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'To pick up where 'I Am The Walrus' left off'; that was the goal when Electric Light Orchestra formed in the early seventies. They wanted to steep different music styles in a rock tradition and mix in some Beatlesque pop, but it took Jeff Lynne & co until their third album Eldorado to get on the right track. Their most ambitious album to date, they decided to hire a 30 piece orchestra and choir to fill out their sound, and the investment paid off. With the unforgettable 'Can't Get It Out Of My Head' as the lead single, 'Eldorado' was a commercial as well as a critical success, and it would achieve gold status in the US. 'The English guys with the big fiddles' had arrived!

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Nun ist die größte Mittelalter Rock Band wieder da! Mit ihrem zwölften Studioalbum - Quid Pro Quo . Platin-/Gold-Auszeichnungen, Platz Eins - Positionen in den Charts, ausverkaufte Hallen und fulminante Festival-Auftritte haben die Sieben nicht müde gemacht. Ganz im Gegenteil! Es juckte wieder in den Fingern.
- Wir klingen hier und da ein wenig rockiger und mehr nach Metal, aber gleichzeitig arbeiten wir mit traditionellen Melodien und es kehren die Fremdsprachen zurück, die es auf - Kunstraub nicht zu hören gab , so Frontmann Micha - Das letzte Einhorn Rhein über die neue Platte. - Und wir haben neben dem klassischen Repertoire ein paar neue Mittelalter-Instrumente dazu genommen , ergänzt Basti - Van Lange . Und noch weitere Premieren hat - Quid Pro Quo zu bieten: Blind-Guardian-Sänger Hansi Kürsch und Marcus - Molle Bischoff und Alexander - Ali Dietz von Heaven Shall Burn treten als Gastsänger auf.

limitierte Fanbox mit Digipack und umfangreichen Booklet, exklusive Bonus-Live-CD mit dem Schifffahrtkonzert, coloured 7Inch-Vinyl, 7 Postkarten, A1-Poster, Sticker !!!



Nun ist die größte Mittelalter Rock Band wieder da! Mit ihrem zwölften Studioalbum - Quid Pro Quo . Platin-/Gold-Auszeichnungen, Platz Eins - Positionen in den Charts, ausverkaufte Hallen und fulminante Festival-Auftritte haben die Sieben nicht müde gemacht. Ganz im Gegenteil! Es juckte wieder in den Fingern.
- Wir klingen hier und da ein wenig rockiger und mehr nach Metal, aber gleichzeitig arbeiten wir mit traditionellen Melodien und es kehren die Fremdsprachen zurück, die es auf - Kunstraub nicht zu hören gab , so Frontmann Micha - Das letzte Einhorn Rhein über die neue Platte. - Und wir haben neben dem klassischen Repertoire ein paar neue Mittelalter-Instrumente dazu genommen , ergänzt Basti - Van Lange . Und noch weitere Premieren hat - Quid Pro Quo zu bieten: Blind-Guardian-Sänger Hansi Kürsch und Marcus - Molle Bischoff und Alexander - Ali Dietz von Heaven Shall Burn treten als Gastsänger auf.

The original plan for Cactus was to release a debut album with the super group line-up of Vanilla Fudge rhythm section bassist Tim Bogart and drummer Carmine Appice together with guitarist Jeff Beck and singer Rod Stewart, though Becks car accident en Stewart joining Ron Wood in The Faces counteracted that.

Eventually joining Bogart and Appice were guitarist Jim McCarthy (Mitch Ryder's Detroit Wheels) and singer Rusty Day form Ted Nugent's Amboy Dukes for this self-titled album that is arguably the highlight in their catalogue. The shredding turbocharged Boogie is a very fine example of how exciting early Seventies Hard Rock still can be!

Born in Oakland, CA, but raised in New Mexico, Partch learned mandolin, violin, piano, reed organ, and cornet as a child. Clearly a unique talent, even that early on, Partch went to USC Music School but was dissatisfied with his teachers, and instead studied music on his own where he learned to reject many of the Western constructs of music and began experimenting with using scales of unequal intervals in just intonation, and was one of the first Western composers of the 20th century to use microtonal scales. These recordings were some of the first made after Partch settled in Sausalito and founded his legendary Gate 5 studio. Debuted in 1953 on KPFA radio, these compositions still sound otherworldly and cutting edge today. Essential American 20th Century composer Harry Partch, on Jeanne Dielman.

One of the great lost albums of British psychedelia, original copies of Arzachel's 1969 self-titled debut fetch huge sums on the collectors' market and it is not difficult to understand why. Originally released in 1969 on the small Evolution label, this album quite simply contains some of the best psych to ever come out of the UK. However, like so many other great albums of the era, it soon dropped entirely from the radar due to bad promotion. In fact, it may not have ever been rediscovered at all if guitarist Steve Hillage and keyboardist Dave Stewart had not gone on to be so well known. Hillage would soon become famous for his work in Gong, and Stewart would become a legend of British prog with Egg, Hatfield and the North, National Health, and his work with wife Barbara Gaskin in the 1980s. Contains bonus track from a lacquer of the same period. Limited edition of 500 copies on 180 gram white vinyl.

Soon after the release of King Crimson's 1969 masterpiece, In the Court of the Crimson King, band members Michael Giles and Ian McDonald began to disagree with the direction the band was taking and soon split off to start their own project. 1971 saw the release of an excellent studio album on Island Records called simply McDonald and Giles. Although the album was similar in style and complexity to King Crimson, the sound was considerably less dark overall. In fact, regarding this difference, McDonald commented at the time, 'I want to make music that says good things instead of evil things.' The album also featured Michael Giles' brother Peter (from their days with Giles, Giles & Fripp), and guest musician Steve Winwood, whose keyboard playing can be heard on 'Turnham Green'. Limited edition of 500 copies on 180 gram clear vinyl with a gatefold sleeve.

In July 1965, when Their First LP was originally released, the Spencer Davis Group - the band that launched Steve Winwood's career - was just one of the many aspiring young groups on the British beat scene. But that would soon change when their single - a version of Jamaican singer Jackie Edwards' 'Keep On Running' - shot to the No. 1 spot on the British charts. Featuring 5 bonus tracks, including Otis Redding's 'She Put The Hurt On Me', Etta James' 'I'll Drown In My Own Tears', 'I'm Getting Better' and 'Goodbye Stevie', all from their 1965 EP, plus 'Stevie's Blues', the B side to their 1966 single 'Somebody Help Me'. Limited edition of 500 copies on 180 gram clear vinyl.

By Autumn '66 the Spencer Davis Group was at the very pinnacle of its success, burning up the charts with self-penned originals like 'Somebody Help Me' and 'When I Get Home'. However, this album also paid homage to the (mostly American) musicians, like Elmore James and Elvis Presley, who had so inspired these young lads from Birmingham, propelling them to international stardom. Bonus tracks include their number one smash hit 'I'm A Man', plus 'Stevie's Groove' (featured in the 1966 film, The Ghost Goes Gear, a musical comedy featuring the Spencer Davis Group and a plot about a haunted house, yes you read that correctly), 1967's 'Waltz For Lumumba', and 'I Can't Get Enough Of It'. Limited edition of 500 copies on 180 gram clear vinyl.

* Limited edition of 1000 first pressings

* First time ever as a standalone vinyl release

* Complete track listing and additional art


Originally released alongside the movie in 2002, the original motion picture soundtrack to Star Wars Episode II: Attack of the Clones' 13-track score from legendary composer John Williams has been remastered to maximize the recording's dynamic range.

Continuing with I Am Shark's innovative variant character color coordination, which saw the vinyl release of the Episode I soundtrack come in 5 different variations, the upcoming vinyl release of the Episode II soundtrack premieres fan favorite Jango Fett's own colored vinyl pressing (Silver / Transparent Royal Blue Mix).

Aside from beautifully colored vinyl and the eye catching imagery featured on the gatefold packaging, there are hints of a hidden surprise included in this album.

* Limited edition of 1000 first pressings in kelly green/opaque cyan 4-way split vinyl

* First time ever as a standalone vinyl release

I Am Shark is excited to celebrate Star Wars Day with the announcement of the upcoming limited edition vinyl release of the Star Wars Episode III: Revenge Of The Sith original motion picture soundtrack.

Available for the first time ever as a standalone vinyl record, the limited edition 1000 copy pressing keeps with I Am Shark's variant color theme found on their previous Star Wars vinyl releases, and is available in the General Grievous variant, an alternating mix of transparent kelly green and intense opaque cyan that emulate the fearsome quadruple lightsaber wielding cyborg.

Opening up the 2xLP gatefold jacket reveals an ominous photo of the newly anointed Darth Vader and The Emperor looking out at the face at the growing Empire at the conclusion of Episode III. This beautiful edition is simply a must have for Star Wars fans, vinyl hounds, and collectors alike.

Originally released on CD alongside the movie in 2005, the Episode III: Revenge of the Sith soundtrack features a score by five-time Oscar winner John Williams, who is also the composer and conductor of the score for each film in the 9 - chapter Star Wars saga. The score found on the Episode III soundtrack is decidedly darker than previous Star Wars prequel soundtracks, as the musical themes match the growing darkness woven into the story and the galaxy as the Empire consolidates its power at the conclusion of the prequel trilogy. Many of the heroic, anthemic themes woven throughout Episode Three: Revenge of the Sith will nonetheless be very familiar to any fan of the series, from the "Imperial March" to the main theme.

* The complete MY BLOODY VALENTINE (1981) film score debut
* Double LP featuring over one hour of music
* Pressed to two 180 gram opaque red vinyl records
* Liner notes by composer Paul Zaza
* Liner Notes by director George Mihalka
* Artwork by the ghoulish Gary Pullin
* Old style tip-on gatefold jacket with soft touch coating
* Printed inner sleeves

Praised by director Quentin Tarantino as his favorite slasher movie of all time, MY BLOODY VALENTINE (1981) tells the story of a small mining town and it's residents that fall victim to a vengeful, homicidal maniac on Valentine's Day. The film has garnered a cult following and has also sparked a major-studio remake in 2009. By working directly with composer Paul Zaza (Prom Night, Curtains, Porky's), Waxwork was allowed to work directly from the original master tapes to source the complete, haunting score. This release marks the very first time the score to the 1981 slasher-horror classic has been released in any format.

The foreboding score by Paul Zaza is a mix of both minimal synth and orchestral compositions intertwined with bluegrass and country soundtrack cues. Expertly mastered by Thomas DiMuzio at Gench Mastering, the complete score clocks in at over one hour and spans two 180 Gram opaque blood red vinyl records.

Waxwork Records is proud to announce the new double LP soundtrack release of MY BLOODY VALENTINE (1981). Praised by director Quentin Tarantino as his favorite slasher movie of all time, MY BLOODY VALENTINE (1981) tells the story of a small mining town and its residents that fall victim to a vengeful, homicidal maniac on Valentine’s Day. The film has garnered a cult following and has also sparked a major-studio remake in 2009.

By working directly with composer Paul Zaza (Prom Night, Curtains, Porky’s), Waxwork was allowed to work directly from the original master tapes to source the complete, haunting score. This release marks the very first time the score to the 1981 slasher-horror classic has been released in any format.

The foreboding score by Paul Zaza is a mix of both minimal synth and orchestral compositions intertwined with bluegrass and country soundtrack cues. Expertly mastered by Thomas DiMuzio at Gench Mastering, the complete score clocks in at over one hour and spans two 150 Gram Blood Red and White Hand-Pour colored records.

Raised in a musical family Anastacia first developed a career as a dancer, appearing in video clips and on MTV shows. Her debut album Not That Kind was released in
2000 and immediately struck a nerve in Europe, Asia and
Australia, before hitting it big in the US.


Her striking looks and most of all her remarkable vocals had her searing up the charts, helped by hit singles such as 'I'm Outta Love', 'Cowboys & Kisses' and the title song. Teaming up with some of the most successful songwriters of the time, her expressive alto voice had that rough edge needed for an identity of her own in blasting Pop/Rock/Soul tracks that did well both at home and on the dance floor.

Influenced more by Aretha Franklin and Tina Turner than contemporaries Britney Spears or Christina Aguilera she appealed to an adult crowd, eventually turning her into the 'World's Best Selling New Female Pop Artist' at the 2001
World Music Awards.

Passages is a collaborative chamber music studio album co-composed by Ravi Shankar and Philip Glass, released in
1990. The album is a hybrid of Hindustani Classical music and
Glass' distinct American minimal contemporary Classical style.


A collaboration between an avant-garde modern Classical composer and a traditional Indian/Hindi composer/performer seems pretty unlikely. However, Passages works splendidly. Shankar's smooth style fits nicely with Glass' dissonant orchestrations.

The album reached a peak position of number three on Billboard's Top World Music Albums chart. Recommended to fans of other minimalist composers such as John Cage, Steve Reich and Terry Riley.

1999 is the fifth studio album by Prince, originally released by Warner Bros in 1982 and now lovingly re-issued by Rhino with original content.

According to the Rolling Stone Album Guide, "1999 may be Prince's most influential album: Its synth-and-drum machine-heavy arrangements codified the Minneapolis sound that loomed over mid-'80s R&B and pop, not to mention the next two decades' worth of electro, house, and techno."

Das Vater-Sohn-Duo aus Pedro Soler und Gaspar Claus veröffentlicht sein neues Album via Infiné. "Al Viento" ist eine Hommage an den Wind und klingt wie der minimalistische Soundtrack zu einem Roadmovie eines Jim Jarmusch oder Wim Wenders. Pedro Soler ist vielen durch sein Ansehen als Gitarrist ein Begriff, der das goldene Zeitalter des Flamenco in Spanien entscheidend mitgeprägt hat. Sein Sohn, Gaspar Claus, studierte Cello am Perpignan-Konservatorium und ist nun fester Bestandteil der Avantgarde und Improvisationsszene vor allem in Japan, Frankreich und New York.

Performing on the Baroque cello (outfitted with gut strings and without an endpin, making it so that the performer has to clutch the instrument between the legs), Yo-Yo Ma delivers the warm, listener-friendly classical music that he has become known for. Supported by conductor Ton Koopman's period Amsterdam Baroque Orchestra, Ma presents a wholly unusual interpretation of some of Bach's better known Baroque works, as well as some lesser known pieces by Italian composer Luigi Boccherini.

The sound of the Baroque cello changes the mood of each familiar piece to something warmer and more intimate. The string composition has a less dry tone than the usual wound string, and the absence of the endpin means that there is no sound traveling through the floor, therefore all of the sound comes directly from the body of the instrument. Ma's skilled handling of the pieces evolve Simply Baroque beyond an interesting experiment and into a beautiful listening experience.

LAST FEW COPIES NOW AVAILABLE. NON-RETURNABLE.

*First vinyl reissue of the highly collectable Italian acid folk album.

* Deluxe 180 gram + gatefold reissue.

* Reproduction of the original 12p Booklet.

* Featuring Library composer and Brainticket graphic designer, Umberto Santucci, 'I cantori moderni di Alessandroni' member Gianfranca Montedoro and Italian jazz legend Cicci Santucci.
Regarded as the link between Italian acid folk, Library music and Krautrock, Living Music was a collective of Italian Musicians, artists and poets active in the counterculture and student movement of Rome in the late 1960s and early 1970s.
Taking their name and concept from the New York experimental theatre group 'Living Theatre' husband and wife duo Umberto Santucci (jazz critic, graphic designer (Brainticket) and photographer, library composer) and Gianfranca Montedoro (Jazz and rock singer, member of Alessandroni Vocal group, Brainticket) hosted improvisational sessions at their home where they explored the concepts of communal expression through music and poetry. These experiments would lead to a recording session in which they set their psychedelic compostions to the poetry of Beat poet Allen Ginsberg.
Their sole 1971 album for RCA's Italy's experimental imprint 'Free Dimension' is a phenomenal psychedelic excursion into acid folk, Tibetan chants, Indian drones, and avant-jazz (Featuring Umberto's brother and Italian jazz legend Cicci Santucci) all centered around the powerful voice of Gianfranca Montedoro. It has since become a highly sort after recording for folk and progressive collectors.

Mechanical Marvels: Clockwork Dreams is Alex Menzies follow up to 2015's 'Order & Disorder' LP release for Kathexis, both original soundtracks to BBC4 documentaries. The film Mechanical Marvels: Clockwork Dreams explores the amazing and untold story of automata - extraordinary clockwork machines designed hundreds of years ago to mimic and recreate life.

Much of the instrumentation used for Menzies' carefully constructed score was also of the type actually incorporated into automatons, including bells, chimes and wind organs. Percussive patterns scattered throughout the cues are samples of machines moving, gears grinding, halting, some of them automatons themselves. As with 'Order & Disorder' strings & choir are also spread throughout these evocative cues bridging a link from 18th century instrumentation & machines and providing an emotional connection to these long-forgotten marriages of art and engineering that are actually the ancestors of many of our most-loved modern technologies, from recorded music to the cinema and much of the digital world.

With Mechanical Marvels: Clockwork Dreams, Menzies' talents as a composer really shine through; each piece revealing a level of technical sophistication and an inventive use of instruments both new and old to hauntingly beautiful results.

Pauline Oliveros surrounded by Belgian ensemble Musiques Nouvelles, performing 2 long pieces for orchestra.

Sound Geometries for Chamber Orchestra, Expanded Instrument System and 5.1 Surround Sound System by Pauline Oliveros was premiered in Brussels. The 3 sections metaphors of the piece are intended to guide the players in their feelings and approaches to conducted, guided and improvisational music making to create differing atmospheres for each of the three sections. Players sounds are picked up during the performance by microphones, processed in one of ten geometrical patterns by the Oliveros designed Expanded Instrument System (EIS). to transform and move the player's sounds in space in the 5.1 surround sound system.

Meditation for Orchestra asks the performers to listen then sound. Listen means to include all that is sounding and to find a space for each sound that is made. Pauline Oliveros and Ione are guests of Ensemble Musiques Nouvelle in this studio performance of Meditation.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

Now let's clear something up straight away; this is no retro pastiche but a real working group tampering with the remnants of the almost lost and forgotten songbook of the lower classes, The Music Hall. Once considered one of the seven curses of London that detracted those working class types from their duty to make money for Queen, Empire and the intolerant ruling elite, Music Hall was a den of vice, sharps and wanton behavior, a lurid spectacle of unblushing immodesty...well not too much has changed for the binge drinking masses, festival frenzied fornicators and the crack den denizens of the inner cities, other that nowadays, the leopards' spots are equally placed on the disposable equity burdened middle classes, who are quietly having their purses pinched by the pasty faced sharks of the new unfettered borders in this current great empire of finance.

The rousing rancorous heyday of these 'palatial shams', where 'the modern comic vocalist doled out feeble jingling idiocies of his own composition' lasted only a few short years in reality before it was sanitized by those with an eye for a fast buck and the state backed rise of the Temperance movements. It then slowly dissolved over 100 years into the tepid light entertainment of 60's and 70's Variety Shows and televised 'spectaculars' such as The Black & White Minstrel Show and on to the further degenerate televised horrors of shows today like 'Strictly' and 'Britains Got No Talent' (sic).

So it is with great relief, honour and privilege that we announce The Blood Tub Orchestra's declaration of intent to strive for the restoration of these glorious days of bitter humour, coarse innuendo, political satire and a damn us all to hell and the trenches of a jolly old knee's up, come one, come all, to restore the lost voice of the Great British cattle classes.

The great Harry Champion would no doubt raise a laugh at such wry commentry. Our Harry, the voice of the people throughout the 2 World Wars and an endless amount of skirmishes in both battlefield, bar brawl and brothel no doubt, provides us with the ammunition of the lewd entendre laced standard, 'The End Of My Old Cigar', given more than a healthy dose of boiled bully and gin tonicised blather, in this rousing interpretation.

The Immobile One and generally uncheeky chappie, Sam Mayo's performance of 'I Played My Concertina' gives us the starting point for our next insight into the Pre-WW1 mentality of 'ornery people' and their laughter in the face of misery, with yet another piece of lyrical smut. Please note, no smiles were cracked during the recording of this performance.

While the first side of the EP represents a small sampler of the sort of thing to expect from the forthcoming Blood Tub Orchestra album, the second side was recorded live at the Bethnal Green Working Men's Club, one of London's rare thus far unscathed multi-purpose cultural venues, a true anomaly that lives and breathes many of the attributes and attitudes of the heady days of the East End music halls and the stainged glitter hangover that goes with it.

Blood Tub's belt and braces revamp of Lesley Sarony's 'Bloomin' Well Dead', an ascerbic prod at the hypocrisy of behavioral misdemeanor at funerals, still rings as true today as it ever did. And finally there's, 'Oh Father, Do Come Home', one of a number of satirical jibes aimed at popular hit of the day, 'Father, Dear Father, The Brokers Are In', a
In the Temperance song of warning style that increasingly infiltrated the Music Hall scene, in order to combat the profligacy of the immoral games of 'fox-and-goose' distracting our fine young fellows from their devotion to good deed and good stead. Again, nothing changes, with the recent Government Guidelines recommend that alcohol consumption to be limited to 6 pints or 6 glasses of wine per week, ring a bell Ah well, bah humbug to the lot of 'em! Who's for a quick tiddly wink or three


The Blood Tub Orchestra are a most interesting and innovative outfit. A delightful and enthralling experience with their wholly unique idea of unearthing Victorian and Edwardian music gems from often long-forgotten artists and rattling their bones to breathe new life into them by evolving the pieces into fully-formed 21st century creations whilst retaining the characteristics and soul of the original, historic works. The ghost has firmly spooked the machinery. The rose-tinted veneer is peeled back and injected with the spirit of the age, both ancient and modern.

With the cosy mothball whiff of fancy dress nostalgia removed, a straight bare knuckle fight between the song and the performers ensues, finding its place in creating the most mouthwatering proposition since The Rolling Stones re-introduced Blues to America. Great Britain, this means you!

The Blood Tub Orchestra is comprised of a rag tag assortment of musical waistrels. Tim Whelan (Transglobal Underground, Furniture etc), Ashley Davies (Project Dark, London Dirthole Co etc), Kirsten Reynolds (Project Dark, LDC etc), Rob Lewis (Pulkas, LDC etc), Debbie Smith (Echobelly, Ye Nuns etc) plus various guestsY

Roctakon, who inspired the first Money Lotion record (and many argue the best), returns with two more remixes that have turned into club staples over the years, played by all the top club DJs like DJ AM, Ayres, and other.

Auf dieser Veröffentlichung präsentiert die Sopranistin Simone Kermes wiederentdeckte Opernperlen aus dem
Neapel des 18. Jahrhunderts: Arien voller Poesie, Leidenschaft und Ekstase, die mit Neapel und dem Vesuv alle
auf irgend eine Weise zu tun haben. Von
Sturmwind aufgepeitschte Meereswogen, ein Schiff, das in allerletzter
Minute den Hafen erreicht, Vogelgezwitscher, Hörnerschall, Liebe, Leidenschaft, Tod, Wahnsinn und die
Wehklagen unglücklich Verliebter
- Simone Kermes und Le Musiche Nove unter der Leitung von Claudio Osele
lassen die italienische Oper des 18. Jahrhunderts mit ihrer Pracht und musikalischen Opulenz wieder
auferstehen. Orchestergründer Claudio Osele hat die Manuskripte von Pergolesi, Porpora, Vinvi, Leo und Hasse
aus Bibliotheken in ganz E
uropa zusammengetragen; neun von zwölf Arien sind Welt
-
Ersteinspielungen

Exclusively Remastered 180gram Audiophile Vinyl Pressing