes with both legs of Japan's Summer Sonic Festival in August. In the UK, they're confirmed to play Glastonbury and will headline the Eden Sessions on June 22nd.

After becoming the biggest breaking British rock band with their self-titled 2014 debut album, Royal Blood's eagerly anticipated second album 'How Did We Get So Dark' will be released on June 16th on Warner Bros. Records.

Royal Blood's breakthrough was huge. Their debut album was the fastest-selling British rock debut in three years, hitting #1 in the UK, going Top 20 in twelve countries, and selling over a million copies. Before they knew it they were performing for Howard Stern, touring with Foo Fighters, holding dressing room audiences with Jimmy Page in New York, and being presented with a BRIT for Best British Band in 2015 by the very same guitar god. Their ascendency was further underlined with major awards courtesy of Kerrang!, NME and Q.
The ten tracks that feature on 'How Did We Get So Dark' were written in instrumental form during sessions in Brighton, Hollywood, Los Angeles and Nashville. Always trying to explore ways of stripping their enormous sound back to give it more space and impact, inspiration for the lyrics came from events in vocalist/bassist Mike Kerr's life since the band first found huge success.

In November 2016. Kerr and drummer Ben Thatcher, along with producer Jolyon Thomas, spent six weeks in a studio in Brussels that was decked out like a New York diner and featured a warehouse of antique gear. 'How Did We Get So Dark' was subsequently completed after a final session in London with their debut album's co-producer Tom Dalgety.

The album's first single 'Lights Out' ups the ante from their debut with a wrecking ball of a groove cemented by Thatcher's thunderous rhythms, while Kerr wrangles the twisted invention of his bass riffs to a whole new level. Their patented two-man artillery of carefully constructed melodic aggression is prevalent throughout, especially in 'I Only Lie When I Love You' which is a compelling cowbell-assisted reminder of the power of a stop-start riff and a strident chorus. There are times where Royal Blood are more visceral than ever - notably the gargantuan introduction to 'Hook, Line & Sinker' and also the intense denouement that brings 'Looks Like You Know' to a close.

While the album finds Royal Blood refining their melodic might, there are other moments that fulfil their aim to create songs that will add new dimensions to their live sets. Adorned with Kerr's falsetto, 'Don't Tell' drops the intensity to mesmerising effect, while 'Where Are You Now' pulsates with a bounding energy that's quite a step apart from anything else in their catalogue. The Royal Blood palette is also expanded with the complementary addition of piano or keyboards on four tracks, including the foreboding album closer 'Sleep'.

Royal Blood's summer festival touring commences at The Governors Ball in New York City in June and concludes with both legs of Japan's Summer Sonic Festival in August. In the UK, they're confirmed to play Glastonbury and will headline the Eden Sessions on June 22nd.

In 2010 Freak Antoni, the undisputed leader of the Skiantos, received the prestigious Premio Tenco' award in honor of his incredible career as leader of one of the most emblematic groups in Italian rock. Often mislabeled demented-rock', the Skiantos were in reality an exception to the rule. This reissue of their second album is, therefore, a road to understanding to what degree rock music was putty in the hands of this band from Bologna, who away from cumbersome references to British and American rock chose to follow their own path to originality. Their youthful and unprejudiced energy together with the personality of great thinkers became an oft-debated manifesto, but one that is destined to maintain its importance in the years to come. The album's cover art picturing an enormous dinosaur destroying a building is testimony to their ironic, but biting attack on institutions, which when translated into music paid homage both to Italy's eccentric singer/songwriter tradition as well as the heretic dialectics of coeval punk. The album was originally released in 1978 on the Cramps label, but not a day seems to have passed since then...

The third album by this combo from Bologna is the apotheosis of their histrionic verve. Directed in studio by Italian progressive rock luminary, Paolo Tofani, Kinotto was released in 1979, and as Freak Antoni himself declared, the album was closer to new wave than previous efforts and its best-known track, Mi piaccion le sbarbine', was soon on heavy rotation. With Kinotto came also the artistic consecration of the Skiantos, who went from being a cult band to one of the most energetic and histrionic in Italian rock. Invited to replace Italian rock superstar Vasco Rossi's back-up band in 1990, and undoubtedly a source of inspiration for the evil doings of Italian mock rock' band Elio e Le Storie Tese, with Kinotto the Skiantos wrote one of the most thrilling pages in Italian music.

Blondie return with 11th studio album Pollinator lighting up 2017 with an incredible new record befitting one of the world's greatest bands. Produced live in the studio by John Congleton (St. Vincent, John Grant, War On Drugs, David Byrne). The last album recorded at New York's legendary Magic Shop studios before their closure. Blondie's classic writing duo of Chris Stein and Debbie Harry are at the heart of the creation with an impressive list of song writers on the project including Johnny Marr, TV On the Radio's Dave Sitek, Dev Hynes (Blood Orange, Lightspeed Champion) Adam Johnson aka An Unkindess, Sia and Charli XCX. Studio appearances from Joan Jett, Laurie Anderson and The Gregory Brothers.