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Faith Discipline presents on the same release two of the proposals that best define its identity as a recording project. Two artists, or two bands, or a band and an artist, who coincide in some of their qualities and who also perfectly represent the sound line that the label has pursued since it was launched in 2015. German Army and Group have a lot in common, but their personalities are also unique, as are the objectives that influence their work.

German Army and Group coincide in several ways, both operate from anonymity and their approach to music production is also very similar. The style and sound of German Army and Group is mainly based on extreme and lo-fi treatments, and their music can be categorised as tribal, industrial, ethnic or experimental. However, German Army adds to their style a series of moral principles, as the project is based on a vindictive nature with continuous messages and appeals to the population and the rulers, the health of our planet is in extreme danger and with it the life and dignity of the underprivileged.

After the success of their previous "Get Mine/I'm Gone" 7" vinyl 45 release LRK Records is proud to announce the digital single follow up by Bella Brown & The Jealous Lovers!!

Bella Brown & The Jealous Lovers are a Los Angeles based, transplanted fromChicago, unit that specializes in 60s/70s soul and funk. The band is fronted by the dynamically charismatic Bella Brown. A fiery female lead singer that is a mixture of Tina Turner and Sharon Jones, with a persona that is reminiscent of the empowered female
leads of 70s Blaxploitation films. Backed by the musicianship of The Jealous Lovers they form a unit that expertly expresses a uniquely modern interpretation of the traditionalsoul and funk genres.

Their new single "What Will You Leave Behind" exemplifies this
ideal. The track is a heartfelt call to action in these times of failed humanity and injustice. A Motown influenced message of hope that features sympathetic vocals, supportive horns, and a funky twist that asks us to create a better future by considering the effects of our present.

Look for "What Will You Leave Behind" March 3rd, 2023 on all streaming platforms, and stay tuned for an announcement from LRK Records regarding "What Will You Leave Behind" and a future Bella Brown & The Jealous Lovers 7" vinyl 45 released!

Die 2006 im nordspanischen Bilbao (Baskenland) gegründete Melodic-Death-Metal-Band Rise To Fall hat sich in den vergangenen 17 Jahren ihren wohlverdienten Platz in der Metal-Szene etabliert.

Mit einem konstanten Output und zahlreichen Live-Shows und Festivalauftritten sind Rise To Fall für die Bereitstellung von Musik auf höchstem Niveau und ihre verheerenden Live-Shows bekannt geworden. Mit der Veröffentlichung von vier Studioalben hat die Band die Messlatte immer höher gelegt, was nicht nur zu zahlreichen Tourneen durch Europa, sondern auch zu Headliner-Touren in Japan und China sowie zu Tourneen mit Soilwork führte! Rise To Fall, die 2022 bei Noble Demon und Massive Music Booking Agency unter Vertrag genommen wurden, bereiten sich derzeit auf die Veröffentlichung des mit Spannung erwarteten fünften Studioalbums "The Fifth Dimension" vor, das am 9. Juni 2023.

Also macht euch bereit für das nächste Kapitel von Rise To Fall, das wieder einmal ihre eigenen Maßstäbe setzt und ihre Musik auf der ganzen Welt verbreitet!

It fell on me in the spring, like a Normandy storm. Piece after piece, day after day, guided by the experience, I found the pleasure of making music again. Once satisfied, I sent a selection to my manager. I had gotten into the habit of regularly sending him projects with no connection, and he
had gotten into the habit of not answering them. His text message at 1:10 a.m.: «Damn, that’s good!» was a commitment.

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

**Debut album from former 'Eighties Matchbox B Line Disaster' front man Guy McKnight's new band.** **ORANGE MARBLE COLOURED VINYL - VERY LIMITED!!** The DSM IV’s debut album, “NEW AGE PARANOIA,” is an impressive collection of stories, beats, guitars, and noise. The album seamlessly weaves together sobering but dream-filled songs that explore the ways in which our collective minds are influenced by mass media, entertainment industries, and social media. Formed by Guy McKnight of critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster. The DSM IV has a dark sound that blends noise-rock, synth-pop and industrial, that delivers a unique musical experience. Their music is cacophonous and epic, featuring rich textures and melodic hooks that keep listeners captivated. The band’s powerful soundscapes, combined with their thought-provoking lyrics, create a mesmerizing atmosphere that both entertains and encourages introspection. The album prompts important questions about our society, such as what’s driving the normalization of a narcissistic culture that prioritizes personal desires over altruism. It delves into the ways in which technology, social media, and mass media shape our collective psyche and affect our relationships with ourselves and each other. The DSM IV’s music offers a timely and compelling commentary on these issues. The DSM IV is a band that creates music with a powerful message that resonates with people who feel that a kinder world is possible. Their songs are both nasty and nice, reflective and entertaining. With “NEW AGE PARANOIA,” The DSM IV has crafted an album that will captivate and inspire listeners, while also prompting deeper reflection on our society’s values and priorities.

Dream Wife melden sich in elektrisierender Form mit dem komplett selbstgeschriebenen und -produzierten Album 'Social Lubrication' zurück. Der einzige äußere Einfluss sind die Schwergewicht-Mixer Alan Moulder (Nine Inch Nails, Yeah Yeah Yeahs, The Killers, Depeche Mode) und Caesar Edmunds (Wet Leg, Beach House). Auf dem aufrührerischen Werk greift das Trio wieder große Themen auf seine charakteristisch-unverfrorene Art an, verschmelzt das Politische mit dem Verspielten und versteckt entscheidende Messages in heißen Hymnen übers Rumknutschen, Spaß haben und neugierig bleiben.

'Social Lubrication', in den Worten der Band, ist: 'Hyper-lustvoller Rock'n'Roll mit einem politischen Schlag, der die Alchemie der Anziehung, der Lust am Leben erforscht, die Gemeinschaft umarmt und das Patriarchat herausfordert. Mit einer gesunden Portion Verspieltheit und Spaß.'

'Dream Wife just want to dismantle the patriarchy. The UK art punks make music that’s roiling with feminist rage and Spice Girls attitude.' - Rolling Stone

`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.

As the siren’s song echoes out of systems worldwide, perhaps we are (re)turning to the liquid age of dance; with natural ephemera such as moss, sentiments for ecology such as swamps, and mercurial aspects of water all absorbing the aesthetic forefront. A return to nature, a deep dive under the lily pads. Here Marijn with her debut EP guides our plunge, a trip previously taken via her podcasts on Kulture Lab, where you can also find her previously released music.

Whispers from the ethereal plane drift around the headspace, a rumble in the distance of sound traversing the water, voices to guide and to keep you from floating too far from the line. Audio hallucinations are aplenty when submerged, a serenity of space, yet distant growls assure that peace is not always 2 be found. The melancholia within the daydream, the pang of loss caught in reflections, internal and from the water, with the lily pads floating above as a guiding entity, an anchor, something to hold. Under the lily pads we rumble.

On the flip everyone’s fav casual breaks n rave hooligan Luca Lozano asks the recurring thought within dance music, a question we quest, yet rarely want the answer. Abstraction via squeaks and tweaks, you better bop your bleepin’ head to this 1.

‘Leave A Message’ leaves the tranquil waters disturbed and rippling to the outer edges, providing jumps for the lily pads to ride on the incoming tide, with the ebb and flow making way for a storm surge. Aka big beats are the best, a notion the directly honest final track ‘Made (Drums)’ follows, bringing a twisted jack attack logic to a deranged assembly of samples, a manic orchestra of tumbling drums who have conspired to freak out, albeit with cute bubbles underneath to revel in the allure of sonic mania.

Gatefold, 2 x black Vinyl, Special Cover vanish, printed Innersleeves

Das Album SHADOW KINGDOM präsentiert Dylan mit einigen Songs aus seinem legendären Backkatalog in neuen Interpretationen - darunter Fan Favorites wie "Forever Young" und "It's All Over Now, Baby Blue" sowie ausgesuchte Katalogperlen wie "Queen Jane Approximately" und "The Wicked Messenger". Ursprünglich für ein exklusives Streaming-Film-Event eingespielt, das im Juli 2021 lediglich in einem begrenzten Zeitraum von einer Woche ausgestrahlt wurde, ist SHADOW KINGDOM nun erstmals auf Vinyl, CD und digital erhältlich. Die Setlist des Albums umfasst 13 Originalsongs, die Dylan für seinen Auftritt in "Shadow Kingdom" persönlich ausgewählt hat, sowie das abschließende Instrumental "Sierra's Theme". "Dylan zeigt immer wieder, wie sehr man selbst als notorische lebende Legende auf der Höhe der Zeit bleibt." (Joachim Hentschel, Süddeutsche Zeitung). "Die für diesen Anlass halbakustisch umarrangierten Songs sind dabei geradezu betörend. 'Tombstone Blues' als entschleunigtes Rezitativ ist einer der Höhepunkte, ein geisterhaftes 'What Was It You Wanted' ein anderer." (Maik Brüggemeyer, Rolling Stone).

Portuguese maestro Lewis Fautzi drops his 2nd EP on Soma of 2020 with the State Of Pressure EP. As well as two top drawer originals from Lewis, the EP features two specially commissioned remixes from fellow Portuguese rising stars Nørbak & Temudo, both of whom have featured this year on Soma to high acclaim.

Title track State Of Pressure opens and doesn't mess about as thumping, driving drums lay the foundation before pure, hypnotic rhythms begin their descent delivering that typical Fautzi sound. Nørbak's remix of State Of Pressure takes note of the originals hypnotic vibe offering a deeper and more percussive driven affair. Epidemic Of Wellness has Fautzi working in darker elements and delivering more tension with his use of each particular strain of the track, pulsing and modulating perfectly in sync. Temudo closes out the EP with his remix of Epidemic Of Wellness. Always focussing on groove and momentum, Temudo goes sub heavy on his version but retains the dark tones of the original whilst almost adding an Electro-like flex on the groove.

Mastered By Conor Dalton @ Glowcast Mastering.

Like the winged half-man/half-bull that dominates its outrageous cover, Cleveland Eaton's Half And Half is a mutant bass-heavy monster that absolutely slays. Incredible jazz-funk from 1973, it's been largely overlooked for decades, and unfairly so. This is just sensational music - a crate digger's delight. It's super funky throughout, with lots of layers, jazz breaks for days, dripping with style and gritty class. This is the first reissue of what has been a hard to find record for many years; it's long overdue. Joyous music for mind, soul and body.

Cleveland Eaton was a revered bassist who played an active role in the backing of Count Basie, the Donald Byrd Quintet, The Ramsey Lewis Trio, Terry Callier and Minnie Riperton; amongst many, many others. Half And Half was the first album released under his own name, initially released as a private press record on his - awkwardly named - Cle An Thair Records. It was then picked up by Gamble & Huff for Gamble Records. Varied, string-adorned and with stupid funky grooves, it's just exceptionally good.

Whilst Half And Half is treasured for its famously brilliant interpretations of gold funk-soul standards, Eaton proves an imaginative composer in his own right. Indeed, the album opens with a striking original; the earthy, laconic jazz-guitar-funk fusion of "Keep It Funky". Cleveland and co. do exactly that. Up next is a properly moving cover of Aretha Franklin's eternal "Day Dreaming". The flute and guitar combo truly achieve celestial greatness here. "Here Comes Funky Lou" rides a bassline from the Gods and a driving soul-jazz groove allows the track to go off in all sorts of directions. Serene guitar soul of the breezy variety one moment, crazy hectic violin-driven wig outs the next, courtesy of Ed Green who played with Dorothy Ashby and Alice Coltrane.

His blistering two track salvo of Stylistics covers to close out this A-Side of A-Sides will leave your jaw dropped, and they're likely the reason you're here for this. And why not? "Betcha By Golly Wow", which uses a bed of acidy synths and harmonica to create a unique atmosphere, is on some next level business. Melancholic, wistful, beautiful. "People Make the World Go Round" is so good, dripping in wonderful horns and ace percussive breaks, it could even be regarded as the definitive version. Seriously!

Opening Side B, War's gigantic "Slipping Into Darkness" is tightly tailored to Eaton's funky flute fusion arrangement whilst the insistent "Missing You" is a swaggering horn-heavy version of Luther Ingram's track from the Dilla/Ghostface-linked LP, I've Been Here All The Time. The creeping, screeching guitar-drenched original "John's Groove" features more fantastic horn lines and neck-snapping percussion whilst "The Love Gangster", written by Bill Wyman and Stephen Stills for his seminal Manassas LP, contains a heavy break with slick drums high in the mix and fuzzy guitars.

The album closes with two more Eaton originals. Written with Johnny Guitar Watson, "Lie" is one hell of a funky string and guitar-driven gem whilst the wild, celebratory "Ah Movin' On" cleverly quotes "Wade In The Water" (which he'd recorded with Ramsey Lewis in 1966) folding it into his new free-jazz composition. A message to his old boss, perhaps, as a sign-off?

We've worked on this reissue for 3.5 years, spending the whole time making it sound super sharp and looking as perfect as it possibly can. An absolute must-have for fans of soulful jazz-funk, Half And Half was mastered for vinyl by Simon Francis and cut by Pete Norman at Final Tweak. The bizarre artwork, mutant beast and all, was restored at Be With HQ over many painstaking months! Hopefully, this new edition, a real labour of love, should bring Cleveland Eaton into the homes and record boxes of many more people.

While the hook line for this new local trio would have to be that bassist/leader Brenda Sauter used to be a member of the later-'80s incarnation of the famous Feelies (and it's notable offshoot, The Trypes), even if you didn't worship at the altar of that group (and especially if you did!), Wild Carnation is a revelation. While
the persistent, pumping beat and hard-played jangle guitars of most of the tracks here emanate from her previous band and from their forerunners, the Velvets (especially), Television,and the Byrds - Sauter's beguiling voice is perfect for the ultra-appealing pop hooks the group writes as well as the thoughtful lyrics she composes.

Way back in the 1990s, a young Delmore stumbled into now defunct NYC nightclub Wetlands (during the sadly also now defunct, NYU Independent Music Festival), just as WILD CARNATION were about to begin their set.

Having lived in NYC / Brooklyn / Hoboken the previous decade, where countless mesmerizing gigs by THE FEELIES, YUNG WU, TRYPES, and SPEED THE PLOUGH had been experienced, it was the chance to see Brenda Sauter fronting her new group that drew Delmore in. A few songs into their set, it was apparent, however, that this trio was more than a Feelies offshoot project, despite melodic similarities, and Brenda's cool vocals / presence.

WILD CARNATION played raw, loud and fast (and occasionally out of control), with Richard Barnes distorted, jangly guitar lines perfectly colliding with Brenda's propelling bass notes, while Chris O'Donovan
kept it together, while pounding the living hell out of his drums. It was a garagey, indie rock mess, more reminiscent of Hib-Tone / Chronic Town era REM, and emergent New Zealand bands like The Bats and The Clean, than The Feelies.

Delmore was smitten, and determined to sign them, despite the fact that the Delmore label did not yet exist.
In 1993, Wild Carnation's debut 7", "Dodger Blue" b/w "The Lights Are On (But No One's Home)", taken from raw home demos recorded the previous year, became the second Delmore release. A full length album was then commissioned, and an evolving Wild Carnation holed up at Mix-O-Lydian recording studios with engineer Don Sternecker (The Feelies, Speed The Plough, Wake Ooloo) to record their debut full length, Tricycle, released in 1994.

On Tricycle, the pastoral quality of their most beautiful ballads was captured perfectly, while retaining enough of the rawness of the live experience. Waves of critical acclaim followed, from now defunct publications (CMJ Jackpot! Raygun, Trouser Press) followed, including this one by Jack Rabid of The Big Takeover, written for All Music Guide:
"While the hook line for this new local trio would have to be that bassist/leader Brenda Sauter used to be a member of the later-'80s incarnation of the famous Feelies (and it's notable offshoot, The Trypes), even if you didn't worship at the altar of that group (and especially if you did!), Wild Carnation is a revelation. While the persistent, pumping beat and hard-played jangle guitars of most of the tracks here emanate from her previous band and from their forerunners, the Velvets (especially), Television,and the Byrds - Sauter's beguiling voice is perfect for the ultra-appealing pop hooks the group writes as well as the thoughtful lyrics she composes.

Trading the occasional Feelies drone for sugar-sweet melodies (yes!) and utilizing the pretty ring of the guitars to maximum effect, songs such as Wings are the perfect pop confectionery, too honeyed and
delightful to miss capturing your bending heart and too consistently insistent and edgy to be wimpy, kind of like Reckoning-era R.E.M. It's all so well captured with pristine production, with balls to match the heart, too!

And though the 12 tracks are largely cut from a similar mode, all seem special just the same on their own.
A truly shining, first-rate effort, along with Lotion's and Nyack's early EPs and the last Flower LP, the best release to come out of a New York group this decade, and exceptionally crafted at that! Do not miss."

Repress!

KNTXT signs hotly-tipped techno artist Indira Paganotto for a new EP that showcases her unique sound across four compelling tracks.

Indira's father was a DJ in the iconic Goa scene in India in the 90s, so she grew up surrounded by colourful, emotive techno and psytrance. She has brought that to her own DJ sets and productions ever since she moved to Madrid to pursue her career. Now Indira is coming out with her best EP to date.

“I got to know Indira Paganotto when we opened up for demo submissions earlier this year,'' says KNTXT label boss Charlotte de Witte. “She immediately caught my attention with her unique take on psy/techno music. It feels very good to have her on board and I'm curious to see what the future holds for her.”

Indira adds, "I understand music as a state of trance where each track develops a journey and a story. Himalaya EP is the reflection of everything I learned since my childhood until today, the heritage and passion for Psytrance, the experiences in India, the connection with nature, as well as the feeling of freedom and strength like the gallop of a horse, the synths of Goa music, the love and the truth, which is what fills my life. Thank you Charlotte for understanding my language in such a true way. Ours is a real connection in such a sincere mental embrace, and I am proud to be part of your KNTXT family and to be able to show everyone who I am."

The EP ́s opening track, 'Takeshi', is a slick techno roller that is rippled with psychedelic melodies and bright acid lines. They bleep and squeak up top to create a hypnotic effect as the drums march on. 'Sultans Of Mountains' contains intense psychedelic synths waning about the mix. The drums are stripped back and urgent, and crashing hits and smart filters bring real tension as this one unfolds in an arresting fashion. On the other hand, 'Himalaya' has a deep and sleek techno atmosphere where astral pads and heavenly vocal coos make for a cinematic sound that will cast a real spell on the crowd. Last, but certainly not least we have the edgy and heavily textured 'Cobra' with its unrelenting drums, slapping hits and futuristic, psytrance-tinged melodies all designed to mess with your mind.

This is an EP packed with fresh techno, straight from the breakout star Indira Paganotto.

Original soul man Carlton Jumel Smith and the infamous Mocambo crew hook up for a double sider 45 of the highest order. The A-side "Keep On Swinging" is a slab of tough street funk with real-life storytelling about persistance and not giving up, hitting heavy on the one. Carlton's message of and positivity and encouragement continues on the flip side, "Hope", an uptempo sweet soul hitter with a strong gospel vibe over urgent breakbeats.

Recorded on 8-track tape featuring members of the Mighty Mocambos and Bacao Rhythm & Steel Band, this single is equally at home at breakdance battles as it is at soul allnighters, and whether you're in a gangster limousine or in church – turn it up! "Long live soul music".

Dutch progressive Death Metal legends Phlebotomized at the peak of their 30 year old career!

Phlebotomized is among the oldest Death Metal bands from Holland and one of the first using violin and synthesizers in extreme metal. Their typical “Death Metal with a twist” caused a stir in the booming Dutch metal scene back in the early 90’s. Formed in 1989, Phlebotomized started out as a Grindcore/Death Metal band,
inspired by acts like Morbid Angel, Nocturnus and Paradise Lost. Later on, the band began to use keyboard and violin arrangements, resulting in their unique sound. Their “Devoted to God” demo (1992) was recognized as a classic one demo worldwide. In 1994 Phlebotomized released their seminal “Immense Intense Suspense” album which offered an intelligent blend of atmosphere and brutality. It took the Death Metal scene by storm, giving both the band and the album a legendary Cult status worldwide.

The band played numerous shows but disbanded shortly after the release of their second full-length album “Skycontact” in 1997.

After a hibernation of 16 years, Phlebotomized regrouped in 2013 upon the re-release of their classic albums. The band played several live-shows and

Black Vinyl

Auf "Wages Of Sin" muss sich die neue Sängerin Angela Gossow nun zum ersten Mal einem scheinbar übermächtigen Schatten aus der Vergangenheit stellen. Schließlich ersetzt sie keinen Geringeren als Johan Liiva, der bereits vor dessen Carcass-Tagen mit Arch Enemy-Gitarrist Michael Amott in der Ur-Death-Metal-Combo Carnage zusammengespielt hatte. Dass sie diese Aufgabe so bravourös gelöst hat, ist unglaublich!Ähnlich wie 'Burning Bridges' aus dem Jahr 1999 ist 'Wages Of Sin' ein mächtiges Sperrfeuer an komplexen Riffs, das zwischen blendend brutal und atemberaubend melodisch wechselt und dabei eine Intensität beibehält, die man bei heutigen Metal-Aufnahmen nur noch selten hört. Das musikalische Können ist wie immer tadellos, wobei die Amott-Brüder einmal mehr beweisen, dass sie Meister ihres Fachs sind, wobei der Großteil ihrer Gitarrenarbeit ebenso viele Death-Metal-Obertöne aufweist, wie sie von einem traditionelleren Hard-Rock-Ansatz abgeleitet zu sein scheinen, insbesondere bei den Songarrangements, die nur selten vom Konventionellen abweichen.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

Red Vinyl

Auf "Wages Of Sin" muss sich die neue Sängerin Angela Gossow nun zum ersten Mal einem scheinbar übermächtigen Schatten aus der Vergangenheit stellen. Schließlich ersetzt sie keinen Geringeren als Johan Liiva, der bereits vor dessen Carcass-Tagen mit Arch Enemy-Gitarrist Michael Amott in der Ur-Death-Metal-Combo Carnage zusammengespielt hatte. Dass sie diese Aufgabe so bravourös gelöst hat, ist unglaublich!Ähnlich wie 'Burning Bridges' aus dem Jahr 1999 ist 'Wages Of Sin' ein mächtiges Sperrfeuer an komplexen Riffs, das zwischen blendend brutal und atemberaubend melodisch wechselt und dabei eine Intensität beibehält, die man bei heutigen Metal-Aufnahmen nur noch selten hört. Das musikalische Können ist wie immer tadellos, wobei die Amott-Brüder einmal mehr beweisen, dass sie Meister ihres Fachs sind, wobei der Großteil ihrer Gitarrenarbeit ebenso viele Death-Metal-Obertöne aufweist, wie sie von einem traditionelleren Hard-Rock-Ansatz abgeleitet zu sein scheinen, insbesondere bei den Songarrangements, die nur selten vom Konventionellen abweichen.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

Destrøyer is the second single from the upcoming debut album due to be released in early 2023. All hailing from the DIY-culture in Gothenburg and with a mission to deliver fast riffs straight to your ears, Spøgelse will run you over one time, then back up and run you over one more time to be sure you get the message.

A dynamic configuration of rhythms plus melodies, overlaid with musings on repetitive neverlands: R.i.O. welcomes KXB, aka Sam Gill and Wes Holland, a duo that, as they put it, “was born and baptised on the balcony at Robert Johnson in 2019, while Wes lived in London and Sam in Melbourne.” “Areas of Uncertainty” is their first musical outcome. It carries a rhythmic show bag, that circumnavigates streamlined track architecture. From Can-ish live drumming submitted by guest rhythmist Graeme Pogson to sequenced synth spheres, the three multilayered groove landscapes of the Australian duo punch severely arcane. Sometimes techno frankness messes with the big bad dub universe. Or Hacienda- Breakbeats cut tellingly through looped vocal waters, sanctified sung in by “Thrush”, one third of the Melbourne based Aussie/Deutsch swamp beat trio Concentration. Additionally, their buddy Richard Fearless added a remix for the premiere, fishing in dark dub zones, bringing in anxious cosmic tones. All recorded in a deeper shade of space somewhere in Melbourne, Berlin, and Fearless’ Metal Box studio in London, while diving into an avalanche of infinitely hyperlinked cadences.

Annett Gapstream is back on Artminding with her first EP. Two originals show her distinctive and characteristic musical variety drawn by vivacious DJ gigs all over Europe. Just as her international career, also her latest productions are picking up speed and reflect the constant process of heading a little further.
For the title track “Halluzination” Annett Gapstream premiered herself in the recording booth of the studio and created a dynamic, highly memorable iteration towards illusional, hallucinatory messages that wreathe the audience in a higher mental state while dancing. Surrounded by a lofty melody and very present drums the track reveals an entire new range of melodic techno creativity.
Meanwhile “Surrealism” and its warm bassline conveys a more soothing or relaxed atmosphere with lots of potential to dream away during clubby mornings.
The whole idea of this release is fulfilled by three extraordinary remixes. Amsterdam based electronic music gem Hollt, shootingstar Max von Sternberg from Vienna and Live artist Concious complete the EP with their majestic note right on top of modern electronic music production.

Harte Gitarren gepaart mit emotionalen Gesangsdarbietungen und pointierter Melancholie: Mit "Red Light Habits" wandeln die aufstrebenden Jungs von BIRD'S VIEW auf den Spuren von Bands wie Foo Fighters und Turnstile.
Das Quartett beeindruckt mit einem Debüt von höchster Qualität, das Alternative-Rock-Liebhaber rund um den Globus begeistern wird.

"Red Light Habits" ist das Debüt der neuen deutschen Überflieger BIRD'S VIEW. Die vierköpfige Rockband ist eine messerscharfe Truppe junger, fesselnder Musiker, die darauf brennt, klangliche und ideologische Grenzen einzureißen! "Red Light Habits" enthält 13 frische Alternative-Rock-Songs bei denen man heraushören kann, wer die Jungs musikalisch geprägt hat. BIRD'S VIEW ist aber auch eine Band, die es trotzdem verstanden hat, dabei unverkennbar zu klingen und ihren ganz eigenen Style in ihr Werk einfließen zu lassen.
Dieses Debutalbum wird mit Sicherheit einigen Staub aufwirbeln und sollte in keiner Plattensammlung fehlen!

Harte Gitarren gepaart mit emotionalen Gesangsdarbietungen und pointierter Melancholie: Mit "Red Light Habits" wandeln die aufstrebenden Jungs von BIRD'S VIEW auf den Spuren von Bands wie Foo Fighters und Turnstile.
Das Quartett beeindruckt mit einem Debüt von höchster Qualität, das Alternative-Rock-Liebhaber rund um den Globus begeistern wird.

"Red Light Habits" ist das Debüt der neuen deutschen Überflieger BIRD'S VIEW. Die vierköpfige Rockband ist eine messerscharfe Truppe junger, fesselnder Musiker, die darauf brennt, klangliche und ideologische Grenzen einzureißen! "Red Light Habits" enthält 13 frische Alternative-Rock-Songs bei denen man heraushören kann, wer die Jungs musikalisch geprägt hat. BIRD'S VIEW ist aber auch eine Band, die es trotzdem verstanden hat, dabei unverkennbar zu klingen und ihren ganz eigenen Style in ihr Werk einfließen zu lassen.
Dieses Debutalbum wird mit Sicherheit einigen Staub aufwirbeln und sollte in keiner Plattensammlung fehlen!

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Crass Records, alongside One Little Independent Records, reissue
their iconic three volume compilation series, ‘Bullshit Detector’, on LP,
available in both classic black and special edition grey vinyl.
 ‘Bullshit Detector’ was the name of a series of compilation LPs put
together by the anarcho-punk band Crass and released on their own
label. Three editions were released between 1980 and 1984,
consisting of demo tapes, rough recordings and artwork that had
been sent to the band.
 The sound quality of the ‘Bullshit Detector’ series was mixed and
often basic, or even poor, as Crass would master the tapes directly to
record without any additional production or enhancement. For Crass,
the expectation of a polished performance was missing the point.
 After punk had already been co-opted, re-packaged and sold back to
us, ‘Bullshit Detector’ volumes 1-3 were, and still are, seen by many
to capture the purest ethos of punk culture, an event that inspired
hundreds to take to their bedrooms and garages and join the DIY
revolution.
 Crass believed in the power of community and that their movement
was for everybody. These compilations are an admittedly harsh but
important part of that story; when Crass gave punk back to the
people.
 Sleeve notes from ‘Bullshit Detector Three’ read: “Don’t expect music
when the melody is anger, when the message sings defiance, three
chords are frustration when the words are from the heart.”

Anarcho Punk was the one sub-genre of Punk that emerged in isolation from the rock & roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialised mainstream Punk scene. It continues to do so. Anarcho Punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away.

The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.

The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.

This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.

The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament.

Die lang erwartete Debüt-LP von Alien Tango, eine fröhlich-bizarre Zusammenstellung dessen, was Ein-Mann-Band und Produzent Alberto García Roca als 'Klassiker aus einem Paralleluniversum' bezeichnet. Eine Schlafzimmeraufnahme, die überlebensgroß, bunt und eklektisch klingt wie ein Fiebertraum, in dem David Bowie, MGMT und Queen in einer Kirche eine Messerstecherei veranstalten, während der Priester auf einer verstimmten Gitarre schreddert und die Orgel in Brand gesetzt wird.

Purple/Black smoke vinyl. Limited 300 copies. Morning Again formed in the 90's and helped create the metalcore sound that is so popular today. The band become well known by combining different aspects of metal and hardcore with Politically charged lyrics and messages. Over the years the band has released Multiple 7", Ep's as well as a full length on Revelation Records. This new Ep contains the same energy, passion and aggression that the band has always had. Sonically this is their best recording to date and let's us hear what Morning Again sounds like with the most modern recording technology and an amazing producer/engineer once again. "Borrowed Time" was recorded by Beau Burchell from Saosin in Orange County, CA. He has also worked with The Bronx, Trash Talk, Underoath and Senses Fail. This new record has a song called "Resignation" which features guest vocals by Trevor Strnad from The Black Dahlia Murder.

Sustained exercises in tension. Personal healing. Dischord Records. The Unit Ama make music that explodes outward: dense but soothing metronomic pulses morph into a wild fracturing of the traditional rock trio. The Unit Ama take their time. They act on their own terms. This applies to their music and their work-rate. Two albums and a handful of singles in twenty years. Sporadic gigs. No endless Bandcamp messages or weekly mailing list updates. Rare missions outside their native north-east. And then… Toward is their second studio album and their second Gringo release. It’s not their ‘pandemic’ album but does see the band considering the important things: post-traumatic growth, insight through experience. Utilising the past to navigate towards a meaningful future. Toward was self-produced and will probably get tagged as post-hardcore which is fair enough. But it’s also informed by post-punk, jazz and folk, and by working closely together for two decades. The Unit Ama play in other incarnations that inform their music and the way they dismantle expectations of the rock trio. There’s as much Richard Thompson as Minutemen. Toward takes the exploratory, explosive sound of their debut and adds twenty years of living and listening. Toward is eight tracks that are thoughtful and intricate without losing any impact. This is gut music as much as it is head music. The Unit Ama never let their abilities get in the way of their instincts and Toward is full of surging urgency and roaring anxiety. But there are moments of brooding calm too, and a song – Mary – that could be stripped down and sold as a folk ballad. The trio also play variously as The Long Lonesome Go, Archipelago, The Horse Loom and more. They have supported everyone from Fugazi to Lungfish, Lightning Bolt to Sunburned Hand of the Man

New Parisian label, Disques Messager, presents its first release and not the least. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which begins rather well, with the official reissue of these two stirring titles by Brazilian singer and composer Cristina Camargo.

Native of Rio De Janeiro, Cristina Camargo had quite a short career, releasing only 2 albums in 1980 and 1981, but still enough to collaborate with some of the best composers, musicians and producers at that time. Her first self-titled album was therefore produced by Robson Jorge & Lincoln Oliveti and recorded with some of the finest musicians.

“Moral Tem Hora” comes from this same LP and is a perfect example of the unique alchemy that emerged when the Disco and Boogie invaded the Brazilian music scene. A quite hard to find Boogie killer, composed by famous brothers, Marcos and Paulo Sérgio Valle.

On B side comes “Minas Do Rei Salomão”, a more chilled-out title extracted from Cristina’s 2nd album, Santa Maravilha. With its funky slapped bass, airy keyboards and the sweet vocals of Cristina, the song seems made to sip a nice cocktail at Ipanema.

We're thrilled to release two exciting electro tracks by Art P, as well as the classic minimal synthwave tune 'Der böse Osten' by related band project Die Synthetische Republik on this limited split 12".

The single kicks off with 'Genscher Pull and Push', an incredible and previously unreleased electro/wave/proto-techno tune from the P.A.P. archives, recorded in October 1982 with a political background. The song was only available on a demo cassette for a radio show and had been forgotten since then. Genscher was a long-time Federal Minister for Foreign Affairs and Vice Chancellor of Germany, who played a key role in a coalition change in September/October 1982, leading his party, the FDP, to leave the Helmut Schmidt cabinet with the SPD and continue with the opposition, the CDU/CSU. As a result, the German lyrics of the song shout 'bitte geh nach links / bitte geh nach rechts' ('please go to the left' - meaning the left-leaning SPD, and 'please go to the right' - meaning the right-leaning CDU), and so on.

Unfortunately, this track was never released, as the topic of the coalition change quickly became uninteresting and outdated. If it had been issued on vinyl in late 1982, it would probably be considered one of the first proto-techno tracks ever. With its driving and heavily-punching 808 rhythms, and the bending synth bass leads played on the Jupiter 4 synthesizer, it gives you a groove that owes as much to Kraftwerk's 'Computerwelt' album as it may rhythmically pre-date the sound of Detroit's Juan Atkins. The energetic German vocals are giving the track a unique Neue Deutsche Welle touch. They are heavily left/right panned to fit the political topic.

Next up on the Art P side is a remix of 'Polaroid', originally found on the No Message LP that we re-released last year. The track was recorded in 1985, and at that time, the duo of Frank Grotelüschen and Jens-Markus Wegener had become bored with the sound of the Roland 808 drum machine, so they made the track with a DrumTraks by Sequential Circuits. However, for this remix, DJ Scientist, the curator of this 12", wanted to recreate the typical electro-funk sound of the era and added 808 bass drums and claps. The track was also shortened to a more DJ-friendly arrangement. The result is a dancefloor delight for all lovers of classic electro and SVC-350 vocoder sounds!

Die Synthetische Republik was a project by Wegener of Art P and Olav Neander. The track 'Der böse Osten' can originally be found on the cassette album 'Faktor D', recorded in just two weeks on a Tascam Portastudio 245. The original recording sessions were pure fun but also rushed. Hence, none of the tracks was perfectly mixed. With digital technologies, we remastered 'Der böse Osten' to achieve the best possible result and are pleased to release this serious synth wave gem on a loud 12" for the first time as an exclusive extended mix.

The split 12" is released in a picture sleeve with a unique artwork on each side. It is limited to 500 copies.

Originally released as a digital single only available through Jungle Fire's Bandcamp page in the summer of 2020, their version of the Ray Barretto Latin Funk classic "Together" was put out in support of Black Lives Matter and acknowledgment that African culture has been the backbone, soul and spirit of societal fabric since the dawn of humanity. A song whose message and spirit always united and ignited the audience, it was a much-needed offering to fans at a time of escalated urgency in the sociopolitical climate. Now in 2023, F-Spot Records is proud to announce its official vinyl release alongside a previously unreleased track, "Movin' On" (originally recorded by Ray Camacho), on the flip. Often performing "Together" during their live shows as an instrumental interlude, it was only right to do the song justice by inviting long-time collaborator and frequent F-Spot featured singer Jamie Allensworth to join on lead vocals. Performing as a guest with the band numerous times and being a part of So-Cal's funk and soul community ranging from Orgone, Night Owls, and Mestizo Beat, Allensworth delivers a high-energy performance that keeps up with Jungle Fire's signature sound of blazing percussion, heavy beats, and fuzzed out guitars. On side B Allensworth is featured again, stepping up the energy even more into the full-on Latin Funk party, "Movin' On." Cut at a faster tempo and more drive than the original, Jungle Fire is the only group we can think of that can deliver this kind of performance, matched with Allensworth's gritty yet soulful lead, to bring you two sides of serious heat that the band has consistently brought over the past decade.

Following from the 7-inch release of her enduring classic “Say That You Love Me,” soulful songstress AK teams up with Most Excellent Unlimited once again for a new already highly acclaimed single “Beautiful You”, appearing on vinyl in the compact format for the first time. AK, the veteran singer songwriter gives her fans a message of empowerment and affirmation, lyrically uplifting with a groove to match, presented here with GRAMMY® award-winning remixer Hex Hector’s dancefloor-tailored remix alongside the original’s gleaming pop arrangement. For this single release, the first from her upcoming new full-length album, maestro Danny Krivit has contributed his own edit of Hector’s rework, an edit that follows his reliable method of boiling down arrangements to their perfect essence and is exclusive to this single. Completing the package is a full color sleeve, complimented by a translucent pink vinyl within.

Superjock Records presents Volume 13 in the ever evolving “NOLA Breaks” series! This time around, Los Angeles producer Dan Ubick partners up with Detroit native and longtime J Dilla and Madlib collaborator, Guilty Simpson (Stones Throw). Simpson spins a cautionary tale of how limited opportunity and having to hustle to make ends meet can have dire consequences on our communities. With a lush string arrangement and a funky backbone, Connie Price & The Keystones provide the perfect soundtrack to the subject at hand. “Everybody Pays” also features the sympathetic and haunting voice of Bay Area soul chanteuse Destani Wolf (The Pharcyde, Matisyahu, Night Owls) and emotional cello stylings of Breakestra and Funky Sole grand puba “Music Man” Miles Tackett. To top it off, Professor Shorthair lays down the perfect cuts to bring the message home. On the flip-side, Professor Shorthair provides an epic remix of “Everybody Pays” with a harder edge while maintaining the emotional feel of the original. - Volume 13 in the “NOLA Breaks” series is a must for Funk and Hip-Hop fans alike. Produced, recorded and mixed by Dan Ubick for DanUbe Productions at Lions Den Studios, Topanga, CA

All Quiet On The Western Front (Im Westen Nichts Neues) is a 2022
German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material’s anti-war message.

Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.

All Quiet On The Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score.

The score of All Quiet On The Western Front is available as a limited edition of 2000 individually numbered copies on smoke coloured vinyl. The package includes a 4-page booklet with movie stills.

All Quiet On The Western Front (Im Westen Nichts Neues) is a 2022
German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material’s anti-war message.

Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.

All Quiet On The Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score.

The score of All Quiet On The Western Front is available as a limited edition of 2000 individually numbered copies on smoke coloured vinyl. The package includes a 4-page booklet with movie stills.