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Doppel LP, limitiert auf 500 Exemplare. Handnummeriert! Inkl. Downloadcode! Draggo wird nachts im Hauptquartier überfallen. Doch nicht nur die Platten seiner Lieblingsband sind verschwunden, schnell wird klar: Es geht um mehr. Viel mehr. Eine ägyptische Gottheit, eine historische Rede, ein archäologischer Geheimbund und der ewige Erzfeind Klöten Klaus. Das neue Abenteur von L.B. Steel und seiner Brigade Steelforce. Metal, Alter... METAL! mit: Reiner Schöne, Bernd Egger, Steffen Lehmann, Björn Jung, Patrick Winczewski, Josephine Hochbruck Special Guest: Andreas "Gerre" Geremia & Tommi Piper

The London-based electronic musician Luke J Murray aka Stonecirclesampler and the award-winning writer Travis Elborough have combined forces on a new collaboration to be released on The Tapeworm label under the title 'Memorex'.


Luke J Murray is a man of many musical aliases, releasing and performing variously as: Superior Grime London Blue DNB-like South Sand Dynamics Luke Marblex The In 2.5G Label White Dark Rainfall J Escape NCR London The From Cracks In Concrete 900Cold Liquid DJ Pulp Grime Murray The endorphin Old 0161 Conflicting 2 Solo Widens Damage Ambient Glow Electronics and Stonecirclesampler.


Described by The Guardian as 'one of the country's finest pop culture historians', Travis Elborough's books include 'Wish You Were Here: England on Sea', 'The Long-Player Goodbye', a hymn to vinyl records that inspired the BBC4 documentary 'When Albums Ruled the World', in which he also appeared, 'Through the Looking Glasses: The Spectacular Life of Spectacles' and 'Atlas of Vanishing Places', winner of Edward Stanford Travel Book Award in 2020.

Carla Boregas is a Brazilian musician, composer and sound artist. By merging synthetic and acoustic instrumentation and techniques, Boregas builds up sonic scenarios driven by an invisible force, where the sensation of presence and discovery lies between density and delicacy. Her work spans composition, improvisation, performance, sound installation and radio art, and aims to transport the listener to different subjective perspectives of time and space, to invoke memories and to reflect about the nature-human relationship.

Carla Boregas writes: "Using a Tascam Portastudio 4-track cassette recorder, I invited three musicians to improvise alone with the sound recording of the sea that I did in Massaguaçu, the place where I used to live in Brasil. The recorder that I used had a defect in one of its tracks, therefore I could only invite two musicians – Vinicius Cajado (double bass) and Réka Csiszér (cello), plus the sea in another track. While listening to the tracks together, I felt a deep sense of absence ("ausência" in Portuguese). Perhaps due to their sonorous answers surrounded by the tape hiss? Because that's one of the symbolic meanings of the ocean? Maybe "saudades do mar, de estar ao seu outro lado"? Who knows – listening can be something very mysterious. Afterwards I played with and interweaved them all: the sonorous sea, Vinicius Cajado, Réka Csiszér and the absence - "Absência Tape" is the final result." – Carla Boregas, Berlin, 8 August 2024.

Kill Emil is a Greek DJ and producer, based in Athens, who since 2009 has produced tracks with powerful and sophisticated rhythms and vaporous atmospheres.

Influenced as much by Latin and Jamaican music as by Hip-Hop, Kill Emil regularly collaborates with artists such as l'Entourloop (on their album “Le Savoir Faire”), The Architect, Taiwan MC and Marina P.

Deja Vu is a sonic journey through nostalgic rhythms and fresh beats, offering listeners a blend of the familiar and the new. Each track is a testament to Kill Emil's dedication to the craft, featuring meticulously crafted layers that invite repeated listens.

On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.

This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.

Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).

Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.

By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.

‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.

It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

Punk collective TOKKY HORROR have released their brand new EP 'KAPPACORE', today via Venn Records. Order the EP - HERE. To celebrate the release the band have released new single 'MAXINE'. Speaking about the new single the band said, “Maxine is a perfect example of collaboration breathing new life into an idea. We’d been sat on the instrumental version for over a year, and wasn’t until we got into the studio with Blazer that it really came into its own. We wanted to capture the atmosphere of rave culture but play it as a band. It’s got all the breaks, bass lines, stabs that a rave track would carry. It’s just done live” Speaking about the EP the band said, “This is the last thing we’ll put out before disappearing to record our album. It’s road tested, high energy material from the first era of Tokky Horror. We’ve wanted to meld breakbeats with visceral guitars as we usually do, but expanded our range of sampling further and pushed our weirdness at times, there’s less out-and-out riffs and more times where our love of Orbital and Aphex Twin shines through. It’s still a record for the punks, just not purists.” KAPPACORE Tracklisting: MAXINE (feat Blazer Boccle) HAMMER 2 THE FACE JAZZ MUSIC TOILET TRANMERE RAVER (feat. MC NULTi) Tokky Horror who recently supported Enter Shikari on their sold out tour, have announced a headline tour for this October..

Soul Jazz Records" new Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

Legendary UK band Asian Dub Foundation is celebrating its 30th Anniversary this year!

Asian Dub Foundation are a genre unto themselves. Their unique combination of jungliest rhythms, dub bass lines and wild guitar overlaid by references to their South Asian roots via militant high-speed rap has established them as one of the best live bands in the world. The story began in the early 90’s when ADF formed from a music workshop in East London at the institution which is their spiritual home, Community Music. Their unique beginnings in a music workshop in east London shaped both their sound and their educational aspirations, setting up their own organisation ADF Education (ADFED), plus instigating campaigns on behalf of those suffering miscarriages of justice.

Building a solid live reputation in the mid-90’s, they gained worldwide recognition sharing the stage with Rage Against The Machine, the Beastie Boys, Radiohead and Primal Scream. On record, they've collaborated with Radiohead, Sinead O'Connor, Iggy Pop, Adrian Sherwood, and Chuck D. In addition to their blistering live reputation ADF were one of the first bands to experiment with live film re-scores (“Cineconcerts”), beginning with their rapturously-received re-interpretation of the French classic La Haine back in 2001.

In 30 years, Asian Dub Foundation have racked up 1000’s of unforgettable shows, 9 studio albums alongside a social and educational activism that both created the group and sustains them today. In celebration of the longevity of this unique project they are announcing an extensive European tour for 2024-25 of more than 60 shows and a special album showcasing their many iconic collaborations. “94-Now: Collaborations” will be released on September 27, 2024!










h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) ADF30 Rework)








h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) [ADF30 Rework)

CAR CRASH SET were one of the very few electropop acts coming out of New Zealand and have released several vinyls nationally between 1983 and 1986. Basically, the CAR CRASH SET consisted of synthesists/composers David Bulog and Nigel Russell and guitarist/producer Trevor Reekie, and was formed in late 1981, then still with Nick Jenkins on synths. They created such outstanding electropop songs with a Roland TR-606/808 and such lovely sequencing, – e.g. “Fall from Grace” is definitely a song that Anna will take with her into her grave – that it is indeed a shame that they didn’t receive more attention. Anyway, their 1983 12” ‘Two Songs’ (including “Outsider” and “Fall from Grace”) and the V/A ‘We’ll do our best’ LP (including CAR CRASH SET’s “Toys”) are at least highly collectible items amongst electropop connoisseurs and many people will be happy to see these tracks being available again as well as four previously unavailable demos from both their earliest and later days and seven more songs added to this CD version. CAR CRASH SET are currently recording again together though not only with the original Roland gear (“nothing else will do” as Dave once said): TR-606, Jupiter-4, MC-4, System 100m modular and System 104 sequencer as well as Nigel’s Korg MS20, Poly-61, Polysix and way more!

LP (3rd edition) features: limited edition of 317 copies, 180 grams yellow flame vinyl, A3 poster/revised lyrics sheet, sticker, revised hand-numbered double-sided postcard.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Wisdom Through Music is an album by saxophonist Pharoah Sanders. It was recorded in New York City and Los Angeles, California, and was released in 1973 by Impulse! Records. On the album, Sanders is joined by flutist James Branch, pianist Joe Bonner, bassist Cecil McBee, drummer Norman Connors, and percussionists Badal Roy, James Mtume, and Lawrence Killian. The most notable track is "High Life," on which Sanders emulates the West African style of music with roiling, celebratory drumming and singing, and killer flute playing.

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

Das kommende Album von Thurston Moore ist sein neuntes Soloalbum. Einige der Songs wurden in Europa und Großbritannien geschrieben und arrangiert und enthalten lyrische Verweise auf ihre Umgebung und sind von der Natur, luzidem Träumen und modernem Tanz beeinflusst. Im Jahr 2023 wurden zwei Singles veröffentlicht: das energiegeladene, non-album, von Isadora Duncan inspirierte 'Isadora' mit einem Musikvideo mit Sky Ferreira in der Hauptrolle. Und "Hypnogram", welches die Presse als eines der intensivsten Stücke bezeichnete, die Moore je veröffentlicht hat, verbindet die melodischeren Momente seiner früheren Band Sonic Youth mit den vielschichtigen, berauschenden Schnörkeln der Hauptband seiner Bassistin Deb Googe, My Bloody Valentine. Das neue Material vermittelt eindringlich das Gefühl von Träumen und lässt die Fans gespannt sein, was der Amerikaner mit seinem Album vorhat." 2024 dann die mitreißende Earth-Day-Hymne 'Rewilding': Der Musiker lieferte erschütternde Zeilen, als er über die Entfernung der menschlichen Hand aus der Natur nachdachte: "...Don't stir anything...". Moore sang über Erneuerung und eine Zeit für Freunde der Erde, um zu schlafen und einen natürlichen Weg zu verwirklichen, indem man "Korallenmorphologisch träumt". Der Musiker sagte, die britische Rewilding-Bewegung strebe danach, den menschlichen Einfluss auf Ökosysteme zu reduzieren.



Die Texte sind größtenteils wieder vom Künstler Radieux Radio verfasst. Der Name "Flow Critical Lucidity" stammt aus dem Text von "Sans Limites", und auf dem Cover des Albums ist Jamie Nares' "Samurai Walkman" zu sehen - ein Helm, der mit Stimmgabeln ausgestattet ist. Jamie Nares (geboren in Großbritannien) ist ein lebenslanger Freund von Thurston Moore aus dessen New Yorker No-Wave-Tagen und die beiden haben schon oft zusammengearbeitet. Mit dabei sind außerdem Jon Leidecker, James Sedwar, Jem Doulton sowie als Backing Vocals-Gast Laetitia Sadier von Stereolab . Als CD mit Textbooklet, MC oder LP mit bedruckter Innenhülle & Bonus-Flexi

Das kommende Album von Thurston Moore ist sein neuntes Soloalbum. Einige der Songs wurden in Europa und Großbritannien geschrieben und arrangiert und enthalten lyrische Verweise auf ihre Umgebung und sind von der Natur, luzidem Träumen und modernem Tanz beeinflusst. Im Jahr 2023 wurden zwei Singles veröffentlicht: das energiegeladene, non-album, von Isadora Duncan inspirierte 'Isadora' mit einem Musikvideo mit Sky Ferreira in der Hauptrolle. Und "Hypnogram", welches die Presse als eines der intensivsten Stücke bezeichnete, die Moore je veröffentlicht hat, verbindet die melodischeren Momente seiner früheren Band Sonic Youth mit den vielschichtigen, berauschenden Schnörkeln der Hauptband seiner Bassistin Deb Googe, My Bloody Valentine. Das neue Material vermittelt eindringlich das Gefühl von Träumen und lässt die Fans gespannt sein, was der Amerikaner mit seinem Album vorhat." 2024 dann die mitreißende Earth-Day-Hymne 'Rewilding': Der Musiker lieferte erschütternde Zeilen, als er über die Entfernung der menschlichen Hand aus der Natur nachdachte: "...Don't stir anything...". Moore sang über Erneuerung und eine Zeit für Freunde der Erde, um zu schlafen und einen natürlichen Weg zu verwirklichen, indem man "Korallenmorphologisch träumt". Der Musiker sagte, die britische Rewilding-Bewegung strebe danach, den menschlichen Einfluss auf Ökosysteme zu reduzieren.



Die Texte sind größtenteils wieder vom Künstler Radieux Radio verfasst. Der Name "Flow Critical Lucidity" stammt aus dem Text von "Sans Limites", und auf dem Cover des Albums ist Jamie Nares' "Samurai Walkman" zu sehen - ein Helm, der mit Stimmgabeln ausgestattet ist. Jamie Nares (geboren in Großbritannien) ist ein lebenslanger Freund von Thurston Moore aus dessen New Yorker No-Wave-Tagen und die beiden haben schon oft zusammengearbeitet. Mit dabei sind außerdem Jon Leidecker, James Sedwar, Jem Doulton sowie als Backing Vocals-Gast Laetitia Sadier von Stereolab . Als CD mit Textbooklet, MC oder LP mit bedruckter Innenhülle & Bonus-Flexi

New pressing in soon, note increased price. When Jerry Fuchs joined Maserati in 2004, he initiated a complete overhaul of the group: old songs were dropped, tempos were drastically sped up, and the budding psych-rock impulses of guitarists Coley Dennis and Matt Cherry were given room to grow. Beginning with the electrifying Inventions for the New Season, Maserati were a better, faster, stronger beast. That spirit shines bright on Maserati VII, their first album conceived since Fuchs' passing. Maserati has an uncanny ability to toggle time back and forth between the past, present, and future – often in the span of one song. On Maserati VII, they're grounded and driven by new drummer Mike Albanese (Cinemechanica), whose dexterity and stamina prove a perfect fit for Maserati's trademark relentless, driving rhythms and epic song lengths, anchored by bass badass, Chris "Coach" McNeal. To celebrate Maserati's 20th anniversary, we have finally made Maserati VII available again on vinyl for the first time in over five years, packaged in the original heavyweight, full-color old-style tip-on gatefold jacket with custom matte and spot gloss varnishes

DJ Support: DJ Sabo, Gordon Invisible Inc, Ground Chill Mountain, Roe Deers, Thomas Von Party, Vidis

Multi Culti serve up a full-length treat from Peruvian artist Aristidez. Cofounder of Lima-based party collective Casa Locasa and the non-profit label Behua Icara (translated as Healing Rhythms), in support of indigenous culture, Aristidez has recently relocated to Berlin. With releases on Calypso, Disque-Discos, and Kebrada, as well as remixes for Amplio Espectro, Ida Sound, Discos Aquelarre, Rotten City Files, and Playground Records, Aristidez has quietly made a name for himself with a growing catalog of low-key dance tracks that have been championed by the likes of Matias Aguayo, Andrew Weatherall (RIP), and Inigo Vontier, to name a few. With an emphasis on the hypnotic power of rhythm, Aristidez channels indigenous influences in subtle fashion, alluding to visionary experience without resorting to pastiche or obvious tropes. There are freaky tribal rhythms but no shaman samples, just expertly produced tracks than reveal an expansive set of electronic influences that range across tempos and decades, from breaky 90s rave, 80s proto-trance, cult dub, downtempo and more. It’s listenable, danceable, heady and kaleidoscopic stuff that should stand the test of time.