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Featuring a sound described as "rockabilly from hell" and a strong passion for Americana, cars, guns, aeroplanes and broadcast evangelism, the group released the mini-album 'Good and Gone' on Big Beat Records. Its six songs which had been selected from eleven songs recorded in spring 1984 with producer Vic Maile during a session at Elephant Studios in Wapping, London. It included a version of Hank Williams' 'You're gonna change'. Upon its release, the EP entered the top twenty in the UK independent record chart, where it remained for six months.

- The Original 1984 12
' E.p expanded into full Long Player with 8 added bonus tracks
- Fully Re - Mastered for Vinyl
- This album has been out of print for over 15 years
- Pressed on Coloured Vinyl

Third volume for "Beautiful Cover Version" .A collection of classic pop, and rock revisited in genenre jazz, lounge, chill. and d acustic

"All Under Control " is the debut album of the band from Brescia. A hot mixture of Brit-Pop and Rock Americano presented through the twelve unreleased tracks led by the single" Better Than Myself. "A warm sound, perfect soundtrack for every moment of day.

ustice are a French electronic music duo consisting of Gaspard Augé and Xavier de Rosnay. The band's debut album † was released in June 2007 to critical acclaim. The album was later nominated for a Grammy Award for Best Electronic/Dance Album and came in at number 15 on Pitchfork's Top 50 Albums of 2007 and number 18 on Blender's "25 Best Albums of 2007" list.The band's remix of the MGMT song "Electric Feel" won the Grammy Award for Best Remixed Recording in 2009.
The band released its second album "Audio, Video, Disco" in 2011.

Sensory Memory' marks the second installment on Echovolt's brand new series of mini-albums that has opened them up to more experimental fare. The first tone of those series was set by 'Messages From A Better Destiny' from the up-start Greek outfit Templeyard Studios and now Australian producer Kane Ikin is about to follow.Kane Ikin is an experimental musician from Melbourne. Drawing from an isolated upbringing on the south coast of Western Australia, he creates music influenced by science fiction, broken synthesizers and endless horizons. Even though Kane has a solid discography behind him in the lead up to this year, 2016 will perhaps be seen as his breakthrough as he has already delivered two outstanding works in 2016 - the tense and atmospheric 'Modern Pressure' LP (Type Recordings) and its more dancefloor-minded companion 'Basalt Crush' EP (Latency Recordings). Not showing any sign of slowing, Kane's next work "Sensory Memory' mini-album will be released in the fourth quarter of 2016. Equal parts narcotic and kinetic, "Sensory Memory' is built as an exploration in the genres and sounds formative to Kane's sound.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INSERT
- LIMITED EDITION OF 2000 NUMBERED COPIES ON
ORANGE VINYL

The sixth studio album of Dream Theater is a concept album in its truest form. As the title Six Degrees Of Inner Turbulence implies, the albums contains six songs, each dealing with a facet of inner struggle. Themes like alcoholism, loss of faith and self isolation are dealt with in a true virtuoso manner. The second disc contains one 42-minute long song, divided over two sides, telling six stories about various mental illnesses like autism and schizophrenia.

Debut album for Eternal Samhain, symphonic black metal group from Verona. Eternal Samhain revolve around the figure of the singer Taliesin, founder of the group that has taken shape, until the current line with the other member input: Dis Pater (guitars), Nebiros (bass), Taranis (drums), Annwin (guitar ). In addition to the well cared for music, Eternal Samhain have paid much attention to the lyrics, which deal with the mystical vision of the ancient world, timeless themes such as life, death, rebirth and freedom. Eternal Samhain have to their credit several dates including as a supporter of Fleshgod Apocalypse, Necrophobic, Nocturnal Depression and Festivals such as Long Valley Rock Fest, Padua Metal Fest and Heresy Metal Fest.

Double-LP gatefold in Limited Edition Red & White vinyl for Black friday. Non-returnable.
Iggy & The Stooges re-united after 30 years, captured live in Tokyo in 2004.
The follow-up to the notorious 1976 'Metallic KO' album from Skydog.
Coincides with Jim Jarmusch's Iggy & the Stooges documentary 'Gimme Danger'

Iggy & The Stooges practically invented punk rock. They split up in 1974. 30 years later, The Stooges reformed, and first released a live album documenting the reunion performing in Japan - appropriately on Skydog Records who released their infamous final gig album 'Metallic K.O.' in 1976.

Recorded in Tokyo in 2004, the album features 17 tracks over 70+ minutes, including the old Stooges classics plus new songs. A documentary film on The Stooges, Gimme Danger directed by Jim Jarmusch, is being promoted by Amazon Studios and following film festival showings is released in USA on 28th October and in the UK 18th November.

Queen's meteoric ascendancy during the 1970s has been well documented. From their gloriously ambitious self-titled debut album of 1973 through to the album that put them in the superstar bracket, 1975's A Night At The Opera, and beyond, this unique group carved out a singular path as the most visionary, inventive and charismatic band of that epic decade. But there is another side to Queen's rise that has been largely overlooked. Between February 1973 and October 1977, the band recorded six radio sessions exclusively for the BBC. The twenty four recordings these landmark sessions produced include alternate versions of the debut single, unique takes of classic album tracks and even a radically reworked reimagining of one of their best known anthems that has never previously appeared on any Queen studio release.Now, for the very first time, all six Queen BBC sessions - meticulously restored by Queen engineer Kris Fredriksson and mastered by Grammy Award winner Adam Ayan - have been brought together on Queen On Air, released on November 4 by Virgin EMI. North America through Hollywood Records. Available as a 2-CD set and a 3-LP vinyl edition, plus a Deluxe 6-disc edition featuring a CD of live broadcasts and 3 CDs of radio interviews, Queen On Air is an essential addition for connoisseurs of the band.Queen On Air is more than just a collection of rare recordings - it is a glorious snapshot of the growth of a legend.Queen's very first session for the BBC, which opens Queen On Air, dates from February 1973, five months before the release of the band's debut album and single. Imagine that you are listening to the radio in early 1973, no-one in the world has heard any Queen recordings EVER! John Peel plays My Fairy King, the very first Queen song to be broadcast on radio anywhere, and the story begins. He follows with Keep Yourself Alive (the song which later became their first single), the laidback Doing All Right and the epic rock operetta Liar - all of which serve notice of the arrival of a major new musical force.The band returned to the BBC for their second session in July 1973, the same month their debut album was released. Revisiting Keep Yourself Alive and Liar, this time they also covered the heavy-as-lead Son And Daughter and the bluesy See What A Fool I've Been. The latter, which has never appeared on any Queen studio album, would later be re-recorded and become the B-side of their breakthrough hit single Seven Seas Of Rhye in 1974.By the time Queen recorded their third BBC session in December 1973, they had already begun work on their second album, Queen II (eventually released in March 1974). The band premiered a new song which would feature on that album, Ogre Battle, alongside three classics from its predecessor, the galloping Great King Rat, the Roger Taylor-sung Modern Times Rock'n'Roll and a new version of Son And Daughter. Two more Queen II songs were recorded during a subsequent session in April 1974 - the epic White Queen (As It Began) and the delicate ballad Nevermore, alongside a re-recorded Modern Times Rock'n'Roll.Queen's penultimate session for the BBC took place in October 1974, a month before the release of their classic third album, Sheer Heart Attack. The session saw the debut of four songs from that record: the dazzling Now I'm Here, the proto-heavy metal attack of Stone Cold Crazy, the caustic Flick Of The Wrist and Tenement Funster, their celebration of the rock'n'roll lifestyle.It would be another three years before Queen returned to the BBC for their sixth and final session, by which time the success of Bohemian Rhapsody had turned them into a global phenomenon.On October 28th 1977, they recorded some radically different versions of four songs from the brand new News Of The World album, on the same day as it was given its UK release: the epic power ballad Spread Your Wings, the steel-plated rocker It's Late, the dusky jazz number My Melancholy Blues and two significantly contrasting renditions of the global hit We Will Rock You - the 'regular' version and the 'fast' version, a full-tilt guitar-heavy take on the song. The accelerated version on Queen On Air is the only known studio recording of this live favourite. 'We Will Rock You' - profundity or just another teenage anthem!', remarks John Peel on playing the track. Peel is the person who famously once said (on air) of the band, I've never seen them live. I must admit I'd like to - a band that sounds like nutters, actually, and I like that because I like rock music to sound a little out of control.To complete the full picture, the 6-CD Deluxe Edition includes Queen Live On Air - a single disc featuring highlights of three live concert broadcasts: Queen live at the Golders Green Hippodrome, from September 1973, their first concert to be transmitted on radio anywhere in the world. Also, Queen performing in Brazil at Sao Paulo's gigantic Morumbi stadium to a record-setting audience of 131,000 originally relayed live on radio and TV in March 1981 on the Badeirantes network during the band's infamous South America Bites The Dust tour. Finally, Queen's penultimate live concert radio broadcast. Aired less than four weeks before their last show with Freddie, this was a live emission from the show in Mannheim Germany, in June 1986 during the mighty Magic Tour.The set further offers a captivating selection of radio interviews with both the whole band and the individual members at various points between 1976 and 1992. Queen On Air: The Interviews (3 CDs) delivers a compelling three and a half hour distillation of revealing encounters recorded for the BBC and Capital Radio in London between 1976-1992. Spanning 220 minutes, the seventeen interviews represent significant landmarks in the Queen story. Talking with some of Britain's best known broadcasters and presenters, the band reflect on various moments in their musical history, influences and aspirations, and provide some memorable quotes, such as Roger Taylor's now famous description of Queen's 1984 Works tour as having more lights and spectacle than the Vatican. On a more serious note, from June 1982, Brian discusses the Hot Space album and explains why the non-compromising anti-gun song Put Out the Fire is immediately followed on the album by Life is Real (Freddie's song for John Lennon).Elsewhere, in a 1981 interview recorded during the band's South American adventure, John Deacon provides some rare insight into some of the more unusual demands of the tour, including why it was necessary to fly in 75 tons of stage equipment and an entire football pitch-worth of Astro turf.Roger is interviewed by Richard Skinner and Tommy Vance in 1979 and 1980 to promote the new Queen albums of the time, Live Killers and Flash Gordon respectively, and in a BBC Radio 1 interview with Simon Bates in 1985, Freddie (drinking vodka while the host sips tea!) talks candidly about the public perception of him, about playing 'rock and roll dodgems', his image, private life, and working with Michael Jackson and David Bowie.Freddie, as he was generally accustomed to doing, steals the show again during a 1976 encounter with his friend Kenny Everett, on his Capital Radio programme. The host attempts to throw his guest off balance by handing him a weather report to read out on air, without warning, while Freddie does his utmost to maintain his composure. Queen On Air also provides us with the very last interview Brian, John, Freddie and Roger would give together. Being interviewed for a 'Queen For An Hour' special with BBC Radio 1's Mike Read to promote the new album The Miracle and broadcast during the May Bank Holiday weekend of 1989, Read makes the most of his one hour with Queen by cajoling all kinds of details from his guests and covering significant and often enthralling ground. Rare candor emerges, particularly from Freddie, as well as poignant and amusing moments. Aside from discussing the recently recorded new tracks, there is mention of Aretha Franklin, George Michael, Montserrt Caballé, Smokey Robinson, John Lennon and Jimi Hendrix, before moving on to what could be expected next from Queen.In an emotional August 1992 BBC Radio 2 interview with Simon Bates three years after that final band interview, Brian recalls the shattering loss of Freddie Mercury nine months earlier and coming to terms with his death.The Deluxe Edition of Queen On Air also comes with a meticulously assembled booklet containing rare photographs and sleeve notes lovingly compiled by band archivist Greg Brooks, featuring memories from the band and BBC producers Jeff Griffin and Bernie Andrews, plus comments from legendary Radio 1 DJs John Peel and Bob Harris from the time of the original broadcasts. Amongst them, Bernie Andrews, BBC Radio 1 producer of Queen's first and third sessions recalls his first introduction to Queen:I first heard of Queen through a very well respected young promotion guy. He said 'I want to play you a tape'. We went into a room and he got this reel-to-reel out. 'Well what do you think,' he asked. 'They're bloody great, I love it,' I replied. Then he told me, 'They're called Queen', and I just fell about the place laughing. I said: 'They're great, but you can't put a band called Queen in the Radio Times!' I booked them anyway and they went in the Radio Times as Queen.Thanks to their studio albums and their monumental live shows, Queen's status as bona fide rock legends has long been assured. With Queen On Air, the world finally gets to hear and discover this fascinating side of their legacy.

In between the release of Dungen's most recent two albums (2010's Skit I Allt and 2015's Allas Sak), the beloved Stockholm quartet was asked to create an original score to Lotte Reiniger's 1926 touchstone The Adventures of Prince Achmed, understood to be the oldest surviving full-length animated feature film. Inspired by the work and the characters - Prince Achmed, Peri Banu, Aladdin, the Sorcerer, and most of all, the Witch - the members of Dungen immersed themselves into the groundbreaking visual language of this landmark film.

Häxan (translation: The Witch') is Dungen's first all-instrumental album. Produced by Mathias Glavå, and recorded, mixed, and edited by hand to tape entirely in the analog domain, Häxan was sequenced away from the linear narrative of the film. This process helped to create a path of its own, fully capturing the rawness and spontaneity present in the sessions, as well as a loose, abstract, and fragmented collage feel. Dense with dissonant free-form rock-outs, haunting ambient passages, and gorgeously cinematic soundscapes present in the work, Häxan is a record that stands on its own outside of the presence of its primary inspiration. Moody, evocative, stormy, and brimming with life, Häxan provides both a tacit summation of the Dungen journey until now, and gives the beloved group a chance to stretch out like never before.

Experience the possessed prowess of "Jakten genom skogen,' the first single from Häxan bearing all the marks — from Mellotron to mood — of a classic Dungen composition.

In between the release of Dungen's most recent two albums (2010's Skit I Allt and 2015's Allas Sak), the beloved Stockholm quartet was asked to create an original score to Lotte Reiniger's 1926 touchstone The Adventures of Prince Achmed, understood to be the oldest surviving full-length animated feature film. Inspired by the work and the characters - Prince Achmed, Peri Banu, Aladdin, the Sorcerer, and most of all, the Witch - the members of Dungen immersed themselves into the groundbreaking visual language of this landmark film.

Häxan (translation: The Witch') is Dungen's first all-instrumental album. Produced by Mathias Glavå, and recorded, mixed, and edited by hand to tape entirely in the analog domain, Häxan was sequenced away from the linear narrative of the film. This process helped to create a path of its own, fully capturing the rawness and spontaneity present in the sessions, as well as a loose, abstract, and fragmented collage feel. Dense with dissonant free-form rock-outs, haunting ambient passages, and gorgeously cinematic soundscapes present in the work, Häxan is a record that stands on its own outside of the presence of its primary inspiration. Moody, evocative, stormy, and brimming with life, Häxan provides both a tacit summation of the Dungen journey until now, and gives the beloved group a chance to stretch out like never before.

Experience the possessed prowess of "Jakten genom skogen,' the first single from Häxan bearing all the marks — from Mellotron to mood — of a classic Dungen composition.

In between the release of Dungen's most recent two albums (2010's Skit I Allt and 2015's Allas Sak), the beloved Stockholm quartet was asked to create an original score to Lotte Reiniger's 1926 touchstone The Adventures of Prince Achmed, understood to be the oldest surviving full-length animated feature film. Inspired by the work and the characters - Prince Achmed, Peri Banu, Aladdin, the Sorcerer, and most of all, the Witch - the members of Dungen immersed themselves into the groundbreaking visual language of this landmark film.

Häxan (translation: The Witch') is Dungen's first all-instrumental album. Produced by Mathias Glavå, and recorded, mixed, and edited by hand to tape entirely in the analog domain, Häxan was sequenced away from the linear narrative of the film. This process helped to create a path of its own, fully capturing the rawness and spontaneity present in the sessions, as well as a loose, abstract, and fragmented collage feel. Dense with dissonant free-form rock-outs, haunting ambient passages, and gorgeously cinematic soundscapes present in the work, Häxan is a record that stands on its own outside of the presence of its primary inspiration. Moody, evocative, stormy, and brimming with life, Häxan provides both a tacit summation of the Dungen journey until now, and gives the beloved group a chance to stretch out like never before.

Experience the possessed prowess of "Jakten genom skogen,' the first single from Häxan bearing all the marks — from Mellotron to mood — of a classic Dungen composition.

The debut album from Spanish outfit Forastero delivers a riotous but groove driven jazz-punk setlist featuring a theremin and a wonky Hammond organ re-work of the Orbital classic, 'The Box'. El Submarinista en el tejado ('Diver on the Roof'), is Sonic Youth intense in its climactic peaks and drips in filmic Morricone quirk when taking breath. Bolstered with baritones and a fistful of brass, it is the band's debut and fittingly comes out on the long-respected Madrid label, Lovemonk. Made up by a group of players from Madrid's jazz, Afrobeat and black music scene, Forastero are little known out of Spain, yet they have been experimenting with fuzzed up and leftfield beats and pieces in many of the capital's renowned live music 'salas' over the years. A six-piece, the group plays baritone sax, keys, synths, double bass, guitar, theremin and drums, and have no interest in playing fiddle to Madrid's conservative jazz audiences. In fact, it's the environment of a somewhat static new jazz scene in Madrid that has given the impetus for Forastero's creation and 'outsider' attitude. Literally their name, 'Forastero', means 'stranger' or 'foreigner'. Recorded between September 2015 and July 2016 in Madrid, there is obvious anxiety and angst in this production but delivered with a poetry akin to a Tortoise or Brandt Brauer Frick production. 'The Box' is a cover of the Orbital classic, a syncopated and supple track jumping between loose expressions of ska and dub. 'Baile Watusi' charms with its collision of frantic jazz and chopped up sinuous funk, and 'Morfina', the lead single, evokes sixties soul and is a posthumous nod to renowned bass player, Mark Sandman. Throughout El Submarinista en el tejado the band don't hide their fondness for the big screen, with the spaghetti western-like quality of 'Por la Calle de la amargura' an obvious example without being overwhelmingly pastiche. With the additional influences name checked by the group, such as Cinematic Orchestra, Jaga Jazzist, Red Snapper, Esbjörn Svenson Trio and Acoustic Ladyland, you get an idea of why their self-proclaimed tag as 'outsiders' has stuck. The loose attitude to formula or structure in Forastero's work stands out a mile. Certainly their jazz and improvisational backgrounds has heavily influenced the writing process. There's a tight and intuitive rhythm section, which is frequently held together by a narrative quality in Dani Niño's saxophone lead. "We play jazz as rockers, twisting things and always experimenting", says Javier Gallego, the drummer. And onwards the band marches, irritating and entertaining all who hears them. The album cover is a photo by renowned Spanish photographer Alberto García-Alix called "San Carlos, un horizonte falso" ("San Carlos, a false horizon"). The story behind it fits the album like a glove: San Carlos doesn't exist. The artist ordered a bespoke model of a city, and in his studio, using lights and shadows, he photographed a city where everybody is a stranger. Forastero are Javier Colis, Javier Diez-Ena, Javier Gallego "Crudo", Dani Niño, Juan Carlos "Chavi" Ontoria, and Sergio Salvo.

Fünf Jahre ist das letzte und dritte Album "In Passage" der Schweden von Immanu El mittlerweile alt. Und
natürlich hört man ihrer neuen Platte "Hibernation" die Zeit an, die seit 2011 verstrichen ist. Zum einen hatte
die Band zwischenzeitlich einen energiesaugenden, zweijährigen Rechtsstreit hinter sich gebracht. Zum
anderen ging es darum, die poppige Entwicklung von "In Passage" weiterzuführen. Die neuen Songs sollten
deshalb moderner und elektronischer klingen. "Die letzten Alben hatten wir jeweils in ein paar Tagen live
eingespielt. Für die neuen Songs wäre das nicht der richtige Weg gewesen", ist man sich bei Immanu El
einig. Also nahm die Band zum ersten Mal in ihrer Karriere die Hilfe eines Produzenten in Anspruch. Mit
Johan Eckeborn, der für seine Arbeit mit Jonathan Johansson und dessen Album "Lebensraum!" eine
Grammy-Nominierung einheimste, bekam "Hibernation" die gewünschten Konturen. Die neuen Immanu-ElSongs sind fokussierter als je zuvor. Auf den letzten Alben deutete die Band oft nur an, wie viel Pop in ihr
steckt, und schmückte die Melodien und Refrains geschickt mit ausladenden Arrangements aus. Die neuen
Songs wie "Voices", "Winter Solstice" und "Omega" kommen dagegen schnell auf den Punkt und setzen fast
schon radiotaugliche Refrains gekonnt in Szene. Cool: Die Schweden klingen trotz der musikalischen
Weiterentwicklung immer noch ganz wie sie selbst!

Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.
Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list. The songs in the band's set list were as followed: Directions', Miles Runs the Voodoo Down', Willie Nelson', I Fall In Love Too Easily', Sanctuary', It's About That Time', Bitches Brew', Masqualero', Spanish Key', and The Theme'. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.

Gloria is the debut album by the garage rock band The Shadows of Knight, originally released in 1966. The Shadows of Knight are primarily known for their hit version of Gloria', originally written by Van Morrison's Northern Irish band Them. At the same time, the band today is regarded as one of the original punk bands.

After releasing Gloria' as a single in December 1965, which received massive regional airplay, the band soon released the Gloria album in the summer of 1966. Subsequent singles included their version of the Bo Diddley song Oh Yeah' (which reached No. 39 nationally), Bad Little Woman', and the powerhouse I'm Gonna Make You Mine'.
The follow-up album Back Door Men (MOVLP1751) was also released in 1966 and both albums are considered to be seminal garage band albums.

Daniel Lanois ist ohne Frage einer der größten und wichtigsten Produzenten der Neuzeit: Er ist der Mann, der
Bob Dylan mit "Oh Mercy" zurück in die Spur brachte, und der langjährige Partner von Brian Eno. Er ist
derjenige, der U2s unverwechselbaren Sound herausmeißelte und das Spätwerk von Neil Young, Willie
Nelson oder Emmylou Harris veredelte. Aber lange zuvor war Daniel Lanois schon ein experimentierfreudiger
Musiker, dessen einzigartiger Gitarrensound wegweisend für ein ganzes Genre war: Ohne ihn klänge
Ambient-Musik heute sicherlich anders. "Goodbye To Language" ist die perfekte Verbindung all seiner
Talente, von den weltverändernden Pioniertaten seiner frühen Tage mit Eno bis hin zu seinem Einfluss auf
den Mainstream. Lanois spielt hier ausschließlich Pedal Steel Guitar, sein Freund Rocco DeLuca Lap Steel.
Ihre Stücke verbinden eine kompositorische Strenge, die an Werke von Ravel und Debussy erinnert, mit
einem Sinn für klanglichen Futurismus und doch auch mit der Natürlichkeit, die nur von jemandem kommen
kann, der wie selbstverständlich verwurzelt ist in der Musiktradition gleich mehrerer Jahrhunderte. Oder wie
Daniel Lanois es selbst auf den Punkt bringt: "Ich operiere unter dem Banner der Soul-Musik - Musik, die sich
gerade richtig anfühlt und einer wahrhaftigen Quelle entspringt." Wenn ein Musiker mit so viel Kompetenz und
Erfahrung wie er von seiner eigenen, persönlichen Wahrheit erzählt, dann lohnt es sich allemal, genau
zuzuhören

The Starless Room" ist zwar das erste Soloalbum von James Johnston, doch es fühlt sich nicht nach einem
Debüt an, schließlich ist Johnston ein umtriebiger Künstler und nicht zuletzt als Sänger und Gitarrist der
Londoner Post-Punk-Blues-Noise-Band Gallon Drunk bekannt. Bereits Mitte der 90er-Jahre war er TourGitarrist bei den Bad Seeds, ein Engagement, das ihm zwischen 2003 und 2008 einen festen Job in Nick
Caves Band einbrachte. Darüber hinaus spielte Johnston regelmäßig mit Ikonen der Subkultur wie Lydia
Lunch, Faust und PJ Harvey, auf deren Album "The Hope Six Demolition Project" er als Sänger und
Multiinstrumentalist zu hören ist. "The Starless Room" bietet ein unglaublich weites Panorama, das zugleich
intuitiv, intensiv und instinktiv klingt. "Dabei habe ich nichts anderes getan, als allen Motiven zu folgen, die in
mir starke Emotionen erzeugen", sagt Johnston. Und weiter: "Die Platten mit meiner Band klangen erdig, aber
auf eine bestimmte Art ist dieses Album rauer, fokussierter und direkter - sowohl musikalisch, als auch
emotional. Das Album reflektiert sehr stark meine Persönlichkeit. Es reflektiert aber auch die Musik, für die ich
mich als Hörer begeistere." Unterstützt wurde Johnston von Johann Scheerer, Produzent und Besitzer des
deutschen Indie-Labels Cloud Hills, der auch schon die letzten zwei Alben von Gallon Drunk produzierte.

Yodh is the new album by Portland based one-man blackened-doom band, Mizmor on Gilead Media. An epic conceptual exploration, Yodh finds the project at its most focused state. Over the course of the 60+ minute, five-track album Mizmor takes the listener to a place entirely new for the band. The album is an impassioned struggle with the nature of survival - why humankind continually chooses life each day in the face of adversity, pain, depression, and suffering.

Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall's Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall's most beloved single (Totally Wired), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording

Mannequin Records is elated to present a double LP compilation of the legendary experimental new wave label run by Frank Bretschneider from 1985 till 1989 in Karl-Marx-Stadt (now Chemnitz).
Later founder of RASTER-NOTON togheter with Olaf Bender and Carsten Nicolai, Bretschneider established the label to make his music accessible for a small group of interested parties. Eventually eight releases were published all in all. Due to the restrictive laws in the former GDR, where media was completely controlled by the government and any private publishing was actually illegal, it was only possible to publish a very limited number of copies.

First only known to a handful of specialists, the label become acquainted soon, especially with the help of Lutz Schramm, the host of the famous "Parocktikum" radio program on East German DT-64 station. With the fall of the wall and the opportunities to publish his music finally in a more professional way, Bretschneider closed down klangFarBe in 1989 with releasing the final cassette: Trickbeat by AG GEIGE.

Warpaint waren bislang nie eindeutig zu fassen: Da waren ihre Studio-Alben voll intensiver Stimmungen
inklusive weicher Keyboard-Flächen, hypnotischer Harmonien und unheimlicher Grooves. Und da waren die
Auftritte des Quartetts aus Los Angeles voll aufgelockerter Tempi und kraftvoller Beats. Die Musik an sich ist
zwar keinen Deut weniger düster, aber in ihrer rhythmischen Dringlichkeit und Spannung überraschend. Seit
ihren Anfängen im Jahr 2004 war Konfrontation mit den an sie gestellten Erwartungen Warpaints übliche
Verfahrensweise. Und so war es nur logisch, dass die Band für ihr drittes Studioalbum "Heads Up" ein neues
Ziel ausgab: ein schnelleres und tanzbareres Album zu produzieren ohne die Intensität dabei zu verlieren.
Das ist grandios gelungen. Die Platte klingt direkt und organisch. "New Song" kann als Beleg größtmöglicher
Veränderung dienen: So einen frech überschäumenden, Disco-inspirierten Pop mit Ohrwurm-Qualität hat
man von Warpaint noch nicht gehört, und doch kann er nur von dieser Band kommen. Während der TitelSong nur so vor nervöser Energie strotzt, vereint "Above Control" wiederum eine an The Cure erinnernde
Stimmung mit zuckenden, brodelnden Beats. Doch "Heads Up" bietet auch weiterhin die von Warpaint
gewohnten, verführerischen Grooves und dichten Atmosphären. So schichtet die Band im herzbrechenden
"Don't Let Go" Noise-Ausbrüche und rhythmische Muster über sich wiederholende Gitarren-Schnörkel,
während "By Your Side" mit seiner ausladenden Instrumentierung aufwühlt. Und dann der Abschluss des
Albums: "Today Dear", ein von Akustik-Gitarre dominierter Song, der durch seine geflüsterten Vocals
Verlangen und Angst verströmt. Das ist groß und erwachsen. Grenzen sind dieser Band offenbar keine mehr
gesetzt.

2LP - Gatefold Tip-On Jacket - Side D vinyl etching
(originally released 2005)

I'm Wide Awake, It's Morning and Digital Ash in a Digital Urn, two separate albums, were simultaneously released on January 25, 2005, providing unequivocal proof that then 24 year-old Oberst belongs to the lineage of great American songwriters. These albums are a soundly articulated slice of modern American life rolled into two very different records. I'm Wide Awake, It's Morning is a country-tinged melange of Conor's finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James (My Morning Jacket), whereas Digital Ash in a Digital Urn is a more produced, band-centric album featuring cameo appearances by Nick Zinner of Yeah Yeah Yeahs.The songs are bursting with all of the rough edges and heartfelt poetry for which Bright Eyes records have earned their acclaim, while exposing a glorious new level of depth and texture to the writing and delivery. Recorded back-to-back, the albums work in tandem to elucidate both sides of Conor's recent creative output.

I'm Wide Awake, It's Morning and Digital Ash in a Digital Urn, two separate albums, were simultaneously released on January 25, 2005, providing unequivocal proof that then 24 year-old Oberst belongs to the lineage of great American songwriters. These albums are a soundly articulated slice of modern American life rolled into two very different records. I'm Wide Awake, It's Morning is a country-tinged melange of Conor's finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James (My Morning Jacket), whereas Digital Ash in a Digital Urn is a more produced, band-centric album featuring cameo appearances by Nick Zinner of Yeah Yeah Yeahs.The songs are bursting with all of the rough edges and heartfelt poetry for which Bright Eyes records have earned their acclaim, while exposing a glorious new level of depth and texture to the writing and delivery. Recorded back-to-back, the albums work in tandem to elucidate both sides of Conor's recent creative output.

2LP - Gatefold Tip-On Jacket
(originally released 2000)

Bright Eyes' 'Fevers and Mirrors' is a modern day masterpiece from one of the most important songwriters of our time. Twelve songs of brutal honesty and ingenious storytelling bring us a bit closer to this undeniable talent.

Bright Eyes' 'Fevers and Mirrors' is a modern day masterpiece from one of the most important songwriters of our time. Twelve songs of brutal honesty and ingenious storytelling bring us a bit closer to this undeniable talent.

(originally released 2005)

Containing what are undeniably his finest songs to date, I'm Wide Awake, It's Morning, and Digital Ash in a Digital Urn, two separate albums simultaneously released on January 25th, 2005, provide unequivocal proof that 24 year-old Oberst belongs to the lineage of great American songwriters.These albums are a soundly articulated slice of modern American life rolled into two very different records.I'm Wide Awake, It's Morning,is a country-tinged melange of Conor's finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James (My Morning Jacket), whereas Digital Ash in a Digital Urn is a more produced, band-centric album featuring cameo appearances by Nick Zinner of Yeah Yeah Yeahs.The new songs are bursting with all of the rough edges and heartfelt poetry for which Bright Eyes records have earned their acclaim, while exposing a glorious new level of depth and texture to the writing and delivery. Recorded back-to-back, the albums work in tandem to elucidate both sides of Conor's recent creative output.

(originally released 2005)

Containing what are undeniably his finest songs to date, I'm Wide Awake, It's Morning, and Digital Ash in a Digital Urn, two separate albums simultaneously released on January 25th, 2005, provide unequivocal proof that 24 year-old Oberst belongs to the lineage of great American songwriters.These albums are a soundly articulated slice of modern American life rolled into two very different records.I'm Wide Awake, It's Morning,is a country-tinged melange of Conor's finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James (My Morning Jacket), whereas Digital Ash in a Digital Urn is a more produced, band-centric album featuring cameo appearances by Nick Zinner of Yeah Yeah Yeahs.The new songs are bursting with all of the rough edges and heartfelt poetry for which Bright Eyes records have earned their acclaim, while exposing a glorious new level of depth and texture to the writing and delivery. Recorded back-to-back, the albums work in tandem to elucidate both sides of Conor's recent creative output.

(originally released 2002)

Inherent in youth is a kinetic energy, vitality and passion that has the potential to move masses. Every new generation picks a voice that will offer them something to identify with - something to prove to them that the crazy things they're feeling, and the anger that they're having, and the disillusionment that's plaguing them is normal. Bright Eyes' Conor Oberst is that voice.Born 1980 in Omaha, and recording since he was 13, Conor Oberst owns a voice that quakes with the tumultuous energy that only youth can produce. Oberst's incredible ability to tell stories with his songs and paint intricate pictures with his words is reminiscent, without being derivative, of mid-period Dylan. And his gift for composing and delivering those songs is pure poetry. As the mastermind behind the acclaimed Bright Eyes collective, Oberst's genius is found in a pretense-free, orchestral approach to songwriting. His most recent, most musically vigorous and rockin' project, Desaparecidos, toured the nation and released Read Music/Speak Spanish to enormous amounts of critical acclaim.LIFTED or The Story Is In the Soil, Keep Your Ear to the Ground, is the latest, most significant release from Oberst and the notable cast of Bright Eyes players. Oberst's mainstay production team of Mike Mogis and Andy Lemaster (Now It's Overhead) lend performances on the record along with other noteworthy Omaha musicians including Todd and Clark Baechle (The Faint), Orenda Fink and Maria Taylor (Azure Ray), Matt Maginn and Clint Schnase (Cursive), and Jiha Lee (The Good Life).The Bright Eyes tour in spring of 2002 saw Oberst take the stage in a powder blue suit, surrounded by six beautiful female musicians, his sense of bona fide showmanship entrancing his audience. At his two sold-out Bowery Ballroom performances in New York City, you could have heard a pin drop between songs as hundreds of fans and new converts fell under his delicate spell - proof of Oberst's virtuosity as the consummate performer.

2LP - Gatefold Tip-On Jacket
(originally released 2002)

Inherent in youth is a kinetic energy, vitality and passion that has the potential to move masses. Every new generation picks a voice that will offer them something to identify with - something to prove to them that the crazy things they're feeling, and the anger that they're having, and the disillusionment that's plaguing them is normal. Bright Eyes' Conor Oberst is that voice.Born 1980 in Omaha, and recording since he was 13, Conor Oberst owns a voice that quakes with the tumultuous energy that only youth can produce. Oberst's incredible ability to tell stories with his songs and paint intricate pictures with his words is reminiscent, without being derivative, of mid-period Dylan. And his gift for composing and delivering those songs is pure poetry. As the mastermind behind the acclaimed Bright Eyes collective, Oberst's genius is found in a pretense-free, orchestral approach to songwriting. His most recent, most musically vigorous and rockin' project, Desaparecidos, toured the nation and released Read Music/Speak Spanish to enormous amounts of critical acclaim.LIFTED or The Story Is In the Soil, Keep Your Ear to the Ground, is the latest, most significant release from Oberst and the notable cast of Bright Eyes players. Oberst's mainstay production team of Mike Mogis and Andy Lemaster (Now It's Overhead) lend performances on the record along with other noteworthy Omaha musicians including Todd and Clark Baechle (The Faint), Orenda Fink and Maria Taylor (Azure Ray), Matt Maginn and Clint Schnase (Cursive), and Jiha Lee (The Good Life).The Bright Eyes tour in spring of 2002 saw Oberst take the stage in a powder blue suit, surrounded by six beautiful female musicians, his sense of bona fide showmanship entrancing his audience. At his two sold-out Bowery Ballroom performances in New York City, you could have heard a pin drop between songs as hundreds of fans and new converts fell under his delicate spell - proof of Oberst's virtuosity as the consummate performer.

State Of Art's Dreams Factory album with bonus CD.

The Men are Rich Samis, Kevin Faulkner, Nick Chiericozzi and Mark Perro. We created Devil Music in our practice space over a weekend in January.

We wanted to give ourselves something enjoyable to listen to with this record...Something that had out personality in it, not just another record to get reviews, to get into festival, to get on TV, to participate in some sort of endless, winless game. This isn't a campaign.

Jordan Lovelace (mem, of Pampers) engineered and recorded Devil Music. Jonathan Schenke ( mem. Of Easter and engineer of 100's of records) mastered the sessions on a Neve console in New York. These fine gentlemen knew we were after a raw four track sound. They Used our strokes on the tape to get us where we wanted to go. Every record sounds a bit different than you think it will.

Some newer things came along for the ride like cassette cut ups, damaged vocal cords from years of yelling, a saxophone and of course the ten new songs. Some old ideas are still in the mix: the tracks were done live, including the vocals. The packaging/artwork was designed and produced by us

is the debut album from Future of the Left's Julia Ruzicka. The album includes nine different vocalists, including Pixies' Black Francis, former Eighties Matchbox B-Line Disaster frontman Guy McKnight, Kristian Bell (The Wytches), Billy Mason Wood (Blacklisters), Chantal Lewis Brown (Vodun), Damien Sayell (The St. Pierre Snake Invasion) and more.

Each of the ten songs on This Becomes Us was written by Julia on bass guitar, before enlisting Ian Wilson (Art Brut) on guitar and Jack Eggleston (drums). A raw and wiry collection of songs, This Becomes Us rumbles with spontaneity while bending to the unique talents of each of the albums vocalists.

This Becomes Us is released on November 11th via Prescriptions Music. The warped lead track 'Painter Man Is Coming' featuring Black Francis can be streamed now:

Since 2000, Julia has recorded seven studio albums as a bassist, firstly as a member and co-founder of cult London based post-punk/hardcore band Million Dead before joining Welsh stalwarts Future of the Left in 2010. Sixteen years since coming to the UK from Australia (and fourteen years since her visa was meant to expire), This Becomes Us is Julia's first venture as the creative lead of a musical project. She says: I have loved and still love the role I play in my bands creatively, on bass, but as time passed throughout various writing periods for all kinds of records, I started to stockpile ideas on bass, and just wanted to see some of the embryonic ideas written on bass turn into fully realised songs.'

The vocalists who feature on This Becomes Us are largely connections Julia has made through touring or met via musical circles. Not only did the vocalists contribute vocals, but each wrote the lyrics to their songs, giving each a more personal and natural feel. Some of the singers she had in mind for certain tracks, including Black Francis, who she wanted to feature on the album's fourth song. Julia says: It was an incredible outcome. I wrote the song with him in mind, being someone who has been listening to his music for a long time. To actually have the person singing on your song that inspired that piece of music is quite an incredible event and feeling.'

After the initial blast of punk rock bands made their impression on the youth of the late 1970s, subgenres quickly emerged. Some preferred the faster, louder aggression of hardcore, others the angular danceability of post-punk, some the raw and more personal home-made sound of DIY, and so on. Looking back among and between these genres we now recognize various blends of punk, post-punk, goth rock, industrial, and DIY as deathrock.' In 2014, Sacred Bones Records launched the series Killed By Deathrock to document an entire scene of bands that haven't yet received proper recognition.

The thread that holds these groups together as deathrock bands comes down to their willingness and sometimes compulsion to reveal and explore the darker side of their psyches. Night-soaked dirges of fatality, despair, and horror were rampant, rooted in that sublimity that is found on the edge of the horror genre, as famously developed by Edgar Allan Poe — an edge that relished in misery and openly recognized the inevitable end of any human life.

Killed by Deathrock Vol. 2 brings together essential underground bands from Denmark, the United Kingdom, Belgium, California, and Colorado. Though separated initially by the thousands of miles between their local scenes, these bands are united at last under the banner of this eternally underappreciated punk subgenre

After the initial blast of punk rock bands made their impression on the youth of the late 1970s, subgenres quickly emerged. Some preferred the faster, louder aggression of hardcore, others the angular danceability of post-punk, some the raw and more personal home-made sound of DIY, and so on. Looking back among and between these genres we now recognize various blends of punk, post-punk, goth rock, industrial, and DIY as deathrock.' In 2014, Sacred Bones Records launched the series Killed By Deathrock to document an entire scene of bands that haven't yet received proper recognition.

The thread that holds these groups together as deathrock bands comes down to their willingness and sometimes compulsion to reveal and explore the darker side of their psyches. Night-soaked dirges of fatality, despair, and horror were rampant, rooted in that sublimity that is found on the edge of the horror genre, as famously developed by Edgar Allan Poe — an edge that relished in misery and openly recognized the inevitable end of any human life.

Killed by Deathrock Vol. 2 brings together essential underground bands from Denmark, the United Kingdom, Belgium, California, and Colorado. Though separated initially by the thousands of miles between their local scenes, these bands are united at last under the banner of this eternally underappreciated punk subgenre.