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Limited edition 150 only black vinyl 140gm LP housed in 350gsm thick card sleeve with download code

KHÜNNT are:
 
Bass Guitar - John-Michael Hedley
Drums - Matthew Baty
Guitar - Adam Ian Sykes, Richard Dawson, Sam Grant
Vocals, Synth - Stephen Palmer

Since 2006, Khünnt have fervently explored the boundaries of esoteric music, from minimalist noise, cack-rock and ESP screams to live improvisation, fog-beat and psychedelic city mantra.

To celebrate their 10 year anniversary Khünnt announce new material to be released on Riot Season titled 'Failures'. The new record will be accompanied by a CD compilation of the band's entire blighted back catalogue titled 'Past, Present & Future'.

'Failures' is a one track near 40 minute hypnotic passage split over two parts for a 12' vinyl release. For the most part the album is less aggravated and more smoked out than Khünnt's previous output but be warned, it is no less intense. The album masterfully exploits repetition and dynamic to the point of overload, before collapsing into raw, feral carnage.

The performance of 'Failures' was expertly captured, mixed and mastered by Sam Grant (Bong - Stoner Rock, Haikai No Ku - Ultra High Dimensionality) at Blank Studios, Newcastle.mixed and mastered by Sam Grant (Bong - Stoner Rock, Haikai No Ku - Ultra High Dimensionality) at Blank Studios, Newcastle.

Avant Garde, Repetitive, Minimal, Stoner Rock, Religious.

A french trio called France, using drums, bass and amplified hurdy-gurdy. They perform only live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one 'song' for the duration of their hour-long set. And it's the most transfixing live experience of intense physical and mental focus. The distorted hurdy gurdy plugs France's sound into the country's history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn't need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who've stayed for the whole duration of their performances know they've shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you're not quite the same person who went in, even though you'd be hard-pressed to pinpoint precisely what has changed. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). The Release: Initially released as a 50 copies CD-r in 2009, swiss Mental Groove has teamed with french Standard-Infi to reissue this classic live performance onto glorious vinyl edition. The 45 minutes are radically sliced onto the two sides. The recording is raw and the mastering is fat. The first two pressings made in 2014 and 2015 were distributed confidentially and during the numerous live performances of the band. They are long time sold out and sought after.

DELUXE VINYL EDITION!!!The official recording of And You Will Know Us By The Trail Of The Dead - Live at Rockpalast 2009, is now finally available deluxe vinyl. Rockpalast (Rock Palace) is a German music television show that broadcasts live on German television. For more than 80 minutes, the six members of ...AYWKUBTTOD leave it all onstage - like a boxer trying to knock out his opponent with multiple body blows before he collapses from exhaustion himself. Not a single minute of it can be classified as easy listening. It's no secret that ...And You Will Know Us By The Trail Of Dead resides at the other end of the artistic spectrum. In fact, one has to look long and hard to find anything comparable to their monumental walls of sound in contemporary rock music. Live at Rockpalast shows that reaching such heights is only possible with blood, sweat and tears.

An official LP-reissue of Mort Garson's 1971 cult synth album 'Black Mass', manufactured in a limited edition of 500 copies. Mort Garson arguably is best known for The Zodiac's classic 1967 'Cosmic Sounds' album on Elektra. Those who dig that record will also love 'Black Mass'.

New music from Goat is always a time for celebration, and we are excited to announce the bands return with a 7' of brand new material. Last year Goat released the single It's time for fun which saw the band experimenting with drum machines, which brought a different pulse to their tribal psych. And this desire to explore new sounds continues with their new single I Sing in Silence. But instead of 'plugging in' new instruments the band have 'unplugged' and created an addictive groove with mostly un-amped, acoustic instruments. Elastic guitar lines, woodblock percussion, and flutes which drive the song are enveloped by one of the strongest vocal deliveries by the bands enigmatic singers, resulting in a powerful and catchy psych-pop number. The B side is an instrumental called The Snake of Addis Ababa, is a looping North African mantra played on a teasing fuzzed guitar underpinned by a djembe groove. The repetitive mantra is disrupted by piano that freely solos over the groove, and a pounding drum lifts the song to a seriously head-nodding conclusion. This single is further proof that, in a world of similar sounding and similar looking psych bands, Goat are standing completely out on their own and we are all the better for it.

Seit der Bandgründung Mitte der 90er, haben Good Charlotte fünf Alben veröffentlicht und mit zahlreichen Künstlern kollaboriert. Die Band hat einen maßgeblichen Teil dazu beigetragen, das Pop Punk Genre weltweit zu etablieren. Dafür legten sie mit ihrem selbstbetitelten Debütalbum und den Singles 'Little Things' und 'Festival Songs' im Jahr 2000 das Fundament.
'The Young and the Hopeless', mit dem Good Charlotte 2002 riesige Erfolge feiern konnten, katapultierte die Band schließlich in den Pop Punk Olymp und machte sie zu weltweiten Superstars. Es folgten 'The Chronicles of Life and Death' (2004) und 'Good Morning Revival' (2007), die in ihrer Heimat ebenfalls mit Platin ausgezeichnet wurden. Nach ihrem letzten Album 'Cardiology' (2010), wurde es Zeit für eine Pause, man musste dringend durchatmen. Die Madden-Brüder konzentrierten sich auf ihr Recording Studio im Herzen Hollywoods, wo sie für andere Künstler vieler Genres schreiben, aufnehmen und produzieren. Außerdem sitzen die beiden in der Jury der australischen Version von The Voice.
Dass die beiden überhaupt wieder anfingen, ihre eigene Musik zu schreiben, ist laut Benji und Joel wohl den australischen Pop Punk Newcomern 5 Seconds of Summer zuzuschreiben. Die Zusammenarbeit mit der jungen, aufstrebenden Band, erinnerte die Brüder an den Spaß, den sie mit ihrer eigenen Band hatten und inspirierte die Beiden 2015 schließlich dazu, einen Neuanfang zu starten. "Es packte uns und das Schreiben kam wie von selbst," erklärt Joel. "Während wir an ein paar Platten für andere Künstler arbeiteten, wurde uns klar, dass es großen Spaß machen würde, wieder eine Good Charlotte Platte zu machen. Und eine Good Charlotte Platte können eben nur wir machen. Wir wurden ein bißchen nostalgisch und folgten unseren Instinkten."

DELUXE VINYL EDITION!!!The official recording of Public Image Ltd - Live at Rockpalast 1983, is now finally available deluxe vinyl. Rockpalast (Rock Palace) is a German music television show that broadcasts live on German television. The NME described PiL as arguably the first post-rock group. Shortly after the end of the Sex Pistols Johnny Rotten (or John Lydon, as he called himself after the Pistols) had built a new career with his new band Public Image Limited. The bands early albums - First Issue, Metal Box and Flowers Of Romance are now seen as absolute classics of post punk and the highlights of these albums are united in this unique Rockpalast concert.

Following the summer 1971 split of Crosby, Stills, Nash & Young, Stephen Stills quickly formed Manassas with former Byrd / Flying Burrito Brother Chris Hillman, as well as guitarist Al Perkins, fiddler Byron Berline, keyboardist Paul Harris, singer / percussionist Joe Lala, bassist Calvin 'Fuzzy' Samuels and drummer Dallas Taylor. Playing a potent blend of blues, folk, country, Latin and rock, they were an instant success. This superb set was broadcast on WBCN-FM shortly before the release of their second album, Down The Road. It features material from both their LPs, as well as material by Buffalo Springfield, the Byrds and CSNY, and is presented here with background notes and images.

Remastered on 180g vinyl with initial pressings on BLUE vinyl. This is the fourth studio album by the band and originally released in February 1984. This remastered edition comes with heavyweight sleeve and newly designed inner bag.



Produced by Alex Sadkin and Tom Bailey, this set of recordings really shows the band progression into one of the big pop acts of the 80's. Tom Bailey's dynamic writing and use of the synthesizer heralded massive success Worldwide, cementing the bands mass appeal both here and in the United States where the album proved to be the breakthrough they wanted, reaching no10 in USA Billboard 200.



Far more than an outpouring of commercially driven material, there was huge diversity in its content. Much to Tom Baileys credit, and the album was was littered with singles too. From the more simplistic 'You Take Me Up' and the more intricate 'Doctor Doctor' through to the anthemic 'Hold Me Now' and the moving intensity of 'Sister Of Mercy'. The band had truly made their mark on the scene, the album becoming one of the biggest sellers of 1984.



With a fluid line up which at times reached upto 7 members on stage, a change in musical direction took Tom Bailey, Alannah Curry and Joe Leway in a more mainstream direction than those of the early days of the first two albums; A Product of...(Participation) and Set which where were far more experimental, than Quick Step or anything that followed.

New 500x copy pressing of the first joint vinyl title released by Rockadrome and Lion Productions, sold out since 2011!



'This is essential, must-get release for fans of 1970's hard rock.' —Roadburn

'One of the greatest hard rock albums of all-time.' —The Acid Archives



- High quality vinyl reissue of this hard rock monster from 1976 by legendary underground power trio led by guitarist BillyLee Janey



- Includes insert with history of the group, lyrics and rare band photos!!



- Considered by many to be perhaps the best independent U.S. heavy rock release of the 1970's



A total heavy sonic assault! Since the release of 'No Rest for the Wicked's' in 1976, it's stature among collectors of 60's and 70's hard rock and psychedelia has grown steadily over the years, with original copies now fetching large sums. Originally formed as Truth in 1969 in Iowa, USA, Truth & Janey was named after a record by Jeff Beck. Between 1973-75 they played thousands of gigs, many with Leslie West, as well as playing with Blue Öyster Cult at a festival in Davenport, Iowa in front of 20,000 hard rock fans. All the while, Truth & Janey were writing original material, gearing up to record their first full length album. In 1976, they laid down the tracks that would see release on their stunning 'No Rest for the Wicked' album later that same year. The record featured six original tunes and two traditional blues covers revved up in true powerhouse Truth and Janey fashion. Only 1,000 copies of the album were pressed on the local Montross records. Just as the ball started rolling, it all ended, as Denis Bunce left the group and quickly thereafter they completely disbanded. In a last ditch effort, guitarist Billy Janey reformed the group with all new members in 1977 and released the 'Just a Little Bit of Magic' album, but it was a move in a completely different direction and has little to do with the ferocious hard rock Marshall 100-watt super lead guitar sound that dominates 'No Rest for the Wicked.' "Not to be dismissed because of its underground status, Truth and Janey's only LP, No Rest for the Wicked, was another incredible find... Boasting a swaggering, bluesy grit, piercing twin-harmony licks, and the most righteously ferocious rhythm guitar tone this side of Ted Nugent, opener 'Down the Road I Go' instantly establishes the band's '70s hard rock aesthetic whose roots, not surprisingly, lie in English giants like Cream, Jeff Beck, and even more so in Rory Gallagher's Taste." —AllMusic.

Do yourself another favour and check this out! Definitive 91 track overview of the Australian rock scene from the '70s, '80s and early '90s focusing on the birthplace of classic Aussie rock - THE PUB!

Includes classic songs from virtually every successful Aussie rock band from the mid-'70s through to the early-'90s including COLD CHISEL, THE ANGELS, MIDNIGHT OIL, DIVINYLS, MENTAL AS ANYTHING, BABY ANIMALS, SPLIT ENZ, HUNTERS & COLLECTORS and more!

Includes numerous tracks on CD for the first time ever, including THE DINGOES' final Mushroom single 'Smooth Sailing', the first PAUL KELLY & THE DOTS single 'Seeing is Believing', and RAY ARNOTT'S 'On the Run', which is strongly rumoured to feature Angus Young on guitar (sure sounds like it!).

Comprehensive liner notes with track-by-track commentary and an essay by key '70s Australian rock writer (RAM magazine founding editor and Cold Chisel biographer) ANTHONY O'GRADY. Front cover artwork by legendary Australian album cover and poster artist, and Mushroom's first art director, Ian MacCausland.

Dieses Herbert Grönemeyer-Live-Album aus dem Jahr 1995 enthält 18 Songs, die auf der Chaos-Tour in den Jahren '93 und '94 aufgenommen wurden. Dementsprechend enthält die Scheibe viele Tracks des "Chaos"-Albums. Ebenfalls zahlreich vertreten sind Hits der Platten "Bochum", "Ö" und "Luxus". Die großartigen Kompositionen Grönemeyers kommen bei solchen Live-Auftritten endlich in angemessener Art und Weise zur Geltung. Vor allem die älteren Stücke wie "Bochum" oder "Männer" klingen in ihren Studio-Versionen doch ziemlich saft- und kraftlos, diesen typischen 80er-Sound mit viel Elektronik und wenigen Gitarren kann man sich heutzutage wirklich nicht mehr anhören, und so ist man froh, dass der Deutschrock-Poet im Live-Bereich ein hervorragender Showman und Sänger ist und stets von einer großartigen Rock-Band begleitet wurde und wird.

The forthcoming release on Love Thy Neighbour features the first commercial release for Brighton-based Merlin Tonto. Named after an early-80's brand of personal computer, it is therefore fitting that the EP is housed in a 5.25'' floppy disc.

Formed in 2013, Merlin Tonto (Owen Thomas (electronics), Miles Boyd (bass) and Steffan Eliades (drums) combine a patient, ever building, subliminal connection in the rhythm section with Owen's virtuoso manipulation of electronics and visual interpretations of the band's otherworldly sounds. It was clear from early performances that this was the genesis of a special band and their brilliance as a live act has seen them support bands as varied as Errors, Disappears, Esben & The Witch and Follakzoid. Their first recorded demos showcased a fantastic flair for merging the sounds of the contemporary dance floor with decidedly human sounding percussion and bass, as if Carl Craig visited Cologne '72. Their as yet unreleased EP 'Baotou', due out on 8th April 2016 on Love Thy Neighbour, moves things forward significantly, recalling at various times Factory Floor, ESG and Leftfield. It's all done in their idiosyncratic way, the music is never in a hurry to get anywhere, their restraint meaning the joy is as much in the journey as the destination.

In this age of instant gratification and 'artist accessibility' via social media and the internet at large, it must be said that some of our favourite bands are those who still manage to maintain an air of mystery, intentional or not. Of course this has to be backed up by incredible music, perhaps even more so if every other aspect of a band or artist is hiding in the shadows.....
Whether this obtuseness is by design or flaw matters not when it comes to the Newport-based Haast's Eagled. The simple fact is that 'II: For Mankind' is 4 tracks (clocking in near to 1 hour) of some of the most imaginative, plaintive, acerbic and kaleidoscopic doom we have had the pleasure of hearing.
Undulating between monastic contemplation, soaring vocals, titanic riffing, esoteric solos and even exquisitely tasteful doomloungejazz, this is less 'a journey' and more a perfectly executed mission of sound.
Of course this is not easy first-time listening, none of the best albums are. However, what we have in our hands here is an album that should go on to be a cult-classic of the underground doom/stoner scene.

Dragging rock drums, cutting guitar riffs and Tamasheq chants. This is the sound of the new Tuareg generation. Life in an urban context and the connection with the Saharan culture has been the feeding ground for Kel Assouf's album 'Tikounen' (release May 2016). Influenced by Led Zeppelin and today's modern rock music, we created a heavy sound that blends with the traditional Tuareg music.

The album is about peace, equality and respect for other cultures. Music is our weapon with which we stifle the noise of missiles and rockets. It is our cry out for a better world.

'For the last 2 years we have sung songs under the banner of MEATRAFFLE. If we had to begin it all over again we would, of course, try to avoid this or that mistake, but our main course would have remained unchanged. We shall die as proletarian revolutionists, dialectical materialists and consequently, irreconcilable atheists, our faith in the communistic future of music is not less ardent. Indeed it is firmer today than it was in the days of our youth. Madonnatron has just come up to the studio window and opened it up wide, so that the air may enter in more freely. I can see a bright green ship below the wall and a clear blue sky above the wall, and sunlight everywhere! Life is beautiful. Let the future generation cleanse itself of corporate indie, false metal, Britpop and x-factor, and enjoy it to the full.'

'DEATH RAGGA - TRAPDOOR JAZZ - SPEED WALTZ - ERRONEOUS FUNK - AVANT POP - BASTARD MUSIK - PEDESTRIAN BIO MEKANICALRIK - GULAG BAROQUE'

MEATRAFFLE WILL BE SUPPORTING FAT WHITE FAMILY ON THEIR UPCOMING UK TOUR

'When Meatraffle first started, I used to say they were my favourite band as a joke. Now they actually are my favourite band' Lias Saoudi (Fat White Family

In The Skies (1979) is the second solo album by British Blues Rock inventor Peter Green, who was the founder of Fleetwood Mac and a member from 1967-70. In The Skies was released almost a decade after his first solo stint The End Of The Game (1970).

Accompanying Green on this album were several experienced session musicians, including Snowy White, who went on to work with Pink Floyd before joining Thin Lizzy. White contributed some of the lead guitar work on the album. Also present was Green's colleague and friend from his earliest bands, Peter Bardens, and Robin Trower drummer Reg Isidore.

Five of the nine songs are instrumentals, continuing a longtime Green tradition. It's a solid and welcome return by a guitarist who in his prime rivaled Eric Clapton.

***** PICTURE SLEEVE ***** LIMITED TO 1000 COPIES ***** RANDOM VINYL *****
ULTRA RARE. AVAILABLE FOR A LIMITED TIME ONLY (6 WEEKS!)

Prince put out two back-to-basics LPs in 2014, but ultimately he was outdone by Bruno Mars and Mark Ronson's "Uptown Funk," which rode his classic Minneapolis sound all the way to Number One. Late in 2015, he came back with another one-two punch - the second half of which is a well-timed reminder that nobody knows how to funk you up better. HitnRun Phase One seemed to focus on where Prince wanted to go - EDM-inflected bangers, poppy dance cuts - but Phase Two, with its brassy, buoyant arrangements and cheeky lyrics, embodies the artist in his natural state as a soul-funk master.

- 11 TRACKS
- HEAVYWEIGHT VINYL
- FULL COLOR LABELS + PICTURE SLEEVE

Cruel Sister was an album recorded in 1970 by Folk Rock band Pentangle. All the tracks are versions of traditional songs. Whereas their previous album had been produced by Shel Talmy, and featured quite a heavily produced, commercial sound, Cruel Sister was produced by Bill Leader, noted for his recordings of Folk musicians.

The whole of side two of the album is taken up with an extended version of the ballad 'Jack Orion', previously recorded by Jansch on his own Jack Orion album. The arrangement on Cruel Sister develops through several sections with different rhythms and instrumentation.

Allmusic gave the album resounding approval in their retrospective review, applauding its 'dense, layered sound that is woven within the fabric of each song like a tapestry' and praising Jacqui McShee's vocal work in particular.

Egisto Macchi (Grosseto, 4 August 1928 - Montpellier, 8 August 1992)

Egisto Macchi, often remembered as a member of Gruppo d'improvvisazione Nuova Consonanza, the historic Italian improvising collective (that also included Franco Evangelisti and Ennio Morricone, among others), was a major figure within the contemporary music field from the Fifties to the Eighties. The life path of Egisto Macchi seemed to be devoted to the multiplicity of aesthetic choices and musical expressions.

While tracing his life and work, one notices an interesting duality based both on a very inclusive approach towards all kind of expressive needs and full control of the level of communication. A complex personality revealing the coherence of a man trying to connect elements usually kept separate. The inherent need for approaching different sources and the ability to be inspired by a wide range of intuitions. Macchi has explored and experimented in the field of sound and music without ever forgetting about his moral and civil engagement. His compositional work takes shape from the idea that music and arts should be able to create a symbiotic contact between the creator (composer) and the beneficiary (listener). All his work finds its origin in the need to integrate the sound language with the feeling of a new developing society. In fact music was just one factor in a more complex chain which included his humanistic and sociological engagement. A syncretic philosophical narrative, in other words, a symbolic tale revealing deep anthropological aspects.

BIOLOGIA ANIMALE E VEGETALE, produced by Renato Pent, recorded in Torino in 1976 and originally published as double LP, can be considered one of Egisto Macchi's major works.

Originally released in June 1967, The Master's Apprentices' garage tinged debut album is one of the great Aussie albums of the 1960s. Also known as 'Choice Cuts'.

The Master's Apprentices are bona-fide Australian rock legends. As Stan Rofe said, the Master's Apprentices were Australia's Rolling Stones. They left an indelible mark on Australian music, and along with the Easybeats and the Twilights, they were one of the"could-have-been" bands, who tried valiantly to break into the British and international charts. Like both those bands they were ultimately unsuccessful in their attempts, but one of the later members of the band, Glenn Wheatley, learned valuable lessons from their mistakes and has played a major role in the music industry and the media over the last 30 years.

An early seventies Swiss band that showcases heavy blues-rock in fusion with the psychedelic influences of other swiss bands like Krokodil or Country Lane. With excellent guitar playing. The Spot LP is one of the rarest from the European underground scene for sure; it was pressed across the border in France under contract like the Splendid label stuff was (Pacific Sound, Aftershave, etc.), which makes it highly unlikely that it ever made it past an initial order of a few hundred copies for their local fan base. If you like heavy rock with searing distorted wah-wah guitar, this has it. If you like the juxtaposition provided by the short acoustic numbers on the Tractor LP, Spot does that as well.

This 17-song collection comprises the complete studio recordings (including five unreleased tracks) of Angry Angles, the Jay 'Reatard' Lindsey and Alix Brown project that came together shortly after the mid-2005 demise of the former's long-running primary endeavor, The Lost Sounds. The sheer
immensity of Lindsey's musical discography relative to the artist's demise in January of 2010 at the age of 29 is an undeniably impressive attribute of his legacy. But unlike other artists with massively prolific output, Lindsey's militantly self-imposed standard of quality control assured this project was not simply a prolonged demo or practice session for what came next—his landmark solo debut Blood Visions.
Sure, extraneous live documents reveal a handful of set items that turned up on that album, and there's more than a passing riff among the songs collected here that did the same. Ms. Brown herself even appeared on that album's 'I See You Standing There' and 'We Who Wait.' But Blood Visions
didn't really 'come next' at all. Angry Angles' musical demise, at some point during the latter half of 2006, was a direct result of Brown and Lindsey's demise romantically. In fact, the release of Blood Visions in October of 2006 was to be followed closely by a proper studio full-length by Angry Angles,
with the latter receiving heavier promotion.
And unlike much of the man's discography, this was not 'The Jay Show' all the way. Brown wrote three of these tracks: the amazing 'Apparent - Transparent' as well as no-slouches 'In My Room' and 'You Call It Love,' the latter of which originally closed out the Angles' debut 7-inch EP. The band's songs are guitar-based noise-pop / punk (not 'pop punk') certainly
informed by the garage-rock / punk landscape that Lindsey was constantly and effortlessly schooling. There are outside influences (post-punk...whatever the hell that means, really) but 'the hook' is the biggest concern at the end of the day.
This Angry Angles retrospective is the result of nine months of work by the involved parties of Goner Records; co-founder and handler of the band's visual presentation, Alix Brown; Adam Shore, Lindsey's manager / rchivist in life and beyond; tour and sometimes studio drummer, Ryan Rousseau, then of Tokyo Electron and then and now the man responsible for the almighty
Destruction Unit.

INSTOCK - SHIPPING FOR 29TH APRIL**Punk Slime Recordings are proud to
present the latest addition to their
ever-growing roster - Beach Skulls with
their infectious debut album Slow Grind
arriving on April 29. Formed in Liverpool
and now also based in Manchester and
Glasgow it's some of the best laid-back
indie-pop we've come across.
Beach Skulls originally got started in
2011 as the solo project of frontman Ry
Vieira and soon Jordan Finney joined up - with the line-up being
completed after a trip to Berlin when Dan West took on bass duties. Over the past few years Beach Skulls have released a variety of 7' singles, tapes and online-only EPs while playing around the UK - and last year the band headed into Parr Street Studios in Liverpool to record their full-length debut Slow Grind over four days, with support from the Merseyside Arts Foundation

hose Who Are About to Die Salute You is the debut album by progressive Jazz rockers Colosseum, released in 1969. It is one of the pioneering albums of jazz fusion. The title is a translation of the Latin phrase 'morituri te salutant' that according to popular belief gladiators addressed to the emperor before the beginning of a gladiatorial match.

This is a powerful album, unleashing each member's instrumental prowess while consolidating each talent to form an explosive outpouring of progressive Jazz/Rock. Nothing but praise for the variety and uniqueness of each song, the playing of the musicians, and the group's ability to create a blend of Jazz, Rock, and Classical elements that was unconventional yet accessible.

hose Who Are About to Die Salute You is the debut album by progressive Jazz rockers Colosseum, released in 1969. It is one of the pioneering albums of jazz fusion. The title is a translation of the Latin phrase 'morituri te salutant' that according to popular belief gladiators addressed to the emperor before the beginning of a gladiatorial match.

This is a powerful album, unleashing each member's instrumental prowess while consolidating each talent to form an explosive outpouring of progressive Jazz/Rock. Nothing but praise for the variety and uniqueness of each song, the playing of the musicians, and the group's ability to create a blend of Jazz, Rock, and Classical elements that was unconventional yet accessible.

David Nance lives in a world where rock has been influenced
as much by This Kind of Punishment and The Pin
Group as by The Velvet Underground and The Rolling
Stones. Omaha's best-kept secret, up to now known primarily
to DIY tape collectors and record club subscribers,
Nance welcomes all with More Than Enough, his first fullband
full-length, which follows the stellar but criminally
under-heard 2013 Actor's Diary LP on Grapefruit Records,
as well as a string of limited-edition, over-modulatingly
intense and emotionally destructive cassette releases.
Recorded in Los Angeles, scrapped, then re-recorded after
a move back to his Omaha hometown with his wife,
More Than Enough sounds like the very last record to have
undergone any process longer than a few hours of recording.
It's that immediate and on fire. The recipe: (a) get a shithot
group of musicians; (b) cut songs down to their most
'on' moments, or alternately let them ride a groove into
the sun; (c) capture it all on actual tape. That's the Nance
approach, and it's as much an ode to home-recorded brilliance
as it is to whoop-ass inspiring rock.
Nance will be touring this summer with Itasca, and later
on with Simon Joyner and The Renderers. Blare on.

Edward Penfold's music is a blend of the old and the new, nostalgic but not dated. More than anything it sounds like now. It's music from the heart, a hazy collection of sounds and moods - sometimes upbeat, sometimes down but always genuine and always captivating. His lyricism reflects the observation
and eloquence of a very English sort of poetry, seeing the depth in the shallows of life, the profundity in the mundane. All accepted with a matter-of-factness that is reflected in the driving impetus in every song, whether slow or fast or groovy.

NEW TO FORTE!!!
The third and final album from the HOT SNAKES originally released in 2004. Led by John Reis (ROCKET FROM THE CRYPT, DRIVE LIKE JEHU), Audit In Progress elaborates on the band's downstroked rhythms and subsonic pulses with more fire to the mix than ever

BACK IN PRINT!!! A sinister and swaggering debut blast of fierce and turbulent all-star punk rock'n'roll from JOHN REIS (ROCKET FROM THE CRYPT, BACK OFF CUPIDS, DRIVE LIKE JEHU), RICK FORK a.k.a. ERIC FROEBERG (DRIVE LIKE JEHU), and JASON KURKOUNIS (DELTA 72, MULE). Guitars attack, drums pound, vocals destroy.

Stockholm's Magic Potion - formed by
Gustaf Montelius, Andreas Sandberg
and Kristoffer Byström and now joined
by Johan Harrius - burst out of
nowhere in the spring of 2015 with the
debut single 'Deep Web', a
home-recorded gem that brought the
attention of bloggers all around the
world. Soon the debut EP Melt,
including the single 'Booored', was
released via PNKSLM Recordings and
Beech Coma to acclaim from the likes
of NME, KEXP, The Line of Best Fit and
Noisey - warped out slacker pop of the best kind, recorded on an old
reel-to-reel, it instantly wormed its way into the ears and hearts of its
listeners.
Now Magic Potion are finally able to unveil their debut album Pink Gum,
which is due on May 27th via PNKSLM Recordings on vinyl and digitally
and through Beech Coma on cassette. The fruits of over a year's work,
Pink Gum includes 'Deep Web' and 'Booored' from the Melt EP along
with eight new tracks that truly fifinds the band coming into their own.
Terrific melodies and songwriting, all recorded on the same old
reel-to-reel and self-produced by the band it's a marvelous debut from
one of Sweden's most exciting new acts, with lead single 'Milk' showing
the way.

Following the announcement at the end of 2015 for seven shows celebrating the 20th anniversary of Manic Street
Preachers' fourth album 'Everything Must Go', the band have announced a very special reissue 12 x 12 box set of the
album which will feature vinyl, CD's, DVD's and a book. Manics' 21 song performance at the Nynex Arena in Manchester
to over 20,000 people on 24th May 1997 has been fully restored and will be available in full for the first time both on CD
and DVD. Long-time collaborator and BAFTA Award-winning director Kieran Evans (Kelly + Victor) has shot a new film to
accompany the album, Freed From Memories. There will also be a double CD and both formats will be released on 20th
May 2016, exactly 20 years to the date of the original album. 2016 also sees the band celebrate the 30th Anniversary of
their formation in Blackwood, South Wales.

The live shows will see them play the album in full for the very first time and then after an interval, returning to play some
of their greatest hits, new songs and some seldom heard nuggets from their twelve album history. Editors will join the
band as special guests for the tour, excluding Swansea where Super Furry Animals and Public Service Broadcasting will
support. Prior to the UK shows they play dates in Europe and headline the Victorious and Truck Festivals later in the
summer.

Originally released in spring 1996, 'Everything Must Go' was the band's first massive commercial success. The record was
certified triple platinum in the UK and went on to sell over a million copies and bag multiple Brit awards. It features four
top ten singles ('A Design for Life', 'Everything Must Go', 'Kevin Carter' and 'Australia'). Touring the record, the band
played an early show in the tiny basement bar of the Haçienda to headlining to 20,000 people at Manchester's Nynex
Arena in less than twelve months. Although some songs from 'Everything Must Go' are still cornerstones of Manic Street
Preachers gigs, several of the album tracks haven't been played live since '96.

Bermuda is the latest effort by San Diego's dismal-pop outfit
Mrs. Magician and their second full-length release on
Swami Records. The album offers a concise collection of punk songs inspired
by the big sounds of classic '60s pop and rock 'n' roll, with structures more associated with '70s and '80s power pop. Thomas Garcia's blissed-out backwash guitar
tones and fuck-it fuzz attack juxtapose the band's dry and thudding foundation, creating a tropically depressed grog. Cutting through the lacquer with a glossy shimmer, producer Swami John Reis (Drive Like Jehu, Rocket From
The Crypt, Hot Snakes) coaxes a tightly wound, rigid backdrop
for vocalist Jacob Turnbloom's morose-pop delivery.
Lyrically far more non-linear than their 2012 debut album
Strange Heaven, Bermuda echoes the familiar selfdeprecating
humor that is heavily present in the band's
prior work, but focuses less on interpersonal relationships,
favoring broader inspirations of alienation and melodrama.
Themes of gentrification, addiction, religion and the intoxicating
aroma of modern day conspiracy theories wrestle
against a bright and tight sonic terrain. This is the ghetto of
Kokomo. Bermuda has a boozy and breezy island malaise on
the surface. But once submerged, the listener is exposed to
confusion, nihilism and the notion that even with all of our
technology and omnipresence of big brother, essentially we
are all still very lost.

Parquet Courts brought a sweltering performance to the hallowed grounds of Third Man's Blue Room on June 5th of last year--and very fortunately, TMR was able to lovingly capture it with their one-of-a-kind, direct-to-acetate recording process. The set included a dynamic selection of songs from last year's critically acclaimed album Sunbathing Animal, as well as the 2013 EP, Tally All The Things That You Broke. The end result A record that will have your feet stompin' and body rockin' as soon as the needle hits.