Pop & Rock Vinyl New Releases - News

Angriffslustiges Elektropunk-Feuerwerk aus Kiel: Das geht ins Tanzbein und bleibt im Ohr.

Wer sich bei dem Bandnamen an Trio erinnert fühlt, hat schon mal die richtige Fährte. Lassen wir mal außen vor, dass die Kieler Formation um Simme, Henner und Stulle ebenfalls aus drei markanten Individualisten besteht. Viel auffälliger ist jedoch die Ähnlichkeit mit dem Song "Sie kam Australien" des ehemaligen TrioSchlagzeugers Peter Behrens aus dem Jahr 1990. Und hört man dann noch in das Debütalbum von Sie Kamen Australien hinein, nimmt schnell der Gedanke feste Konturen an, es hier mit einem zeitgemäßen Update der Großenknetener zu tun zu haben. Will heißen: So könnten Stefan Remmler und Konsorten 2016 klingen. "Peter ist der Wolf" geht mit Wortwitz, Selbstironie und Minimal-Charme ins Tanzbein und macht trotz - oder vielleicht auch gerade wegen - klarer Botschaften und tiefgründiger Texte eine Menge Spaß. Sie Kamen Australien paaren Gesang, Gitarre, Bass und Drums mit flotten Beats aus der Konserve und köcheln daraus frische Indie-Disco-Sounds, für die auch Kraftklub, WhoMadeWho und Deichkind als Referenz herhalten könnten. Produziert wurde "Peter ist der Wolf" von Gudze Hinz und Tim Humpe (H-Blockx). Attacke!

Hingebungsvoller Pop zwischen tastenlastigem Electro-Indie-Rock und brachialfiligranem Folk.
Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab

Coloured vinyl double LP with two bonus tracks not on the CD version. WXRT FM broadcast of The B-52's live performance from Chicago on 6th October 1979

- Texas '60s Garageband
- LP feat tracks by closely linked groups WordD and By Fives
- Bonus 7" feat a tough early alternate "Bad Girl" version and
the By Fives Garage Killer "I Saw You Walking"
- remastered to most excellent sound ever at Pauler Acoustics
- full glossy LP sized Insert w/pics and history

The Penthouse 5 were one of thousands of Texas bands influenced by the mid '60s British Invasion sound. Hailing from Dallas suburb Oak Cliff, the group had its heyday from 1966-67, when they recorded a number of group originals and released two 45's. The band is best remembered for their 1966 garage killer 'Bad Girl', the Beatleesque 'You're Gonna Make Me' and more Byrds like folkrocking recordings such as 'In The Shadow' or 'Don't Mess Around With My Dream'. Several 1967 recorded and more psychedelic influenced tracks remained unreleased, but demonstrate the musical versatility of the band. In 1966 the group underwent a substantial line-up change when three of the original band members, among them vocalist Rob Graham, left the group. He was replaced by Jon Williams, who had previously been with the By Fives and WordD. Alongside the Penthouse 5 recordings, the rare 7'ers of these closely linked bands are all collected for this release. Additionally an until now completely unknown 5-Track acetate recorded in 1965 rounds up this collection of rare and lost recordings by one of the greatest local sixties bands from the Lone Star State.
















Bonus 7":
A1. By Fives - I Saw You Walking (Tomi Records Single A-Side 1966)
B1. Penthouse 5 - Bad Girl Alternate 1965 version

Lucky Number, in-conjunction with new label URU, spearheaded by solo artist Samantha Urbani, are thrilled to announce their reissue of British pop duo Rexy's only album, Running Out of Time on March 18th, 2016. Originally released in 1981 on Alien Records and long since out of print, the LP has become a coveted find for fans of leftfield pop, and through the rewards of its wry, forward-looking song-craft, has been championed by the likes of current artists such as Ariel Pink, Mount Kimbie, Joey Negro, ConnanMockasin and MGMT.

Meeting in the heady milieu of London's Blitz Kids scene, fashion student Rex Nayman and Eurythmics band member Vic Martin formed Rexy after bonding over a shared affinity for maverick pop music and the creatively flamboyant DIY clothing.

'The Blitz was a place to create your look, be who you wanted to be. I got bored of punk. While I've always loved soul, funk disco and jazz I'm also into latin, electro, show tunes, lounge and lots of kitsch stuff which was all played there.' Rex used to frequent the The Blitz with some of the scenes most recognisable faces - a heady mixture of designers, promoters and musicians which included Stewart Mechem, Steve Strange, Princess Julia, Stephen Linard, Philip Sallon, Marilyn and Judith Frankland who designed the black wedding dresses for Bowie's Ashes to Ashes video. 'It felt like anything was possible. I remember going there once in a tee-shirt made from a Brussel Sprouts Bag!' Rex recalls.

Writing and rehearsing together, it wasn't long before the pair's relationship also blossomed into romance. The first fruits of the pair's musical communion was the (Don't) Turn Me Away single. Released the same year as the group's formation in 1980, the cut's clicking drum machine, maddeningly catchy synth bassline, and spoken-word delivery recalls contemporaries like Young Marble Giants and Laurie Anderson, but offers more fun and more funk.

The Cramps captured in an incendiary live performance at the Keystone Club in Palo Alto, California, in 1979. Broadcast by KFAT radio in super quality, this LP also includes a nice little interview with the greatly missed rock and roll icon Lux Interior. Essential Cramps live recordings from their heyday.

- rarest 60s Garage Album by North Carolina students from early 1967
- great LP sized full glossy Inlay w/pic and liners
- 300 copy repress with 3 different handmade, lavish front covers of 100 copies each
- even too rare for Pokora but finally received a 6-star rarity scale at his 7001 book


LP contains a blend of exciting originals and well chosen, inspired covers, played in a raw, crude and frantic style. If ever it were true that the over-used assertion that a band's cover versions measured up to the originals, then it is true of The Horde. Why These five 19-20 year old students from all over the United States did not only blaze a trail for 60s rock in then conservative North Carolina, they also had a general attitude that finds its origins in the young people's mindset of the mid-sixties. This is one of the sharpest local '60s garage albums and you are exhorted to PRESS BUTTONS FIRMLY

- rarest 60s Garage Album by North Carolina students from early 1967
- great LP sized full glossy Inlay w/pic and liners
- 300 copy repress with 3 different handmade, lavish front covers of 100 copies each
- even too rare for Pokora but finally received a 6-star rarity scale at his 7001 book


LP contains a blend of exciting originals and well chosen, inspired covers, played in a raw, crude and frantic style. If ever it were true that the over-used assertion that a band's cover versions measured up to the originals, then it is true of The Horde. Why These five 19-20 year old students from all over the United States did not only blaze a trail for 60s rock in then conservative North Carolina, they also had a general attitude that finds its origins in the young people's mindset of the mid-sixties. This is one of the sharpest local '60s garage albums and you are exhorted to PRESS BUTTONS FIRMLY

- rarest 60s Garage Album by North Carolina students from early 1967
- great LP sized full glossy Inlay w/pic and liners
- 300 copy repress with 3 different handmade, lavish front covers of 100 copies each
- even too rare for Pokora but finally received a 6-star rarity scale at his 7001 book


LP contains a blend of exciting originals and well chosen, inspired covers, played in a raw, crude and frantic style. If ever it were true that the over-used assertion that a band's cover versions measured up to the originals, then it is true of The Horde. Why These five 19-20 year old students from all over the United States did not only blaze a trail for 60s rock in then conservative North Carolina, they also had a general attitude that finds its origins in the young people's mindset of the mid-sixties. This is one of the sharpest local '60s garage albums and you are exhorted to PRESS BUTTONS FIRMLY

Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab.

Radio quality live show from new wave heroes the B52's, broadcast in 1985 and featuring a plethora of hits from their first 4 studio albums, spanning from 'Planet Claire' to 'Rock Lobster'.

"Ellinor Nilsson aka De Montevert is finally back with new material, A new album that she treats as her debutalbum even though she released 'Friends & Enemies' in 2012 to standing ovations. It´s a moodier, darker and more dynamic De Montevert that presents herself in 2015. A strong female artist that takes place on a very male oriented arena. An album that talks about love and betrayal into the last detail.

Raw and honest compositions with the melodies and lyrics always in the centre of attention. Because De Montevert always had the ability to explain the most complicated emotions in a crystalclear way.

This took a while. After spending almost 2 yearstrying out different studios and producers she finally found home with producer Kalle Johansson in a small small studio on the outskirts of Umeå (northern Sweden). The album was then recorded in 2 weekends. Alot of first takes, no looking for singles, just making a coherent album.'

"Ellinor Nilsson aka De Montevert is finally back with new material, A new album that she treats as her debutalbum even though she released 'Friends & Enemies' in 2012 to standing ovations. It´s a moodier, darker and more dynamic De Montevert that presents herself in 2015. A strong female artist that takes place on a very male oriented arena. An album that talks about love and betrayal into the last detail.

Raw and honest compositions with the melodies and lyrics always in the centre of attention. Because De Montevert always had the ability to explain the most complicated emotions in a crystalclear way.

This took a while. After spending almost 2 yearstrying out different studios and producers she finally found home with producer Kalle Johansson in a small small studio on the outskirts of Umeå (northern Sweden). The album was then recorded in 2 weekends. Alot of first takes, no looking for singles, just making a coherent album.'

Great new reissue featuring three of the Stones' funkiest and most collectable tracks. Originally released as limited promo 12' versions on the band's own Rolling Stones Records label and now incredibly hard-to-find, these superb tracks showcase the rock gods' highly successful foray into the world of funk and disco. First up is 1976's 'Hot Stuff' which marked the start of The Stones' disco sound exploration - driven by a stupendously funky bassline accompanied by a heavy drum pattern, Mick Jagger breathes 'Hot Stuff! Can't get enough!' - we certainly can't! Next up is 'Dance', the ultra-rare instrumental version of 'If I Was A Dancer' which only ever appeared on the 1981 promo 12'. With brass stabs, DJ-friendly breaks, tweaky animal noises and lolloping basslines, this is seriously killer. On the flip, we have the band's first ever dance remix, the spectacular eight minute extended version of 'Miss You', a hypnotic disco burner with mesmerising harmonica, compulsive guitar, beautifully smooth electric piano and of course Jagger's signature falsetto 'oohs'. A must have for Stones fans and disco junkies alike!

Originally released in 2006, Eingya by Helios aka Keith Kenniff returns in a limited-edition 2015 vinyl re-release.

Beginning the album on a high with the pastoral beauty of "Bless This Morning Year," Kenniff showcases of what he does best: heartbreaking guitar and piano melodies punctuated by crumbling beats and backed by the most atmospheric synthesizer sounds this side of Eno's Apollo. The appetizing "Halving the Compass" blends subtle field recording with the kind of piano melodies so beautiful they could be compared to Virginia Astley or Harold Budd. This is followed by the album's clear highlight, "Dragonfly Across an Ancient Sky." It's an unsurpassable folk guitar piece with a decomposing percussive background and the sort of melodies that would turn evil tyrants into weeping babies. An album that could appeal as easily to fans of Nick Drake as to fans of Boards of Canada or even early AIR, this truly has something for everyone.

Raised in rural Pennsylvania, Kenniff put out Helios's 2004 debut album, Unomia, while studying percussion at Boston's Berklee College of Music. Since then, he's released six more albums as Helios, in addition to collaborating with his wife Hollie Kenniff in the shoegaze-inspired pop duo Mint Julep and composing music for films and archival use.

Widely regarded as the quintessential OI! band, the 4 Skins penned some memorable tunes right from their very inception. Their debut single, originally released on their own Clockwork Fun Label in 1981, features a couple of instant hits which will be hardly forgotten. This reissue, exclusively licensed for record store day 2016, comes in white vinyl with red and black splatter, in a limited edition of 500 copies, each handnumbered.

Re-issue on Heavy Vinyl. Last album'Distractions' on Upset the Rhythm has done very nicely so a repress here is timely. An evolving band of young future humans making truly irregular punk not quite comparable to anything else; Sauna Youth's debut long-player, 'DREAMLANDS' was a joint release between Gringo Records and Faux Discx. The band, attracted to the possibilities apparent within a DIY philosophy have been self-recording and self-releasing their own music since 2010, creating a number of 7's splits and cassettes. Weird' is a meaningless platitude, and 'art punk' is a classifier that shouldn't be required. Sauna Youth journey into the far-reaching wilds of the unfolding psyche and feast on the chaos within, quickly collapsing any pre-conceived notions within minutes of impolite introduction. The LP is a lyrical commentary on being addicted to the distractions preventing engagement with real life; unbreakable routines, relationships based on silence and mindless sex, repetitive and superficial interaction. This is not a dull lecture on disaffection, it is the dawning realisation in hundred-mile-anhour downstrokes, hypnotic samples going off like permanent alarms and competing vocals. The 5 track offering, found on the B-side, commences with a furious and bracing rush of noise bearing a dissatisfied narrative. 'PLANNED DESIGNS' leads with the dissection of artistic conventions and a treatise on space, the space we inhabit and the space we can alter and form for our own needs and desires, a dual-vocal declaring, 'Works of art of nothing/Works of art from nothing/Works of art of nothing but works of art.../We want somewhere to play'. A collective frustration reigns; it rings from the impulsive, fizzing spill of 'SNAPBACK', gathering in the blunt pace of 'PSI GIRLS'; an eloquent reflection of the lost ability to communicate. The careering 'VISCOUNT DISCOUNT' chronicles the trap of enforced life choices ('Remits, Compromise, Boxes to tick/Straight, Narrow, Guidelines, rules cut to fit/There's a mind just disengaged') and all accumulates with the knowing desperation of 'HAIRSTYLES', darkly delivered over the hardest unrelenting 4/4 backbeat. The A-side carries 'TOWN CALLED DISTRACTION', a spoken-word short story written by Patrick Fisher (of Cold Pumas) and Sauna Youth's own Harper Ecke, read by Martha Orchard (of Edible Arrangements) and Bobby Krlic (The Haxan Cloak), that serves as an introduction to the created world in which the characters and narratives of the band thus far have inhabited, gripped by an instrumental that careers with visceral energy. Artistic affinities are pledged to Eddy Current Suppression Ring, Pissed Jeans and The Intelligence, but as Kurt Cobain once asked 'Why can't we be both Black Sabbath and The Beatles', Sauna Youth consistently and urgently pose the question, 'Why can't we be both The Ramones and Steve Reich.

Backed by the likes of original Pistols' bass player Glen Matlock, Rat Scabies from the Damned, and Steve New from the Rich Kids, this is Sid Vicious last UK performance before leaving for the US and his ultimate demise. Recorded at the Electric Ballroom in London, 1978 and featuring all the classics from his solo repertoire, this is a limited edition on yellow vinyl with red and black splatter, hand numbered to 300 copies only!

Probably the most iconic punk band coming out of the UK in the '80s, the Exploited were known for their incendiary live performances and for being followed by a violent crowd, and this live recording, released on golden/red splatter vinyl in a limited and handnumbered edition of 300 copies only, is no exception. Recorded at the legendary Brannigans in Leeds, November 23rd 1983, this is the Exploited touring for their masterpiece 'Troops Of Tomorrow'. A must have Record Store Day 2016 release!

Born of Chicago's league-leading DIY scene and with several of them remaining friends since elementary school, Cadien Lake James, Clay Frankel, Connor Brodner, Jack Dolan, and most recent addition Colin Croom share an enthusiasm, authenticity and passion their audiences have found contagious. In the three years since dropping out of college to support their debut album Sunken, the band has covered a lot of ground. They've played to ever-increasing crowds, bigger and rowdier each time they come barreling into a city; and they have performed for (and partied with) more than hospitable masses at festivals in the US and Europe, including Pitchfork, Lollapalooza, Reading & Leeds, and Roskilde. In between all this action, the group set up camp in the summer of 2015 amidst the solitude of a murky lake in Western Massachusetts, where they could experiment and record on their own terms in the warm living room of a good friend's house. Recording on reel-to-reel with the band learning studio tricks on the fly, Twin Peaks set out to a make an LP that reflects how far they've come and how much of life is left, trusting themselves to make a record they'd want to hear.

Co-produced by the band and longtime collaborator R. Andrew Humphrey, and mixed by new confidant John Agnello (Dinosaur Jr., Kurt Vile, Sonic Youth), the record is raw, polished and wise beyond its years. It is a marked and mature development for a band that doesn't know how to play it safe.

Down in Heaven will bring old fans and new Twin Peaks most complex record to date, encompassing elements only teased on their previous efforts. Frankel says, 'I don't know yet what kind of band we are, since we keep changing with every year."

'18 Cool Obscure Vinyl Rarities From Belgium's Golden Past!'

Edition of 500 copies on splashing 2 coloured vinyl, in luxury full colour cover with many pictures and 2-sided info sheet.

Der Song ist für 2 Grammys nominiert

AIDAN BAKER (NADJA, B/B/S/) joins forces with IDKLANG aka MARKUS STEINKELLNER for two epic instrumentals, melting ambient, drone and krautrock into a psychedelic trip of pure beauty.

For years now AIDAN BAKER has proved himself one of the most productive and versatile artists when it's about postrock, drone or ambient. Since his beginnings in the early millennium, the guitarist has released numerous albums with his duo NADJA, CAUDAL, B/B/S/, solo and in various collaborations with artists like TIM HECKER, THISQUIETARMY or TROUM, documented on labels such as ALIEN8, IMPORTANT or MIASMAH. "In The Red Room" presents BAKER, currently living in Berlin, in a duo constellation with IDKLANG aka MARKUS STEINKELLNER (guitar), member of JAKUZI'S ATTEMPT and ARKTIS/AIR, who in the past has besides his own projects worked with ACID MOTHERS TEMPLE, AVA MENDOZA or EUGENE S. ROBINSON (OXBOW). With their guitars and effects the two create a gentle, yet uncanny ambience that unfolds in two epic pieces, each clocking in at around 20 minutes. As often with BAKER's music, "In The Red Room" transgresses genres and instead melts their diverse elements into one: ambient's detailed sound design is paired with drone's experimental guitar approach and krautrock's repetition for a psychedelic excursion of pure beauty.

Our queen of Hardcore AniMe, has announced her brand new album "Exterminate", which will be released on 21st of January 2016 by Traxtorm Records. This album will dish up many brand new solo tracks as well as some classic tunes which are remixed by other big artists of the scene. Available in two special CDs (Album Version)!

The Bright Lights of America (2008) is the sixth studio album released by Anti-Flag. This album was different from the previous one For Blood And Empire [MOVLP1479];
it was the first to feature a string section and child choirs. The band was often criticized for this effort because it is an extreme departure from their normal musical style.
The first song released from the album was 'Good 'N' Ready', featured on Fat Wreck Chords Hanuk-Comp From the Dreidel to the Grave compilation.
In April 2008 Anti-Flag teamed up with Rage Against the Machine guitarist Tom Morello and a host of roller derby girls for a video for 'The Bright Lights of America'. 'The video demonstrates the audacity and the craziness of the seemingly endless war... We're trying to get that across in a funny and interesting way.'

The vinyl edition comes with 6 high-quality lithograph art prints (by UK illustrator Hannah Alice) representing each of the birds on the album, held in a heavy board die-cut gatefold sleeve. This unique packaging is fully interactive - the cover image is interchangeable with any of the prints, though each one is perfectly framable too. CD version comes as a deluxe 'bookback' edition, comprising all the illustrations and notes over 24 pages. Remastered by Brian Pyle from original tapes. Vinyl limited to 1000 copies worldwide. Bert Jansch was often quoted as saying 'I'm not playing for anyone, just myself' and this feels no more apparent than on 1979's 'Avocet', his beautifully meditative paean to British birds. This isn't to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him. (The subject of British birds is one that Jansch held close to his heart. Indeed, just preceding this album was his 1978 split 7' single with Shirley Collins - with proceeds in aid of the RSPB.) For fans of Jansch this is often the album that is singled out as his best work. The freedoms of a post-Pentangle career are much in evidence; folk rock and even trad folk give way to an album that is not only without lyrical accompaniment but really quite orchestral, classical even, in its composition. There are surprises in particular in 'Lapwing' (a dirge-like waltz that wouldn't be out of place on a Nils Frahm album) and 'Bittern' (which speaks of Arthur Russell's more experimental pieces). Last issued more than 25 years ago, this is Earth Recordings' deepest Bert-directed bow to date. Featuring ex-bandmate Danny Thompson, alongside Martin Jenkins with sleeve notes by Jansch aficionado Colin Harper (author of 'Dazzling Stranger: Bert Jansch and the British Folk and Blues revival).

Bill Frisell (born 1951) is one of the leading guitarists in Jazz since the late 1980s. Frisell's eclectic music touches on Progressive Folk, Classical music, Country music, and more. He is known for using an array of effects to create unique sounds from his instrument.
His musical kinship with Miles Davis has been cited repeatedly in the music press. The New Yorker notes: 'Bill Frisell plays the guitar like Miles Davis played the trumpet: in the hands of such radical thinkers, their instruments simply become different animals. And, like Davis, Frisell loves to have a lot of legroom when he improvises--the space that terrifies others quickens his blood.'
His brand new album When You Wish Upon A Star features Bill Frisell's arrangements and interpretations of 'Music for Film and Television'. Featuring Petra Haden, a well known violinist and singer, she is or has been a member of several bands including: The Decemberists, Tito & Tarantula, That Dog and contributed to recordings by e.g. Beck, Foo Fighters, Weezer, Queens of the Stone Age and many more. She is the daughter of the late bass player Charlie Haden.

Love Tattoo is the debut solo album by Irish vocalist Imelda May, formerly of the roots outfit Blue Harlem. May has captured the attention of the United Kingdom with
its release, and for good reason. It's a striking gumbo of tough Boogie-Woogie, streetwise razor-edged Rockabilly, intimate sultry vocal Jazz, and sassy Jump Blues.
May wrote all but two of the set's 12 tracks and produced the set; she also plays the bodhran, an Irish percussion instrument from antiquity. She's surrounded herself
with an ace band that includes her husband, guitarist Darrell Higham, trumpeter Dave Priseman (who also plays flügelhorn and percussion), pianist and organist Danny McCormack, bassist Al Gare, and drummer Dean Beresford.
The tunes aren't overly arranged, the production is
minimal, and the instruments - as well as her voice - sound unembellished. Imelda May is capturing the attention of Europe for a reason; she is a rare and very exciting talent who understands the history of American roots music and knows how to use that understanding in a contemporary context without pandering.

Dutch Pop artist Jett Rebel (real name: Jelte Tuinstra) presents his brand new album Truck, a collection of 28 tracks that go against every rule in the book. As Jett explains, 'so many bands nowadays adapt their music to the public's taste, just to get bigger. I don't, and I won't. I make exactly what I want, and I am so grateful that there is an audience that allows me this artistic freedom. I am so happy!'.

Every instrument on the album has been played by Jett Rebel himself, with a 4-track cassette recorder. The songs on the album are true Pop songs, and the production will undoubtedly surprise some people. 'I can understand if people will need to get used to this. Perhaps it's even commercial suicide - but then again I'm not looking for hits. I want to make the music that I want - playing live and living free.'

Truck is not just a new Jett Rebel album - it's part of a trilogy! The follow-up albums will be announced soon. The first single 'It's Cruel' is released on January 15th.

Fear (1974) was the first of three albums for Island Records, all of which were released in a period of just over a year. During this time John Cale was also producing records for other artists, working on albums such as
Horses by Patti Smith, one of the most influential of all proto Punk records.
In addition to his lead vocals on Fear, Cale also played keyboards, guitars, viola, violin and bass, and was joined by Richard Thompson, Roxy Music's Brian Eno and Phil Manzanera, and other artists signed to Island.
'Gun' features an unusual two-man guitar solo from Manzanera and Eno, with the latter using a synthesizer to process the former's guitar playing in real-time.

Australian Punk Rockabilly outfit The Living End had formed in 1994 in Melbourne by Chris Cheney on guitar and lead vocals, and Scott Owen on double bass and backing vocals. In 1996 they were joined by Travis Demsey on drums.

In 1997, they had achieved mainstream success with their
EP Second Solution / Prisoner Of Society, peaking at No.
4 on the Australian Singles Chart. More singles followed, which can be found on their self titled 1998 debut: 'Prisoner of Society', 'Save the Day', 'All Torn Down', 'West End Riot' and the US-only single 'Trapped'.

The album reached No. 1 on the ARIA Albums Chart and remained in the top 50 for 63 weeks.
The Living End was certified 4× Platinum by Australian Recording Industry Association (ARIA). As of today, it is the band's most successful album. The cover art, as described by front man Chris Cheney, is based on a photograph of a World War I all-female bomb factory.

Rattlesnakes (1984) is the debut album by British group Lloyd Cole and the Commotions, featuring their debut single 'Perfect Skin', 'Forest Fire' and 'Rattlesnakes'. The album reached number 13 in the UK Album Charts.

The album was recorded during the British summer of 1984 in The Garden studio in Shoreditch in east London (built and owned by former Ultravox frontman John Foxx), with Paul Hardiman producing. The album cover is a picture by renowned photographer Robert Farber which was chosen by design company Da Gama from a selection of stock photographs.
Cole described the songs on Rattlesnakes as 'about the things people do when they are in love. People get in all sorts of weird scenarios and I quite like the idea of that. I write about that more than anything. Sometimes it is comic, sometimes tragic, sometimes funny and tragic at the same time.
Hailed as one of the finest debuts of the '80s, Rattlesnakes is without a doubt a College Rock masterpiece of smart, ironic lyrics and sympathetic Folk-Rock-based melodies

Madrugada is the sixth and final studio album by the Norwegian band Madrugada, released in 2008.
The album was produced by Madrugada and John Agnello who also produced the band's 2001 release The Nightly Disease [MOVLP1506]. The album was largely recorded in the United States. Finishing touches and mixing was done in Svenska Grammofon Studio in Gothenburg, Sweden.
Despite the sudden and tragic death of guitarist Robert Burås during the recording of the album, Sivert Høyem and Frode Jacobsen soon decided to continue with the completion of the release. The majority of Burås' guitar parts had been recorded when he died, and the rest of Madrugada stated that finishing the album was like therapy for them.
The band announced that they would embark on one final tour and they performed their last ever concert on 15 November
2008 at Oslo Spektrum.

* 180 gram audiophile vinyl
* Gatefold sleeve / 6 page insert
* Printed innersleeves

Industrial Silence is the debut album by Norwegian alternative Rock band Madrugada. The album contains the singles "Electric", "Higher" and "Beautyproof" plus live favourite "Vocal".

The album kicks off with the majestic "Vocal", with its dense and thick guitar sound and singer Sivert Høyem's distinctive crooning on top of it all. What's really impressive on this album, besides the quality of the songs, is guitarist Robert Burås' creative and versatile playing. He plays everything from country-like slide guitar leads to fierce punk rock power chords, gentle acoustic strumming, and something not unlike flamenco on the apocalyptical "Salt".

Madrugada, although having successful singles and EPs on the Norwegian charts, are most definitely not a singles band. Their strength is not catchy three-minute pop songs, it is their epic, melancholic ballads like "Electric" and "Shine," and intense rockers like "Higher," that make Madrugada stand out.

Built To Last is the fourth full-length studio album and the second major label release by New York Hardcore Punk band Sick Of It All, released in 1997.
Built to Last was the result of a year's work for Sick Of It All, with pre-production beginning around late 1995/ early 1996. The recording took place in Normandy Sound studio in Warren, Rhode Island (where their first three
albums had been recorded, including Scratch The Surface
[MOVLP992]) and in two studios in California.
Featuring the anthems 'Good Lookin' Out', 'Us vs. Them'
and 'Buil'. Circle pit!

Finally available again, a reprint of one of the most important and rare Italian rock album of the 70s, all thanks to Cinedelic Records. THE UNDERGROUND SET in reality are the NUOVA IDEA under a different name for contractual reasons. They also produced under the name PSYCHEGROUND GROUP another cult LP back in those years. "War in the night before" was produced in 1971 by Maestro Gianfranco Reverberi, (a sample from one of his earlier songs is the basis of Gnarls Barkley' 'Crazy"), who also signs the composition of the songs under the name of Ninety. This is the second album and is definitely heavier than the first, with fuzz guitar, organ / mellotron and drums in evidence. Some riffs in a Black Sabbath style anticipate what decades later will be defined as STONER ROCK. Psychedelia, Beat, Rhythm & Blues, and Progressive rock are all mixed in these instrumental tracks with some polyphonic choirs typical of Genovese prog (such as the New Trolls more than other). Reissued in a hard cover with laminated front and matte back. Includes download with full album plus 6 rare songs from single 7" (1970/1).

REPRESSED ON VINYL IN TIME FOR XMAS, ALL PREV BACKORDERS CANCELLED
Re-cut and re-plated

In The Red is having the finest form of any record label in many many years...and at the end of april will be releasing the new recordings from John Dwyer's combo...If you've followed the San Francisco underground for the past ten years, you might already be familiar with John Dwyer. Or-tastes depending-you might not know him at all. A friend and devotee of preeminent Providence noise rock act Lightning Bolt, the majority of Dwyer's repertoire falls on the indie spectrum's more visceral wavelengths. He was Pink in Pink and Brown, fronted Coachwhips, and played guitar in the dysfunctional Hospitals. If you're unfamiliar with or in search of a refresher, you can search YouTube for a crash course on any of these bands. Some popular tags are: "garage," "punk," and "sweat." If you like what you see, do yourself a favor and check out Dwyer's newest band, Thee Oh Sees. "Newest" because they've only been around for six albums-albeit in different incarnations, under several different names (OCS, the Oh Sees, et al.) with several different sounds. Formed in the wake of his more volatile commitments, Thee Oh Sees started as an extension of Dwyer's softer side. Their early recordings were somber and beautiful. Last year, Thee Oh Sees made an unexpected turn, delivering their wildest, weirdest, hardestrocking record yet with The Master's Bedroom Is Worth Spending A Night In. Now Thee Oh Sees have followed it with an even wilder, more hard-rocking record, Help. Recorded by Chris Woodhouse (the A-Frames, Mayyors), Help draws straight, dark lines to both the British psychedelic rock of bands like The Creation and the caveman thud of The Troggs while a Cramps-like appreciation for rockabilly lies not far below. The album weaves Dwyer's signature AM radio howl with the catchiest of driving tunes, Brigid Dawson's gorgeous harmonies, heightened fidelity, thick spring-reverbed bombast, mighty drums, and an undeniable pull. The result is a sound somewhere beyond nostalgia, beyond the garage, beyond the fireside song and supposed goo-rock. Modern rock 'n' roll records don't come much better than this and Thee Oh Sees are one of the best bands going.

San Francisco's incredibly prolific Thee Oh Sees are back with another full-length album of original tracks plus a smattering of covers. While the group's previous releases on In The Red, Help and Warm Slime, showcase their amped-up, reverb-drenched garage-psych pummel, on Castlemania, John Dwyer and company take a more lowkey approach. Dwyer himself describes Castlemania as "summer-y and poppy"; on many of the tracks, electric guitars are jettisoned for acoustic, and the normally echo-laden vocals are a bit clearer. Happy pop melodies, sweet and somber tunes, psychedelic moves galore, cover versions of The Creation and the West Coast Pop Art Experimental Band, and at least one garage stomper all rub elbows on Thee Oh Sees' "sunshine pop" album. Its release couldn't be more perfectly suited to the time of the year when the sunny skies return and the flowers start blooming. The vinyl for Castlemania is a three-sided double LP housed in a beautiful gatefold sleeve with a fourth side featuring an etching by William Keihn, who also did the fantastic cover art. Watch for Thee Oh Sees to return later this year with another full-length of pulverizing, heavy stomp. In the meantime, relax and enjoy Castlemania. Latest full-length from prolific San Francisco band is their "sunshine pop" Album.