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Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”

Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”

The Heads’ Simon Price returns to his kandodo project with 'theendisinpsych'; "primitive pieces of psychedelic tuneage+years of wasted time=43 minutes of headphone bliss." It's the follow up to the 2019 collaboration with Wayne Maskell and Hugo Morgan, Kandodo 3 – K3, but this time back in solo-mode. He is now relocated in Northumbria, and has recorded the album himself in his home studio, drawing on his wide collection of music/instruments and the rural environment for inspiration. The new album fizzes and crackles with a verve that will activate the “turn on, tune in, drop out” sense in all listeners… Simon explained the album in a focused/out of focus track by track way… is this Price’s paean to his obsession with Bowie? chamba7 - octave mandolin through fuzz, tambo beat, in praise of Bowie compilations. chamba is malawian weed theendisinpsych - bought a reel to reel tape off ebay in 2005, ('Bowie radio interview tape, USA, 1970, 3 minutes?') then bought a machine to play it on in 2015. Heard the words and laid them onto a fuzzy break bed. Thought it all too relevant to today, prophetic David from his 'hippy' days (not a prophet or a stone age man) fuzzy oceans - played on 1 string spamjo, bouncing echo over 70's drum machine, 'we've fucked the oceans' freefalling - rolling cello and hissing cymbals with vocoder dreams comes with african/stationtostation artwork stylings for the sleeve..pre-apocalypse blues (and pinks), the world isn't going a good way a sumptuous 4 course sonic supper, tuck in.

The Silence is back once again to try and save the industrial scene with two hands tied behind their backs with more tortured dubstep, industrial hardcore that's just a little too slow, hard techno and one of those tracks that's just a bunch of kicks.

A dance floor sensation from DJ Agent 86, now finally gets a vinyl release thanks to DJ DSK and the DNA Edits crew. This well respected Melbourne producer and DJ brings a blend of funky 70s disco samples and hip-hop snippets to 7” vinyl, ensuring a guaranteed party starter. As a special treat, the B-side features a fresh edit of the disco classic "Rapture."

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Rain and experimental music have had an interesting connection for decades. Under the umbrella of American film music promotion, Hanns Eisler was already looking for "Vierzehn Arten, den Regen zu beschreiben” (fourteen ways to describe the rain) in 1941. A good 20 years later, The Cascades interpreted the periodicity of rain as a rhythm of mourning. For the Beatles ("If the rain falls, they run and hide their heads"), the precipitation inspired the band to use backward running tapes. However, it seems that there has always been a lot of rainfall in popular music. In the early seventies, David Toop and Paul Burwell even had a band project with the great name Rain In The Face...

That was a long time ago and today, rain, which in the age of climate catastrophe mainly occurs as heavy rain or an enervating endless loop, has lost a great deal of its inspiring quality. Perhaps as a reminder of the musical quality of rain, but knowing full well that it can only be enjoyed in theory, Razen call their new album "Rain Without Rain". In the music of the Brussels collective led by the two multi-instrumentalists Brecht Ameel and Kim Delcour, it certainly pours down on the roofs. In fact, the album opens with the sound of pouring rain before we hear the sequence of an oscillator played through a guitar amp on the first track „Lazy, Lazy Eye“.

The album is the captivating result of an one-night mobile studio field recording in an abandoned pedestrian tunnel in the centre of Düsseldorf, and it is finding beauty with brutal(ist) means: recorder, oscillator, guitar amp and reverberation, two musicians and four microphones, early electronics versus Early Music. “Suicide meet Hildegard von Bingen”, as Stefan Schneider, who recorded the session, admits. “Ghostly occurrences”, he adds.

Brecht Ameel states: “We do put a lot of weight and care on acoustics. On some of our recordings, the room acts as another band member, or as the main ‘mixing board’. Most of the albums we have recorded so far are not mixed in the traditional sense: they are simply „captured”, and we let the room decide what is left on the tapes. The studio recordings, then, give us the possibility of bringing other elements to the fore; precision of interplay, or tiny variations in breathing.”

The group Razen exists since 2010 and has since released numerous records on labels such as KRAAK, Marionette and Hands In The Dark. "Rain Without Rain" is their debut on the Düsseldorf label TAL. If there has been an increased international interest in experimental music from Belgium in recent years, this is not least due to musician collectives such as Razen. In terms of its electro-folkloristic intensity and instrumentation, Razen's music is quite unique worldwide. What does Razen actually mean? “We took the word from a poem by Paul Van Ostaijen, not specifically because of its meaning but because of the way it looked on paper”, Ameel explains. “But the meaning goes in the direction of ‘thundering / raging / speeding’ … although we prefer playing with a strong notion of restraint, building our world from (and with) silence.”

Olaf Karnik, Köln 2024

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Der Durchbruch nach dem Durchbruch. "In echt" ist das zweite Die Sterne-Album und erschien 1994 auf dem legendären Hamburger L"Age D"Or Label. Locker aus dem Handgelenk geschüttelter Indie Pop, aber funky. Eher Sly Stone, Remo Four und Peter Thomas. Tanzbar! Dazu noch Frank Spilkers Sprechsingtexte über Pop, Politik, Privates und das prekäre Leben. Das hat Flow, das war neu und ist es auf seine Art immer noch. In echt. Inklusive dem Überhit "Universal Tellerwäscher".

the debut release of shanghai based producer “knopha” on mule musiq.
we loved his release “nothing nil” on eating music.
our friend yusu introduced him to us and he sent us very beautiful musics.
it’s an oriental beautiful new age music.
kuniyuki made a magical remix.
hope you like it

Ever wondered what music would sound like if it was ripped from the space directly preceding sleep? The tracks within this album are your gateway to discovery. These recordings, which were laid down especially for the USA radio stations WFMU and WGXC, will melt your speakers and your mind. Released on the ever excellent Feeding Tube Records (USA) & Cardinal Fuzz (UK). BHAJAN BHOY (aka Ajay Saggar) symbolises boundless creative freedom in all the music he has produced to date. This LP is no exception to that rule….in fact, this album showcases an even wider spectrum of sounds and ideas than could ever be imagined. From heavy lysergic guitar excursions, to dub inflected guitar pedal pop, to nu-age minimalism, to electronic experimentalism….all the terms and descriptions in the world don’t do justice to the originality that lies within. When USA radio station WFMU asked Ajay to contribute tracks to a session for the show “Feelings” (co-hosted by Michele and Creamo Coyl), he turned in 5 tracks that received tremendous feedback from around the world on the station’s live chatline when broadcast. In addition, a session for WGXC further showcased the songwriting talent of Ajay. The ensuing 3 week tour of the USA cemented BHAJAN BHOY’s status as one of the most innovative musicians around. This LP marks another giant leap forward in BHAJAN BHOY’s musical development. He’s brimming with ideas and the imagination runs wild. This music is for the listeners who want to follow a path of discovery and be mesmerised and blown away by what they hear. Be sure to be one of the listening party. Presented in a high gloss outer sleeve with 2 sided insert.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

This is going to be the scariest spoken word record you’ve ever heard. We’re not joking…and neither is Vincent Price. The star of such horror classics as House of Wax, The Abominable Dr. Phibes, and Theatre of Blood (and, of course, narrator of Michael Jackson’s Thriller video) can barely hide his delight while he takes his audience through a graphic and occasionally grisly history lesson in witchcraft from the Bible through the Middle Ages, the Spanish Inquisition, and Nazi Germany. Then, accompanied by occasional eerie, abstract electronic music, Price’s sinister satisfaction only mounts as he provides instruction in the dark arts, with such tracks as “How to Make a Pact with the Devil” and “Curses, Spells, Charms.” It’s all in good fun, of course…or is it? The mysterious writer of the script, one Terry d’Oberoff, has only one other credit to his name: as the “mascot” of an early ‘70s band called…wait for it…Black Magic. This 1969 double-LP release has long been coveted by collectors of the curious and macabre, and for its first reissue in over 50 years, we are giving it the Real Gone treatment, reproducing the gatefold jacket and the full-size, 8-page booklet that accompanied some copies. It’s a combination history textbook and how-to manual in witchcraft, with a title page depicting a particularly unsettling spell called “The Hand of Glory” involving the severed, salted, and dried hand of a convicted felon. We are releasing this one-of-a-kind album on clear with orange “pumpkin” swirl vinyl…Happy Halloween.

Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) - who was a mere 17 of age when they recorded the album - on guitar. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl, housed in a deluxe heavyweight gatefold sleeve.

Welcome to the fascinating musical universe of EXOTIC ROOSTERS! It emerges as a burst of freshness and originality, blending an eclectic variety of musical influences to create a truly unique and exciting auditory experience. Comprised of experienced and virtuosic musicians on their respective instruments, the group captivates audiences of all ages with its energy and unmistakable style. Exploring the intersection between tradition and modernity, EXOTIC ROOSTERS combines the rich soundscapes of marimba, vibraphone, double bass, percussion, and drums to create an expansive and nuanced musical landscape. From frenetic rhythms that invite dancing to captivating melodies that transport the listener on an emotional journey, each performance aims to be a celebration of cultural diversity and artistic expression.

In the relentless musical era of the late 90s, two passionate souls, Eugeni Camacho and Rafa Navarro, embarked on a unique sonic odyssey by blending the melodious marimba with the pulsating drums. Together, they successfully created STAMINA PERCUSSIO in their concerts. However, life composed its own score, separating Rafa, who was abducted by the Canary Islands, and Eugeni, who was drawn to vibrant New York. Upon their return, after years of musical exploration in different projects with the Oscars (Oscar Cuchillo and Oscar Rocher), their hearts aligned with a new melody. In the loom of destiny, they discovered the emerging talent of Bernat Cucarella. A prodigy with drumsticks and a 4.0 brain. By uniting Rafa's island experiences, Eugeni's resonant jazz from the Brooklyn alleys, and the rich musical diversity harvested in life's journeys by each of the members, they gave birth to a magical musical tale: EXOTIC ROOSTERS

Get ready for a musical revolution! The Antwerp Gipsy Ska Orkestra is back, and this time, they're turning the music world upside down with their electrifying new album, "Revolution (Never Has Been Simple)." This groundbreaking project, produced by the modern genius Lunaman, features an infusion of new energy and talent with the remarkable addition of 18-year-old sensation Ramadan Sali, who has been a fan of the band since the tender age of three. But before we dive into the future, let's take a moment to appreciate the rich history of the Antwerp Gipsy Ska Orkestra.

A Journey Through Time and Sound: The Antwerp Gipsy Ska Orkestra Story
The Antwerp Gipsy Ska Orkestra's journey is a testament to the transformative power of music. Rooted in the vibrant city of Antwerp, Belgium, this innovative collective began its musical voyage decades ago. Their story is one of passion, diversity, and an unshakable commitment to crafting unforgettable sounds.

The band's unique blend of Gypsy and Ska, along with an eclectic mix of world influences, has earned them a dedicated global following. With each album, they pushed the boundaries of musical fusion, forging a path where genres intertwined, creating something entirely unique. Their evolution has been an ongoing exploration of culture, rhythms, and the unifying language of music.

"Revolution (Never Has Been Simple)": A New Era of Sound
And now, they're back with "Revolution (Never Has Been Simple)" – a title that perfectly encapsulates their journey. Produced by Lunaman, known for his innovative approach to modern soundscapes, this album is a breath of fresh air for the music world. It's a bold step forward, a revolution of their own creation, and a testament to their constant willingness to reinvent themselves.

Meet the Prodigy: Ramadan Sali
But that's not all that makes this album special. The Antwerp Gipsy Ska Orkestra has also welcomed a young prodigy into their ranks: Ramadan Sali. At just 18 years old, he's not only an extraordinary talent but a lifelong fan of the band, having followed their music since he was three years old. His fresh energy and creative spirit have injected new life into the band, making "Revolution" a truly remarkable chapter in their history.

"Revolution (Never Has Been Simple)" Unveiled
This album is more than just a collection of songs; it's a testament to the band's enduring spirit, their journey of growth, and their unyielding commitment to the craft of music. The tracks on "Revolution" are a thrilling mix of genres, emotions, and messages. From the high-energy dance anthems to soul-searching ballads, this album encapsulates the complexities of life and the raw power of music to connect with our hearts.

Get Ready for the Revolution!
As we eagerly await the release of "Revolution (Never Has Been Simple)," mark your calendars and prepare to join the musical revolution. This album is a testament to the Antwerp Gipsy Ska Orkestra's ongoing legacy, a fusion of the past and the future, and a celebration of the unifying power of music. Stay tuned for release dates, sneak peeks, and all the excitement surrounding this revolutionary musical masterpiece. The Antwerp Gipsy Ska Orkestra is back, and the world is about to witness a "Revolution" like never before!

Italian artist Fedele unveils exciting upcoming album ‘Depth Of Being’ which again finds him exploring all new electronic music realms. The 11 track album arrives on his own label Obscura and is his first since going solo. Fedele is a key part of the underground scene and has been working alone for the last three years since his departure from Agents of Time.

He has truly made his mark in that time with music on the likes of Ellum Audio, Tiga’s Turbo Recordings and his own Obscura. This superb new album is a mix of stylish progression from the signature sound Fedele is known for while the other side of the album dives more into the experimental world, using more vocals than before.

UNSURPASSED SPACIOUSNESS, IMAGING, AND TRANSPARENCY: MASTERED FROM THE ORIGINAL TAPES, MUSIC EMERGES WITH NEW DETAILS AND TONES
1/2" / 30 IPS analogue master - Plangent Processed - to DXD to analogue console to lathe

Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman – his first appearance in what would be a long string of collaborations with Mark Knopfler – ensures stunning sonic properties that now come to life like never before.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments – marimbas, acoustic and electric guitars, vibes, synthesizers – further enhance the ambitiousness of the 1982 album.

On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.

It doesn't take long to realize Love Over Gold is like no other Dire Straits album – and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening "Telegraph Road" is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.

Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions colour the sweeping "Telegraph Road" and barren "Private Investigations," which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed "wracking schizophrenia between the heart and the heartless, the loving and the pain."

Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labelling and avoids ageing.

After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970. Label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result. It was the group's swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. Still, AllMusic gives the album 5 Stars and Pitchfork calls it a "perfect rock 'n' roll record — 40 minutes long, five songs to a side, and not a single wasted note." Loaded is the sort of proper album that feels like a greatest hits collection, with each track thoroughly inhabiting and mastering a dominant rock archetype. Although the songs "Sweet Jane" and "Rock & Roll" distinguished the band as a "seminal proto-punk" act, "The trifecta of 'Who Loves the Sun,' 'Sweet Jane' and 'Rock & Roll' is among the best three-song openings on any rock and roll record," wrote Paste contributor Jeff Gonick Analogue Productions has given Loaded the deserving full reissue treatment: Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.