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81355 (pronounced `bless') is a meeting of the minds between three pillars of the Indianapolis music scene; Sirius Blvck, Oreo Jones, and Sedcairn Archives. While the three have worked together in the past, this is their first start-to-finish collaboration, and the result is the stunning and distinctive debut Time I'll Be of Use. Simultaneously mystical and stark, somber and danceable, the project grapples with hard-wired truths and imagines alternate realities with better futures. These lucid wanderings amongst the street fires sound like a cross between the ghost of progressive electronic music of the 70s with its innovative eccentricities, and acrobatic wordplay delivered with sharp resolve. While surrealist in its metaphors and abstraction, it doesn't betray a present awareness. Reflecting on Black struggle in the pandemicridden and democracy faltering landscape of 2020, each member arrived from a synchronistic space, and the recording process ended up being largely intuitive. On "Capstone," the opening track on the album, Sirius Blvck offers a look from inside his space, "This is what we've come to. Generational curses I still can't undo. Just taught my lil girl to tie her shoes now she running to. Holy smokes lungs made of leather like it's comfortable. Climbing up this infinite ladder to get a better view." These three musical vagabonds have met up to find even themselves surprised with the results. Drawing inspiration from the likes of biting poetic commentary of the late Naptown residents, Etheridge Knight and Kurt Vonnegut, OJ summons a golden-era flow and paints a picture of the group's influences, surroundings, and trajectory in one fell swoop in "Thumbs Up." "Alright, in my feelings tonight, Honda Civic overturned as it burns through the night. Bone Thugs in these streets no Surender in sight. I'm writing poems from a jail cell, Etheridge Knight. I throw a fit when I flip it, it's all vintage. A pearl white Bronco like OJ you done did it. The sunshine shatters the rock painted so vivid. Two-hundred fifty pounds of gifted we so lifted_ wassup?" Sirius, with poetry present even in his speaking voice, adds, "It's a way to carve our story in the sky before we're gone. This is us choosing to believe that this time, things will be different. It is an affirmation to the universe. This time I'll see the whole blessing. This time I'll be of use."

The Savonian occult rock behemoth Jess and The Ancient Ones have emerged with a new album! Their brand of heavy guitar and organ-led swagger has progressed from the twin guitar metal blast of yesteryear to Jess and The Ancient Ones’ very own take on soulful late sixties garage psychedelia. Titled Vertigo, the new record is set for release on Svart Records on May 21st this year with a foreboding sound of lysergic doom. What began on the previous record, ‘The Horse & Other Weird Tales’ is taken further and deeper, towards a conclusion on Vertigo. Songwriter and guitarist Thomas Corpse comments, “To me this album sounds like a dark horse – a brother to the previous album. There’s a strange ominous feeling that hovers upon the entire album, maybe it’s the feeling of nostalgia that’s arising from the lyrics.” Wrapped in a crude tornado-adorned old school sleeve, the album’s eight tracks bubble in a boiling cauldron of vintage pop culture influence and occult-tinged paranoia. Ranging from the softly fiery opening track ‘Burning of The Velvet Fires’ to the almost heavy metal -ish nihilistic banger ‘Born To Kill’, Vertigo is a spiraling journey of heavy Finnish psych rock at its finest. The first single cut “Summer Tripping Man” is a heavy hitting prophecy of doom condensed into the classic three minute garage format, and it has already become a steady part of the band’s live set long before it was captured on tape. The single comes accompanied by an animated music video, created by Giuliano Di Girolamo.

The Savonian occult rock behemoth Jess and The Ancient Ones have emerged with a new album! Their brand of heavy guitar and organ-led swagger has progressed from the twin guitar metal blast of yesteryear to Jess and The Ancient Ones’ very own take on soulful late sixties garage psychedelia. Titled Vertigo, the new record is set for release on Svart Records on May 21st this year with a foreboding sound of lysergic doom. What began on the previous record, ‘The Horse & Other Weird Tales’ is taken further and deeper, towards a conclusion on Vertigo. Songwriter and guitarist Thomas Corpse comments, “To me this album sounds like a dark horse – a brother to the previous album. There’s a strange ominous feeling that hovers upon the entire album, maybe it’s the feeling of nostalgia that’s arising from the lyrics.” Wrapped in a crude tornado-adorned old school sleeve, the album’s eight tracks bubble in a boiling cauldron of vintage pop culture influence and occult-tinged paranoia. Ranging from the softly fiery opening track ‘Burning of The Velvet Fires’ to the almost heavy metal -ish nihilistic banger ‘Born To Kill’, Vertigo is a spiraling journey of heavy Finnish psych rock at its finest. The first single cut “Summer Tripping Man” is a heavy hitting prophecy of doom condensed into the classic three minute garage format, and it has already become a steady part of the band’s live set long before it was captured on tape. The single comes accompanied by an animated music video, created by Giuliano Di Girolamo.

Glasgow post-punk six-piece Kaputt aren’t strangers to directing their explosive energy and maximalist vibrancy in the name of allegory and critique. Their 2019 debut album on Upset the Rhythm ‘Carnage Hall’ confidently deconstructed themes of surveillance, paranoia, and cultural identity through a sonic lens of high-tempo, bright, danceable pop hooks and technical, polyphonic rhythms which border on the bombast of Zeuhl. 


New EP ‘Movement Now/Another War Talk’ continues the synthesis of animation and discontent with an ethos that exemplifies post-punk’s most original and guiding purpose: casting aside the rigid, signifying fashions of modern performative genre tropes and instead combining a vast fluidity of influence, tone and style to create something as unique and personal as it is counter-cultural. The result is a release that responds to the apathy of our current situation with a positive thesis, breathing life into the lived-in, bursting through every vessel, leaving nothing unturned.

‘Movement Now’ enters with the distinct high-low drive of guitar whines and racing low toms, emblematic of the presence one feels when pushing past bodies in a heaving DIY venue, but it is not afraid to play with expectations. When the song thematically opens out, disrupts convention and progressively rebuilds upon itself, the track, a comment on the ever-lagging pace that jaded, old values take to transform, transitions from a goth aesthetic to the optimism characteristic of any indie heavyweight.

‘Another War Talk’ shines in production and composition as arguably one of the best examples of distilling the band’s manic live energy into a studio recording. The divergent vocal duality of Cal D. and Chrissy B. accompanied by competing percussionists and dynamic saxophone lines encapsulates the performative strengths that has allowed the band to become a constant highlight in Glasgow’s ever exciting DIY scene. It is, in essence, the naturalness by which six passionate voices can combine into one vision so seamlessly, which one who has not experienced the band live should take away from the track for now in anticipation of the future.

On 12th Feb 2021, Bugzy Malone releases his fifth full length project, ‘The Resurrection’. This body of work is full of hard-won wisdom and undiluted street delivery on an elevated level that sees Bugzy produce his most accomplished work to date. The tracks weave social commentary and personal experience which produces something complex but powerful.

The album is launched with the single Don’t Cry’ ft. Dermot Kennedy. This is an anthem that journey’s Bugzy’s near fatal accident in March, depicting the mental and physical journey Buzgy went through whilst on the ground following the crash. In true King of the North fashion, Bugzy delivers technically perfect verses and showcases the incredible lyrical ability that everyone has come to love of him. This is balanced by Dermot Kennedy’s powerful and gritty chorus

‘Don’t Cry’ ft. Dermot Kennedy follows on from recent release ‘Doe’d Up’ and M.E.N III, the third instalment of ‘of his legendary M.E.N series which debuted at #18 in the singles chart, giving Bugzy his highest single chart position to date.

Daughters of Darkness is a 1971 English-language Belgian horror film. Directed by Harry Kümel this cult erotic vampire film stars Delphine Seyrig, Danielle Ouimet, John Karlen, and Andrea Rau. The film was well received, and a retrospective poll by Time Out in the early 2010s placed the film at number 90 in their top 100 horror films.

Its score was created by multiple award winning composer François de Roubaix. It has long been a much sought after title, with De Roubaix’ son Benjamin commenting that the “composer achieves a perfect balance and the result is a bleak and eerie soundtrack that stands on a par with the music of Ennio Morricone in A Lizard in a Woman’s Skin or - in a different style - that of Isaac Hayes for Shaft”. Parts of score would eventually be sampled by several hip- hop artists, including American rapper Lil Wayne on his song “President Carter”.

Few Danish bands have been so far around the block at such a young age as Communions.

In 2014, while still in highschool and still shaking dust from the rafters of Mayhem — Copenhagen’s famed underground venue — Communions released their debut EP Cobblestones. The release marked the beginning of a long and productive streak for the band,


who followed it up with the 2015 Communions EP, the 2017 album Blue, a string of self-released singles and an EP, Flesh and Gore, Dream and Vapor, in 2019. Now Communions have joined Tambourhinoceros with a new, reshaped constellation.

Communions’ Rehof brothers — Martin (vocals and guitar) and Mads (Bass) — have decided to continue at the helm of the band after the departure of their long-time bandmates Jacob van Deurs Formann and Frederik Lind Köppen (although the two still feature in the forthcoming Communions recordings). Letting their brotherly musical connection take center stage, the Rehof brothers have assembled a new five piece constellation around themselves going forwards, adding even more depth to their indie rock.

Communions’s early work drew inspiration from the underground scene’s punk cynicism, evidenced by their lofi debut EP which was recorded — with amps blaring — straight onto a USB microphone. Communions’ next two EPs and debut album saw the band refine their craft of songwriting and production while riding a wave of international attention and festival performances. Their forthcoming music now represents another shift in the Communions aesthetic. Marked by sharp cultural criticism, self reflection, and artistic commentary of a grand scale, Communions’ new music takes the signature indie rock from the dark clubs of their youth and merges it with full-fleshed cerebral critique and symbolism.

PRIMAL FEAR's ferocious new record “Metal Commando” has been an undisputed highlight of 2020. The German power metal band's 13th full length detonated in the midst of a raging pandemic, leaving no stone unturned in its path. The whole world got stuck in, achieving the 6 piece some of their highest chart positions in their 20+ year career, which included; a top ten in Switzerland (6), Germany (7), Japan (7), Finland (9) and Sweden (9) next to multiple high entries in countries such as Austria, Spain, France and the USA.

PRIMAL FEAR are Germany’s metal band of the hour, again. Right now however, they want to show us something new, a different side to them - after releasing a string of heavy and hard-hitting singles from “Metal Commando”, mastermind Mat Sinner and vocal force Ralf Scheepers have something extraordinary up their sleeves; a 5-track single, built around an exclusive new rendition of their achingly beautiful ballad ‘I Will Be Gone’, re-recorded with none other than Finnish metal diva extraordinaire, Tarja Turunen.

“There were three famous vocalists on our final wish list,” Mat Sinner comments. “That it was Tarja who got involved in this song is a matter of pure joy for all of us. Working together on the song and video was totally relaxed and professional – a great experience also because Tarja’s and Ralf’s voices go together incredibly well. Now, we can expand the ‘Metal Commando’ saga with a unique chapter. We’re all really proud of this single.”

The Finnish icon can only agree: “I was very happy to receive the invitation to take part in PRIMAL FEAR’s beautiful song ‘I Will Be Gone’. We started our careers nearly at the same time many years ago, and finally got a chance to work together. I love the song and personally it helped me to stay connected and rock again, even if at the studio this time. I really hope that people will like this collaboration and that it will bring them joy especially during these difficult times we are living through at the moment.”
The song, fragile and touching, gets an altogether new and deeply melancholic vibe with Tarja’s unbelievably emotional performance, showcasing a different facet of PRIMAL FEAR. Yet, it’s not the only gift they deliver on this 5-track sensation - just take ‘Vote Of No Confidence’ for example, an all-new, previously unreleased beast of a song. Clocking in at over six minutes, this storming, furious anthem gives a brilliant glimpse of things to come. Previously only available as bonus tracks on the limited “Metal Commando” digipack, three more tracks complete this release; enchanting guitar instrumental ‘Rising Fear’, massive mid-tempo smasher ‘Leave Me Alone’, and heavy metal monument ‘Second To None’, making ‘I Will Be Gone’ so much more than just another off shoot of a successful album.

“Metal Commando” is so much more than just another album by a veteran band. The songs are too strong, the hooks too merciless, the refrains too huge, and their trademark phalanx of three guitars too indomitable for any meek kind of listener response. “We’re simply an awesome team,” Sinner laughs. The “we” he’s talking about are of course himself on bass guitar and vocals, fierce vocalist Ralf Scheepers, guitarists Tom Naumann, Alex Beyrodt and Magnus Karlsson as well as that brand-new whirlwind of a drummer, Michael Ehré.

After six albums “abroad”, “Metal Commando” saw the band return to their first home Nuclear Blast. Where some bands would give in under such pressure, changing labels for PRIMAL FEAR has unleashed a huge amount of sublime heavy metal energy. Heck, we bet this seismic shock was visible on the Richter scale! “We wrote and wrote and realised quite early on that we had a lot of good ideas going”. Good ideas? The songs are bangers as only PRIMAL FEAR anthems can be – a sound that’s long become a trademark just got new, shiny alloys.

New track ‘I Will Be Gone’ showcases PRIMAL FEAR’s mellow, bittersweet side – available on multi coloured vinyl, shaped vinyl, CD digipack or digitally. Let’s all take a deep breath now; soon enough it’ll get loud again on stages around the globe.

PRIMAL FEAR's ferocious new record “Metal Commando” has been an undisputed highlight of 2020. The German power metal band's 13th full length detonated in the midst of a raging pandemic, leaving no stone unturned in its path. The whole world got stuck in, achieving the 6 piece some of their highest chart positions in their 20+ year career, which included; a top ten in Switzerland (6), Germany (7), Japan (7), Finland (9) and Sweden (9) next to multiple high entries in countries such as Austria, Spain, France and the USA.

PRIMAL FEAR are Germany’s metal band of the hour, again. Right now however, they want to show us something new, a different side to them - after releasing a string of heavy and hard-hitting singles from “Metal Commando”, mastermind Mat Sinner and vocal force Ralf Scheepers have something extraordinary up their sleeves; a 5-track single, built around an exclusive new rendition of their achingly beautiful ballad ‘I Will Be Gone’, re-recorded with none other than Finnish metal diva extraordinaire, Tarja Turunen.

“There were three famous vocalists on our final wish list,” Mat Sinner comments. “That it was Tarja who got involved in this song is a matter of pure joy for all of us. Working together on the song and video was totally relaxed and professional – a great experience also because Tarja’s and Ralf’s voices go together incredibly well. Now, we can expand the ‘Metal Commando’ saga with a unique chapter. We’re all really proud of this single.”

The Finnish icon can only agree: “I was very happy to receive the invitation to take part in PRIMAL FEAR’s beautiful song ‘I Will Be Gone’. We started our careers nearly at the same time many years ago, and finally got a chance to work together. I love the song and personally it helped me to stay connected and rock again, even if at the studio this time. I really hope that people will like this collaboration and that it will bring them joy especially during these difficult times we are living through at the moment.”
The song, fragile and touching, gets an altogether new and deeply melancholic vibe with Tarja’s unbelievably emotional performance, showcasing a different facet of PRIMAL FEAR. Yet, it’s not the only gift they deliver on this 5-track sensation - just take ‘Vote Of No Confidence’ for example, an all-new, previously unreleased beast of a song. Clocking in at over six minutes, this storming, furious anthem gives a brilliant glimpse of things to come. Previously only available as bonus tracks on the limited “Metal Commando” digipack, three more tracks complete this release; enchanting guitar instrumental ‘Rising Fear’, massive mid-tempo smasher ‘Leave Me Alone’, and heavy metal monument ‘Second To None’, making ‘I Will Be Gone’ so much more than just another off shoot of a successful album.

“Metal Commando” is so much more than just another album by a veteran band. The songs are too strong, the hooks too merciless, the refrains too huge, and their trademark phalanx of three guitars too indomitable for any meek kind of listener response. “We’re simply an awesome team,” Sinner laughs. The “we” he’s talking about are of course himself on bass guitar and vocals, fierce vocalist Ralf Scheepers, guitarists Tom Naumann, Alex Beyrodt and Magnus Karlsson as well as that brand-new whirlwind of a drummer, Michael Ehré.

After six albums “abroad”, “Metal Commando” saw the band return to their first home Nuclear Blast. Where some bands would give in under such pressure, changing labels for PRIMAL FEAR has unleashed a huge amount of sublime heavy metal energy. Heck, we bet this seismic shock was visible on the Richter scale! “We wrote and wrote and realised quite early on that we had a lot of good ideas going”. Good ideas? The songs are bangers as only PRIMAL FEAR anthems can be – a sound that’s long become a trademark just got new, shiny alloys.

New track ‘I Will Be Gone’ showcases PRIMAL FEAR’s mellow, bittersweet side – available on multi coloured vinyl, shaped vinyl, CD digipack or digitally. Let’s all take a deep breath now; soon enough it’ll get loud again on stages around the globe.

Good vs. Evil is the third studio album by American rapper KXNG CROOKED (formerly known as Crooked I). The album was released on November 11, 2016 and features cameo appearances from notable rappers such as Eminem, RZA, Xzibit, Tech N9ne among other guests The album was well received by critics, who praised its direction, dark beats and narrative skills.
After the most controversial Presidential election in this country’s history, one that has not only created further divisiveness amongst the people residing in it, but one that now includes handful of cities across our nation protesting in the streets it has become evident we are living in a complicated and dangerous time. The societal divide widens so deeply with every passing day that it seems as if at any moment the pendulum could shift. KXNG CROOKED's Good Vs Evil could not appear at a more needed time.

Following on from the success of ‘​For the Rest of My Days​’ (Obese records, Fat
Beats NYC, 2011) , ‘​Outer Circle Movements​’ (Obese Records , Soulspazm , 2013)
and more recently Pegz & Silent Titan - ‘​Equilibrium​’ ( HydroFunk records), The Silent
Titan returns in 2019 with his forthcoming solo EP, ‘​Quiet Elevation​’.
Titan, who has been making a name for himself as a producer in Australia for the past
15 years, is eager to see how worldwide Hip Hop fans will take to his sound.
“I always want to make records that can’t be pin-pointed or linked directly to one corner
of the globe”, he says. His production style sees him carrying on the legacy of iconic
sample-based producers such as Pete Rock and Madlib, building on the tradition that
the greats have established before him.
He comments, “As a producer who has great honor and devotion for Hip Hop culture,
I'm here to express to the world through my music what these pioneers have taught me
through their production, build on that style and bring something new and fresh to the
table.”
‘​Quiet Elevation​’ includes collaborations with ​MED​, ​Blu​, ​Kota the Friend​, ​Raff Alpha
and ​Ozay Moore​, alongside the Australian-based talents of ​Minx​,​ Luke Dubber
(​Hermitude​) and world class saxophonist ​E.Baker​.
The drums hit hard, the sample chops are tight and the synths are heavy.
‘​Quiet Elevation​’ is less reserved than his previous releases and sees The Silent Titan
really coming out of his shell and exploring new sonic landscapes and arriving at a
point where hip hop heads from around the globe will be forced to stop and take
notice.

Soft Cell’s 2002 reunion album ‘Cruelty Without Beauty’ is set for reissue in new expanded and remastered 2CD format, as well as being released on vinyl for the very first time.

Long regarded by many fans as an overlooked masterpiece, the album features a lyrical outlook that was as true to Soft Cell’s maturity and perspective back in 2002 as it is relevant and accurate to the world situation in 2020. Harshly honest, fatalistic and bleakly humorous, Cruelty Without Beauty also preserves the band’s highly distinctive and edgy sound, and stands alongside their greatest work.

The new 2020 version includes tracks originally destined for the album, but for various reasons not on the final cut. It also includes brand new 2020 versions of album highlights Monoculture, Together Alone, Darker Times and Last Chance, updated this year by Dave Ball. Also included are a number of unreleased live versions of album tracks, plus rare remixes.

Cruelty WithoutBeauty, Soft Cell’s fourth studio album, and the first since their original split in 1984, happened after Marc Almond and Dave Ball reunited in the studio after Dave’s ‘other’ band The Grid (with Richard Norris). They worked with Marc on some tracks from his 1991 Tenement Symphony album, which eventually opened the door for some live Soft Cell dates and areunion in 2001. As well as this album release in 2002, the band toured thealbum extensively in the UK, and across Europe and the US, including many festival appearances throughout 2002 and 2003.

The album includes the singles Monoculture and a cover of Frankie Valli & The Four Season’s classic The Night, which became the band’s first Top 40 hit since since 1984.

Most recently in 2018, Soft Cell sold out London’s O2 Arena and were the subject of a career retrospective BBC documentary. They have recently signed to BMG and are currently recording a brand-new album, set for release in 2021. Before then, all of their classic Phonogram-era albums will be reissued in new expanded editions via Universal Music.

Marc Almond commented at the time of the album release ‘I always felt it was an unfinished story, and I’m glad we’re able to write another chapter’.

Dave Ball also commented ‘As soon as we work together, we become Soft Cell, you know’. I don’t know what the magic element is, but it just seems to be there’.

Back in October 2009, Strut’s Inspiration Information series was in full swing. Following an acclaimed collaboration between Mulatu Astatke and The Heliocentrics, Finnish maverick Jimi Tenor hit the studio for a mouth-watering head to head with Afrobeat drumming legend, Tony Allen.

Tenor had already built a reputation as a fascinating enigma in modern day music. Consistently one of the most inspired and unpredictable live artists around, his work since his breakthrough album ‘Intervision’ (Warp, 1997) had involved open-minded projects ranging from live film soundtracks and orchestral pieces to a series of Afro-based albums with his band Kabu Kabu. Enjoying a burgeoning revival, Tony Allen had continued to attract new fans. Celebrated as the creator of the Afrobeat rhythm and a lynchpin of Fela Kuti’s Africa 70 band, his work at the time of this recording had included the first album as The Good, The Bad & The Queen with Damon Albarn and his debut recording for World Circuit Records, ‘Secret Agent’.

Recorded at Lovelite Studios in Berlin during November 2008 ith further sessions in Finland and Paris, the Tenor / Allen collaboration whipped up a raw, heavy analogue sound mixing the full range of Allen’s Afrobeat repertoire with Tenor’s off-kilter brew of dark humour, tongue-in-cheek lyrics and tight, firing musicianship. The sessions involved key members of Tenor’s Kabu Kabu band and Berlin-based guest MC Allonymous with tracks evolving naturally from jamming ideas together over five intense days of recording, fuelled by plenty of African food and whisky. Tenor’s trademark range of home-made instruments rubbed shoulders with vintage keyboards and traditional African percussion.

The resulting set became one of the best recordings that both artists produced during this period. Tracks range from Jimi’s S&M tableau, ‘Darker Side of Night’ to the apocalyptic commentary on our times, ‘Path To Wisdom’ and the hilarious lampooning of the UK immigration system, ‘Mama England’, composed on the Tenor tour bus. The album also featured fusions based around more traditional low-slung Afrobeat structures (‘Sinuhe’, ‘Got My Egusi’) and ended with the epic freestyle juggernaut, ‘Three Continents’, a life affirming, mesmeric groove built around another rough-as-nails Allenko rhythm base. 'Inspiration Information: Jimi Tenor / Tony Allen' is re-released on 22nd February 2021 and is dedicated to the memory of the great, incomparable Tony Allen.

First reissue of long out-of-print and sought after release from 2009
Unique fusion of Afrobeat drumming and psychedelic Jazz
Vinyl cut from original sessions

A Day To Remember return with news of their widely-anticipated new album, You’re Welcome. Set for release on March 5th 2021, You’re Welcome marks the platinum-selling US band’s first album for Fueled By Ramen/Parlophone.

A Day To Remember vocalist Jeremy McKinnon commented on the forthcoming collection noting, “It’s finally here—almost! To all our fans around the world, we want to say, ‘Thank you!’ You’ve waited patiently, and we can’t wait for you to hear this. There’s a lot of detail in everything we do from the mixes to the artwork, because it all tells a story. We’re here now and very happy to present You’re Welcome.”

Frontman of Nottingham punk band Kagoule, Cai Burns, returns as Blood Wizard. Arriving with no fixed direction, Blood Wizard is a project that sees Burns explore himself as a brand new entity, an artist beyond boundaries and preconceptions.

First single ‘Breaking Even’, showcases Burns’ impeccable songwriting skills and acts as the perfect introduction to this exciting project. With jangled, stop-and-go instrumentation, it is sheer artistic satire with an added charm.

Burns says about ‘Breaking Even’: “Breaking Even is a song about doing a lot for someone, changing yourself to fit their ideas of you but not getting the same in return. It's a satirical commentary on the effect that can have on a friendship or relationship”

Western Spaghetti, out 5th March 2021 via Moshi Moshi Records. Filled with crisp hooks, it is an album that has a predominant folk undertone that also expertedly navigates through various textures and dark melodies. There was not an album in


mind when Burns first started recording with Tom Towle at Random Recording Studio - just fragments of songs that all came together when the world paused in the spring and Burns realised that what he had been working on over the last few months could become a full record. The structure of the album follows suit, chopping and changing between harder-edged sounds and acoustic meanderings.

There is a forward honesty and a witty wryness to Blood Wizard. “Hooray to the big news, got my mouth around the spoiled fruit” he sighs on Fruit, a song about keeping happy for your friends’ achievements while your life feels static. Meanwhile, Total Depravity’s stand-out, bittersweet lyric “I’m never going to get that jacket back” pinpoints a singular moment amongst an anxious blur and a time he cannot return to. The infectious and fuzzy Carcrash draws on the weird ways love can be displayed, whilst in stark contrast, the subdued Somehow I Knew tells of the people you’ve never got to know.

This is KORPSE, a quartet of death metal destruction from The Netherlands. Insufferable Violence marks KORPSE’s third full-length album, set for release via the indomitable Unique Leader Records on 26th February. By far the most brutal and dark album KORPSE has produced yet, the band deliver eleven tracks of jaw dropping Death Metal carnage. During Insufferable Violence’s forty-two minutes of chaotic punishment and depravity the band seem on a mission to turn their listener to dust beneath a ceaseless torrent of immensely heavy slam breakdowns, inhuman vocals, grinding speed and aggression. KORPSE once again bring their no-nonsense approach to the slamming death genre with no compromise or false overstatements in one of this year’s heaviest releases. The result is a deeply uncomfortable listen. Comments KORPSE: “We are very proud to present to you our third album called Insufferable Violence. The title is an obvious metaphor for what to expect from the new tracks; relentless brutal death metal in our signature style of the genre. Obviously, the songs are fast, brutal, aggressive, slow and groovy, but we didn't shy away from trying new things. We've incorporated a lot of death metal's neighbouring genres to spice up the mix, varying from beatdown to black metal, and from goregrind to tech death. We feel this is the absolute best album we are able to deliver at this point in our career and we sincerely hope you will become as excited about it as we are!” Founded by drummer Marten van Kruijssen in 2013 together with vocalist Sven van Dijk, guitarist Floor van Kuijk and bassist Robin van Rijswijk, KORPSE are widely regarded for their savage and uncompromising live shows. Previous albums the self-titled Korpse debut (2014) and Unethical (2016) grabbed the immediate attention of fans and press worldwide whilst allowing the band to tour throughout Europe and the USA playing many Summer festivals including Deathfeast, Neurotic Deathfest, Obscene Extreme, Stonehenge, Berlin Deathfest, Nice To Eat You Deathfest, UK Slamfest, Slamming Brutality, Fall in the Brawl, Chicago Domination Fest, New York Deathfest, Heidelberg Deathfest and touring with bands such as Scordatura, and Extermination Dismemberment. If by the end you’re not mauled to pieces, congratulations, you’ve just become one of the survivors of KORPSE’s aural battering ram.

Revive the epic Arcade adventure with the Metal Slug 3 soundtrack on 2LP (Red/White splatters) and CD with booklets on both, officially licensed by SNK.

Following Samurai Shodown 2019, Wayô Records and SNK Corporation once again join forces to deliver an international edition of Metal Slug 3's original soundtrack, in honor of the game's 20 anniversary! Originally exclusive to Japan, this album is now available in this double vinyl edition.

With its distinctive "rock orchestra" sound, the music for SNK's series turned out to be as essential as the games themselves thanks to its uniqueness and incredible energy. Composed by the legendary SNK Sound Team, this soundtrack has a lot in common with the other titles in the series, but stands as the densest and most inspired. Filled with biting humor and explosive action, Metal Slug 3 is often regarded by fans as the best game in the series!

- Two vinyl discs, 33 rpm

- First Print Edition translucent red with white splatters

- Complete soundtrack newly remastered for the vinyl format

- Gatefold with a central wide illustration and two individual illustrated sleeves for each disc

- New comments from the game team

- Officially licensed by SNK

Emmylou Harris made her Nonesuch Records debut with the release of her album Red Dirt Girl 20 years ago, in September 2000. To mark its twentieth anniversary, Nonesuch releases the album – which won the Grammy Award for Best Contemporary Folk Album – on limited-edition, translucent red vinyl.

Harris – whom the Los Angeles Times dubbed ‘the most captivating female artist ever in country music’ – wrote all but one of the twelve tracks on Red Dirt Girl, marking only the second time in her career that she had been so involved in the composition of an album. ‘In songs about lonely journeys and lost companions,’ said the New York Times, ‘Ms. Harris has found herself.’

Red Dirt Girl was produced by Malcolm Burn, who had worked with Harris engineering and mixing her previous solo studio recording, 1995's Wrecking Ball, and features Burn on piano, guitar, and bass; Buddy Miller on lead guitar; Daryl Johnson on bass and drums; and Ethan Johns on drums, guitar, and other miscellaneous instruments. Dave Matthews sings a duet with Harris on the album, and Bruce Springsteen, Patti Scialfa, and Patty Griffin also contribute vocals.

Commenting on her new label and record back in 2000, Harris said: "I take pride in my new association with Nonesuch, a label for whom I have great admiration. Red Dirt Girl is a very meaningful record for me. I’ve only written this much for an album once before – The Ballad of Sally Rose – and I’m very pleased as well with what we have accomplished in the studio."

Nonesuch Records President David Bither said at the time: "We have had the privilege over many years to work with some of the most creative and influential artists and producers in music. This launches a new area of musical exploration for Nonesuch, and we are thrilled that Emmylou is the artist to open this door for us. It is an honor to work with an artist who has such a formidable body of work behind her, but who is now creating possibly the best music of her career."

Harris has since released three additional solo studio albums on Nonesuch, Stumble into Grace (2003), All I Intended to Be (2008), Hard Bargain (2011); reissues of Wrecking Ball (2014) and her 1992 album with the Nash Ramblers, At the Ryman (2017); two duo albums with Rodney Crowell, the Grammy-winning Old Yellow Moon (2013) and The Traveling Kind (2015); two releases in 2006 with Marc Knopfler, All the Roadrunning and Real Live Roadrunning; and vinyl box sets of her early albums, in 2017 and 2019.

Old, but still functioning computers are simply scrapped, made redundant and without remorse left to corrosion and an existence without a task and no perspective. That this doesn’t need to be so, and that even computers with limited storage capacity can still take on a function in society, is illustrated by Alexei Shulgin’s outdated 386, now serving as a musician. Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to- speech- programm.

Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.

The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one- man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.