Pop & Rock Vinyl New Releases - News

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.

Recorded in the midst of an actual extreme winter weather
event, Blizzard conjures the early synthesizer experiments
of Popol Vuh and Tangerine Dream combined with the gritty
reel-to-reel tape manipulations long employed by both
Aaron Dilloway (Hanson Records / ex-Wolf Eyes) and
Robert Turman (founding member of the pioneering industrial
outfit NON and a celebrated solo artist in his own
right).
As the story goes, Blizzard was recorded in January 2009
during an Ohio snowstorm which hit on the very day that
Dilloway was preparing for a move to Michigan. Alone,
his wife and child already settling into the new place, and
stranded in a cold and empty house, he was welcomed into
Turman's home. They decided to make the best of the occasion
and hunkered down for a few days of late-night recording.
Crawling synth drones and looped effects keep
things bleak throughout. The wind gusts outside are strangely
regular. Snow scratches at the windows more rhythmically
than seems natural. Are those woodwinds or animal
calls Are the streetlights obscured by blown branches, or
are they slowly strobing Suddenly a normal house in a
common Midwestern blizzard feels like a house stalked by
a sentient storm, bearing down for a final freeze. Throw
another log on the fire and make yourself comfortable for
the last time.
Blizzard was originally released on CD by Hanson Records
in 2009. This first-time vinyl edition is limited to
500 copies.

The stunning debut LP from Philadelphia-based artist
Rosali Middleman, Out of Love is hard to pin down. It rolls
like an omnipotent fog through the canyons of Topanga,
smothering the once-bohemian enclaves of East / West
Village NYC, all the while blinding every vibrant peak 'n'
hollow from the Ozarks to the Appalachian Mountains. The
guitars are sublime, with occasional flickers of higher-key
psychedelia punctuating the breathless, reflective cadence
that is Rosali's transcendent delivery.
While drawn from personal catharsis, Out of Love
achieves that uncanny ability to speak to us all. It's LZ IV,
stripped of its pomp and circumstance. This time it's more
about the triangle / pyramid symbol found on the inner
sleeve than the man with the bundle of sticks on the cover.
And if you know what I'm talking about, then twist 'em up,
'cause summer '16 is the year Out of Love takes on a whole
lotta love.
Rosali has shared the stage with Meg Baird, Kurt Vile,
Mary Lattimore, Purling Hiss, as well as many other local
luminaries. Look for her on the nation front throughout this
year.

Sonny Smith (Sonny & the Sunsets) has written a monologue, an hour long story, called SEES ALL KNOWS ALL. A tale of LOVE, SEX, DRUGS, SPACESHIPS, ROMANCE, HALLUCINATIONS, BITTER TEARS and CHAMPAGNE. A story set in a fast-disappearing San Francisco. A bohemian quarter-life crisis (in six parts) told by a man who never had anything to gamble with, but his life. As Sonny put it "Sort of a Spalding Gray typa thing if Spalding Gray had a band and wasn't himself but was me." Sonny premiered SEES ALL KNOWS ALL live with a band at The Lost Church in San Francisco. The run lasted five nights and each night featured a different musical guest: Kelley Stoltz, Tim Cohen (Fresh & Onlys / Magic Trick), Kyle Field (Little Wings), Alexi Glickman (Sandy's), & Sun Foot (Chris Johanson). It was very much a San Francisco thing. A nod, perhaps, to both Eggers and Ferlinghetti. Indeed, excerpts from this story have been published in San Francisco's reknown literature, arts, and culture magazine, The Believer. Narrated by Smith, this audio recording of SEES ALL KNOWS ALL features sounds made by a talented group of local musicians including Kelley Stoltz, Shayde Sartin, Rusty Miller, James Finch, German Carracosca, Jordi Llobet, and Sonny himself. The result is a Joe Frank meets Michael Hurley meets R. Crumb production: a dry, witty, autobiographical look at the meaning(s) of life from an underdog with deep nostalgia for America's lost folk culture and a strong sense kinship with the marginalized. Perhaps you saw one of the live performances; or maybe you are familiar with Sonny's stories via the tiny comic books stashed in his early vinyl releases... but you probably have never heard him try to pronounce "Panaderia". So, light a fire/joint, get comfortable and lose yourself in a man's attempt to find himself; or at least, exert a shred of control over his own destiny.. SEES ALL KNOWS ALL is limited to 300 blue powder (the stuff of the universe) splattered LPs via Empty Cellar Records. Each LP is packaged in a deluxe old-style linen jacket and features artwork by Bay Area greats: Chris Johanson, Shayde Sartin, and Shannon Shaw (Shannon & The Clams).

2015's quick succession of two full-length albums by Austin, TX,
trio Spray Paint—Punters on a Barge in June on Australia's Homeless
Records followed by Dopers via Austin's Monofonus Press—
showed the band repeatedly visiting some proverbial 'next level' relative
to the steady developmental trajectory framed by their preceding
2012-2014 arrival-and-vision-quest phase (itself a three-album, three-
7-inch chunk of catalog not appropriate for dismissal). At the risk of
corniness in conveying the sterling truth, Feel the Clamps could be
considered to represent drummer Chris Stephenson, guitarist Cory
Plump and other guitarist George Dishner arriving at a 'next level,'
but next after what They appear to have skipped a few.
It would be inaccurate to call Feel the Clamps the band's 'definitive'
document because it only 'defines' where the band is at this
stage, and the impressive distance between right now and the trio's
genesis less than five years ago. Spray Paint is hyper-prolific because
these guys have something that needs to stay up in the world's grill.
A rapid-fire output is sometimes confused with 'worth a shit.' You
know why the world is choked with aggressively mediocre music
Because the aggressively mediocre are really, really prolific and have
amazing work ethics. But Spray Paint is no relation to the stylistic
transients who couch-surf sub-genres in what should be a new movement
tagged 'try-too-hardcore.' Their linear path of inspiration suggests
there won't even be a language to describe what the trio is making
five years from now. Feel the Clamps will clear the fence of any
remaining solitary butts and if not, it's recommended said body part be checked for its owner's head. —Andrew Earles, 2016

A home-recording project completely open to experimentation but in love
with songs, The Lavender Flu is masterminded by Chris Gunn (The
Hunches, Hospitals). Their massive 30-song debut double-album Heavy Air
was conceived over a period of years and outside of the genre concentration
camps. Like Terrence Malick's Tree of Life remade by the ghost of Phillip K.
Dick, it's psychedelic and dense, projecting sounds as images inside your
head, layers and layers yielding new secrets with each listen.
Heavy Air winds a circuitous path through pop songs ('My Time,' 'Those
That Bend'—with a 'Waterloo Sunset' vibe), blasted rockers ('Fingers Like
Wounds'), beautiful instrumentals ('Feel the Ground,' 'Telepathic Axe'),
fractured folk ('Between The Trees'), weirder experimental pieces ('Vacuum
Creature,' 'La-Bas'), straight-up fried epics ('Transcendental Hangover')
plus a few covers in the mix, including a maximal / minimal take on
The Godz' mantra-like ode to sun worship and a Townes Van Zandt tune that
is derailed by a massive panic attack. Lyrics and melodies appear and reappear
as half-remembered dreams or reconstructed memories. Traces of Big
Star, Royal Trux, Brian Eno, Meat Puppets II and American Beauty are in the
DNA but The Lavender Flu is its own beast.
'Stitched together with a ragged twine of thought, the album could prove exhausting
to the uninitiated, but those who've found room for Gunn's brand of
veiled pop bombast will find Easter Eggs aplenty throughout this release. Out
of the clamor and clash rise some beautiful moments of folk pop like 'Those
That Bend' or 'My Time,' both cuts that wouldn't seem out of place cozying
up to some Elephant 6 disciples. Hell, the whole record would fit in with
the Collective's vibe of sun-streaked psych mixed with 'Green Typewriters'-
style experimentation and for the cadre of listeners out there looking for that
heady stew, look no further, Lavender Flu's world is a dense rabbit hole worth
exploring and re-exploring. Plenty of psychic fallout to tide you 'til Springtime.'
—Raven Sings the Blues
'
album of songs, instrumentals and studio fragments. There are a few relatively
straightforward (but distortion-buzzed) songs and many others that are
mixed inside-out or come unglued and mutate as they go. 'Between you and
the abyss is what you want to know,' Mr. Gunn sings amid the fuzztone and
tinkly percussion of 'Transcendental Hangover'; that's where the Lavender
Flu situates itself.' —Jon Parles, The New York Times

01. Atrial Flow
02. Know Fear
03. I Was the Sun
04. My Time
05. Coke Sunday
06. Like a Summer Thursday
07. Those That Bend
08. Vacuum Creature
09. Fingers Like Words
10. False Promises From Future Selves
11. Demons in the Dusk
12. Owl in Daylight
13. Sligo River Blues
14. Telepathic Axe
15. The Lawn
16. Beer Garden
17. L-Bas
18. He Hides From the Mirrors
19. Sleep Without Alcohol
20. Between the Trees
21. Transcendental Hangover
22. Keyboard Christ
23. Wrong Womb Pt. 1
24. The Living Garment
25. Assad Eyes
26. A Drift in Rooms
27. Feel the Ground
28. Lay in the Sun
29. Nothing Was Breathing
30. So Clear

From Sacramento via outer space comes The Twinkeyz and their Alpha Jerk
LP, restored to excellence after 40 years! During the sizzling hot summer of 1976, Donnie Jupiter, Tom Darling and Walter Smith decided to break out of their boredom with a band. The group was named after Pink Fairies drummer Twink, and influnced
by the Fairies, Velvet Underground, Thirteenth Floor Elevators and other
underground favorites. In 1977, The Twinkeyz recorded and self-released their classic first single, 'Aliens in Our Midst.' 1978 saw its followup, 'E.S.P. / Cartoon Land.' And in 1979, the album Alpha Jerk was released on the Dutch label Plurex, run by
Wally Van Middendorp of the Minny Pops. Though the songs on Alpha Jerk
were great, the final mix was botched and the mastering job flawed. What
should have been a classic stiffed as one of rock 'n' roll's 'could have been
great.' Now it is! In 1994, Anopheles Records' Karl Ikola decided to do The Twinkeyz right. Ikola got ahold of the master tapes and, with Jupiter and Greg Freeman, remixed the entire album. In 1997, he released the restored Alpha Jerk, along with abandoned single tracks, live songs and other tidbits, as a CD entitled
Aliens in Our Midst. The collection and its vinyl companion Cartoon Land
went out of print more than fifteen years ago. Now after four decades, S-S Records presents Alpha Jerk as it was intended, with the original cover art and the superior Ikola / Jupiter mix. This version has been mastered by John Golden and pressed in an edition of 500 copies.

'The Twinkeyz are one of those exceptional bands whose appearance during
the early phase of the punk revolution was a reminder that all which had gone
before was not shit... The Twinkeyz are wildly deserving of a legendary status
that has not yet enveloped them.' —Byron Coley

'The Twinkeyz were easily the best and the hippest [of the late '70s Sacramento
area bands]... I'd say that The Twinkeyz were a much bigger influence
on the Dream Syndicate than the Velvet Underground.'
—Steve Wynn, Dream Syndicate

'When I was a teenager in Sacramento in the late '70s, The Twinkeyz were
the only instance of a band surviving in the local public eye with an innovative
sound... strange, insular, dedicated people who took a palpable risk just
by putting such wonderful and unfamiliar sounds on stage....'
—Scott Miller, Game Theory / Loud Family

Tony Joe was the third studio album by Tony Joe White, released in 1970. It contained the singles 'High Sheriff of Calhoun Parrish' and 'Save Your Sugar For Me'. The album was recorded at RCA Victor Studios, Nashville and Lyn-Lou Studios, Memphis, and produced by Billy Swan.

A mixture of original recordings and covers, it featured White's versions of 'Hard To Handle' made popular by Otis Redding and 'Boom Boom' by John Lee Hooker.

ULTIMATE PAINTING is a young, yet already distinguished UK duo comprised of Jack Cooper and James Hoare. As the story goes, these two spent time touring together with Cooper's band, Mazes, supporting Hoare's band, Veronica Falls. A fateful friendship developed and, to make it quick, demos were recorded and swapped, which all eventually led to their debut seeing release on Trouble In Mind, one of our top favorite Chicago labels. The project has been so thoroughly adored for its uncomplicated, beautifully calm approach to VU-style riff-making and loose-but-biting vibes that the follow up, Green Lanes, was released a mere ten months later. Needless to say we're so glad they carved their way through the great land of Nashville, TN.

Recorded direct-to-tape, Live at Third Man Records is an impeccable document of English rock 'n' roll. The band is in top form here and their set consists of the finest material from the band's first and second albums, Ultimate Painting and Green Lanes respectively, with a handful of extended jams featured here. This live record is a must own for fans of the band, not to mention anyone smitten with mellow guitar magic that absolutely explodes into some true, stately mayhem.

Castle Face Records has got fresh new jitters from Useless
Eaters: a new batch called Relaxing Death.
Relaxing it is not—sleepless synths and serrated drum
machine loops populate their sharp-edged, futuristic
sound. Nightmare punks on a hallucinatory run through
empty streets; angry and intense, tightly wound and razor
sync'd. Up to no good. It knocks like it's cut with something
nasty, and it's out June 3rd.

Attention fans of Timmy's Organism, VIDEO and Wolf Eyes, please, set your eyes/ears to front and center. Seems like only yesterday the AUDIO SOCIAL DISSENT supertroupe was touring this troubled continent in a duo of vans fueled by an unbelievable (but very real) commitment to harsh sonics and nothing else—not even petrochemical. Those were beautiful times but now...it's disappearing in the rearview. Cut to a shot of a single tear running down my face. Cut to another shot of me smirking like Scut Farkus.

Why Well, I thought it might be nice to impart a little of the leftovers to those who might appreciate it most. It just wouldn't be right to hide these beautiful records—BLUE WITH BLACK WISPS—in our HQ warehouse forever and ever.

Recorded direct-to-tape in the Blue Room at Third Man Records on Devil's Night 2015, this is a three-day lead on a limited edition live record and previously unavailable, tour exclusive. The LP features the psychotic squall from Timmy's Organism, the fire and vitriol of Texas punkers VIDEO, and, notably, an otherwise unreleased Wolf Eyes song, 'Devil's Knights Inn Blues,' which ranks as one of the most profound expressions of American avant-spew.

Here's your chance, America. Prove you love the freedom to feel what we're layin' down.

World Gone Wrong is the 29th Bob Dylan studio album, released in 1993. It was Dylan's second consecutive collection of only traditional folk songs, performed acoustically with guitar and harmonica. The songs tend to deal with darker and more tragic themes than the previous outing, Good As I Been To You [MOVLP427].

World Gone Wrong is an exceptional album, boasting an exceptional set of songs given performances so fully realized that they seemed like modern protest songs. Much of this record is fairly obscure to anyone outside of dedicated folk fans; 'Delia' (covered by Johnny Cash the following year) and 'Stack-A-Lee' are the most familiar items, yet they're given traditional readings, meaning that the latter doesn't quite seem like 'Stagger Lee.'

But even if these are traditionalist, they're spirited and lively renditions, and Dylan seems more connected to the music than he has in years. That sense of connection, plus the terrific choice of songs, makes this one of his best, strongest albums of the second half of his career.

Small Talk is the seventh album by Sly and the Family Stone, released in 1974. This album was the final LP to feature the original Family Stone, which broke up in January 1975.

Singles include 'Time For Livin'' (the band's final Top 40 hit) and 'Loose Booty', an up-tempo funk track which uses the names of Bible characters Shadrach, Meshach and Abednego as a chant, sampled by the Beastie Boys on their masterpiece Paul's Boutique in 1989. Beastie Boys also covered 'Time For Livin'' which was released on the album Check Your Head in 1992 along with a live music video augmented with skateboarding footage.

Pictured on the album cover with Sly are his then-wife Kathleen
Silva and his son Sylvester, Jr.

USM are pleased to announce the re-issue of the UK Top 40 debut album from The Horrors, 'Strange House'; this was their only Polydor release before they signed to XL Records.

The opening track is a cover of Screaming Lord Such's 'Jack The Ripper' and the album features the track 'Sheena Is a Parasite'; directed by Chris Cunningham and starring Samantha Morton the video was controversially banned by MTV.

Featuring all 11 tracks from the initial pressing this will also include a bonus 7' with the tracks 'Death At The Chapel' and for the first time on vinyl 'The Horrors Theme'.

This is a psychedelic masterpiece, a stunning piece of work made mainly by synths from various kinds (VCS, Farfisas, Mellotron etc), backed up occasionally with drums and other sounds. The tracks are mainly instrumental and takes the listener through a trip, like the gods of psychedelic music intended. Think the Germans had the market cornered on dark-edged electronics in the 70s Guess again, because this mid 70s gem from Frenchman Philippe Besombes easily rivals the most progressive work of the Kraut scene of the time! The album's a collaboration with Jean-Louis Rizet - and features both artists duetting on a variety of analogue electronics - sometimes in a melodic way, but often in more experimental modes that are quite textural at times - and which stand as a key link between initial German electronics in the 70s, and some of the murkier British uses of the instrument a few years later.

Limited to 199 hand-numbered copies on vinyl with printed lyrics

FIREFAY & ALISON O'DONNELL - Anointed Queen (UK 2014) GP1024LP UK dark folk band FIREFAY team up with ex-MELLOW CANDLE co-founder Alison O'Donnell to create an intriguing ethereal album of baroque, folk-rock and prog sounds. Alison's crystalline voice spirals through the songs making it contemporary and with a European echo. Here is an album that shines a light on a wide variety of themes, many of which still profoundly affect society. It is as rewarding musically as it is lyrically.

Recently, Holland's finest and longest standing Rock band Golden Earring celebrated their 50th anniversary, and it calls for a celebration! Formed as The Tornados in 1961, renamed The Golden Earrings and then shortened to Golden Earring, the band churned out hit after hit as early as their first single 'Please Go' from 1965. The current line- up has been constant since 1970.

The band did extremely well across the ocean with their massive hit 'Radar Love', which has become a staple on Rock radio ever since. But folks are advised to delve deeper into the band's catalogue; songs on this never-before released on vinyl triple LP compilation include evergreens like 'Another 45 Miles', 'She Flies On Strange Wings', 'Long Blond Animal', 'Twilight Zone', 'When The Lady Smiles', 'Going To The Run', 'Burning Stuntman' and many more.

In all, Golden Earring has released over 25 studio albums,
8 live albums and countless compilations, of which 50 Years
Anniversary is without a doubt the most complete. This
3LP compilation contains an 8-page booklet with exclusive photos, its sleeve boasts a gold foil finish and its audio is specially mastered for vinyl.

Limited to 500 copies on vinyl

Long revered by acid-folk advocates for the beatific, melodious introversion of their 1972 album Everybody's Own, Hand were at that point a cadre of Switzerland-based teenage friends, unified by the compositions of Marc Osborne and Tony Angier. The 40th-anniversary reissue of their album was so uniformly well received that four of the original members reunited for a celebratory snifter in Lausanne in 2012. Despite Angier's untimely death in 1996, Osborne was subsequently encouraged to assemble a fresh line-up of Hand, including original harmonica archimage Nick Zoullas. The first fruit of this renascence was last year's The Other Side Of The World; the fact that Little Heartaches follows so closely testifies to Osborne's renewed creative fecundity, plus an eagerness to make up for decades of lost time. What ensues is a whirling, impassioned update of the Rolling Thunder Revue's temper and textures, with Zoullas' harmonica, Libai Jordan's violin and Mariel Yaghsizian's torchy lead vocal all fervently trading prominence at the top of the mix. Osborne may be content to see out his late renaissance on the margins, but it would only take one doughty programme controller to appropriate the title track - an indomitable Rose Of Cimarron update.
t

Following the sold-out RSD METALLIC vinyl release..

Limited Edition in GOLD, with inner bag telling the whole story, PLUS poster!

The original 1976 album (remastered) - it then outsold the first three Stooges albums.

Iggy & The Stooges didn't play again for nearly 30 years; still confronting audiences!

First released in 1976, 'Metallic K.O.' was the fourth album from Iggy & the Stooges, a classic, memorable recording of the Stooges confrontational last gig. The Stooges had not been heard since '73's 'Raw Power', and the sound of kamikaze Iggy in between new songs dodging eggs and glasses thrown by Hell's Angels gave him a new audience in the embryonic punk crowd. It defined Iggy as a punk originator, sold 100k+ and become the Stooges best-selling album. Previously re-issued as an extended, two-CD set with two complete shows (FREUDCD070), it's now been condensed down to the exact original album edit that shocked and inspired so many. In the 2007 remastering from the original tapes an original tape-speed fault was found - now for the first time the album can be heard in the correct pitch! As Lester Bangs said: 'It's the only rock album I know where you can actually hear hurled beer bottles breaking against guitar strings'.

Limited edition of 400 copies on vinyl

MASHUUN/ MAGIC 69- Underground made in Styria (AUSTRIA 1973). We are proud to announce the long-awaited release of 'Underground made in Styria', a double LP by the Austrian psychedelic bands MASHUUN and MAGIC 69, recorded live in Styria, Austria in 1973. MASHUUN whose members hailed from bands such as Mephisto, Magic 69 and Music Machine, delivered a kind of music that was once described by local newspapers as ' ranging from electric guitar pieces over electronic effects and Tone Painting to aggressive rock' while MAGIC 69, originally formed as a beat-rock band, dwell in crude heavy psych-rock drenched in guitar & Hammond solos, including a good cover of King Crimson's 'Epitaph'. Both bands showcase an array of talented musicians exploring new sounds and breaking boundaries. In two words, what we have here is an uncut diamond from the past. The music is raw, spontaneous and often surprising. Remastered by ex MASHUUN & MAGIC 69 members Petrus Wippel and Andi Beit. Scheduled for release in early May 2016.

This is the eponymous debut studio album by the American Rock band the Modern Lovers, originally released in 1976. Six tracks ('Roadrunner', 'Astral Plane', 'Old World', 'Pablo Picasso', 'She Cracked' and 'Someone I Care About') were produced by John Cale.

The Modern Lovers were formed in 1970 by teenage singer, songwriter, guitarist Jonathan Richman, augmented with Jerry Harrison (keyboards), Ernie Brooks (bass) and David Robinson (drums), with Richman's friend and original band member John Felice joining them occasionally.

The Modern Lovers influenced numerous aspiring punk rock musicians on both sides of the Atlantic, including the Sex Pistols, whose early cover of 'Roadrunner' was placed on The Great Rock 'n' Roll Swindle. The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die. In 2003, the album was listed on Rolling Stone magazine's list of the 500 greatest albums of all time.

Strictly Limited to 500 copies in old style tip on jacket

Originally from Terre Haute Indiana, members of Raven played and toured with bands such as Reo Speedwagon, Cheap Trick, Dan Fogelberg etc.. George Phelps who had joined The "Carnations" met up with "Goliath" members in a studio and through a myriad of circumstances, teaming up with drummer Robert Wolff (ex "Micah") these musicians merged into "Raven" in Louisville KY in late 1972. From this moment on, the band toured extensively through 24 states non-stop for the next 4 years before recording this material in 1976, unreleased until today. The material was recorded in Atlanta Georgia at a studio called "The Sound Pit" Memories of going into the studio at night and working until the sun came up and feeling like I was floating on a cloud because it sounded so good (Doug - Raven's lead singer). Soon after the recording was completed, Raven got a record deal with Capricorn records. 2 weeks later, they went bankrupt. The tapes were subsequently destroyed in a fire. With Disco sound moving in in the mid seventies and with the bankrupcy of Capicorn records, Raven was literally like fish out of water, and slowly but steadily what had felt like the beginning of something unique, was lost. Musically the album relies on a hard driving progressive sound with a very rhythmic approach filled with virtuoso guitar & keyboard solos as well as pulsating bass lines in a hard-rock backing. Think Primus meets Emerson, Lake & Palmer with a touch of Yes, Deep Purple, Rush and Dream Theater. ..Features Robert Wolff previously with Micah and currently with Corvus Stone. Finally Who do you see sees the light of day 37 years after being recorded.

1978 punk rock classic from Turin in a numbered limited edition of 300 copies featuring 10 previously unreleased tracks. Available only on vinyl from Onde Italiane.

Soft Machine, the English Progressive Rock band from Canterbury is considered one of the most influential bands of their era.

Six includes a live record and a studio record and eventually won first place in the Melody Maker British Jazz Album of the Year award in 1973.

Sax player and songwriter Karl Jenkins, new member of
Soft Machine, makes a mighty impact on the band's sound.

30th anniversary issue of the Italian garage rock classic. Featuring one previously unreleased track in an embossed sleeve with a gatefold insert. Available only on vinyl from Onde Italiane in hand numbered limited edition of 700 copies.

This amazing set features the badass Tina Turner live on tour in support of her 5 times platinum 1984 LP Private Dancer which featured the massive, immortal hit, "What's Love Got to Do with It". Though Tina showcases a number of classics from that LP, including the Mark Knopfler penned title track, she also runs through a small handful of classics including CCR's "Proud Mary" and the Phil Spector burner, "River Deep Mountain High". A high fidelity classic live show from a true pioneer of soul and rock and a feminist icon to boot.

One of the most amazing things about the group B/B/S/ is that even though it does sound like the logical sum of its parts, listening to their output is like devoting yourself to an emotional haze of interaction. All based on improvisations recorded within two sessions at Golden Retriever Studios in Berlin, the ten new tracks, spanning almost 80 minutes total, are so fluid and natural that they abandon separating the musicians' individual contribution for a soundscape that is overwhelming in the best possible way. However, the place B/B/S/ puts you in is not a gleaming one: It could be imagined as an empty room with just a chair to sit on to be surrounded and pervaded by flickering guitars, effects and drums - a scenery that is as murky as it is gripping and best digested without further distraction.

Making you feel comfortable might not be their main intention but Aidan Baker, Andrea Belfi and Erik Skodvin know all the tricks to turn this into an exciting atmospheric experience with plenty of vigour and hope shining through the duskiness. Their second album for Miasmah masters in tension that is building up like a blueprint, maybe starting in one room but revealing many doors, corridors and passages to explore. There are no dead ends in their Palace: It's a dark territory and sparse in light but each turn is a success and each glance a revelation.

Edition of 100. Cover printed on Curious Metallic Perle Akoya paper. Red transparents tapes.

Vielschichtig und subtil: Künstler-Trio zelebriert seine Liebe zu Electronica und New
Wave.
D.A.R.K. ist eine Kollaboration von Dolores O'Riordan, Andy Rourke und Olé Koretsky. O'Riordan kennt man
als Sängerin der Cranberries, aber sie arbeitete auch schon mit Angelo Badalamenti und Jah Wobble
zusammen. Rourke spielte bei The Smiths den Bass und kollaborierte mit den Pretenders, Ian Brown, Sinead
O'Connor und Badly Drawn Boy. Koretsky ist Songwriter, Produzent und DJ. Die Wurzeln ihrer Formation
D.A.R.K. reichen bereits einige Jahre in die Vergangenheit zurück. Obwohl die Drei nie ein spezifisches
Bandprojekt geplant hatten, entwickelte sich die Zusammenarbeit über Zufälle, Experimente, Ideen und
Demos fügungsgleich zum Debüt "Science Agrees" hin. Das subtil arrangierte Album fängt die Essenz dreier
unterschiedlicher Persönlichkeiten und deren gemeinsamer Liebe zu Electronica und New Wave harmonisch
ein. Quer durch das Album lässt sich ein breites Spektrum an Einflüssen entdecken. Die reichen von
Künstlern wie Angelo Badalamenti, The Cure und Depeche Mode über David Bowie, New Order und REM bis
zu den Pet Shop Boys. Produktionstechnische Inspiration erhielt "Science Agrees" von den Großmeistern
Brian Eno und RZA sowie den Genres Post-Punk, Post-Disco und Hip-Hop.

CD single only. Artwork jpg attached.
The Manic Street Preachers have teamed up with the Wales Euro 2016 team to record the official single 'Together Stronger (C'mon Wales)'

Musik als Katharsis: Entschleunigte, aus der Krise geformte Breitwand-Electronica.
Kunst entsteht oft in bedrohlichen Lebenslagen. "Heart Beats Slow" von Mira, Un Lobo! (dt.: Achtung, ein
Wolf!) ist dafür ein Beispiel. Hinter dem Projekt steckt der Portugiese Luis F. de Sousa, der in der Rezession
den Arbeitsplatz verlor und mit Musikmachen seine persönliche Krise verarbeitete. "Betäubt von
Arbeitslosigkeit, Krise und Depression, verkroch ich mich unter meiner Decke und versuchte zu vergessen.
Mit der Arbeit an der Musik lenkte ich mich ab. Ich konnte wegdriften, behielt aber gleichzeitig Bodenhaftung
und konnte mich mit meiner Situation auseinandersetzen", beschreibt de Sousa den Prozess, der zur
Entstehung seines Debütalbums führte. Musikmachen als Katharsis - ähnlich gehen Künstler wie Sigur Rós,
M83, Julianna Barwick und Sufjan Stevens vor. Wenig überraschend nennt de Sousa diese als Einflüsse.
Eigentlich verstand er seine Stücke nur als musikalisches Tagebuch, aber irgendwann schälte sich die Kontur
eines Albums heraus. De Sousa trommelte Freunde seiner ehemaligen Band MAU zusammen, um "die
Kanten zu glätten", wie er es nennt, und ließ Ricardo Fialho als Co-Produzent das Material bearbeiten. Der
formte daraus entschleunigte Breitwand-Electronica, die auch ohne persönliche Krisensituation toll klingt.

The Little Flames were formed in Liverpool by singer Eva Petersen and songwriter / guitarist Mat Gregory. They were later joined by drummer Greg Mighall, bassist Joe Edwards and guitarist Miles Kane. Signed to legendary indie label Deltasonic, the band toured extensively during their first years, releasing edgy and anarchic singles 'Goodbye Little Rose' and 'Put your Dukes Up, John'. Their sound continued to evolve as they absorbed and reformulated an array of influences, ranging from Krautrock, Motown and 60's garage, to film music and symphonic pop of artists like Serge Gainsbourg and Framcoise Hardy. In the Session leading up to the recording of their debut album, working wotj producer Central Nervous System, the band's early spiky sound gave way to something altogether darker and more expansive. The album, The Day is Not Today, Was eventually recorded with producer Tore Johansson, using Sweden's famous Tambourine studios and Gula Studion in Malmo. It showcased the evolution of the band's music, where the energy and impatience of their earlier twisted guitar pop was not only fully honed (Seven Days, If Tomorrow Never Comes), But Juxtaposed with a sound that was both ethereal and cinematic (October Skies, The Girl of Last Year). The album was mixed, mastered ad ready to go in 2007, but before it could be released The Little Flames decided to split up. Miles, Joe and Greg formed The Rascals, with Miles Kane then going on to for The Last Shadow Puppets with Alex Tuner and recording solo material. Mat and Eva have continued to work separately on various music and art projects. The Little Flames' second single, 'Put Your Dukes UP, John' was covered by The Arctic Monkeys after the two bands toured together on the Sheffield band's first two album tours.

Bitter Suites to Succubi' was Cradle of Filth's 2001 studio release, following on from the highly successful 'Midian' album released on Music For Nations in 2000, and further established the band's meteoric rise to the forefront of british metal in the early 2000's.

This edition of 'Bitter Suites to Succubi' is presented on orange 180gm heavyweight vinyl.

'Bitter Suites...' contained original works such as the now fan-favourite 'Born in a Burial Gown', along with the band's trademark grandiose sweeping gothic instrumental passages, plus a selection of reworked tracks from Cradle of Filth's legendary debut, the ferocious 'The Principle of Evil Made Flesh'. Overall, this was a supreme example of high-calibre extreme blackened metal, accompanied by mainman Dani Filth's accomplished lyrics and poetic narrative.

The album was recorded at New Rising Studios, UK and was engineered & mixed by Doug Cook. Alongside vocalist Dani Filth, the band line-up notably featured Paul Allender (now of White Empress) on guitars, Adrian Erlandsson (of At the Gates & Paradise Lost fame) on drums, plus Martin Powell (formerly of My Dying Bride) on keys.

- 180 GRAM AUDIOPHILE VINYL

- INSERT

- ETCHED D-SIDE

- INCLUDING 2 BONUS TRACKS

- FIRST PRESSING OF 1000 NUMBERED COPIES ON GOLD COLOURED VINYL - 300 only in uk!!!!



Golden Greats is the second solo album released by Ian Brown, the ex-frontman of The Stone Roses. Despite the title, the album is not a compilation, but a studio album.



It was described by NME as 'a left-field masterpiece and Brown's best work for a decade'. The album contains soaring sonic textures and electronic dance beats; it is less song-oriented than Unfinished Monkey Business. Golden Greats showcases a diverse usage of instruments including strings, mellotron and organs.

In den Sphären der Musik.Die frühlingshafte, kollektive Lichtwerdung der Menschheit: "In the wake of a new dream"
Ein alter Traum wird Wirklichkeit.Dabei klingen St.Michael Front auf ihrer Debüt-EP wie junge Ultravox, die gemeinsame Sache mit den
Walker Brothers machen. Die Mitglieder der St.Michael Front selbst sind mit spirituellen starken
Gruppen wie The Who und Throbbing Gristle groß geworden. Ausschließlich Bands also, um die sich
noch heute sektenartig JüngerInnen um sich herum scharen.
Die prophetischen Lieder der St.Michael Front sind ihnen, Sie ahnten es sicher bereits, in besonderen
Nächten so erschienen.Das erzkatholische Volk glaubt übrigens noch heute daran, dass Michael ein Verzeichnis der guten
und schlechten Taten eines jeden Menschen erstellt und am Tage des jüngsten Gerichts Gott
höchstpersönlich vorlegt.

The B-52's Wild Planet on Numbered Limited Edition LP from Mobile Fidelity Silver Series

Party Out of Bounds! Eclectic Group's Sophomore Album The Equal of Its Smash Debut

Boffo Encore: Surf, Pop, Dance, Kitsch, Cabaret, and Psychedelia Unite With Giddy Vocals and Ricky Wilson's Still-Underrated Guitar Playing

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI: 1980 Smash Now Possesses Jump-Out-of-Your-Seat Sonics

Party out of bounds! Not only is this sentiment one of the B-52's directives on their ceaselessly fun sophomore album, it's one of the record's hit songs, and perfectly summarizes the spirit and intent behind this new-wave classic. Completely up to task in following up their kitschy debut, the B-52's step everything up a notch: Songwriting, humor, exaggeration, melodies, hooks, and group interplay. Wild Planet also finds the band embracing stronger psychedelic accents that seamlessly mesh with its lava-lamp colors and textures. What an album.

Rollicking, rousing, and riotous, Wild Planet soars on vocal efforts put forth by the delightfully campy chanteuses Cindy Wilson and Kate Pierson, whose innocent girly tonalities wonderfully match up with Fred Schneider's effeminate deliveries and manic presentations. While the sheer exuberance and giddy nature of the music tends to make them an afterthought, the trio's harmonies are utterly amazing. Add in Ricky Wilson's propulsive beach-bound guitar riffs, random squealing synthesizers, and a surfeit of danceable rhythms, and you have nothing less than a 1980s masterpiece that, due to its optimistic vibes and buoyant grooves, only gets better with time.

As for clever humor and quirky character Everywhere. Mentions of an icebox, fruit punch, and surprise greetings kick off the defining 'Party Out of Bounds.' 'Private Idaho' is an instant mix-tape essential, sent up with declamatory refrains and insouciant beats. Not to be outdone, the B-52's tackle the subject of devilish possession on the witty 'Devil In My Car' and get hysterical on 'Strobe Light,' surely the finest tune ever written about making love in the shadow of a pulsating illumination device. Schneider is on fire, embracing his sexuality while pushing his mates to new limits. There's no serious matter here;Wild Planet is all about celebrating, and few records do a better job of capturing such a mood.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Series' numbered limited edition LP presents the B-52's 1980 classic in a rousing fidelity that will have you wanting to jump off your furniture, lampshade on head. The all-important bass lines, divergent vocal timbres, and usually unnoticed guitar lines attain an unprecedented level of balance and realism. And, few bands took advantage of the large-format LP cover art like the B-52's. The cover portrait of these fashionistas is reason enough to get these extraordinary reissue, which takes great pride in reproducing the original art right down to the last smears of eyeliner on Pierson and Wilson's faces.