Cerca:no cure

One of Europe's most popular alternative / dark wave bands. Lebanon Hanover have over one million monthly listeners on Spotify. Following their first US tour in over a decade, Lebanon Hanover returns with a soul-stirring double A-side single release, marking their first new material since the captivating 2020 album, 'Sci-Fi Sky.' Now, the enigmatic duo of William Maybelline and Larissa Iceglass beckons listeners into unventured sonic domains, intricately weaving folk-driven acoustic dream pop with the vulnerable essence of post-punk in a contemplative exploration of life's ephemeral yet profound nature. Embarking on a Cure-like sonic voyage reminiscent of the 'Head on the Door' and the 'Kiss Me' era, title track 'Better Than Going Under' manifests as a romantic, sombre daydream. William Maybelline's brooding baritone intertwines with sighing back vocals, narrating an ode to life's fleeting yet boundless vistas. The acoustic strums initiate a folk-driven narrative which, when coupled with a celestial choir, crafts a contemplative soundscape of cautious optimism, reminiscent of Echo and the Bunnymen or The Church.. KYIV: Bearing the name of Ukraine's capital, 'KYIV,' voiced by Larissa Iceglass, delves into a narrative reflective of the sorrow and despair entwined within war-torn regions like Ukraine and beyond. The acoustic guitar and drum machine create a Cocteau Twins' 'Treasure'-esque soundscape, evoking a melancholic yet beautiful auditory journey. Iceglass's voice, transitioning from her husky baritone to a more resigned lament, embodies a poignant reflection on the harsh realities faced by those embroiled in conflict-ridden landscap

David Nance & Mowed Sound, the first album by Nance to be released on Third Man Records, cuts deep. Memories sprout back, like the sounds of a great rock song blasting from the neighbor’s truck as it revs away into the night. There is a definite connection to the past, but the swinging guitar boogie and snarled blues you might expect from Nance and company sounds leaner and completely hypnotic. What remains are 10 tracks from a well oiled group so rhythmically together that the songs on the album seem as connected as links in a chain.

David Nance & Mowed Sound, the first album by Nance to be released on Third Man Records, cuts deep. Memories sprout back, like the sounds of a great rock song blasting from the neighbor’s truck as it revs away into the night. There is a definite connection to the past, but the swinging guitar boogie and snarled blues you might expect from Nance and company sounds leaner and completely hypnotic. What remains are 10 tracks from a well oiled group so rhythmically together that the songs on the album seem as connected as links in a chain.

Dylan John Thomas’ self-titled debut album is set for release 26th January 2024 on Ignition Records. Includes fan favourites 'Jenna' & 'Fever' plus recently released 'Yesterday Is Gone.' The album also features 'Wake Up Ma' live at Barrowlands & the brand new single 'Rich Boy.'

Most southern soul fans will tell you that that the music produced in Memphis in 1967 and 1968 was the pinnacle of quality. So following on from our look at the River City’s soul output in 1967, we now turn our attention to an album covering the next year. As before, the singers here are a heady mixture of local Tennessee talent and welcome soulful guests who journeyed down south hoping that a little of the famous Memphis magic would rub off on their songs. There are soul genres to suit all tastes here – from the deepest ballads to upbeat tracks that will rock your socks off. Soul doesn’t get much better than the artists and their tunes on this LP!

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Serie Noire Is a Brand New Skylax Records Sub-Label Dedicated to What Can Be So Called Indie Dance, Dark Disco & Italo-Disco, Genre That We Have Promoted & Pioneered for Years. in This First Part, You Will Be Able to Find the Explosive &Ldquo;free Gluten” Signed David Body, the Very Mental &Ldquo;waves” by Facets, the Fabulous Neurotiker &Ldquo;bdsm” Which Reminds Us of the Best of Viewlexx and on the B Side Our National Signal St, With a Title Dedicated in Tribute to Our Label, an Improbable Collision of House Music & New Order (Our Lifelong Love) and to Close It All Silicodisco With “Mirror Constellation”, an Incredible Spanish Producer Who Reminds Us at Times Waxtrax but Also the Sepulchral Atmospheres of the Cure's Disintegration....

Limitierte Neuauflage von Scanners drittem Album "Mental Reservation" als Transparent Orange Vinyl. Diese besondere Version enthält das rare 1994 Demo "Conception Of A Cure" auf Seite D. Eine längst überfällige Neuauflage dieses zeitlosen Klassikers, ursprünglich 1995 erschienen. Die letzte LP Auflage erschien im Jahr 2015. Dieses lange vergriffene Meisterwerk nun endlich wieder erhältlich.

‘Rituals’ is the new album of spiralling drone & ambient formations by Italian artist Danilo Betti aka April Clocks (Union Editions / Mixed Up); a new work of sublime disorientation by the Rimini-based outlier, arising from a period of reinvigorated artistic practice.

Emerging just over a year after the project’s second album ‘It Takes Time’, ‘Rituals’ heads deeper into spheres of consuming, hypnagogic haze, coursing through nine coalescent compositions of amorphous yet absorbing electronics.

Where ‘It Takes Time’ represented an autodidactic interpretation of Betti’s formative influences – namely shoegaze & proto-ambient - ‘Rituals’ is an enigmatic proposition, the product of subconscious resonances, a mysterious sound world that finds traces of evanescent beauty and uncanny captivation in sustained tones, cavernous oscillations, and aesthetic imperfections, like the notes of subtle surface noise embedded within many of these productions.

Attesting to the value of Betti’s background as an industrious solo artist, making music away from prevailing sites of activity, ‘Rituals’ consolidates the inspirations and hallmarks of the April Clocks project into an acute reflection of Betti’s vision, one that feels completely his own.

In the buried somnolent splendour of the opener ‘Hypersleep’, through the sound art rustle and time-stretched cycles of ‘A Cure’, into the stroboscopic magnitude of ‘Ceremony’ and the haunting string loops of ‘Coward’, Betti captures compelling impressions drawn from a submerged perspective; a deluge of smokescreens and crosscurrents from the other side.

Bearing the influence of subliminal states, ‘Rituals’ is nevertheless lucid and arresting. There are sumptuous holding patterns of ambient evaporation that stream into vast maelstroms of sound (‘Displaced Euphoria’), enervated organ themes that distil sensations of stasis and dissociation (‘Wound’), as well as psychedelic movements in wide tracts of negative space (‘No Time, No Land’). From here, the acoustic glitch of ‘Disappearer’ and the stratospheric slipstreams of ‘Mirror Being’ bring the album to an astonishingly dramatic conclusion.

Throughout such moments of reverie and tension, ‘Rituals’ makes for a hypnotic listening experience. It’s an album that signals a pronounced sense of development for the April Clocks project, from past vestiges of physicality to present degrees of heightened abstraction and ethereality, from the Warp-influenced rhythms and frameworks of ‘It Takes Time’ to the wide- ranging, experimental sounds that unfold here.

Encompassing forms of decomposition and otherworldly futurism, decay and sublimation, distortion and lustre, this is unique, cerebral music that reaches inward and ascends outward, drifting elsewhere, according to its own coordinates.

Recorded and Mixed at Tower of Disintegration, 2022.
Mastered by Miles Whittaker.

To Watch The Storms The next in the series of Steve Hackett vinyl editions, sees the release of his 16th studio album ‘To Watch The Storms’. Originally released in 2003, it featured his live band at the time, including Roger King, Gary O’Toole, Rob Townsend & Terry Gregory. It also features John Hackett and a guest appearance from Ian McDonald (ex-King Crimson). Available now for the first time ever on vinyl, the album has been remastered especially for the format and comes as a Gatefold 180g 2LP. Includes the bonus tracks from the 2013 digipak reissue. Wild Orchids: The next in the series of Steve Hackett vinyl editions, sees the release of his 18th studio album ‘Wild Orchids’, available on wax for the first time ever. Originally released in 2006, this album saw Steve joined by familiar faces Roger King, John Hackett, Rob Townsend, Gary O’Toole as well as The Underworld Orchestra, which added glorious string and brass flourishes to the sound. The album includes Steve’s cover of Bob Dylan’s ‘Man In The Long Black Coat’, as well as ‘Reconditioned Nightmare’ which was a re-recording of the track ‘Air Conditioned Nightmare’ from his 1981 album ‘Cured’. Available as a Gatefold 180g 2LP.

DJ Crisps is starting to make some handy garage moves after a couple of various artists' appearances and a fine EP on Time Is Now Germany in July. Now they link up with Oldboy who appeared on Burnski's other label Vivid back in 2022.

As you should expect these are four hardcore and rudely garage cuts with plenty of swagger, naughty samples and bass-face potential. 'On My Way' is the standout with its shuffling one-two drum punch, distant police sirens and warped basslines underneath a timeless and irresistible female vocal full of soul. A summer scorcher for sure alongside three more very useful weapons.

4LP is four black vinyl discs in two gatefold jackets + two 18 x 24 folded posters in a side-load slipcase + a printed insert for full album download. This is strictly for Indies only. 2CD is two discs in a six panel wallet + a 28 page booklet + printed insert. Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 is Superchunk’s fourth singles compilation, a massive, 4-LP (or 2-CD) collection covering their triumphant return from hiatus. The amount of ground covered within its gorgeous packaging is staggering: 50 songs, 16 of which are on physical media for the first time, sourced from out-of-print releases, digital singles, compilations, and more, a vital piece of the Superchunk canon. Featuring extensive liner notes by Mac McCaughan (with additional notes from Laura Ballance), Misfits & Mistakes tells the story of each release, from why they chose to cover songs by The Misfits, The Cure, Destiny’s Child, and Bananarama, to working with collaborators like Katie Crutchfield (Waxahatchee), Jane Wiedlin (The Go-Go’s), Eleanor Friedberger, Damian Abraham (Fucked Up), Norman Blake and Raymond McGinley (Teenage Fanclub), and more! Mac writes: Who knew it would take a cartoon hamburger to kick off a new period of activity for Superchunk? When we recorded “Misfits and Mistakes” for the Aqua Teen Hunger Force soundtrack at Overdub Lane in Durham, we also recorded the first version of “Learned to Surf” which gave us an on-ramp for making new music after 8 years of playing sporadic gigs. It also reminded us what we liked about playing Superchunk songs, whether they’re our own or written by our musical heroes. This collection covers a lot of ground, from heavy touring years to a pandemic where we made singles and an album at home. One difference between this comp and our first three is that this time span completely falls in the digital age; the distance from a final mix to everyone hearing it is shorter than ever. I’ve always liked artists that were prolific—throwing out singles in between albums when you least expect it. A surprise release from your favorite band is one of the few things that can still bring a little excitement to what can seem like an endless deluge of “content” (puke). Hopefully the wild swings between lo & hi fi and originals and covers on this comp still allow for some coherence and, more
importantly, convey what’s FUN about this punk rock thing.

Columbarium are a Belgian (the village of Zwevegem) heavy doom metal band, formed in 2021 but comprised of seasoned members from the regional doom scene over the last ten years.

Having played about a hundred gigs in a former incarnation (as Loose License) in Belgium, The Netherlands and France with bands like The Gates Of Slumber, Nekromant, Marche Funebre, Serpent Venom, FAAL, Famyne and King Hiss, they have built a serious reputation as a live act in the last decade.

The addition of an extra guitar / keyboard player some years ago (Koen Biesbrouck, formerly also from the avantgarde / instrumental rock band Locus Control) has taken the music to another horizon and that newfound sound was the cradle for the band’s rebirth, which led to renaming the band Columbarium.

The four guys found that sound with Belgian producer Lander Cluyse from Hearse Studio (Amenra and Aborted) and with Brad Boatright from AudioSiege Mastering Studio (Portland - Monolord and Pig
Destroyer).

Featuring guest vocals from Michelle Nocon (Bathseba / Serpentcult / Of Blood And Mercury).

The LP is pressed on green vinyl.

For fans of Paradise Lost, Winter, Tiamat, Swallow The Sun, My Dying Bride, Opeth, Celtic Frost, Anathema, Cemetary, Katatonia, Autopsy, Candlemass.

Reflections" ist die neue EP des GRAMMY-nominierten LA-Trios Moonchild (alias Amber Navran, Andris Mattson & Max Bryk). Inspiriert von der kultigen Tiny-Desk-Performance der Band (die mittlerweile 4,9 Millionen Mal aufgerufen wurde), hat die Band auf "Reflections" alte Songs neu interpretiert, darunter einige der größten Hits des Trios.

How Cheeky Do You Want It? the Hedzup Crew Have Been Transmitting Crafty-as-Hell Minimal House From Paris to the World for Many a Year Now, and They're Not Letting Up in Their Quest to Inject Some Freaky Fun Into the Club. This Latest Drop Is Another Split From Label Main Men Mancini and Wlad, Leading in With the Former's 'Cure Hater' Which Bounces Into Ear Shot With an Irrepressible Groove and Plenty of Wriggling Noises Snaking Around the Mix. Nu Zau Then Steps Up With a Remix Which Tips the Ingredients Into a Tougher, 90s-Styled Beatdown Without Losing Any of That Heads Down Energy You Expect From a Hedzup Release. Wlad Brings a Shimmering Sophistication to the Chords on 'Lucky Star' Without Losing That Naughty Rhythm Section, Giving Floog Plenty to Work With for a Remix Which Heads Further Into Techy Territory....

Zwei der berühmtesten und einfallsreichsten Schlagzeuger der Post-Punk-Ära, Lol Tolhurst von The Cure und Budgie von Siouxsie & The Banshees und The Creatures, sowie der herausragende Produzent und Multiinstrumentalist Garret 'Jacknife' Lee, haben eine der unwahrscheinlichsten Alternative-Supergroups gegründet und die letzten vier Jahre damit verbracht, eines der außergewöhnlichsten Alben für das Jahr 2023 aufzunehmen.

Wenn man die Tracklist mit Gastauftritten von unter anderem James Murphy von LCD Soundsystem, Bobby Gillespie, IDLES Gitarrist Mark Bowen und The Edge von U2 durchstöbert, fragt man sich vielleicht zu Recht, was der 13-Track-Longplayer bereithält. Die Antwort: Eine knallharte und zwanghaft forschende 55-minütige elektronische Gehirnwäsche, die auf unvergleichlicher rhythmischer Kompetenz basiert, mit einem Arsenal an Synthesizern, Gitarren, oft überlagert von Streichern und Bläsern der Spitzenklasse, und dann von Lee universell verdreht, manipuliert und meisterhaft geformt.

In ihrer fast drei Jahrzehnte währenden Geschichte haben sich IMPURE WILHELMINA vom dichten Post-Hardcore zu etwas weitaus filmischerem und erhabenerem entwickelt. Mit der neuen Mini-LP „Dead Decades“ geht das Schweizer Quartett noch einen Schritt weiter: Neben zwei Coverversionen von King Crimson („Fallen Angel“), The Cure („Plainsong“) und dem Komponisten Serge Gainsbourg („La Javanaise“) bisher unveröffentlichte Tracks aus den „Antidote“-Sessions.

Last of the RSD stock now reduced to £9.99. Limited double coloured neon vinyl limited to 500 copies for RSD. Side A&B on magenta vinyl and Side C&D on orange vinyl. This is an album of melodic beat driven songs recorded in Chris Olley's home studio just before lockdown. The sonic driven guitars of six by seven now meet the neo-kraut grooves much more than ever before, to create an intense collection of songs which remind you of both of Can and The Cure and have a distinct heartfelt lo-fi Mark E Smith vocal. It's a big, expansive sound wrapped around Olley's trademark melancholic songwriting

This is the first official reissue of The Candles Burning Blue’s highly appraised cult album Pearls Given To The Swine. For two decades the original CD pressing has been sought after but nearly impossible to find. Known for their violent and chaotic gigs, The Candles Burning Blue were an unconventional Gothic Rock band. Instead of romantic beauty they dealt with the harsher aspects of the darkness oozing from their own troubled lives. Even though they only released two CD-r, a split 7” and one full album, their impact on the Finnish Goth underground was a lasting one. Pearls Given To The Swine was recorded in 2000 and released in 2001 on CD, with only 500 official copies pressed. Some years later new copies appeared from shady sources, but basically the album disappeared from the face of the Earth. In 2001 the band started to work on the second album Pleasure Dome and also had some material recorded for the projected third album Abhorrence, but ceased to exist before any of this material was released. Until now. This reissue has a full length bonus disc consisting of these songs. The Candles Burning Blue had its roots firmly in Gothic Rock as performed by bands like Bauhaus, Christian Death, Virgin Prunes and The Cure, but they mixed in elements of experimentalism and art rock. Pearls Given To The Swine is a lost and found classic of Finnish Gothic Rock, and a fine example of Finnish dark culture around the turn of the millennium. Members went on to play in bands like Reverend Bizarre, The Puritan, Werwolf Lodge and Opium Warlords, but never reunited.