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Totally brilliant and obscure psych era Italian library music. Originally released in 1971 for the microsmall label Vi.Di.Elle, the same label as another psych bomb, "The Black Fire - Cream". Behind the mysterious "The Green Birds" name is a marvellous trio of unsung composers like Franco Bonfanti, Romano Rizzati (Corfull)and Renato Sperduti (Myrval), playing here some really dope jams in the style of the Braen's Machine's Underground LP. The whole album is full of psych effects, synth melodies, wah-wah & fuzz guitars, drum breaks & loungey vibes. Track A4 "Ambiente Elegante" by Franco Bonfanti was compiled in the cultish Speedball Experience in 1996.

Axl & Co. played 4 shows over 5 nights at the Perkins Palace in Pasadena at the end of 1987. The band had been touring almost constantly since the release of their legendary debut, Appetite For Destruction, headlining as well as opening for Motley Crue and Alice Cooper, and these shows were their homecoming, finally back in LA after months on the road. Steven Adler had an injured hand so Fred Coury of Cindarella sat in on drums, and the band ripped through their road-tested repertoire in front of an adoring hometown audience. It's clear the band is happy to be back home, as this 30 December show is one of the most ripping performances of their early career. Another classic live broadcast from Egg Raid.

Spanning various US TV and radio appearances from 1992-1995 and tunes from their classic first three albums, Ten, Vs., and Vitalogy, along with an epic cover of The Who's "Baba O'Riley", Not For You is an epic collection of live Pearl Jam material that is essential for any hardcore fan of Eddie Vedder and the rest of the guys.

On tour supporting their 12th studio album, Mondo Bizarro, the Ramones rolled into the Hollywood Palladium to a crowd of adoring fans. Featuring a grip of classic tunes like "I Wanna Be Sedated", "Rockaway Beach", and "Sheena Is A Punk Rocker", as well as new tunes like "Strength to Endure" and the amazing nod to Tipper Gore and her Parents Music Resource Center, "Censorshit". A great live broadcast from one of the legends of American punk rock.

Much like the infamous weather phenomenon the song is named after, MAELSTROM swirls and surges, drenching the listener in psych feedback while pulling downward, ever downward, into a sonic abyss. The bass provides the current, a pulse that pushes through the waves of feedback before the crashing storm of horns furiously hammers the listener.


There is nothing pretty here, nothing safe, this is the Budos unhinged. They're pushing their audience into uncharted waters and plotted a course into the eye of an electric storm.


The guitar's hypnotic fuzz-laden intro builds to a peak before dropping the weight of the full Budos sound upon the listener. Horns slash and dive, the drums thunder downhill, the organ wails like winter wind while the combination of bass and guitar rumble and soar around you. This is the Avalanche of sound, the wrath of The Budos delivered through a combination of driving power and snarling menace. All before it Is crushed beneath the AVALANCHE.

Superb new compilation celebrating the emergence of the 1990's Big Beat genre, where indie kids & ravers partied together to the likes of Fatboy Slim, The Stone Roses, Groove Armada, New Order, Primal Scream, The Orb, Cornershop, Faithless, Underworld, The Prodigy, Spiritualized, Moby, The Manics & more. A total of 41 tracks across a 2 CD set. National TV ads across all networks (£50k wk1). Press ads & reviews. Online & social media activity. Poster campaign & database mailout.

'To pick up where 'I Am The Walrus' left off'; that was the goal when Electric Light Orchestra formed in the early seventies. They wanted to steep different music styles in a rock tradition and mix in some Beatlesque pop, but it took Jeff Lynne & co until their third album Eldorado to get on the right track. Their most ambitious album to date, they decided to hire a 30 piece orchestra and choir to fill out their sound, and the investment paid off. With the unforgettable 'Can't Get It Out Of My Head' as the lead single, 'Eldorado' was a commercial as well as a critical success, and it would achieve gold status in the US. 'The English guys with the big fiddles' had arrived!

D SIDE ETCHED VINYL - DOUBLE VINYL REPRESS

A broad collection of diverse songs about rage, redemption, depravity, dead cars and broken dreams. Features tracks produced by Morcheeba, Q-Burns Abstract Message and Andrew Hale. Jim called this album Hick Hop.

Back in 1971, Luke Gibson entered at the studio to record, for the first time a solo album. He had played before on garage blues group Luke and the Apostles and psych pop Kensington Market. He focused on his own songs and recorded them as he felt. The result was Another Perfect Day, one of the best singer songwriter albums to came out from Canada in the 70's and one of the most underated too.

The sessions were produced by Gene Martynec (Kensington Market) and captured all the emotions of a fabulous musician on the peak of his career. Including beautiful tunes like See You Again, Lobo and Angel, Another perfect Day is a lost gemm. A great album that walks through folk, country, pop and rock to create a rootsy, unique flavour.

· Reissued for the first time on vinyl!

· Includes an insert with unseen pictures and words by Luke Gibson himself

Brazil is a country of great musical talent especially in the field of rhythm oriented music. The rich tradition of samba sounds among others will certainly prove that. By the 1970s of course other styles came into the music lover's perception. Funk and soul swashed down south from the bigger US metropolises and infected a whole generation of musicians including Miguel De Deus and his fellows. As a result the former OZ BRAZOES (Latin acid rock with fuzzed out guitar) rhythm guitarist and his crew delivered their now classic sole album "Black soul brothers" in 1977, a hot blooded, steaming masterpiece of raging ghetto funk spiced up with soul eruptions on and a Latin American flavor. A rather explosive cocktail in times of slick disco music. The Latin elements tend to be more like a support for the groovy soul and funk than a bearing pillar of the whole sound. They still give the songs exciting twists and turns. The non stop rhythm pulsations would certainly feel different without any Samba influence. And so the album presents a permanent steaming dance beat that will swallow you when you put this hottie on your turntable. A never ending swirl of rhythm patterns, bass notes, brass section harmonies and commanding vocals pushes you to your physical limits. A few more relaxed songs let you breathe some fresh air but the spell of this music lasts upon your soul. You want to go wild and crazy and have your lame high school party turn into a loose and lethal freak out Play some wicked Latin funk like "Flaca louca" with its beautiful interplay of utterly melodic female vocals and dirty, screaming male vocals, your desired result will be the case. An ingenious crown jewel of 70s funk that will appeal to each fan of early FUNKADELIC, BLACK MERDA, BETTY DAVIS.









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Arranged by Mike Theodore and prolific guitarist Dennis Coffey—who later worked together on Rodriguez's Cold Fact—1968's The Forest of My Mind is a dose of soul-soothing mellow filled with captivating pastoral odes which try on a variety of period styles in craftsman-like perfection. The album is a unique synthesis of pop, folk and psychedelic sounds flecked with a touch of Donovan Leitch-like whimsy which is steered into righteous and refined waters by future Motown staff producer Clay McMurray (Gladys Knight & The Pips, David Ruffin, The Temptations, The Four Tops) aided by the cream of the Motor City's R&B/soul sessionmen of the time.

However, despite the awe-inspiring sounds this masterpiece is bursting with, it didn't receive the adoration and accolades it rightly deserved in its day (due to some unfortunate flightiness from the original label). One listen to the grandeur of The Forest of My Mind will have you joined in enthusiastic sentiment with project producer McMurray that the world must see how "simply wonderful this hidden jewel is."

5 track live 12' EP; contains 5 previously unreleased tracks from the recording of the "Live in South America" film in Porto Alegre, Brazil.

As West-Coast gentrification washes a wave of loud and gritty garage bands away from San Francisco, Cool Ghouls stand strong. Just like the most revered, political records of the 60s and 70s, the third album Animal Races channels the past, the present and the future with an authentically fresh psych-rock take on American society through its own neo-cosmic language. San Francisco has always been great and hopefully always will be but these days there are things we despise,' tells Ghoul guitarist and vocalist Pat McDonald, the lifestyle The Bay once afforded artists has been decimated. This gold-rush of the tech industry is forcing prices up and it's been a flood of bullshit. Some people are being forcibly displaced, others are disheartened and leave by choice. Our song 'Never You Mind' is a reminder to the creative community not to roll over. San Francisco isn't dead until you let it die in your heart.'It's impossible to separate Cool Ghouls from their adopted hometown. Whether playing dollar dice games and shooting pool or stepping out for a walk through the Californian hills, this is a band who swapped their young lives in stripmall suburbia to settle in the Shaky City of their electric heroes. The place where Gram Parsons' Flying Burrito Brothers unwittingly inspired lesser-known followers of the Cosmic American gospel to commit readings to tape, Cool Ghouls slot right in the city's rich musical lineage. Pat M, with Pat Thomas (bass/vocals), Ryan Wong (guitar/vocals), and Alex Fleshman (drums), made their own celestial pilgrimage to their place of worship and have established themselves as one of the city's brightest young bands playing, against the backdrop of a chaotic big city, a laid-back psych-rock sound for the here and now.Those who fell for the raw, primitive sound of the band's 2014 album A Swirling Fire Burning Through the Rye recorded with local hero Tim Cohen of The Fresh & Onlys, will be pleasantly surprised by the Ghouls' latest evolution in sound. This time recorded with melodic maestro Kelley Stoltz in his backyard Electric Duck studio, the album was mixed and mastered by Mikey Young (Total Control / Eddy Current Suppression Ring), and features full-colour artwork by Shannon Shaw of Shannon and The Clams. Animal Races is the harvest of work we created between last year's tours, working in bars, record stores and coffee shops,' says Pat M. We chose the title because the song's lyrics are a broad characterization of society. So any track on the album, whether it be about love, personal growth, death or whatever, takes place in the setting of the 'animal races' ". Commenting just as much on the individual's place in society as the San Francisco community itself, the theories of 'self-actualization' and 'anima' by Swiss psychiatrist Carl Jung about achieving individual potential pervade 'If I Can't Be The Man' and 'Material Love'. Whether time-hopping from the summer of love on 'Sunrise' or channelling the freewheeling feeling of The Grateful Dead and Canned Heat through loud guitars, acid riffs, party screams, and stacked-as-f*ck three-part vocal harmonies, each of Animal Races' 11 tracks bring the four-piece's electrifying live performances to life.'Time Capsule' is about exactly this, explains Pat T, when you replay a recorded track, that little chunk of time is brought into the current moment. This is especially true of a recording of a live performance. 'Time Capsule' was designed to open the door for improvisation and is the encapsulation of just one version of this song, each version specific to the one time we play it. It's going to change a lot as we play it over the years.'For a band who, just like society and the world itself, is constantly evolving, Cool Ghouls are the perfect antidote for San Francisco's current state of mind, providing the real-life soundtrack whilst not letting the city's culture be burned to the ground.

Repress of the second album by this Spanish act originally released in 1989. After their debut '1988' the band experienced some changes in their name, line-up, language and tendencies. Flash Zero moved from techno-pop to Electronic Body Music influenced by Front 242 and the Belgian music explosion of the late 80s.

Vinyl (ltd. 250 copies on clear green color) includes all tracks from the original version and a download code with lot of extra tracks. CD (ltd. 300 copies in digipak) is also expanded with some bonus and live studio outtakes. All tracks have been carefully restored and remastered.

- 13 x 7' singles on coloured vinyl in a lift-off lid box
- Download voucher
- Limited edition

· Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.

· All the different sides of this iconic musician can be found on 'Freddie Mercury: Messenger Of The Gods - The Singles'. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.

· From his debut solo single 'I Can Hear Music', released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat Caballé including the timeless 'Barcelona', this is a journey through the career of a unique talent.

· September 5 2010 saw The Mercury Phoenix Trust, the HIV AIDS charity set up in Freddie's name by the remaining members of Queen and manager Jim Beach, launch 'Freddie For A Day', a major annual initiative designed to celebrate Freddie's life each year on his birthday and to support the on-going work of the Trust.

· Taking it one stage further, Freddie's 70th birthday, September 5 2016, will be marked on Sunday September 4 with a major celebration in Montreux, the Swiss town he so loved. The event is in aid of The Mercury Phoenix Trust, and will see fans and friends gather at Montreux Casino to remember Freddie and raise a toast to him at midnight. Official tribute band, the Queen Extravaganza will fly into Montreux especially to perform for the evening marking their first performance in Freddie's Swiss home town.

· 'Freddie Mercury: Messenger Of The Gods - The Singles' is released by Mercury/Universal on September 2 as a box set featuring 13 x 7' singles on coloured vinyl with a booklet featuring photos, some of which are previously unpublished, and text. It also includes a download voucher. The collection will also be released as a 2CD set, as well as digitally.

* On the back of two hugely successful albums and almost constant touring, HCB's new LP 'Sharpener' shows the band on more confident form than ever, with powerful new electronic elements and a dance floor sensibility adding to the jazz, rock and soul for which they are known.

* Building on the strength of their critically-acclaimed original writing, 'Sharpener' has a powerful set of originals at its core, alongside a trio of leftfield covers in the shape of Nirvana's 'Heart-Shaped Box', Kwabs' 'Wrong or Right' and Three Trapped Tigers' 'Cramm'. It's a record that resounds with humour, charm and the hum of the glorious variety of musical genres that emanate from their hometown.

* Album opener 'Jump Then Run' echoes the sound of the legendary Moondog, while 'Gather Your Wits' is a roof-raising rumble of brass and rebellious behaviour. 'Wrong or Right', a soulful version of London soul star Kwabs' great tune, comes to life with juicy menace before 'The Morning', an uplifting anthemic arrangement, builds into joyous hedonism. 'When You Know' gives space to the band's superb jazz chops, while album title track 'Sharpener 'is a big, bold, brassy and utterly mesmerising affair.

* It's perhaps the band's outstanding arrangements which sets them apart. From the intricacies of 'Timelapse' to the introspection of 'Reawake', from the punky rock groove of I't's Normally Bigger' (based on a true story) to the rave jazz of 'Bread and Circuses', the arrangements throughout showcase writers Olly Blackman, Luke Christie and Steve Pretty's contrasting styles, able to switch from screaming energy to moody introspection, from cutting-edge jazz to dancefloor rave, and proving that Hackney Colliery Band is not just another party brass band blowing through the usual pop covers.

* Alongside main stage sets at festivals like Field Day and Love Supreme and collaborations with Amy Winehouse, Fyfe Dangerfield, Eliza Doolittle, Jamie Cullum, Andreya Triana, Williams Fairey Band, Rhodes and DJ Yoda, they have performed live sessions on BBC Radio 2 and Jazz FM, and their performances have been festured on BBC Two (The Culture Show), Sky Arts (Brass Band Wonderland) and live at the BRIT, Mercury and Mobo Awards.

* With 'Sharpener' their most exciting work to date, a tour taking in more venues than ever before and a collaborative EP out in the autumn, 2016 looks set to be a huge year for Hackney Colliery Band.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'

Mit ihrer lebensbejahenden Art sowie belebenden Indie-Folk-Pop-Stücken haben sich Torpus & The Art
Directors seit 2009 einen deutschlandweiten Ruf erarbeitet. Die Band spielte zahlreiche Deutschland-Tourneen
und auf so ziemlich jedem Open-Air, das sich finden ließ. Dabei sammelte das Quintett um Frontmann Sönke
Torpus fleißig treue Fans ein, die handgemachte, warme, authentische und empathische Musik zu schätzen
wissen. Auf Grand Hotel van Cleef veröffentlichte man bisher die beiden Alben "From Lost Home To Hope"
(2012) und "The Dawn Chorus" (2015). Die Vinyl-EP "Being Discovered" enthält ausschließlich Cover, fünf an
der Zahl. Es sind Songs, die die Bandmitglieder schon seit langer Zeit begleiten und zum bandinternen MustLove-Kanon gehören. Und die von ihnen derart neu und eigen interpretiert wurden, dass man sich verwundert
die Augen reibt. Oder eben auch nicht, weil man ja weiß, dass dieser Fünfer einen ganz eigenen Stil verfolgt,
der ebenso eruptiv wie durchdacht, ursprünglich wie ausformuliert ist. Die Stücke stammen im Original von
MGMT, Angus & Julia Stone, den Cardigans, Keane und Robert Palmer.

Endlich wieder erhältlich auf original A-Sexy-Vinyl: Das legendäre Machwerk des sagenumwobenen
und doch fast vergessenen Musikproduzenten Bronco "Babyman" Babic aus den 60er, 70er und 80er
Jahren und dem Besten von damals! War er nun aus dem Balkan, Italien oder doch aus dem
flämischen Teil Belgiens Um Bronco "Babyman" Babic ranken sich absonderliche Geschichten. Seine
Hits sind von den Oldiesendern vergessen worden, seine Songtexte im Internet kaum zu finden, doch
für Kenner, Beatbastler und mutige Discjockeys weltweit ist der Bann des Gütesiegels "produca del
Babyman" bis heute ungebrochen. Nach Aufenthalten in Entgiftungskliniken und Herrensanatorien hat
der mittlerweile graubärtige Babic seine alte Plattenfirma A-Sexy wiederbelebt.
Nach den schon wieder vergriffenen Singles - Tiger in the Night', - High Like A Fly', und - Iron Man' ist
nun endlich auch die Fettuccini-Western-Hymne - El Bronco' und das vollständige Album - Babyman
2' wieder erhältlich.
Babyman: Boogiefetze der etwas eigenen Sorte. "Let Groove it!

BACK IN STOCK!!! The sophomore effort from JOHN REIS (ROCKET FROM THE CRYPT, BACK OFF CUPIDS, DRIVE LIKE JEHU), RICK FORK aka ERIC FROEBERG (DRIVE LIKE JEHU), and JASON KURKOUNIS (DELTA 72, MULE). Recorded by the band themselves, Suicide Invoice features a more varied assault then their debut, but with the same guitar attack, drum pound, vocal destroy style that we've come to know and love. Now includes download code.

Long lost first recordings from 2001, unearthed and mastered for vinyl. A full studio session for an LP that never was, revealing the genesis of their sound.

Nun ist die größte Mittelalter Rock Band wieder da! Mit ihrem zwölften Studioalbum - Quid Pro Quo . Platin-/Gold-Auszeichnungen, Platz Eins - Positionen in den Charts, ausverkaufte Hallen und fulminante Festival-Auftritte haben die Sieben nicht müde gemacht. Ganz im Gegenteil! Es juckte wieder in den Fingern.
- Wir klingen hier und da ein wenig rockiger und mehr nach Metal, aber gleichzeitig arbeiten wir mit traditionellen Melodien und es kehren die Fremdsprachen zurück, die es auf - Kunstraub nicht zu hören gab , so Frontmann Micha - Das letzte Einhorn Rhein über die neue Platte. - Und wir haben neben dem klassischen Repertoire ein paar neue Mittelalter-Instrumente dazu genommen , ergänzt Basti - Van Lange . Und noch weitere Premieren hat - Quid Pro Quo zu bieten: Blind-Guardian-Sänger Hansi Kürsch und Marcus - Molle Bischoff und Alexander - Ali Dietz von Heaven Shall Burn treten als Gastsänger auf.

limitierte Fanbox mit Digipack und umfangreichen Booklet, exklusive Bonus-Live-CD mit dem Schifffahrtkonzert, coloured 7Inch-Vinyl, 7 Postkarten, A1-Poster, Sticker !!!



Nun ist die größte Mittelalter Rock Band wieder da! Mit ihrem zwölften Studioalbum - Quid Pro Quo . Platin-/Gold-Auszeichnungen, Platz Eins - Positionen in den Charts, ausverkaufte Hallen und fulminante Festival-Auftritte haben die Sieben nicht müde gemacht. Ganz im Gegenteil! Es juckte wieder in den Fingern.
- Wir klingen hier und da ein wenig rockiger und mehr nach Metal, aber gleichzeitig arbeiten wir mit traditionellen Melodien und es kehren die Fremdsprachen zurück, die es auf - Kunstraub nicht zu hören gab , so Frontmann Micha - Das letzte Einhorn Rhein über die neue Platte. - Und wir haben neben dem klassischen Repertoire ein paar neue Mittelalter-Instrumente dazu genommen , ergänzt Basti - Van Lange . Und noch weitere Premieren hat - Quid Pro Quo zu bieten: Blind-Guardian-Sänger Hansi Kürsch und Marcus - Molle Bischoff und Alexander - Ali Dietz von Heaven Shall Burn treten als Gastsänger auf.

The skies have opened and dropped a trio of kids from
Geelong, Australia, packing some seriously futuristic
sludge: ORB.
A heaping helping of proto-metal chops meets paranoid
sci-fi fantastical ravings, replete with some tasty synthesizer
werk that breaks it up just so. Close-mic'd to perfection by
Total Control's own Mikey Young, these epics swing with
demonic swagger and crackle with the static of a menacing
future, twisting and churning through loose-limbed riffery,
all punctuated by a wail that sounds as if it's coming from
every hidden camera outside the Ministry of Love.
A proggy but in-the-pocket head-trip hard rock record for
the table, and hopefully these Aussies will be bringing their
dystopian groove your way soon.

Rhyton are the Brooklyn-based trio of Dave Shuford (D. Charles Speer & The Helix, No Neck Blues Band), Jimy SeiTang (Stygian Stride) and Rob Smith (Pigeons). Rhyton take ancestral forms, instrumentation and scales, primarily sourced from Middle Eastern and Greek traditions and incorporate them into the context of scorching improvised rock. On 'Redshift', Rhyton expand their sound and defy expectations by creating a galactic country throwdown, exemplified by the otherworldly cover of Joe Walsh's 'Turn To Stone'. Artwork by legendary New York illustrator Arik Roper (Sleep, High On Fire, Howlin' Rain, Earth, Pig Destroyer). LP version pressed on virgin vinyl with free download card. (Initial copies pressed on clear vinyl.)

Contrary to the band's name, downtime is a rarity for Slow Season. Sandwiched between summer 2015's extensive tour with their RidingEasy labelmates Mondo Drag and Electric Citizen, plus several short west coast jaunts, the hard-working quartet also found time to hammer out its most powerful and ambitious album yet. Written, engineered, produced and mixed themselves on their own equipment, entirely on analog tape, Westing is a hard-hitting and powerful reminder of how at one time a rock 'n' roll band could be a transcendent experience.

While Slow Season's sound continues to effortlessly nod to the great bands of the 60s-70s, Westing is truly the sound of a band coming into their own. The songwriting is tight, howling and hypnotic. The sound is classic, yet refreshingly new.

"It's a different album," says drummer and primary recording engineer Cody Tarbell. "But we never have wanted to find a particular sound or any one thing and be attached to it permanently. A big part of our records is experimenting." The Visalia, CA band -- Daniel Rice (vocals, guitar), David Kent (guitar), Hayden Doyel (bass), and Cody Tarbell (drums) -- has recorded all of their albums on reel-to-reel at Tarbell's home studio in a cornfield. This affords them the time to experiment getting sounds, while maintaining focus on the most important notion that performance is key. As with previous albums, recording was pretty immediate, tracked between January 15th and the beginning of February 2016 to 16-track tape and mixed to 2-track tape.

Equally as ambitious as the band's self-sufficient production is the sprawling lyrical theme to the album. Thematically picking up where the Slow Season's previous full length Mountains left off, Westing tackles some heady issues.

"Westing follows a loose narrative about our nation's loss of innocence as it explores its frontiers," vocalist Daniel Rice explains. "Re-contextualized in a story about an unnamed protagonist faced with choosing between different ideological allegiances and his own social identity." From song to song, the album follows what Rice explains as, "the unholy trinity of greed+power+violence, the injustice wrought from this, persisting in willful ignorance, and reaping what is sown." A deep conceptual arc, for sure, and one that adds further weight to the Slow Season's intensity.

Album opener "Y'Wanna" erupts from the speakers as if the band couldn't even wait for the tape to start recording. it's a full-throttle rocker reminiscent of Zep's "Immigrant Song" with sly reference to "Four Sticks", all groove and pummel. "Flag" keeps things rolling along with its bouncing, stop-n-go guitar riff. The 6/8-time blues sway of "The Jackal" echoes early Sabbath malefic boogie, while "Saurekonig" is a cavernous and volcanic mass driven by huge drums, ringing slide guitar and ominous drone. "Damascus" is a rollicking anthem driven by Tarbell's syncopated hi-hat/snare interplay and Rice's explosive wail proving just how much of a dynamic powerhouse Slow Season has become. Throughout, Westing is a smart and snarling rocker that sounds like rock 'n' roll records should: massive, infectious and inviting repeat listens.

The Flexibles are a Punk Rock Band. The Flexibles bend space and time, flex your head, space your Punk, a jarring lightning bolt of truth to the heart of the matter. Comprised of Richard Youngs, his young son Sorley Youngs and family friend Andrew Paine, they operate within Glasgow city limits, outsiders in an outsider culture. Swirling around the wild, searing guitar playing and cosmically infused songwriting of Sorley, The Flexibles' Pink Everything is a concept album of sorts, on the surface a narrative about space travel, the state of the human race in the modern Acopalyx. While vicious in its take down of humanity's own death-drive, the subtext of Pink Everything describes a world where anything is possible. Perhaps the Acopalyx, or Apocalypse, needs to happen for us to be re-born. Anything can be Pink.

Over both sides, The Flexibles depict a realm where fantasy and reality are inexplicably fused together... Sorley's lyrical flourishes touch on the stream-of-conciousness imagery that seems to be swimming in the Youngs genepool, but there are dashes of real life. When I Was 86 has Sorley tearing modern living apart both from the perspective of the anti-hero Arcosta - an alien visitor to Earth but also from his own perspective as a young man making sense of a reality that needs changed. Smothered by Richard's electronics and the super-massive fuzz bass of Paine, it's a radical stomper. Album opener Pink Everything however, offers the flip: a distorted, crazed sermon that essentially asks Why Not Why can't everything be pink, true and truthful. Side B comprises a suite chronicling Arcosta's journey, struggling to comprehend the things we do; capitalism, the endless grind of work-play, the rituals that to extra terrestrials and indeed to children unaffected by cynicism seem meaningless.

As a power trio, The Flexibles blow apart pre-conceptions, burn down barriers and paint them pink. The Flexibles believe anything can be possible and embody an ultimate creative freedom, unencumbered by age barriers, limits. Anything can be Pink

For the very first time available on vinyl, this studio album was recorded in 1993 and is as brilliant as their two first albums, full of hits. A classic Punk Rock album. Limited edition of 500 copies.

The original plan for Cactus was to release a debut album with the super group line-up of Vanilla Fudge rhythm section bassist Tim Bogart and drummer Carmine Appice together with guitarist Jeff Beck and singer Rod Stewart, though Becks car accident en Stewart joining Ron Wood in The Faces counteracted that.

Eventually joining Bogart and Appice were guitarist Jim McCarthy (Mitch Ryder's Detroit Wheels) and singer Rusty Day form Ted Nugent's Amboy Dukes for this self-titled album that is arguably the highlight in their catalogue. The shredding turbocharged Boogie is a very fine example of how exciting early Seventies Hard Rock still can be!

Recorded in 1974 'Beyond The Beyond' was Audio Archives' debut release following the re-discovery of this mellotron-driven, prog-rock masterpiece in 1991. Hailed by many as the ultimate lost UK prog album we are proud to present this Special 25th Anniversary edition, celebrating its belated release on Valentine's Day 1992.

Limited to just 500 numbered copies on heavy 180g vinyl and housed in a beautiful gatefold sleeve with band photos, song lyrics and updated liner notes by Pete Sarfas, 'Beyond The Beyond' remains a haunting and timeless classic and is without doubt the most prestigious AA release.

After a limited self-financed release this self-titled album can be seen as the proper debut by Indigo Girls. The album immediately boosted them up the charts, earning them a Grammy back in 1989, eventually reaching platinum in
1991. Featuring the complementing songwriting of Emily Saliers and Amy Ray and guest vocals by R.E.M.'s Michael Stipe, the album is a showcase for jangling folk-rock, beautiful balladry and poetic lyrics.

In the wake of the new acoustic song-based styles of Suzanne Vega, Tracy Chapman and 10,000 Maniacs, Indigo Girls would manage to garner respectable mainstream success and maintain their rabid core following throughout the three decades after this release.

The Modern Lovers were an American rock band led by Jonathan Richman in the 70s and 80s. The original band existed from 1970 to 1974 but their recordings were not released until 1976 or later.

Live catches Jonathan Richman at the height of his candy-
floss novelty period. The music is warm and mild, almost
all of it derived from 50s and early-60s models such as surf idioms and guitar instrumentals.

'Live' has become somewhat of a cult classic the last couple of decades and is guaranteed to get you in a good mood. Pure joy, happiness and bliss...

Long sought after by collectors and originally released in 1986 by a small independent label, the sound of this stellar full length is driven by sharp post-punk guitars, tribal rhythms and ghostly synthesizers, following the UK cold wave and post-punk tradition.
Reflecting the realities of life in a city like Rome in the political landscape of the early 80's in Italy, Move were releasing also a couple of tapes and a split 12'' with Gronge before dissolving into obscurity.

The history of Italian post-punk begins around 1979, in some specific areas of the Belpaese. The productions were coming out from Pordenone and Bologna, with The Great Complotto and Italian Records influencing the rest of the territory. In a less organic way something began to arise in other parts of Italy, especially in the center-north where Florence, Turin, Milan and Rome were playing a crucial role.

A forgotten classic, strongly recommended for fans of Joy Division, New Order, Section 25, Killing Joke, Bauhaus, Gang Of Four.

One of the most original, impressive and highly respected of all the experimental groups to have come out of Italy in the 1970s, Picchio dal Pozzo were also one of the early invitees to the canonical 'Recommended Sampler', and would have been in RIO, had RIO lasted another year - and had the group not folded up and disappeared before anyone had realised it was there. In the last decade the record was reissued briefly in Japan, then It disappeared again. We have now re-mastered it and put it back into the public domain, where it belongs. Copying no one, though there is some Zappa influence - Picchio had a unique and highly developed style of composition that was not only out of step with it's own time but which sounds contemporary still. Highly composed and devoid of jazz phrasing and riffs with solos, this record achieves maximum musical effect with minimum instrumental means through close attention to timbre, dynamics and expressed tempi and a kind of deep complexity that sounds simple but changes with each listening. A lot of ideas subtly developed - rather than experimented with; a one-off classic.