'Ala Mai' is the second studio album from New Zealand's dynamic metal powerhouse, Shepherds Reign. Shepherds Reign’s unique blend of music, muscle and mayhem, is a supreme listening experience crossing genres, cultures and myriads of other borders. Early press has been glowing, with a 9/10 rating from Distorted Sound, 4.5/5 from Metal Epidemic and Classic Rock mag stating "Beneath the band's groove-metal bedrock lies a capacity for world-beating melodies"
"Ripper '23" is the 14th release from the Sydney, Australian-based Punk band. Hard-Ons' previous releases have received praise from AllMusic "Most tracks reside in mid-tempo melodics, paced and sequenced brilliantly", Hysteria Magazine "The tracks on display are a great example of the variation the band is capable of with balls to the wall rock riffage meshing seamlessly with incredible melodies on the stand out track", and Maximum Volume Music "It does, though, feel like the whole thing has been shot through with an energy, as if it was all reinvigorated". 14th album from the Sydney, Australian-based Punk band. Twelve tracks from the Australian band. Lead single "Apartment For Two" is "Beginning with a moshpit ready maelstrom." Hard Ons Previous album I'm Sorry Sir, That Riff's Been Taken 2021 received press from HEAVY Magazine, Hysteria Magazine, Punktuation Magazine ["It’s a rocking good fun album and I’m sure you’ll hear some of these songs on commercial rock radio sometime real soon!"].
"Ripper '23" is the 14th release from the Sydney, Australian-based Punk band. Hard-Ons' previous releases have received praise from AllMusic "Most tracks reside in mid-tempo melodics, paced and sequenced brilliantly", Hysteria Magazine "The tracks on display are a great example of the variation the band is capable of with balls to the wall rock riffage meshing seamlessly with incredible melodies on the stand out track", and Maximum Volume Music "It does, though, feel like the whole thing has been shot through with an energy, as if it was all reinvigorated". 14th album from the Sydney, Australian-based Punk band. Twelve tracks from the Australian band. Lead single "Apartment For Two" is "Beginning with a moshpit ready maelstrom." Hard Ons Previous album I'm Sorry Sir, That Riff's Been Taken 2021 received press from HEAVY Magazine, Hysteria Magazine, Punktuation Magazine "It’s a rocking good fun album and I’m sure you’ll hear some of these songs on commercial rock radio sometime real soon!".
The best I can tell, we thought we'd get this album done in 2016. Roughly (not exaggerating) 60-70 songs later, we've whittled and worked and reworked the songs into 'After the Gold Rush Party.' Danny and I started this album while we lived in different cities (I was in DC and Danny was in OKC), then wrote some of them in the same city (OKC), and then the rest of them in different cities (I was in OKC and Danny was in Costa Rica and then Seattle). And weirdly, some of our most generative times happened when we weren't living in the same city. We've both grown up quite a bit and have real life jobs and families. In these songs we were grappling with trying to be punk rock (which we've never really been) while putting on a suit for work (hence, the Mr. Downtown character). But at the same time, punk rock has all but disappeared as a thing that exists - where are the punks, anyway? (See: Speed Racer). The songs read a bit like a travel guide. Part of the growing up process is coming to terms with one's own escapist tendencies - or embracing them, as you'd hear in a track like "Mexico" or "Culebra". Other times, the escapist themes come out musically, not lyrically, like in "She's a Betty" or "Tijuanarevor" maybe. Other times, we play around with just the idea that people are entitled to anything at all (Ms. Universe). And while Danny mixed most of the album, we have much to thank Chad Copelin for - he mixed four of these tracks, and we learned a ton from getting to spend time working with the man who recorded and mixed BRONCHO, Sufjan, Sports, and others. The time last summer we spent honing those four tracks were kind of the catapult for finishing up the rest of the tracks. So, to conclude, After the Gold Rush Party kind of represents us at this phase of the creative process. Big dreams, absurdly ambitious timelines, put into contradiction with the realities of family life, the challenges of the everyday, the mundanity of the workweek. "After the Gold Rush Party" is a nonsensical phrase, but it's exactly what we wanted to name the album. A frenzy of ambition, and then, the lull that lingers afterward.
The first half follows all of the paths that lead in circles, the tangled yarn that never finds the end. But it holds on. It's stronger than you think.
The second half is how we untangle and get put together again. The final song features a recording I took at the end of last summer, a warm night with a campfire, some crickets, and the people we love. Because even when we unravel, there are ways to be put back together.
Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city. After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.
Released in November 1987, Sinead's striking debut album The Lion and the Cobra was met with critical and commercial success. The album synthesises several of Sinead's influences into a diverse array of sounds and styles, from the hushed, atmospheric 'Troy' and 'Jackie' to the pop-rock hit single 'Mandinka', and the hip-hop inspired 'I Want Your (Hands on Me)'. The album also includes 'Drink Before The War', a song written by Sinead about her experiences at the Catholic reform school she attended, and was recently featured in the HBO series Euphoria.
The band who has become Sweden's most addictive rock'n'roll export is now rereleasing its fourth album Club Majesty in a special neon pink vinyl edition, on the occasion of its four year anniversary.
Plenty of people have tried to label the band. Garage rock, pop rock, kung-fu rock and even Chuck Norris rock are all tags that have been devised for Royal Republic's punchy, propulsive brand of rock'n'roll.
With their fourth album Club Majesty, 'disco rock' has been added to the mix. "I love the word 'disco'," singer Adam Grahn says. "But some people will say 'but you're a rock band!' We're a band. I never knew what to call us."
If you like Royal Republic, you'll love Club Majesty. And for the uninitiated - rock fan, pop lover, metal-head or otherwise - you've arrived at an excellent time. All are welcome here, so step inside...
The album features tracks "Ode to a Conversation Stuck in Your Throat" (performed on Late Night with Seth Meyers), "Perfume" (Top #8 Most Spun at SiriusXM), "Sorry I Am" (Triple J's Best New Music)" and more.
In addition to a run of sold out headline dates in the US and UK/ EU, Del Water Gap has recently been on the road with Maggie Rogers, Arlo Parks, girl in red and Jeremy Zucker. His sophomore album I Miss You Already + I Haven't Left Yet will be out this fall.
It's a pertinent start-point because, in many ways, God Is Luck exists firmly within that realm, many of the songs pulled directly from improvisation before being twisted into the mysterious shapes we find here on the finished record.
Recorded between the summer of 2020 and the summer of 2022, God Is Luck is an exercise in artistic freedom. The songs came quickly and easily by design, the whole point of the record and the approach to simply let go.
The third Bad History Month LP - following the Pitchfork-championed Old Blues (2020) - where aspects of the new album mirror the shape of Sprecher's previous work, its creation was an altogether different experience for the Philadelphia-viaBoston songwriter. He describes it as a collaboration with 'luck', the freeform nature of the recording resulting in a process that felt "fun and easy and fearless in a way that recording had never been."
"God is Luck means you can control reality by choosing your perspective to always see the luck, which makes you the god of your own reality," Sean Sprecher says of his latest record. With that notion at its core, Bad History Month's latest adventure finds twisted new ways to tell age-old tales. Even in its most fearless compositions, buried within dense fog, it strives for goodness; freedom from fear, love for friends, surrounding yourself with those who inspire.
Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory
Post-war musical history was written in Germany with the MPS label: noble music productions with many international greats come from the Black Forest and are timelessly legendary. Some treasures from the label's archive are released by HGBSBlue on highquality vinyl.
More than 20 top-class jazz musicians met in July 1965 for a jazz workshop at the Ruhr Festival in Recklinghausen and recorded a total of 17 pieces. Nine tracks from the live recording were to be released the same year as the first double LP on the young Villingen jazz label SABA (the forerunner of MPS). Everything was prepared for this, but it never happened.
It is not really clear why, because everything was technically ready for release.
With Hans Koller, Rolf Kühn, Leo Wright, Benny Bailey, Tubby Hayes, Ronnie Ross, Stuff Smith and others, many leading players of the jazz scene at the time were involved. However, the two music tapes were not pressed onto record and slumbered unheard for many years in the MPS archive in Villingen. In 2018, on the 50th anniversary of the MPS label, this was made up for: the double LP, which was to be released as "Junges Forum 65" by SABA, was released by HGBSBlue in a limited edition and is now also available here. The music of the workshop formation is still full of sparkling creativity today, almost 60 years after it was recorded.
You can hear first-class jazz on a bebop basis, which was played in Europe at that time by an immensely creative generation of musicians full of commitment. A listening pleasure for every jazz fan on the one hand, but also a wonderful documentation captured on this double LP.
Two x Grammy nominated band Code Orange return with their highly anticipated fourth studio album, The Above, their first for Blue Grape Music. The Above is the follow up to 2020's critically lauded album Underneath, which earned the band their second Grammy nomination.
Underneath closed out 2020 on multiple year-end lists including NPR, The New York Times, Billboard, Noisey and Revolver.
The band has major global touring planned in support of the new album and have shared the stage with $UICIDEBOY$, Deftones, Slipknot, Korn, System of a Down, Loathe, Power Trip and many more.
The new album features the single "Take Shape" featuring Billy Corgan of The Smashing Pumpkins.
Black Sabbath wurde 1968 in Birmingham von Ozzy Osbourne (Leadsänger), Tony Iommi (Gitarre), Geezer Butler (Bass) und Bill Ward (Schlagzeug und Percussion) gegründet. Ursprünglich als Heavy-Blues-Rock-Band namens Earth gegründet, begann die Band, okkulte und Horror-inspirierte Texte mit heruntergestimmten Gitarren einzubauen, änderte ihren Namen in Black Sabbath und veröffentlichte in den 1970er Jahren mehrere Gold- und Platinplatten.
Die Ultimate Collection wurde von den Bandmitgliedern zusammengestellt. Das Ergebnis ist eine 17-Track-Sammlung mit den Klassikern der Band wie "Paranoid", "Iron Man", "War Pigs", "N.I.B." und "The Wizard" sowie ausgewählten Ausschnitten aus ihren klassischen Alben. Remastered von dem renommierten Toningenieur Andy Pearce (Motörhead, Deep Purple, Lou Reed, Iggy & The Stooges) im Jahr 2009.
Die Sammlung ist die ultimative Begleitung für alle Sabbath-Fans und alle, die Hardrock lieben.
Originally released on white vinyl for Record Store Day 2021, this much sought after soundtrack is now available on a limited run of Transparent Red Vinyl.
2020 saw the release of the critically acclaimed “Audrey”, a documentary film taking an intimate look at Audrey Hepburn’s life with access to never-before-seen footage from her family’s personal collection and produced by the multi award-winning team behind “McQueen” and “Churchill”.
The soundtrack was composed by Alex Somers, an American composer and producer who has written and collaborated on soundtracks including “We Bought A Zoo”, “How To Train Your Dragon Trilogy”, “Aloha”, “The Circle”, “Captain Fantastic”, “Shia LaBeouf's Honey Boy” and Taylor Swift's Netflix original documentary “Miss Americana”. His work was first noticed in 2009 with Riceboy Sleeps, his ambient album collaboration with partner Jónsi (Sigur Rós). Following “Riceboy Sleeps”, Alex co-produced Jónsi’s 2010 debut solo album “Go”. He then opened his own recording studio in Reykjavík where he co-produced and mixed Sigur Rós’ 2013 album “Valtari”, and continued to collaborate with artists Jónsi, Julianna Barwick, Jóhann Jóhannsson, Gyða Valtýsdóttir, Damien Rice, Amiina, Sin Fang, Briana Marela.
Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.
For this new project, Rakoon is moving towards a warm, fully-fledged electro sound. "The Ones We Love" is an ode to those we love, to those we have loved, to the way encounters, sublime moments but also wounds, shape us.
The EP opens with the electronic ballad 'Carry Me', whose intoxicating synths remind us of those who have accompanied us, with whom we have moved forward and overcome trials. It's a nostalgic escape, with a vocal sample adding a touch of melancholy. As usual with Rakoon, hope is never far away on the danceable 'Moving Strangers', an energetic, enigmatic track where glitchy vocals intertwine with unstructured synths to give us that feeling of osmosis that arises in a crowd, when you share powerful moments with strangers. We continue the artist's electronic journey with "Always", whose analogue synths contrast with the depth of the vocals, revealing something unchanging in this journey. The radiant 'Memories' brings 'The Ones We Love' to a fitting close, in a hit built like a guitar-driven song, but made for the dancefloor. It's a track as unforgettable as the memories of the shared moments that make us who we are today.
On this universally intimate EP, the French producer conveys his feelings, but also his optimism. It's all about Rakoon and the emotions you feel when you listen to him: the desire to move forward together, to dance together bound by a transcendent force. An introspective journey full of honesty that we want to share, carried by its inspiring and intoxicating melodies. A journey of hopes and encounters that we want to continue to travel with him.
"The long-awaited LP, featuring 10 intensely vulnerable and absorbing new tracks (all written and recorded by the group) is delivered with fresh ambition and newfound purpose. Deeply inspired by the long layoff and the cloud of uncertainty that blanketed the world (and music industry) these past few years, 152 stands among the most genuinely reflective and emotionally pure efforts of Taking Back Sunday’s illustrious career.
From the heavy, intricate riffs and anthemic vocals to the elegantly warm synths and economical string arrangements, the quartet has never sounded better. That grand scope, from send-up to seriousness, is evident on the soaring album opener, “Amphetamine Smiles,” a powerful tale of reconnection that could be as much about the band members themselves as it is anything or anyone else. Whether it’s the grudging acceptance of maturity (“S’old), clutching the moment, (“The One”), eyes wide-open betrayal (“Keep Going”) or ‘can’t run from who you are’ awareness (“Quit Trying), the thread running through 152 is one of generosity, gratitude and ultimately, hope."" "
