Pop & Rock Vinyl New Releases - News

Cool, sophisticated and melodically funky pop from Japan, recorded in 2014/15.
Six irresistible new songs from veteran members of 90s Tokyo underground pop bands like Love Tambourines, Arch and Bridge, all influenced by the Tokyo Neo Acoustic scene as well as early "club music" like Acid Jazz, Rare Groove and early Techno and mentored by Kenji Takimi of Crue-L Records. Bank formed in 2006 and have been assiduously honing their sound since then, distilling an elegant brew compounded of 80s dance music, the funkier elements of post-punk and the Factory Records roster, and other groups such as Young Marble Giants, Weekend and Duran Duran. A consummate blend. Vocalist/guitarist/songwriter Dai Nakamura is joined by guitarist Nobuyuki Ohashi, keyboardist Tadashi Kitami, with Fumio Hirami on bass and Bo Suzuki on drums. The contributions of the latter two are a key part of Bank's charm, with Hirami's funky bass laid over Suzuki's YMO-inspired grid-style drums. But make no mistake, these are true songs, not mere rhythmic exercises. Featuring memorable melodies, heavenly harmonies and attractive arrangements, these songs were mixed and mastered by Tomoki Kanda, a renowned member of the Shibuya-kei scene.

New Values is the third solo studio album by Iggy Pop and his first record since The Stooges' Fun House and post- Stooges Kill City without any involvement from David Bowie. It was released in 1979.

Featuring 'I'm Bored' and 'Five Foot One'. The track 'Don't
Look Down' was covered by David Bowie on his 1984
Tonight album.

"'A late night voicemail from Cherrystones: 'Phone me! I've got something killer! It might not make sense at first but it'll suck you in...'
After hearing the outsider psych of 'Distant Visions' we are suitably hooked and the wheels are in motion to reissue the music of Maya from 1975. It's at this point we realise we ain't even heard the A-side yet! Turns out it's the heaviest heartbreak jam going...' Following on from 2015's acclaimed Critical Mass compilation, Cherrystones and Touch Sensitive come together again to proudly present a lost masterpiece from the U.S. hard rock and psychedelic underground. Fully remastered and faithfully reproduced on limited 7inch vinyl with additional insert featuring lyrics and notes from Burk Skyhorse Price (Maya) and Cherrystones. Two tracks of timeless, heartfelt outsider music. 'In the drying up world of unknown homemade underground rock sounds, there never fails to be at least one scurrying rodent running for cover; bug-eyed under the flashlight of the modern-day sonic adventure seeker. Nearly all the LPs have been brought to the surface.More recently, rabid fuzz and loner sound explorers are rubbing elbows with Northern Soul speed-freaks in the deep, cold, hour-eating world of coverless 45s to seek out what could be seen as the final frontier of no budget, big dream and no fan base homemade local vulnerable Rock 'n' Roll. So what do we have here A UK discovered and repressed Ohio private nuclear soul bomb by Burk Skyhorse Price with his Maya unit from the shadows of Cincinnati Ohio, in the music-world turmoil year of 1975. The single has all the ingredients: songs about heartache, bubbling synths, alien feelings, proto-punk, backwards feedback, isolation. Two lengthy songs of two different moods: 'Synthezoid Heartbreak' a ""Fuck You!' to all partners that want you to join the Real Estate game and turn in your misfired Envelope pedals for a suit and tie; rendered musically in raging underground punk damage mode. But I think the small band of freaks that have heard Maya's lone 45 agree that its the pro-Alien sad dirge of 'Distant Visions' that gets the pen scratching the history books for another legendary entry. This reflective-afternoon delay lurker makes me wonder what happened AFTER the fade out to 'Visions'. Maybe the homemade air siren blew out the studio Regardless, here is a big dreaming band that left quite a brief one-two punch to the face of the industry that had no place for their punk and lonely sound poems. Funny but fitting how they have finally found a home forty years later and many continents away. Solid homemade damage here, touching AND sensitive, albeit crushingly loud.'

Skeletons, still »one of the few contemporary bands who can legitimately be called ›original‹« (XLR8R) in 2016, present their ninth studio album and their premiere on Altin Village & Mine.

Skeletons is one of the names of the uctuating ensemble of musicians around composer and lmmaker Matthew Mehlan; on »Am I Home« accompanied by long-time Skeletons collaborator Jason McMahon as well as Greg Fox (Liturgy, Zs, Guardian Alien) and Mike Pride, Justin Frye (PC Worship), Sam Kulik, Sam Sowyrda (Cloud Becomes Your Hand), Nathaniel Morgan and Caley Monahan-Ward (Extra Life, Dead Western), among others.

»Am I Home« thus marks the felicitous encounter between some of the best instrumentalist of the independent music cosmos with one of its consistently most interesting forward thinkers. This musical summit shows in the extraordinary joy of playing and the technical quality displayed throughout the seven songs — most of all, however, it registers in the density and consistency with regards to the coherence of the performance and space of »Am I Home«. This is one of the striking qualities of this, in every way: remarkable album. With all of its displayed pro ciency, the music is a deeply human a air; in a way which can be claimed by very few albums. The question posed by »Am I Home« nds itself answered on the album. It is answered, however, in the form of a question — the »home« that the music inquires about is the music itself, is its quest. This eminent, honest openness that equally shows in the lyrics and the vocal delivery by Mehlan — which, by the way, is on the same extraordinary level — , does not, however, make a point of digression or lose itself in the accompanying virtuosity, but always nds its way back to itself. The result may be, in a sense, post rock — but anyone embarking on the journey that »Am I Home« o ers will only chuckle at this designation. At the same time it is free jazz, it is pop, it is chamber music; grandiose, experimental, at any moment deeply embedded into the space of the album. The connections produced by »Am I Home« thus are not in the form of genre or likenesses (even though Mehlan's recent relocation to his native Chicago may lend itself to assuming a certain proximity to projects of Jim O'Rourke's, particularly Gastr del Sol), but instead in a relation to the world, to the »Uumans« that the moniker of Mehlan's most recent solo work addresses.

»Am I Home« is the document of a singular musical voice that has reached a maturity which, even in the remarkable oeuvre of Skeletons, marks a milestone.

We're excited to announce the release of the new Willie Nelson album Summertime: Willie Nelson Sings Gershwin. The album includes pop standards, penned by America's legendary songwriting duo George and Ira Gershwin.

As Willie tells it: 'Ira and George Gershwin were just fantastic writers. They wrote some of the greatest songs ever. The Gershwin songs have been here for many many years. When I was just a small guy, I remember hearing all these great Gershwin songs and they'll be around forever because great music like that just does not go away.'

Among the 11 Gershwin classics recorded by Willie Nelson for his new album are two duets: 'Let's Call The Whole Thing Off' with Cyndi and 'Embraceable You' with Sheryl Crow.

Der Ex-Screaming Trees Sänger hat in den letzten Jahren vor allem als Mitglied der Queens Of The Stone Age auf sich aufmerksam gemacht, gelegentlich hörte man ihn auch auf Alben von Freunden wie Melissa Auf der Maur und natürlich war er bei den Desert Sessions dabei. 2003 erschien endlich seine eigene EP "Here Comes That Weird Chill", aufgenommen in einem Studio in der Mitte des Joshua Tree Nationalparks in Kalifornien. Mitten in der Steppe produzierte Lanegan ein staubtrockenes, gelegentlich düsteres Werk, das schon andeutete, wohin die musikalische Reise geht. "Bubblegum" ist sein bisher aufwendigstes Werk. Gelegentlich spürt man deutlich, dass die Zeit bei den Queens sein Songwriting prägte; die rockigeren Songs ähneln einem inspirierenden Höllentrip. Von den ruhigen Tracks, deren dichte Arrangements sich hervorragend mit der einzigartigen Stimme paaren, können sich auch die Herren Cave und Waits durchaus eine Scheibe abschneiden. Gäste auf dem Album sind Josh Homme, Nick Olivieri, PJ Harvey, Izzy Stradlin, Duff McKagan, Greg Dulli, Dean Ween und Chris Goss, der gemeinsam mit Lanegan das Album produzierte.

Cavern Of Anti-Matter are the new band from Stereolab
mainman Tim Gane, now Berlin-based and collaborating with
original Stereolab drummer Joe Dilworth and synth wizard
Holger Zapf.
· This is their first album proper following a series of limited
edition vinyl releases.
· Features contributions from Bradford Cox (Deerhunter), Sonic
Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).

Cavern Of Anti-Matter are the new band from Stereolab
mainman Tim Gane, now Berlin-based and collaborating with
original Stereolab drummer Joe Dilworth and synth wizard
Holger Zapf.
· This is their first album proper following a series of limited
edition vinyl releases.
· Features contributions from Bradford Cox (Deerhunter), Sonic
Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).

LP incl CD
Garden of Love' one of the first single tracks feat Peter Hook (New Order) On the cover of their new album Malamore, their first album for Because Music, Lionel and Marie Limiñanas are back in black, and looking ineffably cool, standing next to a classic silver Fifties trailer, shot at a beach festival in the French town of Paulilles by the Spanish border, just 30 minutes drive from the duo's home town of Perpignan. They'd been playing a DJ set, only with 45 rpm vinyl - Sixties punk, Italian pop, movie soundtracks and Seventies rock tracks,' they recall. The picture syncs well to the colour of Malamore, like the artwork of a movie soundtrack. The lettering on the cover is significant too.

Originally issued in a tiny edition 15 years ago, this legendary compilation assembles some of the most fuzz-drenched obscurities to have emerged from late 60s America. From Arizona to New York, Rhode Island to Texas, there's enough attitude here to fuel teenage angst for centuries to come. This mindblowing set comes complete with background notes and rare photos, making it truly essential for garage psych addicts.

Die Band mit dem verrückten Namen zählt zu den erfolgreichsten Musik-Künstlern des Nahen Ostens. Im Juni 2015 waren WKBL als erster Rock-Act im Rahmen des Beirut Spring Festivals für eine Live-Performance eingeladen. Das Festival feierte 100 Jahre kulturelle Vielfalt im Libanon und gedachte dem zehnten Todestag von Samir Kassir. Seitdem geht es steil bergauf. Am 07.11. wurde der Band in Dubai ein internationaler Award (Best Music Act of the Year) verliehen. Im Oktober nahmen WKBL ihr Debüt-Album in den Riverside Studios Berlin unter der Leitung von Victor Van Vugt (u.a. Depeche Mode, Nick Cave, P.J. Harvey, etc.) auf. Ihre erste Deutschland-Club-Tour erfreute sich voller Clubs und begeisterter Veranstalter. Auch Joko und Klaas wurden auf die Beiruter Band aufmerksam und luden sie prompt für eine Live-Performance zu Circus HalliGalli ein, wo WKBL sich erstmals einem Millionpublikum in Deutschland vorstellen konnten. Ab Februar 2016 sind WKBL für 30 Shows auf Deutschland-Tour, im Anschluss geht's auf die Festivals und im Herbst sind weitere 40 Shows geplant.

Nach fünf erfolgreichen Alben seiner Band The Gaslight Anthem veröffentlicht Frontmann Brian Fallon jetzt sein erstes Soloalbum - Painkillers . Als Vorgeschmack präsentiert Fallon die Debütsingle - A Wonderful Life . Produziert hat Fallon sein Solo-Debüt mit Erfolgsproduzent Butch Walker in Nashville, der u.a. schon für The All-American Rejects oder Pete Yorn produziert hat, um nur wenige zu nennen. Das Solo-Album ist sehr viel persönlicher als die bisherigen The Gaslight Anthem-Alben. Mit The Gaslight Anthem legte der Sänger, Gitarrist und Songwriter eine beeindruckende Karriere hin: Mit dem Album - American Slang (2010) gelang der Band der internationale Durchbruch, es stieg in Deutschland auf #8 der Charts, während das folgende Album - Handwritten (2012) sogar noch einen drauf setzte und auf #2 stürmte. Das zuletzt veröffentlichte Album - Get Hurt (2014) knüpfte an den ungebrochenen Erfolg der Band an und platzierte sich hierzulande auf #3 der Charts. Beide Alben eroberten außerdem u.a. Top-3-Platzierungen in den USA und in UK. Die Band um Brian Fallon spielte u.a. bereits an der Seite von Bruce Springsteen oder Rise Against. Das Album erscheint als 12-Track Standard CD und Vinyl.

Never before released studio and live recordings by Harmonia from 1975! Four fantastic tracks. Two from the Harmonia studio in Forst and two from live shows in Hamburg. These pieces express a very exploratory side of Harmonia, a rare peek into what they were capable of live.

Never before released studio and live recordings by Harmonia from 1975! Four fantastic tracks. Two from the Harmonia studio in Forst and two from live shows in Hamburg. These pieces express a very exploratory side of Harmonia, a rare peek into what they were capable of live.

(Part Of The April Cargo Collective) CD / digipak (blue foil) + poster insert. Standard black vinyl LP is jacket (blue foil) + full album download coupon. Very limited coloured vinyl LP is for Cargo Collective stores only, stock is limited and numbers may be cut back. Here's the deal. In 2012, people loved Silver Age (to a degree that surprised me, pleasantly), likewise Beauty & Ruin in 2014 (despite the heaviness of the subject matter, which I thought might be a bit alienating... apparently not. Another pleasant surprise.). But PATCH THE SKY is the darkest one. After the Letterman performance in February 2015 where 'dust fell from the rafters,' it would have seemed logical to go the punk rock route—an entire album of two minute songs—but that wasn't where my soul was at. I withdrew from everyday life. I wrote alone for six months. I love people, but I needed my solitude. The search for my own truth kept me alive. These songs are my salvation. I've had a solid stretch of hard emotional times, and thanks for the condolences in advance. I don't want to go into the details—more death, relationships ending, life getting shorter—because they're already in the songs. Just listen and see if you can fit yourself into my stories. The words make you remember. The music makes you forget. But PATCH THE SKY is also the catchiest one. I always aim for the perfect balance of bright melodies and dark stories. I've used this juxtaposition for years. This time, I've tuned it to high contrast. The first side of the album is generally simple and catchy. The second side is heavier in spirit and tone. Opposing forces and properties. I love both sides of PATCH THE SKY. At the core of these songs is what I call the chemical chorus—you hear it once and your brain starts tingling. The heart rate picks up. It gets worse—you know it's coming again and you can barely stand the anticipation. Then, the beautifully heartbreaking bridge appears, and you're all set up—hooked for life. Music is an incredibly powerful drug. I want to be your drug dealer. I have what you need. --Bob Mould // UK tour in February; full EU tour follows later in 2016

Debut album from Nottingham Noisecore Quartet HECK.
After appearing on the Kerrang! Tour with Limp Bizkit, Crossfaith and Nekrogoblikon in 2014, the Notts four peice proceeded to tear every venue possible across the UK and europe a new arsehole.
The band were previously known as Baby Godzilla, having been forced to change change their name after 'some fairly conclusive and forceful instructions', the band now release their debut album upon the ears of the unsuspecting public.
'Some things are better left at peace,' explains singer/guitarist Matt Reynolds. 'When posed with a second chance we are teased by the inherent futility of it all. The underlying trust issues never leave and the all-consuming paranoia perpetually pulls each part of the relationship back to the place it wants to be. This often results in the repetition of a well familiar argument, one so recognisable that you can often stand back and allow your partner to argue with their self. It would be easy at this point to become apathetic and to let yourself be carried along without the need to feel anymore. The decisions can be made for you and you never have to work up the energy to disagree. In reality these problems mean nothing at all. Better to just break the whole thing apart yourself before this all goes too far. Break it apart brutally and gruesomely before your personality leaves you for good.'

Debut album from Nottingham Noisecore Quartet HECK.
After appearing on the Kerrang! Tour with Limp Bizkit, Crossfaith and Nekrogoblikon in 2014, the Notts four peice proceeded to tear every venue possible across the UK and europe a new arsehole.
The band were previously known as Baby Godzilla, having been forced to change change their name after 'some fairly conclusive and forceful instructions', the band now release their debut album upon the ears of the unsuspecting public.
'Some things are better left at peace,' explains singer/guitarist Matt Reynolds. 'When posed with a second chance we are teased by the inherent futility of it all. The underlying trust issues never leave and the all-consuming paranoia perpetually pulls each part of the relationship back to the place it wants to be. This often results in the repetition of a well familiar argument, one so recognisable that you can often stand back and allow your partner to argue with their self. It would be easy at this point to become apathetic and to let yourself be carried along without the need to feel anymore. The decisions can be made for you and you never have to work up the energy to disagree. In reality these problems mean nothing at all. Better to just break the whole thing apart yourself before this all goes too far. Break it apart brutally and gruesomely before your personality leaves you for good.'

The Austin-made singer-songwriter duo dwell in the spaces left between contradictions and opposing forces. In fact, it's where they're most at home. As the title of their latest album suggests, they know intimately the ideas of using pain as a barometer of passion and giving as a means of gaining.
Their gorgeous, almost luminescent harmonies paired with cutting, contemplative songs, inspired by a musical grab bag of Simon and Garfunkel, Slim Whitman, The Swell Season, Bon Iver, even Broadway composer Stephen Sondheim, earned the duo a nationwide legion of fans; many bordering on, if not, obsessed. Just ask their wives who tour manage them.
But until recently, Kyle and Andy thought of their respective talents, words and melody, as elements on 'separate continents' that they fit together—Andy's voice and lyrics an audible sunbeam appearing in a dark and dusty room; Kyle's lean, yet lush arrangements following unpredictable paths with acrobatic flourishes layered over grounded grooves.
But it was in writing and recording they let those roles bleed into each other. With the help of producers John Paul White (The Civil Wars) and Ben Tanner (Alabama Shakes), they slashed unnecessary phrasing and stripped their songs down to their core.

Treetop Flyers new album Palomino comes two and a half years on from their acclaimed debut album The Mountain Moves. Recorded at the band's own Soup Studios in London, self-produced along with the help of some friends -  and then mixed by Jonathan Wilson (Father John Misty, Conor Oberst, Elvis Costello) - their new outlook was to embrace the unknown, and begin experimenting. New synths, new pedals and new techniques helped them to unravel their own sound, as well as conceptions of the classic qualities laid down by their forebears, ultimately uniting them with a purposely accentuated groove and unfathomably tight vocal harmonies - all threaded together by Reid's own soulful melancholy.
Setting the tone for the album, opener 'You, Darling You' is a reflection on the old saying "sometimes loving someone means letting them go". In this case it's over a failed marriage, but the record picks up on some of the themes of death and departure that made up The Mountain Moves. 31 Years tracks a goodbye to a friend who passed away during the recording of their debut, and St Andrew's Cross is a lament to the passing of Reid's father, used almost in therapy by the band as a way to reconcile the past and the unknown ahead, all at once. Interestingly, it's the band's own smart production (as well as tracks like Dance Through The Night and Falling Back) that injects real life into Palomino.

Mit ihrem mittlerweile dritten Album ist die fünfköpfige Folk-Punk-Band aus Norwich beim Label Xtra Mile untergekommen. Und damit dürfte das Quintett seinen Ruf als "Geheimtipp" sicher auch bald verloren haben. Obwohl die Band auch jetzt schon alles andere als unbekannt ist. Denn einerseits hat man miteinander schon gut und gerne 1.000 Auftritte absolviert und war bereits mit Frank Turner und Andrew Jackson Jihad auf Tour, andererseits wurde "Fizzy Brain" erfolgreich über die Crowdfunding-Plattform Pledge Music finanziert. All das spricht für einen gewissen Bekanntheitsgrad ... Das Album versammelt elf Songs, die zwar alle wie aus einem Guss klingen, aber nicht nach stilistischen Grenzen. Vom rauen Punkrock-Kracher bis zur Herz-SchmerzBallade ist alles dabei, was man an Emotionen und Leidenschaft von einer Gitarrenband erwarten darf. Dabei pendeln die Ducking Punches variantenreich immer wieder zwischen akustischen Songs und Full-BandTracks hin und her. Ein Ansatz, der das Hörvergnügen recht kurzweilig gestaltet, zumal die Band mit ernsthaften Lyrics zum Zuhören geradezu zwingt. Doch obwohl die Themen Depression, Verzweiflung, Tod und Trauer vorherrschen, heißt die Fahrtrichtung "Hoffnung", der Blick geht nach vorne.

Liima setzt sich aus dem finnischen Perkussionisten Tatu Rönkkö und der dänischen Band Efterklang zusammen. Auf ihrem Debütalbum "II" präsentiert die Formation Songs, die sie im Rahmen von vier je einwöchigen Residenzen in Finnland, Berlin, Istanbul und Madeira geschrieben und aufgenommen hat: Aufenthalte, die den Sound und die Stimmung ihres Debüts in Form von Field Recordings und vor Ort produzierten Samples deutlich geprägt haben. Jede der vier Residenzen endete mit einem Konzert, bei dem Liima die neuesten Kompositionen erstmals vor Publikum aufführten. Dabei setzten sie mit Synthesizer, DrumSamples, Gesang, Effektpedalen und Bassgitarre bewusst auf ein reduziertes Instrumentarium. So gelang es, eine kreative, durch Intuition und spontane Einfälle charakterisierte Dynamik zu etablieren. Die so entstandenen Skizzen und Ideen dienten schließlich als Rohmaterial für die fertigen Songs. Als die eigentlichen Studioaufnahmen für "II" anstanden, setzte Liima auf einen ähnlich intuitiven Ansatz. Im Oktober 2015 begab sich die Band mit ihrem Produzenten Jonas Verwijnen ins Berliner Vox-Ton Studio, wo man das Album - unter Verzicht auf Overdubs - in drei Tagen live einspielte. Direkt auf Band gemischt wurde "II" von Francesco Donadello. Liima setzen da an, wo Efterklang mit "Piramida" aufgehört haben, entwickeln deren sphärischen Post-Rock weiter und perfektionieren so Pop für Fortgeschrittene.

Liima setzt sich aus dem finnischen Perkussionisten Tatu Rönkkö und der dänischen Band Efterklang zusammen. Auf ihrem Debütalbum "II" präsentiert die Formation Songs, die sie im Rahmen von vier je einwöchigen Residenzen in Finnland, Berlin, Istanbul und Madeira geschrieben und aufgenommen hat: Aufenthalte, die den Sound und die Stimmung ihres Debüts in Form von Field Recordings und vor Ort produzierten Samples deutlich geprägt haben. Jede der vier Residenzen endete mit einem Konzert, bei dem Liima die neuesten Kompositionen erstmals vor Publikum aufführten. Dabei setzten sie mit Synthesizer, DrumSamples, Gesang, Effektpedalen und Bassgitarre bewusst auf ein reduziertes Instrumentarium. So gelang es, eine kreative, durch Intuition und spontane Einfälle charakterisierte Dynamik zu etablieren. Die so entstandenen Skizzen und Ideen dienten schließlich als Rohmaterial für die fertigen Songs. Als die eigentlichen Studioaufnahmen für "II" anstanden, setzte Liima auf einen ähnlich intuitiven Ansatz. Im Oktober 2015 begab sich die Band mit ihrem Produzenten Jonas Verwijnen ins Berliner Vox-Ton Studio, wo man das Album - unter Verzicht auf Overdubs - in drei Tagen live einspielte. Direkt auf Band gemischt wurde "II" von Francesco Donadello. Liima setzen da an, wo Efterklang mit "Piramida" aufgehört haben, entwickeln deren sphärischen Post-Rock weiter und perfektionieren so Pop für Fortgeschrittene.

MerQury: Eine Queen-Coverband, die es in sich hat! Sänger Johnny Zatylny aus Kanada, der klingt wie ein wiederauferstandener Freddy Mercury, erzeugt mit seiner Band Gänsehaut, wo immer sie spielen. Queen Klassical II ist ein phänomenales Album, eingespielt von MerQury sowie dem Orchester der Musikalischen Komödie Leipzig. Mit Queens Welthits - Barcelona , - Love of my life , - It's a hard life , - Bicycle race , - Radio Gaga , - I was born to love you , - Who wants to live forever und - We are the champions !!! Unterstützt wird die Band vom Leipziger Opernorchester, Sopranistin Sandra Danyella und Pianistin Natalia Posnova!
TRACKLIST THE FALLEN PRIEST (feat. Sandra Danyella - soprano) BARCELONA (feat. Sandra Danyella - soprano) LOVE OF MY LIFE IT'S A HARD LIFE NEVERMORE (feat. Desdner Kapellknaben - vocals) CROWN JEWELS COLLECTION - RADIO GAGA (feat. Sandra Danyella - soprano) CROWN JEWELS COLLECTION - I WAS BORN TO LOVE YOU (feat. Sandra Danyella - soprano) CROWN JEWELS COLLECTION - BICYCLE RACE (feat. Sandra Danyella - soprano) CROWN JEWELS COLLECTION - MUSTAPHA (feat. Sandra Danyella - soprano) JUST ONE YEAR OF LOVE THE MILLIONAIRE WALTZ WHO WANTS TO LIVE FOREVER (feat. Natalia Posnova - grand piano) WE ARE THE CHAMPIONS (feat. Sandra Danyella - soprano)

Chaosmosis" ist das elfte Studioalbum der Band um Mastermind Bobby Gillespie und damit der Nachfolger des von der Kritik sehr gelobten 2013er-Werkes "More Light". Es beinhaltet zehn Songs, erscheint in Zusammenarbeit mit Ignition auf dem bandeigenen Label First International und präsentiert Primal Scream so vital, wie seit Jahren nicht mehr. Offensichtlich gab es künstlerischen Ausdrucksbedarf. Wie Gillespie zu Protokoll gab, empfinden er und seine Bandkollegen das augenblickliche politische Klima als frustrierende Herausforderung. "We're aware of it and opposed to it and we'd like to see something different." Entsprechend handelt es sich bei "Chaosmosis" um ein wütendes Werk mit klaren Botschaften: "I want to write about real situations, things I feel strongly about", wie Gillespie bekräftigt. Das bedeutet jedoch nicht, dass die Band den polemischen Hammer schwingt. Ganz im Gegenteil, es gibt noch genug Raum für ruhigere und persönliche Zwischentöne. Was, trotz aller Dynamik und Energie, mitunter relativ düstere Eintrübungen zur Folge hat. "Chaosmosis" wurde von Gillespie und Andrew Innes geschrieben sowie in London, New York und Stockholm aufgenommen. Das Cover-Artwork stammt von Jim Lambie, einem befreundeten Künstler. Es illustriert sehr schön das kaleidoskopische Vorgehen der Band, aus einem sich ständig füllenden Pool an Ideen und Eindrücken fertige Songs abfließen zu lassen.

Primal Scream release the follow up to their critically acclaimed 'More Light' album on March 18th. 'Chaosmosis' is released on the band's own First International label through Ignition Records.
'Chaosmosis' is the band's 11th studio album and was recorded in Sweden and London.

Originally released in 1973 in super limited run and in flexidisc only, this Catalan band was a complete mystery when it was discovered a few years back. Surviving band members were located now and they've been collaborating for this release.



In case you don't know them yet (It is my world has been comped a couple of times), this is the roughest, the wildest protopunk had gone down here. Some of the crudest garage-type recordings, most likely not intended but the result is there. Amazing.



Here's a limited reissue (on real vinyl, not a flexidisc), with remastered sound, a 12-page insert with photos and linernotes, and all copies signed by surviving Prou Matic members! 350 copies only.

There can be no conversation without one who is first willing to listen.
And so I both invite you to, and ask if you might, sit, quiet your surroundings, quiet your mind, and listen as I present to you the question that was first presented to me:
Will you follow me
Yrs,
Ray LaMontagne

Ray LaMontagne has released 5 studio albums (Trouble, Till The Sun Turns Black, Gossip in the Grain, God Willin' & the Creek Don't Rise and Supernova) and sold out numerous tours.  Ray's 2010 album God Willin' & the Creek Don't Rise won the Grammy for Best Folk Album and was nominated in the coveted Song of The Year category for Beg Steal or Borrow.  Ray's last single, Supernova off the album of the same name became one of Ray's fastest growing singles to date.

Auf der sechsten Folge der Kompilationsreihe "Punk 45" widmet sich das Label Soul Jazz der Punkbewegung in Los Angeles. Im Fokus stehen die Jahre 1977-81. Dabei konnten die englischen Archivgräber aus dem Vollen schöpfen, da die Szene in L.A. durch eine vitale Do-it-yourself-Kultur geprägt war, und unabhängig von der Plattenindustrie - anders als zum Beispiel in New York oder London - in Eigenregie Unmengen an Platten veröffentlicht wurden. Diese kamen in zwei Phasen. Während von 1977-79 Gruppen aus Hollywood dominierten, traten in den beiden Jahren danach vermehrt Bands aus den Vororten auf den Plan. Diese Phase von 1979-81 geht mit der Entwicklung von Hardcore einher. "Chaos In The City Of Angels And Devils" beleuchtet selbstverständlich beide Perioden gleichermaßen und bietet so eine faszinierende Darstellung der ersten Generation von Punkbands aus Los Angeles. Auf dem Sampler vertreten sind unter anderem X, The Germs, The Zeros, The Urinals, The Weirdos, Iggy & The Stooges und The Deadbeats. Das Album erscheint als CD und Doppel-LP auf 180-Gramm-Vinyl im Klappcover mit Downloadcode. Im gewohnt Soul-Jazztypisch dicken Booklet finden sich ausführliche Linernotes, Cover-Artwork und Originalfotos voncords Presents

Following the departure of Tanya Donelly, the breakup of The Pixies, and the return of Kelley Deal to the fold, The Breeders' hit the alternative big time with their second record, and its hit singles "Cannonball," "Divine Hammer," and "Saints." The last Breeders album of the 1990s, as Kelley suffered and recovered from drug addiction and Kim found a new outlet in The Amps, Last Splash went platinum and brought Kim Deal's massive song writing talents out from behind the shadow of Black Francis. On red vinyl!

Afer last year's loving success of Record Store Day's 'Sensible Record Labels' Alcopop! has got together
with some of their pals at some of the best forward-thinking indie labels again around the country, and have put together something a litle special for RSD '16 - The Sensible Record Labels compilaton:
Volume 2.
Crafed with critcisms of high-priced reissues and major label dominance of RSD top of mind, this special vinyl will be priced at just £10 across all stores on the day - meaning that amidst all the high price reissues and inordinately expensive 7's, people will be able to try a stack of new music for just one note.
As well as the record itself, which boasts 11 hand-picked tracks (1 from each label) - the package comes with a download card containing 150MB from every label too, containing songs, videos, docu-ments, photos and more.
This vinyl is not just a reasonably priced compilaton. It's a genuine gateway for interested listeners to
discover what lies behind the UK's indie labels.

The first official album of the Italian rock blues talent Arianna Antinori , winner of the international contest organized by famiglia di Janis Joplin on the occasion of the fortieth anniversary of his death . The CD contains the single " Shut up " which was topped the Italian indie charts . Inside an unreleased song written in '68 by Janis Joplin "Can not be the only one" and the music of Dave Getz old drummer has entered the Big Brother and the Holding Company

01. Give
02. Freedom
03. For my friend
04. You Know
05. Our days
06. Gone
07. Can't be the only one
08. I see you
09. Shut up
10. The river's end
11. Shut up - Re-edit

Producers
Fish, Jordan; Goudinakis, Nikos; Groves, Al; Jensen, Ted; Sykes, Oliver; Winfield, Sam
Musicians
Bring Me The Horizon; Cutter, Maddie; Fish, Jordan; Harvey, Will; Kean, Matt; Malia, Lee; Nicholls, Matthew Stephen; Sykes, Oliver
Composers/Writers
David Malia, Lee; Fish, Jordan; Kean, Matthew; Nicholls, Matthew Stephen; Sykes, Oliver
Mixers
Lancaster, Dan

Critically acclaimed pop duo Chairlift - AKA writers, producers and multi-instrumentalists Caroline Polachek and Patrick Wimberly - today announce their eagerly anticipated third album Moth, due for release in January 2016 via Columbia Records. The first single from the record Ch-Ching was premiered as a 'World Record' on Zane Lowe's Beats 1 radio show earlier this week and is available to download and stream now.

Patrick Wimberly says Ch-Ching began as 'an experiment in combinations that began by banging on my living room coffee table, layering drastically different grooves, and forcing them to work together... a Sunday morning impulse that pretty much reflects manic New York life.'

Caroline Polachek notes that the song is about 'that moment of disbelief when you're confronted with a huge opportunity or stroke of luck, and you take it and run with it - pumped full of adrenaline, but you pretend it is business as usual. It's the kind of miracle people move to NYC for. The audition you didn't think you'd get, the lie that accidentally works brilliantly, finding a $100 bill on the sidewalk.'

The dazzling, movement-infused dance video (with choreography by NYC dancehall guru Korie Genius) premiered on New York Mag's Vulture. Directed by duo that-go, the video finds Caroline and Patrick navigating the industrial underbelly of New York City and combing through the bridges along the East River, including The Ward's Island Bridge. Textures of New York City are found threaded throughout the video, from the prominent nuts and bolts of the bridge structures to the construction-site-orange wardrobe.

Ch-Ching is the first new Chairlift song in three years, but the duo have been far from quiet. They collaborated with Beyoncé on her groundbreaking self-titled album via the track No Angel, which was written and produced by Caroline and co-produced by Patrick. Caroline released and toured Arcadia, a self-produced solo album under the alias Ramona Lisa and collaborated with SBTRKT, Blood Orange and others, while Patrick produced and collaborated with artists such as Solange Knowles, Wet, Kelela, and Tei Shi.

An evolution from their last album, 2012's Something, Moth proves to be an emotionally uninhibited and markedly stronger, more pop inspired body of work. A very New York City inspired album, listeners can expect to be led through an aural mix of big, rich pop inspired hooks, vibrating bass, lively brass and sensuous R&B inspired vocals, all anchored in the duo's meticulously crafted instrumentation.

" Happy Machine", the seventh album explosive Bosnian Dubioza Kolektiv with the participation of special guests as Manu Chao and Roy Paci to sing together the cultural insurrection against the European technocracy. The first single "Free mp3 (The Pirate Bay Song)" is a playful attack and, at the same time, sharp axis fissiante culture of copyright. A tribute to Edward Snowden OF WikiLeaks that in the video - 3 and a half million views on youtube in a few weeks - results in a iconoclastic roundup of all contemporary pop icons, from Obama to Kim Kardashian, Miley Cyrus Porn Hub. It is precisely their videos and stratospheric numbers on social networks to have turned into pop phenomenon these irreverent rocker that put to shame the myths of the new capitalism and the failure of Europe. The lyrics - sung in English, Spanish and the Indian dialect of Punjabi - dealing with corrosive irony the most important events of the last two years, the protests Gezi park in Istanbul to the arrest of the founder of Pirate Bay; the crisis of Syrian refugees to the European response to the problem of migrants. Without excluding the final divertissement, the cover of 24,000 kisses Adriano Celentano sung and played with Roy Paci. The usual Balkan music Absolutely no. Rather explosive combination of different genres that achieves an alchemy extraordinary. In the musical shaker of Dubioza Kolektiv are catchy choruses and punk attitude, in fluence indopakistane and electronic references. The result is a cocktail in perfect balance between modernity and tradition, fierce and political commitment irony, topped off with an energy that shakes the stages of major international festivals such as community centers or clubs in the province. The new album will follow a long international tour that starts from Bosnia will extend throughout Europe up to the Member States, with the participation at SXSW multimedia festival held annually in Austin, Texas. In Italy arrive immediately: February 26 Hiroshima Mon Amour of Turin, 27 to Tent Carnival of Trieste, March 3 at Leoncavallo in Milan, March 4 Estragon in Bologna and the
following day to Flog of Florence. Forget the mainstream universe of sex symbol, ostentation of money, self-centeredness, strippers and fashion industry. These are the Dubioza Kolevtiv, thoroughbred anarchists.

01. ALL EQUAL feat. BEE2.
02. NO ESCAPE (FROM BALKAN).
03. FREE.MP3 (THE PIRATE BAY SONG).
04. ONE MORE TIME.
05. BOOM! feat. DŽAMBO AGUŠEV.
06. RED CARPET feat. MANU CHAO.
07. RIOT FIRE feat. BENJI WEBBE.
08. ALARM SONG.
09. HAY LIBERTAD feat. LA PEGATINA.
10. 24,000 BACI feat. ROY PACI

Here we go and check some rather fresh band : I FENOMENI, formed in 2010 in Italy with the intention to create the dirtiest and most fuzzed out garage beat ever. Dirty guitar sounds and cheesy Farfisa organ lines on a solid and straightly pushing rhythmical substraction with some melodic vocals sung in Italian language are the ingredients of a joy - and colorful record that feels like a lost gem from not later than 1967. Nobody could tell this was first released in 2013 and reissued right now. Sound, interplay, melodies and spirit speak of smoky clubs with swirls of colors ornamenting the walls and acid drenched drinks being served by topless waitresses in short skirts. You find yourself back in the mid sixties when it all began and the music here brings to mind tons of popular acts from that era. Starting with the early BYRDS, moving along to the US underground heroes such as THE SEEDS, THE STRAWBERRY ALARM CLOCK, THE THIRD BARDO or the later ANIMALS and psyched out JEFFERSON AIRPLANE stuff. If you look for innovations, please stop reading and grab some modern progressive rock for your own joy but if you want to be swallowed into a tunnel of sounds and colors where you can trip easy and free, this is yours. Despite the rather short length of these acid garage beat tunes you will leave what people call reality for a while. Everything here just grabs my soul and melts it away. Memorable melodies, moody riffs and those simmering fuzzed out lead guitars get me lose my senses. This is definitely addictive stuff. If you are a fan of current acid rock like BABY WOODROSE you will not only dig but definitely worship I FENOMENI. The language is rather not important in this context as the voice alone is commanding and you understand the message without understanding the language. Beautiful and haunting. A must have for all psyche and garage freaks.

Michele Anelli, an artist who has had a twenty-year career with the Groovers , seminal band of Italian rock roots landscape, is directed towards an unpublished sound development , and inspired texts where labor issues and social change are addressed in the entire disk