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In the mid-1970s Parisian composer and multi-instrumentalist Thierry Müller began operating primarily under the Ilitch moniker. Juxtaposing dark, electronic soundscapes and solo guitar improvisations, Ilitch created some of the most enduring music of the era. It comes as no surprise that Nurse With Wound included Müller on their famed list of influential avant-garde artists.

Originally released on Oxygene Records in 1978, Ilitch's debut Periodikmindtrouble was a shot across the bow for the French underground scene. Comprised of instrumental four-track recordings made in Müller's dorm room, the album features gritty tape loops, analog synth swells and angst-ridden guitars. "Sequence 4" fills the stereo field with eerie harmonium and kosmische textures, while the side-long title track is a bona fide organ soliloquy, exploring both abrasive and ambient sonorities. "Derriere La Fenetre (Behind The Window)" dives deeper into acoustic patterns to reveal the expressive quality of Müller's singular style. Periodikmindtrouble lays the groundwork for an impressive body of work that has grown only more unsettling over the past three decades.

This first-time vinyl reissue comes with gatefold jacket and is recommended for fans of Cluster, Fripp / Eno and Heldon.

In his typically laconic, incisive manner, Jack Chosef says that Water&Fear was "influenced by the panorama function of my smartphone, motorbikes & landscapes." The idea of Smartphone Panorama music really captures what separates the EP's drum-centered sound from its Motorik antecedents - while that propulsive motion supposedly invoked a smooth ride on the autobahn, a relentless progression into the future, Water&Fear sounds a lot like an impromptu panorama shot taken from the road - extended, flowing, but jaggedly glitch-stitched together where the turbulence of the journey disrupts the technological illusion of faultless continuity. That jagged quality is provided by the agitated chopped and pitch-shifted vocals, which, previously only a background effect, now take a prominent role - an addition which dramatically expands Chosef's powers of song construction.

If the styles of 'Krautrock' highlighted by the British music press allegedly put the strangeness of West Germany's 'economic miracle' into sound, then Water&Fear is a kind of post-industrial update to them. Not that this is gloomy or pedantically conceptual music - the tone is of amiable curiosity in the face of one's own pervasive anxiety: "Hard to Be," which sounds like a theme from the soundtrack of a Giallo film set on a space station, "is about missing a person while standing beside that person," while the wavy title track meditates on the curious surge of sweat that comes with an inconsequential visit to a roller coaster. Other highlights include the broken cassette deck Disco of "Rational" and the exceedingly catchy "My Fault," where thick buzzy synth chords interplay with the bass line's churning bubble underneath a yelped chant of self-castigation:"It's always my fault, oh yeah!"

Jack Chosef's background as a drummer continues to show through his music and the focus on rhythm is both what allows Chosef to remain untethered to any particular genre, and what allows it to linger on worry without being pulled under: it cuts to the simple truth that as long as there's a beat, you're alive.

Palais Des Bauzards persued an industrial and electronic variant of the sound that swept into vogue during the first half of the '80s. This compilation digs into the original material provided by the band and offers an amazing selection from start to finish. The sometimes rudimentary though gripping tracks tracks on the first side are emblematic for their early period, for example 'Money' a song driven by a screeching rhythm box, distant guitar lines and a nonchalant voice. Cabaret Voltaire comes to mind. They're not afraid to experiment and to explore new horizons (the track 'Lies").

The second side shows a more developed dark wave sound with 'In The Grassfield' and "Knowing Too Much' both produced by legendary Belgian producer Ludo Camberlin. There are even two dark goth rock stomper hidden in the selection, they hide by the names 'My Life Is A Sin' & Eat Out Of My Hands'. Overall it's a broad selection of tracks which show the capability of the band to do something different with the new wave genre.

Initially the group was formed in 1983 in the Belgian city of Leuven by Danny Jacobs, Dirk Van Regenmortel, Chris Serré (+2006), Frank De Wit and Rudy Stuyckens. In 1983 they released two tracks on the Mask Live LP together with Front 242. In the three following years many of their home recorded tracks were published on a bunch of cassette labels. Since the beginning of the 21st century, many Palais Des Bauzards tracks can be found on playlists around Europe and the USA and are being reissued on LPs. Most recently on the compilation albums Underground Wave Vol. 4 and Distant Waves.

In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance.

As Byron Coley writes in the liner notes, "Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was) with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!"

Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as "The Pink Album" for its magenta-hued cover design. Frontwoman Penelope Houston's iconic voice and razor-sharp lyrics resonate on anthems "We Are The One" and "The American In Me," while penetrating ballads like "Corpus Christi" reveal a truly out-of-body euphony.

The Pink Album remains The Avengers' definitive statement - collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, "The word I always come back to is mystical, and that remains almost theirs alone."

Formed in mid-1990's and late 1990's respectively, KRIEG and THE BODY met in the mid 2000's, being different sonically but sharing a bleak world view and inspirations musically far outside of the genre of metal. When NEILL JAMESON (sole constant member of KRIEG) showed up to MACHINES WITH MAGNETS with only a acoustic guitar and a few pedals, members of THE BODY knew the collaboration would be something really different. Written and recorded during the long sessions of both Christs, Redeemers (THRILL JOCKEY) & I Shall Die Here (RVNG), the end result is a blackened industrial crush of noise and anguish.

Noise, dirge, triggered percussion w/ Kings screeches and Jameson's growls take the audience to the BOTTOM OF THE BOTTLE, BOTTOM OF THE RIVER. Crawling booms, chimes, roars, and moans to static plodding low-end and hopelessness moves to industrial tones, accusing roars. Erie keys, wails of misery lead to brief period of sonic chaos and pure madness. Madness leads the listener lumbering down the final path, complete with discordant percussion, electronic beeps, forlorn screams, cavernous blows, and ending in the sounds of the otherworldliness!

The whole package is completed by the amazingly realistic charcoal drawings and design of Jason Bartell (also of FANG ISLAND fame).

EINZIGARTIGE CREAM COLLECTION - ZEHN 7"-SINGLES IN EINER DELUXE BOX im Dezember 2015 erscheint dieses grandiose Boxset mit allen zehn in Großbritannien und den USA veröffentlichten 7"-Singles des außergewöhnlichen Powertrios Cream. Die Songs bieten einen Einblick in die fantastischen Abenteuer, die einen auf ihren Alben erwartet. In dieser Sammlung präsentieren wir die wunderbaren Monoaufnahmen, die lange Zeit nicht erhältlich waren. Alle Singles wurden mit schönen, individuellen Hüllen versehen und befinden sich zusammen mit einem exzellenten Begleittext zu jedem einzelnen Song, geschrieben von der angesehenen Musikjournalistin Daryl Easlea, in einer speziell gestalteten Box.

Ooooooweeee!!! is the third album of singer Dusty Springfield, released in 1965. The album includes the hit single 'Losing You'. Even more so than Springfield's two first albums, Ooooooweeee!!! can be considered as a compilation since it comprises tracks both from her British debut album A Girl Called Dusty as well as recordings originally issued on various A- and B-side singles and EP's - recorded and released in the UK over a period of some eighteen months.

The album also features tracks from Springfield's September 1964 sessions in New York, produced by Shelby Singleton Jr, some of which would remain unreleased in her native Britain until the late Nineties.

Izzy Stradlin was always the most gifted member of Guns N' Roses, able to put a modern spin on the classic Rock of Chuck Berry, the Stones, and the Faces, as well as the New York Dolls and Sex Pistols. Axl may have had the angst and Slash may have had the chops, but Izzy had the smarts and the heart.

On his debut solo album, released in 1992, the traditional elements that had always formed the backbone of Stradlin's music with Guns N' Roses comes to the forefront. Unlike future albums released by Stradlin, this one was released under a band name: Izzy Stradlin and the Ju Ju Hounds.

The album spawned two Top 20 Rock radio hits: 'Shuffle It All' and 'Somebody Knockin''.

Shortly after the release of her fantastic debut solo album, Joan Jett rolled into NYC with her Blackhearts for a fantastic live show at the end of 1980 with Runaways tracks, a Bowie cover, along with a buncha killers off the debut LP. A classic live set.

The mid-to-late '60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable.
It was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom.

The second of his MGM trilogy-1967's peculiarly named Lee Hazlewoodism: Its Cause And Cure-took on countrified French ye-ye ('The Girls In Paris'), a tale of a young bullfighter built on Spanish guitar and choral cowboys ('Jose'), a string-drenched song about the passing of time ('The Old Man And His Guitar'), and a western epic about a Native American tribe ('The Nights'). And that was just the first four tracks. Elsewhere, the honky tonk madness of 'Suzi Jane Is Back In Town,' the Byrds-like jangle of 'In Our Time' and-in the bonus tracks-an instrumental named 'Batman' confirm this to be one of Hazlewood's most far-ranging, far-out LPs ever.

It's the result of two main factors: ambition-to top Phil Spector, primarily-and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. 'I think the big sound of those records came out of the Spector thing,' says Hokom, in the new liner notes. 'If you can have a big sound and you have money to burn... it was a flamboyancy.'

Released before the Nancy & Lee LP-a bona fide hit for Reprise Records-Hazlewoodism was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the LHI imprint, and was busy building his own empire-one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus predecessor, The Very Special World Of Lee Hazlewood and follow-up, Something Special. Welcome to Hazlewood's magnificent-and mad-MGM years.

The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood.
He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the "boy/girl' songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when 'These Boots Are Made For Walkin'' made him a star songwriter) had become.

The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label-experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like 'Little War' and 'Hands,' the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world.

The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his 'expensive demos. I'm sure that MGM thought that they would be successful.' Little chance of that with Something Special-it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best-and most varied-work.

Major Accident's very first recorded material, back from 1981. A warm-up of sorts before their classic first studio album 'Massacred Melodies', chronicling these 'clockwork punks' as they fine-tuned themselves on originals like 'Sidelines' and 'Self Appointed Hero', along with cover versions of the Clash, Stiff Little Fingers, Ramones, and Sham 69. This is Major Accident at their rawest and most primitive: 100% fun and fast-paced punk rock from the glory days!

Live FM broadcast from these Texas metalheads at the peak of their powers promoting their extremely successful ''Vulgar Display Of Power' from 1992. All the classics on here!

Headlining the 25th anniversary Woodstock Festival, the Chili Peppers blazed through a whole buncha classics from their 1991 epic, Blood Sugar Sex Magik, amongst others. Essential live material for all fans of 90s alternative, a legendary live set.

A collection of the earliest singles ('Yesterday's Heroes', 'One Law For Them', and ' Low Life', from 1981-1982) along with a few of the most representative hyhmns from the most epitomal OI! band ever, all packed onto one vinyl LP. A full retrospective on their early era, this is 4 Skins at their absolute top, and a must for all skinheads out there.

Das britische Label Ninja Tune begrüßt mit Technicolour ihr neuestes Imprint. Den Auftakt macht Raisa K, Keyboarderin der Formation Micachu And The Shapes. Gemeinsam mit ihrem Bandkollegen Mica Levi fertigte sie unter dem Pseudonym m.a.t.h.e.s bereits Remixe für u.a. The Streets, Metronomy oder The Invisible an. Nachdem Raisa K bereits 2011 mit der Red Bull Music Academy in Madrid unterwegs war, entschloss sie sich auch eigene Tracks zu produzieren. Musikalisch bewegen sich die sechs Stücke der "Feeder EP" irgendwo zwischen Electronic und Post-Dubstep.

A Very limited edition 7' taken from Kurt Cobain Montage Of Heck album featuring a cover of a Beatles track 'And I Love Her' + early demo 'Sappy'.


The highly anticipated soundtrack album KURT COBAIN - MONTAGE OF HECK: THE HOME RECORDINGS was released on CD, cassette and digital formats on November 13th, 2015. This 7-inch single features 'And I Love Her' (The Beatles cover) and 'Sappy (Early Demo)'. Hailed as one of the most innovative and intimate documentaries of all time, KURT COBAIN: MONTAGE OF HECK is the only fully authorised portrait of the famed music icon. Wildly creative and highly praised, the documentary follows Kurt from his earliest years in this visceral and detailed cinematic insight of an artist struggling to come to terms and make sense of his place in the world.

SILBERMOND gehören zweifelsohne zur Top-Riege deutschsprachiger Pop-Rock-Künstler. Die erfolgreichste deutsche Band mit Frontfrau verkaufte bis heute mehr als fünf Millionen Tonträger, erhielt dutzende von Gold- und Platin-Awards und wurde unter anderem mit sieben ECHOs ausgezeichnet.
Drei Jahre nach ihrem letzten Studio-Album "Himmel auf" und ihrer ersten Best-Of in 2014 melden sich SILBERMOND jetzt zurück und präsentieren auf ihrem nunmehr fünften Studio-Album "Leichtes Gepäck" zwölf große deutsche Pop/Rocksongs. Die Stücke entstanden im bandeigenen Studio in Berlin und wurden in Nashville/USA eingespielt - einem Aufnahmeort, der die Weiterentwicklung des charakteristischen SILBERMOND-Sounds entscheidend mitgeprägt hat.
Bereits die erste Single "Leichtes Gepäck" konnte sich als höchster Neueinsteiger in den Airplaycharts seit 10 Wochen positionieren.
SILBERMOND sind zurück - freut Euch auf ein Album voller Hits und gemeinsamer Erfolge!

Sundazed deluxe, gatefold double-LP collection of 36 amazing Everly-composed selections, recorded as publishing demos during the Brothers' tenure at Cadence Records. At the peak of their abilities both as performers and writers—most tracks feature only the Everly's voices and guitars. Hear familiar songs like 'Maybe Tomorrow' and 'When Will I Be Loved' near their genesis, along with many other strong works in the sweet romantic style in which the brothers specialized.
Sundazed is proud to present the world's first-ever vinyl collection of these historic, legendary recordings!

The Viper Label started trading in January 1999. To celebrate our 100th release and 15 years at the forefront of Liverpool music, it is our pleasure to mark the occasion with the release of Viper 100.
This album features favourites from various Viper albums and compilations- illustrating the inspired, dynamic and varied work of some twenty Liverpool Groups and Singer Songwriters.
Artists included here are Viper founders Mike Badger and Paul Hemmings, (The La's & The Lightning Seeds), The Stairs, (featuring Edgar Summertyme), Tramp Attack (featuring Dave McCabe of the Zutons), Tommy Scott (Space/The Floatation Project), the Hokum Clones and many more....

Getting to This was the second album by British blues-rock band Blodwyn Pig, released in 1970. The album was the band's last until a brief reunion in the 1990s: Peter Banks joined from Yes after the recording of Getting To This, but the band split up at the end of 1970. The album reached 8 on the UK album chart.

Cactus is the debut album by the American hard rock band Cactus, released in 1970 under the Atco label. It includes original songs as well as cover of Mose Allison's version of a blues standard, "Parchman Farm" and another one, Willie Dixon's "You Can't Judge a Book by the Cover".

Second Album was the second album released by British rock group Curved Air. It reached No. 11 in the UK Charts on 9 October 1971, and "Back Street Luv" became a UK No. 4 chart hit on 7 August 1971.

Both variations of the album cover include a rainbow, a reference to the album A Rainbow in Curved Air, from which the band took their name.

For the first time ever, Gong's quintessential trilogy comprised of the albums 'Flying Teapot', 'Angels Egg' and 'You' are newly remastered from the original tapes and gathered together in alavish deluxe Box Set and EarBook editions, released worldwide by BYG / Charly Records.

Maintaining the incredible sound quality and repackaging of 2015's critically acclaimed 'Camembert Electrique'CD and LP remasters (BYG CHARLYX680D / BYG CHARLYL117) each 180-gram heavyweight audiophile vinyl LP has been mastered from the original tapes and cut pure-analogue to lacquers by Matt Colton at Alchemy Studios

The 3-LP Box Set features exclusive content including four impossibly-rare and out-of-print promotional booklets full of Gong-founder Daevid Allen's illustrations, his complete trilogy narrative, lyrics and philosophy reproduced as facsimile editions together with a packed full-colour booklet that includes Daevid's original LP artwork, full band line-ups, credits, rare photos plus new, in-depth sleeve notes by Mojo magazine's Mark Paytress.

Dedicated to the memory and ongoing legacy of Daevid Allen, Radio Gnome Invisible Trilogy will be released to coincide with Gong's 'You Can't Kill Me' series of concerts in the UK and other territories around the world.

San Francisco psychedelic band Salvation was formed in 1967 by singer Al Linde and guitarist Joe Tate, who first met while students at the University of Washington. Bassist Artie McLean, keyboardist Art Resnick, and drummer Teddy Stewart later completed the original lineup, which at first called itself the New Salvation Army Banned. After earning featured spots in a series of concerts in Golden Gate Park, the band signed to ABC Records, albeit on the condition they abbreviate their name for fear of legal action from the actual Salvation Army. Salvation's self-titled debut LP followed in 1968, boasting an expansive, eclectic sound highlighted by the first single, "Think Twice.".

This is a very rare recording by a great Kiwi pychedelic rock / blues band from the early 70's.

In February 1971, when the Underdogs, whom at that time consisted of Harvey Mann, Glen Absolum and Neil Edwards, released their "Wasting My Time" album.

Pity they didn't get a chance to record more material.

SPONTANEOUS COMBUSTION is another obscure late Psychedelia British band that would have been forgotten if Greg Lake wouldn't have produced their first album, not because they were bad, by the contrary they were pretty good, but they joined in 1971 when adventurous listeners were expecting something more than just the old formula of British Psychedelia .

Groundhogs are an English band born in 1962. In the 60's they were among the pioneers of the British blues revival . The group moved on with their music becoming more rock based in the early 70s and had in place three albums consecutively in the top British Top ten between 1970 & 1972.

A song title like 'Ready to fly' actually gives you all necessary information to categorize the album in your hands as psychedelic spacerock that certainly makes you recall the ancient days of the 1970s when HAWKWIND ruled and LSD was the hot shit to get up from the ground and trip through open space. 'Ready to fly' is for certain one of these typical up tempo space rock songs with a straight and hypnotic beat, oscillating synthesizer lines, swishing distorted guitars and monotone chants buried under layers upon layers of echo effects. What has been great in 1972 can still capture your spirit more than forty years later. But there is more behind this album than meets the ear. It begins with a four minute long drone entitled 'Kâ' made of sitar sounds coupled with swirling synths and strange voice samples. Next comes 'Ready to fly' as the prototypical space rocker followed by 'Take a long walk', which could not be more different then. Here we have folky psychedelic music that flows gently with a haunting, melancholic melody and some fine guitarleads lost in reverie. Early P.F. during their days as the hottest band in the London underground club scene in 1967 come to my mind. And we move on from here to heavily grooving yet utterly washy and simmering power rock with vocals that mill into your mind and back to these gently floating psychedelic folk with guitar sounds that feel like whale chants, swirling synthesizer noises in the back, dark and melancholic vocal harmonies. You want your space and heavy psychedelic music colorful, viola, these French trippies deliver the goods in a way that will please every acid rock fundamentalist who concentrates on the 60s and 70s scene as well as all the desert rock aficionados who were born too late for the freak outs in Swinging London back in the day. And be sure, this is much more than just a record full of music. This is the key to unlock the gate to a world of color, joy and passion where love can be felt as a physical force. The 1960s garage psyche of bands like THE THIRD BARDO, the acid outbursts of the embryonic P.F. and HAWKWIND's straight ahead space rock drive combined could hardly match with the music of their heirs.

Body Count is an American metal band formed in Los Angeles, California, in 1990. The group is fronted by rapper Ice-T, who co-founded the group with lead guitarist Ernie C. out of their interest in Heavy Metal music. Ice-T took on the role of vocalist and writing the lyrics for most of the group's songs. Lead guitarist Ernie C has been responsible for writing the group's music. Their self-titled debut album was released in 1992, of which the song 'Cop Killer' was the subject of much controversy.

The Smoke Out Live album is something of a trip down nostalgia lane. Nostalgia For a group whose best songs were 'KKK Bitch' and 'There Goes the Neighborhood' Absolutely. This live performance is a warts 'n all deal. Body Count's appeal to hip hop fans and metal fans alike has two things going for it: Ernie C is a powerful guitarist and Ice-T's heavy handed hardcore rap style lends itself well to crunchy beats and high octane drumming. His rap versus singing style makes him a pioneer in the Nu Metal style.

Legendary Dutch Rock band Golden Earring celebrate their Fiftieth Anniversary, and they celebrate in style by releasing a new EP called The Hague, a homage after the city where the quartet originates from.

Initially called The Tornados when the band was established in 1961, they changed their name to The Golden Earrings a year later. Their first 1965 single 'Please Go' became a national Top 10 hit. The band ultimately shook the world in 1973 with their monster hit 'Radar Love', which charted in the top ranks on the US Billboard Hot 100.

Now, just in time for their Anniversary concert in the Ziggo Dome in Amsterdam on Dec 12th, the mini album The Hague contains five new Rock songs written by Barry Hay, George Kooymans, Rinus Gerritsen and Cesar Zuiderwijk. The band members describe the songs as 'sounding new, but typical Golden Earring'.

Also a number of books about the band are in the works. And last but not least, there's a documentary coming up on the legendary band, to be aired on Dutch national TV on Dec 4, 2015.

Richard Hawley follows his hugely successful UK tour with the release of 'I Still Want You', the second single to be lifted from his massively acclaimed new album 'Hollow Meadows'. The single includes a beautiful live, acoustic recording of album cut 'Tuesday PM' on the b-side.

Soundgarden feiern das 20-jährige Jubiläum ihres bahnbrechenden Albums Superunknown mit einer neuen LP-Ausgabe des Meilensteins, bestehend aus zwei 180-Gramm-Vinylen im aufklappbaren Cover, auf denen sich die 16 Tracks der ursprünglichen Doppel-LP befinden.

Superunknown gilt als Soundgardens Meisterwerk. Mit ihm definierte die Grunge-Band aus Seattle 1994 den Alternative-Rock neu und stellten Weichen in der Musikgeschichte.

Die Albumtracks 'Black Hole Sun' and 'Spoonman' gewannen 1995 zwei Grammy-Awards. Superunknown war ebenfalls in der Kategorie Best Rock Album nominiert. Es wurde in den USA mit fünffachem Platin-Status ausgezeichnet, hat weltweit um die neun Millionen Exemplare verkauft, und ist damit Soundgardens kommerziell erfolgreichstes Album. 2003 reihte das Rolling-Stone-Magazin es in seine Liste der 500 Greatest Albums of All Time ein und platzierte es unter den 100 Greatest Albums of the Nineties.

Hier kommt eines der wichtigsten Rock-Alben der 1990er im Original-Doppel-LP-Format zurück, auf 180-Gramm-Vinylen im aufklappbaren Cover.

Shangri-La Dee Da is the fifth studio album by American Hard Rock band Stone Temple Pilots. It was produced by Brendan O'Brien and released in 2001. The album was certified Gold.

While recording the album, the band also worked on a documentary and coffee table book. Neither was released, however, and limited footage was made available through the band's official website in the form of live performance-based music videos.

The album's most successful song 'Days of the Week' was only being performed at a handful of dates on the supporting tour for the album. However, the album's second single 'Hollywood Bitch' has become a staple of the band's live set ever since their 2008 reunion. In 2011, the song 'Black Again' was added to STP's setlist, and was performed for the majority of the tour. 'Bi-Polar Bear' was also performed occasionally, after the band reunited in 2008.

The world turns. Fashions change. Bands rise and fall. But you can't stop the boogie.

Fifty years after Canned Heat was founded by blues scholars Bob 'The Bear' Hite and

Alan 'Blind Owl' Wilson in Topanga Canyon, California, the West Coast legends just keep

rolling on down the road.

Until they pull up in your town, there's "Live 2015". This live recording finds the modern Canned Heat lineup on blistering form, shaking Bonn's Harmonie club with a 14-song set driven by the boogie groove that's practically a strand of rock 'n' roll's DNA.
Led from the back, as ever, by iconic drummer and guardian-of-the-flame Adolfo 'Fito' De La Parra, the rhythm section is given further pedigree by Sixties bassist Larry 'The Mole' Taylor. On lead vocals and harp, give it up for New Orleans legend Dale Spalding, while John 'JP' Paulus capably covers guitar duties for Woodstock-era bandmember Harvey 'The Snake' Mandel (as he recovers from recent health issues). "It's a capsule," explains manager and producer Skip Taylor, "of where the band was at on that particular night."

Die Verboten are a Space Rock band formed by David and Stephen Dewaele of Soulwax, Fergus Fergadelic' Purcell and Henry Riton. This is the first album from Die Verboten, written and recorded in 2007, rediscovered and mixed in 2015. This LP consists of five tracks, Dafalganger', White Island', E40', Nacht Winkel' and Aquarius'. It is the sound of classic German kosmiche, live drums, synths, percussion and a loose funk you only find in these kind of stretched fluid grooves. The album was produced by Die Verboten and recorded and mixed at Deewee. Artwork is by Ill Studio / Fergadelic. Die Verboten's debut EP Live In Eivissa' was released in 2009 via London's Vinyl Factory (now selling for over £100 on Discogs) and was recorded poolside in Ibiza.

The second disc contains eight bonus tracks, 'Angels & Devils' recorded at The Automatt in San Francisco and was the b side to the 'Silver' single. Five tracks from the Life at Brians - Lean and Hungry Sessions including a cover of Lennon and McCartneys 'All You Need Is Love' which were recorded for Channel 4 programme 'Play At Home' and two live tracks 'My Kingdom' and 'Ocean Rain' recorded for A Crystal Day and Channel 4 special for The Tube.

The band wrote most of the songs for Ocean Rain in 1983. Then in early 1984 they started sessions for the album in Les Studio des Dames and Studio Davout in Paris using a 35 piece orchestra, assisted by Adam Peters for string arrangements and Henri Lonstan at des Dames as engineer. Other sessions took place back in the UK in Bath and Liverpool. McCulloch infact re-recorded most of his vocals back in Amazon Studio's in Liverpool as he was unhappy with the Paris sessions.

Continuing the bands prominent use of strings which were used so successfully on 'Back Of Love' on Porcupine, Will Sergeant describes 'Ocean Rain' as 'something conceptual with lush orchestration; not Mantovani, something with a twist, dark and stormy, battering rain; all of that'. It was indeed a brave move by a band with its very roots firmly stuck in rock'n'roll.

Martyn Atkins again designed the cover with Brian Griffin the photographer. With the band wanting continue the elemental theme of the previous three albums, the shot used for the front cover is a picture of the the band in a rowing boat which was taken inside Carnglaze Caverns, Liskeard in Cornwall. In his 2002 book on the Bunnymen author chris Adams describes the cover as 'a perfect visual representation of arguably the Bunnymen's finest album'.