In 1993 the French funk rock collective FFF (short for Fédération Française de Fonck) followed up their debut album with Free For Fever. The band went to the UK to record the album. This time there was significantly more rock and metal influenced compared to its predecessor, but the funk (or rather, the Fonck) is still ever present.
For production they got help from Mark Wallis who worked with Talking Heads, R.E.M. and The Smiths. Especially in France the album was a great success.
After being out of print for over a decade, Free For Fever is finally back on vinyl, as a limited edition of 1000 copies on white vinyl, Included in the package is a 4-page booklet.
In 1996, FFF (short for Fédération Française de Fonck) released their third studio album, the selftitled FFF.
After experimenting with English lyrics, singer and songwriter Marco Polo almost fully returned to writing in French for this album. The band also recorded the album in Paris instead of the UK. The album remains a firm favourite among fans and is highly sought after on vinyl.
FFF is available as a 30th anniversary edition of 1000 copies on blue vinyl and includes a 4-page booklet.
Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.
Between The Richness effectively picks up where Springtime & Blind left off, as Flynn dives headfirst into that same subject. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”
Between The Richness explodes with an energy that usurps that of Springtime & Blind. The guitar riffs of Dow and Henery are their most anthemic and combustive yet, making songs like “The Years,” “Get My Mind Right,” and “Down University” not just serve as the backbone for Flynn’s personal ruminations, but empathetic, emotional musical stabs that hit the listener just as hard. Meanwhile, Costa and Nealon give the songs a propulsive heft, allowing a track like “Million Times” to dart into unexpected territories without ever feeling alien
Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.
Between The Richness effectively picks up where Springtime & Blind left off, as Flynn dives headfirst into that same subject. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”
Between The Richness explodes with an energy that usurps that of Springtime & Blind. The guitar riffs of Dow and Henery are their most anthemic and combustive yet, making songs like “The Years,” “Get My Mind Right,” and “Down University” not just serve as the backbone for Flynn’s personal ruminations, but empathetic, emotional musical stabs that hit the listener just as hard. Meanwhile, Costa and Nealon give the songs a propulsive heft, allowing a track like “Million Times” to dart into unexpected territories without ever feeling alien
Gibt es etwas, was Iren und Franken gemeinsam haben? Eine ganze Menge! Da wäre wohl zuallererst eine ganz besondere Heimatverbundenheit und die Liebe zu seit vielen Generationen überlieferten Traditionen, mit der man sich sowohl auf der Grünen Insel, als auch im rot-weißen Frankenland seinem Brauchtum widmet. Hinzu kommt eine gewisse sympathische Eigenwilligkeit, die Dinge auf seine Weise in die Hand zu nehmen. Und nicht zuletzt eine fast todesverachtende Geselligkeit, mit der Iren und Franken gleichermaßen unerschütterlich das Leben mit all seinen Höhen und Tiefen feiern Eigenschaften, die Fiddler`s Green seit mehr als drei Dekaden in ihrem mitreißenden High Power-Sound vereinen. Seit seiner Gründung im Jahr 1990 hat sich das Erlanger Sextett den Status als eine der beliebtesten, erfolgreichsten und beständigsten Formationen innerhalb der europäischen Folk Rock-Community erarbeitet. Eine bestens geölte Irish Speedfolk-Maschine, die sich nun mit ihrem neuen Studioalbum „The Green Machine“ auf dem Zenit ihres Schaffens zeigt! Schon während der Arbeiten an ihren letzten drei Alben begann sich die Idee zu „The Green Machine“ parallel zu entwickeln, zu reifen und schließlich ein Eigenleben zu führen. Gemeinsam mit dem bewährten Produzenten Jörg Umbreit (In Extremo, Grave Digger, Die Toten Hosen) entstand so in den vergangenen 36 Monaten in der Abgeschiedenheit des renommierten Principal Studios bei Münster ein lebendiger Organismus, der Fiddler´s Green nun von ihrer abwechslungsreichsten und vielschichtigsten Seite präsentiert. Zwölf Songs lang spannt die Band den stilistischen Bogen von ihrem liebgewonnenen Vollgas-Party-Sound über berührende Balladen und poppigere Stücke bis hin zu treibenden Midtempo-Rockern und sogar Country- und Western-beeinflussten Tracks, die man in dieser Form bisher noch nicht von den Erlangern gehört hat. 50 Shades of Green sozusagen, in denen die Fiddler jede Menge Energie mit einer beispiellosen Detailverliebtheit und einem hochprozentigen Storytelling verbinden. „Irish Speedfall“-2023: Ab Anfang November gehen Fiddler`s Green auf kurze Tour in Deutschland, bevor das Sextett das neue Album im Frühjahr 2024 auf ihrer großen „The Green Machine“-Tournee live präsentiert.
Der Duft der im Ofen brutzelnden Weihnachtsgans zieht
verlockend und schwer durch das Haus. Draußen tanzen die
Schneeflocken und verwandeln die Natur in ein
Winterwunderland. Der reichhaltige Plätzchenteller ist schon
längst aufgefuttert und verursacht eine bleierne Sättigung ...
Das Beste, was man in dieser Situation machen kann, ist
entweder der Gang ins nächste Irish Pub - oder aber das neue
Fiddler"s Green - Album einzulegen und sich auf eine akustische
Reise ins wohlig-rauhe weihnachtliche Irland zu begeben. Auf
"Seven Holy Nights" finden sich nahezu alle Klassiker der
englischsprachigen Weihnachtssongs. Von "White Christmas"
über "Rudolph, The Red Nosed Reindeer" bis hin zu "12 Days Of
Christmas" ist eine whiskey-geschwängerte
Weihnachtsstimmung garantiert! Auch Balladen wie "Danny
Boy" oder "Mull Of Kintyre" passen sich perfekt in die
musikalische Glühweinflucht ein. Dass Fiddler"s Green aber
auch durchaus selbst in der Lage sind, Weihnachtslieder mit
Klassikerqualität zu schreiben, zeigen sie mit "7 Holy Nights",
dem Titelsong aus eigener Feder. Augenzwinkernd wird hier
eine sehr ausschweifende Weihnachtsfeier im Hause Fiddler"s
Green geschildert - könnte man meinen. Für alle, die ihren
Heiligen Abend lieber im Pub als mit Tante Erna oder Onkel Willi
unterm ewig gestrigen Weihnachtsbaum verbringen wollen, ist
dieses Meisterwerk ein absolutes Muss!
Bone with Red Splatter Vinyl. New album from Field Medic, "surrender instead". surrender instead is everything a Field Medic fan could want and everything a Field Medic agnostic could need as a convincing sampler. The album returns to each checkpoint in Sullivan’s career thus far, documenting a twentysomething musician becoming a thirtysomething musician—an artist settling into what life exists just beyond the pale and oft-daunting demands of songcraft. This music does not adhere to one shape, and Sullivan is acutely aware of his own lore. He does not avoid well-trodden ground, but this is not the patchwork of old material that Floral Prince was near the dawn of this decade. These songs spawn from a never-finished nexus that hems the Field Medic universe together.
Field Music will release Limits of Language, their first album of new music for almost four years. Back in 2022, the touring cycle for the Flat White Moon album ended with a sense of finality. For the first time since the Mercury-nominated Plumb ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.
For this year"s RSD, Field Music will release Binding Time, a suite of new songs inspired by the formation of the Durham Miners" Association and performed with musicians from the NASUWT Riverside band.
Recorded and produced by Pink Floyd engineer Andy Jackson, the audio is via analogue transfer to 96khz/24 bit by John Dent at Loud, with vinyl mastering by Geoff Pesche at Abbey Road. Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The band"s unique sound, an apocalyptic fusion of Victorian underworld meets Sergio Leone Spaghetti Western, had an appearance to match (wide-brimmed hats, long duster coats and cowboy boots, usually black and smothered in white flour as a substitute for dust), and set them apart from their contemporaries. Elizium is one of their most beautiful albums and considered by many to be their best. As The Quietus wrote, "it was both their most accessible and their most experimental work, concluding and consolidating the Nephilim"s five-year shamanic journey. Lead-off single and opening track "For Her Light" featured a lengthy mid-section that anticipated the apocalyptic post-rock of Godspeed! You Black Emperor (unsurprisingly, it failed to chart), and the album featured some of the band"s hardest rock in the wah-overload of "Submission," as well as further incorporating dance elements - more successfully and organically than many of their peers, it must be said - on second single "Sumerland"." Louder Sound also called "Sumerland" their "greatest ever track".
Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The Nephilim was recorded in a former courthouse in the Somerset countryside where defendants who were sentenced to death were hung. "Moonchild" is the band"s best known song due to it reaching #28 in the UK single charts, and LouderSound called it a classic and said that it "perfectly encapsulates this era of the band: it has some nifty guitar work, great bass lines from Tony Pettitt, Nod"s stellar drumming and McCoy"s distinctive vocals." The song is named after a novel by Aleister Crowley, and there are several other nods to Crowley throughout The Nephilim. In a 2013 remembrance of the album, PopMatters said "The band"s sophomore effort, regarded not only as its best work but also as one of the UK goth scene"s masterpieces, is a seamless, hour-long trek into a surreal land populated by chiming guitars, hypnotic bass, found samples, and McCoy"s storytelling."
Formed in 1984, Fields Of The Nephilim is the creation of vocalist and front man Carl McCoy.
Highly influential, especially in the world of goth but also within the metal and electronic genres, their legacy endures to this day.
One can hear Fields Of The Nephilim’s influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves In The Throne Room, Behemoth and more. Carl McCoy has even been called the ‘Uncle’ of black metal.
Beggars Arkive are happy to announce a 30th Anniversary vinyl reissue of their third highly acclaimed album ‘Elizium’, released by Beggars Banquet in 1990.
Recorded and produced by Pink Floyd engineer Andy Jackson, the audio is via analogue transfer to 96khz/24 bit by John Dent at Loud, with vinyl mastering by Geoff Pesche at Abbey Road.
Pressed on dark green 180g vinyl.
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Gegründet im Jahr 1984, ist Fields of the Nephilim das Werk des Sängers und Frontmanns Carl McCoy. Die Band zählt zu den einflussreichsten Formationen der Gothic-Szene - ihr Einfluss reicht jedoch weit über das Genre hinaus und ist ebenso in Metal- und Elektronik-Kreisen spürbar. Künstler wie Swans, Godspeed You! Black Emperor, Explosions In The Sky, Wolves in the Throne Room und Behemoth führen ihre Inspiration auf das visionäre Schaffen von Fields of the Nephilim zurück. Ursprünglich 1987 veröffentlicht, markierte Dawnrazor das Debütalbum der Band und begründete ihren unverwechselbaren Stil aus düsterer Western-Mythologie, Gothic-Rock und apokalyptischer Atmosphäre. Nun erscheint dieses wegweisende Werk in einer neu gemasterten, definitiven Edition, gepresst auf weißem Vinyl und erweitert zu einem Doppel-LP-Set für verbesserte Klangqualität. Diese Veröffentlichung vereint erstmals alle 14 Albumtracks auf Vinyl, so wie es ursprünglich gedacht war. Der eröffnende Song enthält ein Sample des Ennio-Morricone-Themas "Man with the Harmonica" aus Sergio Leones epischem Western Spiel mir das Lied vom Tod (Once Upon a Time in the West). Der Song "Preacher Man" gilt als einer der größten Gothic-Tracks aller Zeiten. Louder Sound schrieb über den Titeltrack: "Sein langsames, bedrohliches Tempo, unheimliche, jenseitige Klänge und die herausragende Musikalität der Band heben dieses Stück auf ein neues Niveau."
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The studio album from 2002, remastered from original source files in 2024. Includes One More Nightmare, From the Fire, Fallen and Darkcell AD. Absent from vinyl for 10 years until the 2025 sold-out RSD release. Includes a bonus LP "Live in Roskilde 2000" not on vinyl before. New sleeve notes by gothic chronicler journalist Mick Mercer in a gatefold sleeve. Limited edition in transparent red vinyl.
Fievel Is Glauque ist eine von der Kritik gefeierte genreübergreifende Indie-Jazz-Rock-Band unter der Leitung von Zack Phillips (NYC) und Ma Clement (Brüssel), deren Sound von The Fader als "cosmic randomness" (kosmische Zufälligkeit) beschrieben wird. FIG unterschrieben 2023 bei Fat Possum Records und beeindrucken ihre wachsende Fangemeinde weiterhin mit seltsam-schönen Songs. Ihr zweites Album "Flaming Swords" (2022) wurde im Sommer 2022 an einem einzigen Abend in Brüssel live aufgenommen. Pitchfork feierte es mit einer 8.1 Bewertung und den Worten ab: "Berauschend, aber nicht spießig, präzise, aber nicht starr, dicht, aber nicht überladen und nachdenklich, aber nicht an guter Laune mangelnd."
Fievel Is Glauque ist eine von der Kritik gefeierte genreübergreifende Indie-Jazz-Rock-Band unter der Leitung von Zack Phillips (NYC) und Ma Clement (Brüssel), deren Sound von The Fader als "cosmic randomness" (kosmische Zufälligkeit) beschrieben wird. FIG unterschrieben 2023 bei Fat Possum Records und beeindrucken ihre wachsende Fangemeinde weiterhin mit seltsam-schönen Songs. Ihr 2021er Debütalbum "God’s Trashmen Sent To Right The Mess" verwebt Aufnahmen von rund 30 Musikern in fünf verschiedenen Bands zu über 20 Songs, die Jazz-Fusion, Pop, Lounge und Soul zu einer einzigen freudigen Vision vermischen.
(make of that what you will). FIG DISH were four high school friends: guitarists/ vocalists Rick Ness and Blake Smith, bassist/ vocalist Mike Willison, and drummer Andy Hamilton. In their day (a day that began in the late Winter of 1991 and ended in the early summer of 1998), they were known for catchy songs, memorable (often booze-fueled) live shows, and self-sabotage. In July 1995, FIG DISH's debut That's What Love Songs Often Do was released. And just like that, the band was catapulted from regional obscurity into national obscurity. MTV played the video for the band's first single, "Seeds" and FIG DISH toured the U.S. and Canada relentlessly with bands like Veruca Salt, The Muffs, Letters to Cleo, Juliana Hatfield, Local H, and The Rentals. In 1997, their sophomore album When Shove Goes Back To Push , was sunk by a risque music video for the single "When Shirts Get Tight" Featuring adult film stars that MTV refused to play and the band was dropped by an indifferent Polygram Records in the summer of 1998. FIG DISH returned from hibernation in 2024 with two sold out shows in Chicago and the release of Feels Like The Very First Two Times, the band's first "new" release in 27 years, collecting unreleased tracks recorded in the late 90s. On August 1, 2025, Forge Again Records reissued That's What Love Songs Often Do on vinyl for the first time, 30 years after the original CD release. The officially licensed 2xLP features white vinyl, reworked gatefold jacket art by Wall of Youth and vinyl mastering by Carl Saff. FIG DISH celebrated the 2025 re-release with live shows in Chicago and Milwaukee with old tour-mates Letters to Cleo and capped off the year with shows in Kenosha and Chicago with Local H and Fountains of Wayne.
FiXT is proud to present the debut vinyl release of Fight The Fade showcasing their highly anticipated album Isolationist on a blood red & black splatter vinyl LP designed by the band.
This hard-hitting collection of 12 tracks delves into themes of solitude and self-reflection, delivering a sonic storm that is both fierce and energetic, as well as raw and captivating.
Fighter V kehren mit ihrem neuen Album "Heart of The Young" zurück und liefern erstklassigen Melodic Rock, der Herzen höher schlagen lässt. Mit kraftvollen Riffs, eingängigen Melodien und markantem Gesang nehmen die fünf Vollblutmusiker ihre Fans auf eine unvergessliche musikalische Reise mit. Die Songs strotzen vor Energie, Emotionen und Leidenschaft, und spiegeln dabei die Entwicklung der Band wieder. "Heart of The Young" ist ein Muss für alle Fans von Bon Jovi, Nestor, Gotthard und Whitesnake.
12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans
Das dritte Album von Filter, The Amalgamut, wurde 2002 veröffentlicht und knüpfte an den Erfolg ihres Platin-Albums Title of Record von 1999 an. Das Album brachte Klassiker wie ”Where Do We Go from
Here” und ”American Cliché” hervor. Das Album hatte einen anfänglichen Erfolg und stieg auf Platz 32 der Billboard 200 Charts ein.
Das dritte Studioalbum von Filter, The Amalgamut, ist zur Feier des 20-jährigen Jubiläums des Titels zum ersten Mal auf Vinyl erhältlich. Nach dem Erfolg des Platin-Albums Title of Record aus dem Jahr
1999 brachte The Amalgamut aus dem Jahr 2002 die Fan-Favoriten ”Where Do We Go from Here” und ”American Cliché” hervor. Die Vinyl-Edition ist ein 2-LP-Set in einer Klapphülle mit bedruckten
Innenhüllen.
Brand new album from the Seattle cult band. Filth is Eternal's Find Out is the triumphant reawakening of one of Seattle's most energetic and committed bands. The new testimony whips forward with the force of a breakthrough and is a clear commitment to their own genesis with a deep awareness of themselves, their audience and the shared history
between them. The basic rules of the band: the immediacy must be in the foreground. The songs should have the power to ignite a pit in less than thirty seconds
Emerging from the ashes of the band Church Of
Void, there is a new force rising up to pursue a
path in the name of doom. Fimir are set to release
their blistering debut album, ‘Tomb Of God’.
Fimir were founded in 2019 by former Church Of
Void members G. Funeral, Magus Corvus, H.
Warlock, A.D. and Septic Apes’ drummer H.
Wizzard. From a mere spark in the dark and a
distant echo of forgotten riffs haunting in emptiness
from a collapsed doomstar of their former band,
Fimir got rid of their ghosts and started to work on
their first album right away, until the world went into
lockdown.
The five-piece collective, hailing from the frozen
wastelands of Finland, used their time and
creativity wisely, and managed to put the final
touches on their upcoming debut, featuring six
heavy cosmic tracks unleashing an enthralling
blend of razor sharp riffage, haunting occult vibes,
ambient atmospheres and classic doom metal.
For fans of Black Sabbath, Tiamat, Type O
Negative, Pentagram, Church Of Void, Reverend
Bizarre, Candlemass.
LP on cyan coloured vinyl.
Steeped in nocturnal, death rock adventurism, riven with a post-punk anxiety that feels increasingly like the twitching heart of our modern age, and driven by hardcore punk intensity, the second studio album from Boston’s FINAL GASP, titled New Day Symptoms, does what all great rock records do - not only does it place itself within a lineage, summoning up and amplifying a spectrum of powers from Rock n' Roll lore, it makes them resonate in the here and now. It gives voice to those fears and frustrations lurking just under the surface of waking consciousness and turns them into a rallying cry. Throughout New Day Symptoms, FINAL GASP create a potent reaction from the furious and the forlorn, frontman Jake Murphy’s vocalizes both a supercharged howl into the void and a remorseful echo back. But where the band’s 2023 debut, Mourning Moon, was a concentrated shot of acrid, underground death rock, its propulsion tanks largely filled with references to Samhain and Killing Joke, New Day Symptoms keeps all the core urgent energy while vastly broadening its scope. Through the anthemic, acid-corroded vistas of "Look Away" and gothic tub-thumping beat of "Gifted Shame" to "No Hand To Lead" channelling "Don’t Fear The Reaper" and its loping groove, New Day Symptoms takes the familiar into uncharted territory and makes the unfamiliar instantly, internally recognisable. With new space to explore, this is an album that feels a mapping of personal trials and dark recesses. Short: Boston's FINAL GASP return with New Day Symptoms - the new album steeped in nocturnal, death rock adventurism, riven with a post-punk anxiety that feels increasingly like the twitching heart of our modern age, and driven by hardcore punk intensity! FFO: Danzig, Killing Joke, TSOL, Lathe of Heaven, Poison Ruin, Gouge Away, Tribulation
Previously unreleased live soundboard recordings from this groovy group from the '60s San Francisco Bay Area scene. Along with The Sopwith Camel, The Beau Brummels, The Mystery Trend, The Great Society, Jefferson Airplane, The Warlocks and The Grateful Dead, The Final Solution were part of the first wave of San Francisco rock bands having formed in 1965. They were very popular all over the Bay Area and appear on countless early posters of the period, but they never released anything. If you dig The Great Society and The Warlocks 'Emergency Crew' demos, this is for you!
'The Last of the 20th Century Girls' is the storied second album from London-based artist Findlay - a full-fledged offering born of a personal journey that sees her at her most open, transparent, and introspective yet, drawing upon her own personal experiences since the release of full-length 2017 debut 'Forgotten Pleasures'. With complex, fully-realised themes ranging from grief and loss to the struggle of losing and re-building one's confidence, through to the challenges and pitfalls of the past couple of years, all serve to inspire a range of tracks across the album. Mastered by five-time Grammy award winning engineer Antoine 'Chab' Chabert (Daft Punk, Charlotte Gainsbourg, Sebastien Tellier) and self-described as a "late coming of age story", drenched in nostalgia, melancholy and the kind of strange experiences only a misunderstood millennial could have; the album effortlessly blends a diverse melting pot of breezy alt-indie, psychedelic pop, dreamy lo-fi chill, indie-rock and expansive cinematic sounds. It's Findlay at her genre-melting finest, and a sharp, tasteful insight into her unique artistic psyche; a perfect representation of her impeccable alternative sound.
This Greatest Hits package sees all of Finger Eleven's singles collected together for the first time, including the hit songs “One Thing” and “Paralyzer.” It also features the brand new single, “Together Right” and a previously unreleased cover of Pink Floyd’s “Welcome To The Machine.”
Finish Ticket sind zurück mit ihrem lang erwarteten zweiten Album "Echo Afternoon", das am 6. September über Better Noise Music erscheint. Bekannt für die Ehrlichkeit, Leidenschaft und emotionale Offenheit, die das Trio in die Alt-Szene einbringt, haben sie sich als Band etabliert, die man im Auge behalten muss, während sie bereits Tourneen mit Twenty One Pilots, AWOLNATION und Nothing But Thieves absolviert haben und im letzten Jahr beim Lollapalooza aufgetreten sind. Das Album "Echo Afternoon", das unter anderem die Fan-Favoriten "Changing" und "Let You Go" enthält, erscheint Digital, auf CD und als Vinyl in limitierter Auflage.
