Cerca:nirvana

Buckle up, electronic aficionados! Queen of Coins is about to drop a six-track sonic odyssey that’s your one-way ticket to Electro, Italo-Disco, and Detroit Techno nirvana. This isn’t just an album, it’s a masterclass in psychedelic dancefloor alchemy, tailor-made for DJs who crave cutting-edge sounds while paying homage to the genre’s founding fathers.

From the slow-burning hypnosis of “Head Tension” to the heart-racing throb of “16K Cal,” this release is a BPM rollercoaster that echoes the spirits of legends like Legowelt, Drexciya, and Francisco. But make no mistake – Queen of Coins isn’t just rehashing the past, the Queen is propelling these influences into the future.

“Bring it to the top” is pure condensed energy, engineered to shake every powerful soundsystem while maintaining an emotional depth that’ll hit you right in the feels. Speaking of feelings, “Damaged Souls” is the track you didn’t know you needed – a poignant electronic love letter to all those “what if” moments that haunt our dreams.

But don’t think for a second that Queen of Coins is all melancholy. “Oreo Cake” swoops in with its irresistible bouncing bassline, serving up a fat slice of low-end theory that’ll give your mind, body, and soul the workout they’ve been craving. It’s a reminder that in the realm of Queen of Coins, the future is bright, and the beat goes on.

Remember the mantra, ravers: Queen of Coins is “Music to grow with Expanding your soul Thriving in Prosperity.”

This isn’t just an album release; it’s a coronation. Long live the Queen of the electronic underground!

Janaka Stucky is a poet, performer, and author of two poetry collections published by Third Man Books & Records. Janaka’s poems are at once incantatory, mystic, and epigrammatic.

His esoteric & occult influences, combined with a mesmeric approach to performance, create an almost ecstatic presence on stage. Of his live shows, VICE writes, “Janaka Stucky performs poetry readings like he's part fire-and-brimstone preacher, part doom-metal frontman … For him, lighting incense, dropping acid, and creating some of the most ecstatic lines of verse you’ve ever read is just another day at the office.”

Praised by Jimmy Page as “riveting,” Janaka Stucky’s book length poem, Ascend Ascend, published by Jack White’s Third Man Books in 2019, gets a mesmerizing treatment on this album by the same name, accompanied by experimental cellist Lori Goldston. Goldston, known for her work with a number of acts—including Nirvana, Cat Power, and Earth—provides otherworldly layers of distortion and natural reverb over Stucky’s dirge-like vocal performance.
Recorded at the All Pilgrims Church in Seattle while Stucky was on a 7-city tour produced by Atlas Obscura in 2019, the performance is served well by the room’s ambiance and was recorded, mixed, and mastered by Mell Dettmer—who has engineered albums for acts such as Earth, Sunn O))), Master Musicians of Bukkake, and Wolves in the Throne Room.

It’s difficult to describe Partiboi69’s sound; words feel subordinate to the energy and personality he presents. This personality bleeds into his sound, as seen with his latest EP ‘Naughty By Nature’, in which the Aussie enigma brings born boundary-breaker MCR-T into his ‘naughty’ nirvana.

Bridging the gap between Techno, Hip-Hop, Trance, Booty House, and a further multitude of other genres, MCR-T is, like his partner in crime for this EP, Partiboi69, equally difficult to categorise: a compliment that few modern artists can claim. His pioneering mentality makes him a perfect fit for Mutual Pleasure; a label that bulldozes genre boundaries for fun.

From the sweet, funk-infused bassline of ‘Go To my Show’, to the devilish ‘Blow My High’, to the wildly outlandish anthem ‘Sex In The Club’, and ultimately the brazen ‘Get Freaky’, every track within ‘Naughty By Nature’ has a mind of its own, and its own unique character.

To partner the infectious production of each track, both Partiboi69 and MCR-T flex their muscles with vocal work, as the pair masterfully manipulate the microphone to create a dynamic element to their sound; one that is totally controlled by the devious double act.

Despite their differences, each track shares a common ancestor in Partiboi69 and MCR-T: mischief, rebellion and exuberance are deeply embedded into their DNA, and consequently, these qualities characterise the overall personality of this EP.

August Greene culminates years of mutual respect and friendship, channeling the musicians’ various talents into a cohesive project. The perfect marriage of jazz, hip-hop and soul, it’s music that just is. This is black expression the way God intended: earnest, unfiltered, and harmonious. Throughout August Greene, you feel the abundance of Glasper’s rolling keys, the sheer honesty of Com’s lyrics, and the nuanced subtlety of Riggins’ drum work. It’s a fluid sound that’s sorely needed in today’s landscape, and a teachable moment for the next wave of creators. “I feel like we need to set the bar for this generation of musicians and producers,” Riggins says. “There’s a lot of computer-driven music. This is the opposite of that. We’re showing you can still use your creative muscle on an instrument to generate your own sound.” August Greene is a meditative offering that stands tall against the era of “fake news.” “They body snatching black girls in D.C. / Politics and propaganda on the TV,” Common observes on the opening track. On “Nirvana,” the lyricist uses a stuttering percussive loop and faint piano chords to search his inner being: “Thought I was gonna fly when Obama became the king … when it’s all done, will I have heaven’s dress code, and been able to let God and let go.” As Com puts it, Glasper and Riggins’ soundtrack allowed him to open up in ways he hadn’t done previously. Like on “Fly Away,” for instance, where he riffs on the public relationships he’s had. Other songs, like “Black Kennedy,” feel spacious and scenic. “I got to go new places with the music, and it didn’t have to fit within a genre for me to participate on it,” he says. “This gave me an experience I haven’t had in a long time, so I want people to feel that. I want this to be a cleansing of whatever doesn’t feel good or inspiring.” In the end, August Greene speaks to those pushing through the dark for brighter days. It's a masterpiece from which virtue can shine. “I want people to go on the ride and be open,” Glasper says. “We just created and it became a sound. I want people to approach this with an open mind and without expectations.” —Marcus J. Moore

BEC meldet sich mit ihrer sechsten EP auf Pan-Pots Second State zurück und nimmt die Zuhörer auf eine Reise mit, die anfangs von treibenden Grooves, verzerrten Vocals, ravigen 90s Synths, industriellen Klängen und kraftvollem Techno geprägt ist ("Pleasure Seeker", "The Truth"). Mit "Reaching Nirvana" zeigt BEC aber eine andere Seite und haut eine Nummer raus, die mit deepen und schwebenden Synths heraussticht. Pan-Pots UKW Mix des Titeltracks mit dem unverkenntlichen Sound des Berliner Duos rundet die Platte perfekt ab.

RIP Magic haben keine Zeit verschwendet. In ihrem ersten Jahr wurden sie von The Guardian als ,Londons angesagteste Band" bezeichnet, spielten große Konzerte mit LCD Soundsystem und Fcukers sowie kleine Auftritte in Londoner Bars und Restaurantkellern, und jetzt bringen sie endlich eine physische Single raus, produziert von James Murphy, seine erste Produktion für eine andere Band seit über einem Jahrzehnt. ,5words" baut sich langsam zu einem euphorischen urbanen Epos auf, das gleichermaßen von Velvet Underground, Orbital, Rapture aus der Echoes-Ära und dem filmischen Universum von Dean Blunt beeinflusst klingt, und, ehrlich gesagt, auch von Nirvana. Es klingt, als würden Jahrzehnte in der Gegenwart zusammenbrechen, ermöglicht durch reibungslose Entdeckungen und gelöst durch die einfachste Methode: vier Leute in einem Raum, die nach etwas Neuem, etwas Großartigem, einem guten Gefühl suchen. Auf der B-Seite ist ein Remix von niemand Geringerem als Maurice Fulton zu hören, sein erster Beitrag für DFA seit den Syclops-Platten, die 2008 sofort zu Klassikern wurden. Maurice ist einer der besten Remixer und Produzenten seiner Zeit und Schöpfer eines Sounds, der so einzigartig und unverwechselbar ist, dass selbst all seine Pseudonyme die Trainspotters nicht täuschen können. Dieser Remix ist genau so: aufregend exzentrisch und unausweichlich mitreißend.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

Powerfull nice grooves from a series that might be beer named: "Acid folk renaissance " – as most of the work here come from the 70s, and a lot from those great years of the UK and US scene where it also seemed like there was plenty of folk in the music as well! A few of these cuts are downright acid , and all are filled with great instrumenta&on – in an approach that's a nice change from some of the more familiar Brit and US manners of the same genera&on. The &tles include, among the others: Nirvana’s Nova Sketch , Fi.y Foot Hose’s Rose, Pyranha ‘s Clepsydre , Kaleidoscope’s Keep your mind open, and more .

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

Das 1967 veröffentlichte Album "Jazz Raga" ist mehr als nur ein Album - es ist ein furchtloser Sprung in unbekanntes musikalisches Terrain. Gábor Szabó, der ungarische Jazzgitarrist, der für seinen grenzüberschreitenden Stil bekannt ist, liefert mit diesem Meisterwerk eines der faszinierendsten Alben seiner Karriere in diesem Genre. "Jazz Raga" vereint Jazz, Rock, psychedelischen Folk und östliche Einflüsse - mit Sitar-Melodien und lateinamerikanisch angehauchten Rhythmen, die dem legendären Funk-Schlagzeuger Bernard Purdie zu verdanken sind - und lässt sich keiner Kategorie zuordnen. Es ist eine hypnotische Fusion, in der europäische Tradition auf den Gegenkulturgeist der 60er Jahre trifft, alles verbunden durch Szabós unverkennbaren Gitarrensound. Vom verträumten Groove von ,Walking On Nails" über die wirbelnde Mystik von ,Mizrab" bis hin zu seiner eindringlich originellen Interpretation von ,Paint It Black" der Rolling Stones schafft Szabó eine Klanglandschaft, die sowohl gewagt als auch zutiefst gefühlvoll ist. Sein Spiel ist elektrisierend - voller ungewöhnlicher Akkorde, fließender Improvisationen und einer ganz eigenen Stimme. Auch Jahrzehnte später ist ,Jazz Raga" noch immer ein Meilenstein kreativer Freiheit und globaler Einflussnahme - ein Muss für alle, die Musik suchen, die Grenzen und Erwartungen überschreitet. Wenn Sie diesen Kultklassiker noch nicht kennen, ist es jetzt an der Zeit, dass Gábor Szabó Ihren musikalischen Horizont erweitert. Neuauflage auf 180-g-Vinyl.

Dread Spectre Council originated as Kenneth Amundsen"s solo-moniker compiling years of archival demos reimagined and re-recorded, first presented through this debut EP "Dystopia/Eons" feat. Dale Crover (Melvins/Nirvana/Redd Kross) on drums. On the pending album Kenneth plays all instruments, records and mixes himself in a solitary catharsis. A gang of co-conspirators is lurking to join for future releases and tours. A limited release of 300 ex hand numbered, with a bonus track only available on this physical copy. "Chiming guitar fuzz and earnest pop songwriting reminiscent of Sub Pop-era Sebadoh and Mary Timony"s solo material." - Ron Hart, SPIN MAGAZINE

In 2005, teenage trio The Subways made a phenomenal breakthrough with their Gold-certified debut album "Young For Eternity". It set them on the road to an endless succession of highlights, including their iconic "Rock & Roll Queen" becoming a mainstay of rock radio and streaming playlists. Twenty years on, and now five albums deep into their career, The Subways celebrate their 20th anniversary with the career-spanning collection "When I"m With You". The compilation brings new material too. It includes two new songs: "I Need To Feel You Closer", and "Passenger"s Side". The collection features the band"s work with some of the most influential producers around, including Butch Vig (Nirvana, Foo Fighters), Stephen Street (The Smiths, Blur) and The Lightning Seeds" Ian Broudie (Echo & The Bunnymen, The Coral). The tracks taken from their self-titled album and "Uncertain Joys" were produced by Billy Lunn.

The legendary Purple Tapes - the first ever Pixies recordings from 1987, officially reissued with new artwork and liner notes detailing the early history of the band. Includes the original recordings of "Here Comes Your Man", "Broken Face", "Down To The Well" & "Rock A My Soul". Formed in 1986 in Boston, Massachusetts, Pixies are one of the key acts associated with the late 1980"s American alternative rock scene and were also considered a big influence on acts such as Nirvana, Smashing Pumpkins and Radiohead.

Frontmann Simon Neil erklärt:
„Futique ist eine Reise durch Gedanken, Dinge und Beziehungen, die über die Zeit hinweg existieren – wir wissen nie, wann wir etwas zum letzten Mal tun. Und genau darin liegt eine gewisse Schönheit, aber auch eine Traurigkeit. Was wird dein Futique sein?“

Der Titel basiert auf Simons Überlegungen, wie sich unsere Erinnerungskultur im digitalen Zeitalter verändert hat. Früher klebte man seine Lieblingsfotos sorgsam ins Album, heute sind sie als endloser Strom aus Bildern in Sekunden auf dem Smartphone abrufbar.

Diese Reflexion rief Erinnerungen an Menschen seiner Jugend wach, an Dinge, die er heute vermisst – aber noch spannender war die Frage: Was werde ich in der Zukunft vermissen, das mir heute wichtig ist? Ein Gedanke, der ihn besonders während der Tour 2023 mit seinem experimentellen Metal-Projekt Empire State Bastard beschäftigte.

Er reiste gedanklich zurück zu den Anfängen mit seinen Bandkollegen James und Ben Johnston, zu holprigen Nirvana-Covers im Garagen-Proberaum im zarten Alter von 15 Jahren, zu Festivalbühnen, auf denen sich das Publikum bis zum Horizont erstreckte, und zu all den kleinen Dingen, die alles bedeuten. Insider-Gags, endlose Gespräche, stilles Einvernehmen, das lauter spricht als jedes Wort.

Wie in jeder langjährigen Beziehung gab es auch bei Biffy Höhen und Tiefen. Aber sie haben gelernt, das zu pflegen, was sie immer zusammengehalten hat: eine tiefe, unverbrüchliche Liebe – zueinander und zur Musik. Biffy Clyro gegen den Rest der Welt: ein sehr persönliches Narrativ, das trotzdem universell anfühlt. Denn Hand aufs Herz – wer vergisst im Strudel des Alltags nicht manchmal, wie wertvoll das Hier und Jetztist?

Frontmann Simon Neil erklärt:
„Futique ist eine Reise durch Gedanken, Dinge und Beziehungen, die über die Zeit hinweg existieren – wir wissen nie, wann wir etwas zum letzten Mal tun. Und genau darin liegt eine gewisse Schönheit, aber auch eine Traurigkeit. Was wird dein Futique sein?“

Der Titel basiert auf Simons Überlegungen, wie sich unsere Erinnerungskultur im digitalen Zeitalter verändert hat. Früher klebte man seine Lieblingsfotos sorgsam ins Album, heute sind sie als endloser Strom aus Bildern in Sekunden auf dem Smartphone abrufbar.

Diese Reflexion rief Erinnerungen an Menschen seiner Jugend wach, an Dinge, die er heute vermisst – aber noch spannender war die Frage: Was werde ich in der Zukunft vermissen, das mir heute wichtig ist? Ein Gedanke, der ihn besonders während der Tour 2023 mit seinem experimentellen Metal-Projekt Empire State Bastard beschäftigte.

Er reiste gedanklich zurück zu den Anfängen mit seinen Bandkollegen James und Ben Johnston, zu holprigen Nirvana-Covers im Garagen-Proberaum im zarten Alter von 15 Jahren, zu Festivalbühnen, auf denen sich das Publikum bis zum Horizont erstreckte, und zu all den kleinen Dingen, die alles bedeuten. Insider-Gags, endlose Gespräche, stilles Einvernehmen, das lauter spricht als jedes Wort.

Wie in jeder langjährigen Beziehung gab es auch bei Biffy Höhen und Tiefen. Aber sie haben gelernt, das zu pflegen, was sie immer zusammengehalten hat: eine tiefe, unverbrüchliche Liebe – zueinander und zur Musik. Biffy Clyro gegen den Rest der Welt: ein sehr persönliches Narrativ, das trotzdem universell anfühlt. Denn Hand aufs Herz – wer vergisst im Strudel des Alltags nicht manchmal, wie wertvoll das Hier und Jetztist?

Gatefold sleeve Insert Seventh studio album by black metal band Satyricon Includes the single "Black Crow n A Tombstone" and “My Skin Is Cold” Originally released in November 2008 through Roadrunner Records, The Age of Nero is the seventh studio album by black metal band Satyricon. Most of the album was written in a forest cabin, with the collaboration of Snorre Ruch (Thorns).

It was recorded in part at Sound City Studios in Van Nuys, California. In this studio bands like Metallica and Nirvana had also recorded. In support of the release The Age of Nero the band did a full European headlining tour in November /December 2008. The album includes the single "Black Crow on a Tombstone" and “My Skin Is Cold” (also released as 5 track EP prior to album release). Available on black vinyl housed in a gatefold sleeve and it includes an insert.

2025 Repress


Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

2025 Repress

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

Jessica Winters Debüt ist ein vollendetes, mutiges und hinterfragendes Album voller Persönlichkeit, das irgendwo zwischen Therapie und Tanzfläche angesiedelt ist. Musikalisch finden sich Anklänge an Kylie Minogue und dem Glanz der 80er-Jahre-Madonna, der Extravaganz von Prince und Queen, der Energie und des gelegentlichen Knurren des Punk und der verträumt hochgezogenen Augenbraue der Psychedelia. In einer Welt, in der maximalistischer Pop zurück ist und Therapie-Memes das Mass aller Dinge sind, ist "My First Album" der perfekte Soundtrack.

Jessica Winter ist eine britische Sängerin, Songwriterin und Produzentin, bekannt für ihre experimentelle Popmusik, die Elemente verschiedener Genres wie Pop, Industrial und Indie vereint. Bisher hat Jessica eine Reihe von EPs veröffentlicht, die ihre Fähigkeit, unkonventionelle Themen und introspektive Texte in Popsongstrukturen einfließen zu lassen, unter Beweis stellen. Zusätzlich zu ihrem Soloprojekt verfügt Winter über eine umfangreiche Liste an Referenzen als Co-Autorin und Produzentin, die mit Künstlern wie The Horrors, The Big Moon, Jazmin Bean, Phoebe Green, Lauren Auder, Pre Goblin, Sundara Karma, Walt Disco und Brodka zusammenarbeitete.

Mit einer großartigen Auswahl an Tracks hält Ace Records die Singlebox 'High Time' als New Release im Label-Jubiläumsjahr bereit. Nochmal Grund genug, diese legendäre Garage-Band mit diversen fulminanten Garage-Rock-Krachern auf 7inch aus dem Rock'n'Roll-Nirvana zu holen und gebührend zu feiern.
Die Box präsentiert die heißesten Singles der Band aus ihrer Glanzzeit von 1964 bis 1966, zeitlose Klassiker wie 'Psycho', 'Cinderella', 'Boss Hoss' und natürlich das Debüt der Tacoma-Legenden, 'The Witch'. Dazu kommen einige Klassiker die ursprünglich nie auf einer Single erschienen, wie 'Strychnine' und 'Have Love Will Travel'. Darüber hinaus erscheinen erstmals Tracks aus der Etiquette- und der Jerden-Ära zusammen. Letztere sind vertreten durch die beliebten Nummern 'Head On Backwards', 'Like No Other Man', 'High Time' und - erstmals auf Vinyl - die seltene Audio-Recording-Version von 'Maintaining My Cool'. 'High Time', zusammengestellt und kommentiert von Alec Palao, ist ein attraktives Paket mit einem ausführlichen Booklet voller seltener Bilder aus der Linse des unnachahmlichen Nordwest-Fotografen Jini Dellaccio. Lang leben die Sonics!

The splendid selection heard on The Sonics' "High Time” singles box is reason once again, should we need it, to celebrate this band of bands with seven double-whammy garage-rockin’ slabs of rock’n’roll nirvana.

• Reprising the hottest 45 singles sides that the band released in their 1964-1966 heyday, timeless classics such as ‘Psycho’, ‘Cinderella, ‘Boss Hoss’ and of course the Tacoma legends' debut 'The Witch,’ we also throw in some Sonics essentials that never originally appeared on 45, like 'Strychnine’ and ‘Have Love Will Travel.’

• Additionally, for the first time, items from both the group's Etiquette and Jerden eras appear together, the latter represented by the much-loved ‘Head On Backwards’, ‘Like No Other Man’, ‘High Time’ and, making its debut on vinyl, the rare Audio Recording version of 'Maintaining My Cool’.

• Assembled and annotated by Alec Palao, “High Time” is a handsome package that comes with a detailed booklet filled with rare images from the lens of inimitable Northwest photographer Jini Dellaccio. Long live The Sonics!

The Southern Fold wurde 2014 in Kilkenny, Irland, von Sänger/Gitarrist/Songwriter Emlyn Holden gegründet. Die Band integriert Elemente aus Country, Blues und Gospel in einen Folk-/Roots-Sound und findet Einflüsse von so weit her wie Hank Williams, Nirvana und alles dazwischen. Holden griff mit zehn Jahren zum ersten Mal zur Gitarre, als er Elvis Presley hörte, und war in seinen frühen Teenagerjahren völlig in die alten Sun-Aufnahmen vertieft. Über die Roots-Rocker Creedence Clearwater Revival und den Punkrock schuf er sich eine vielseitige Inspirationsquelle. Die Entdeckung der Alt-Country-Pioniere Uncle Tupelo und Wilco brachte Country zurück in sein Songwriting und führte ihn auf den Weg zu The Southern Fold. Ursprünglich als Duo im Stil von Gram Parsons/Emmylou Harris gestartet, enthielt die erste EP der Band - "A True Ascension from the Wayward Path" aus dem Jahr 2016 - fünf eigene Songs sowie ein Cover von "Where Did You Sleep Last Night". Es war eine reduzierte Folk-Country-Nummer, gepaart mit sehr persönlichen Texten und zusätzlicher Instrumentierung durch Klavier, Cello und E-Gitarre. Es folgten einige Jahre intensiver Konzerttätigkeit, und bis zum Erscheinen des Albums "Bible Fear"s" im Jahr 2019 hatte sich die Band zu einer vollständigen fünfköpfigen Band entwickelt, die einen eher Folk-Rock-orientierten Sound hervorbrachte. In dieser Post-Covid-Zeit erlebten wir den Aufstieg der Southern Fold aus der Asche mit einigen neuen Singles ("Nothing to Fear" und "Before the Fall"), die 2024 im Eigenverlag veröffentlicht wurden. Zu Holden in einer neuen Live-Besetzung gesellen sich der ehemalige Blackbird & Crow-Gitarrist Stephen Doohan, die aus Mauritius stammende Madeline Leclezio am Gesang, der kanadische Schlagzeuger Gregor Beresford und der ehemalige Midnight Union Band-Bassist Brian McGrath. Diese Kernbesetzung spielte einige äußerst gut aufgenommene Konzerte bei den Kilkenny Roots 2024, im Whelan"s, Dublin mit den Frank and Walters und bei der britischen Ramblin" Roots Revue im April 2025.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.
Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.
The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.

Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.

The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

Die Deluxe-Version von Pierce The Veils The Jaws of Life enthält zwei zusätzliche Tracks, darunter ihre Coverversion von Radioheads „Karma Police“ und einen brandneuen Track, „Kiss Me Now“, der ursprünglich als B-Seite aufgenommen wurde. Das 36-seitige Booklet enthält nie zuvor gesehene Fotos der Band, auf und abseits der Bühne während der letzten zwei Jahre, die einige ihrer schönsten Momente zeigen.

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musiker und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musiker und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Step into the world of Cicciolina, a sonic journey as captivating as it is audacious. This reissue captures the electrifying energy of the 80s, blending pulsating dance rhythms with surprisingly melodic moments, all wrapped in lyrics as provocative as they are unforgettable. Produced by Jayhorus, “Perversion” is an album that defies easy categorization – a testament to Ilona Staller’s unique artistry and the irresistible power of a truly original sound. Prepare to be seduced and ignite your senses. Open the gatefold cover and rediscover the uninhibited spirit of an icon.

Tracks from original master tapes.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

Ltd. Fruit Punch Vinyl. Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

purple vinyl (FAME516LP) is for Indie stores only. Brand new album from Philadelphia's much loved neo-space rock stoner drone outfit. A euphoric transcendental journey to a mountain top nirvana, a psychedelic tapestry that slowly unwinds as they travel onwards into the inner mind. A 40-minute opus delivered from a hail of reverb soulfully caressed by a ceremonial flute, that makes way for a shroud of eld'-era Neil Young fog. Bardo Pond is your rather ruffled tour guide to this far off place, this distant sense of wonderment at the crossroads with bewilderment. "One of underground rock's most extraordinary enigmas" The Quietus

"Perfect Teeth" war das finale Album der amerikanischen Indie-Institution Unrest. Dreißig Jahre nach der ursprünglichen Veröffentlichung lassen 4AD und die Band es als Doppelalbum neu aufleben. Die 30th Anniversary Edition besteht aus dem remasterten Originalalbum sowie "Extra Teeth", einem Bonusalbum mit EP-Tracks, Singles und Raritäten. Unrest, die ihren Namen einer Henry-Cow-Platte entliehen hatten, gründeten sich 1983 in einer Schule in Arlington, Virginia. Anfangs noch improvisierende Instrumentalband, perfektionierten sie bald einen vielseitigen Sound mit unterschiedlichen Genreeinflüssen. Sie veröffentlichten ihre Musik über TeenBeat, das Label ihres Frontmannes Mark Robinson und später auch bei 4AD, Caroline und Matador. Auf "Perfect Teeth" sind die Gründungsmitglieder Mark Robinson und Phil Kraut sowie Bassistin Bridget Cross (ursprünglich Sängerin von Velocity Girl) zu hören. Das Album wurde im Pachyderm Studio in Cannon Falls, Minnesota aufgenommen, wo erst kurz zuvor Nirvanas "In Utero" fertiggestellt wurde. Brian Paulson, bekannt durch seine Arbeit für Slints "Spiderland", nahm "Perfect Teeth" auf. Die Produktion übernahm Simon LeBon. Für die 30th Anniversary Edition wurde das Album nun inklusive aller Bonustracks - meist auf Grundlage der Originalbänder - neu gemastert. In Zusammenarbeit mit Designer Chris Bigg enstand ein neues Backcover, ein neues Sleeve sowie das "Extra Teeth" Artwork. Der einmalig neu aufgelegte Release kommt mit einem 16-seitigen Art Catalogue mit Linernotes von Unrest, 4AD-Gründer Ivo Watts-Russel und Chris Bigg.