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. For Fans Of: The Weather Station, Weyes Blood, Adrianne Lenker, Phoebe Bridgers, Joan Shelley, Lana Del Rey, Cass McCombs, Angel Olsen & Neil Young. Camelot, the legendary seat of King Arthur’s court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word “Camelot” accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of “utopia.” In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson’s 1974 film Lancelot du Lac and the absurdist iteration of Monty Python’s 1975 Holy Grail, both of which feature armoured knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys’s profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy’s White House. Unsurprisingly there are fewer Camelots in more recent memory. Camelot, Canadian songwriter Jennifer Castle’s extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions. “Back in Camelot,” she sings on the lilting, vulnerable title track, “I really learned a lot / circles in the crops and / sky-high geometry.” The album opens with a candid admission of sleeping “in the unfinished basement,” an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above “sirens and desert deities.” If she questions her own agency whether she is “wishing stones were standing” or just “pissing in the wind” it does not diminish the ineffable existential jolt of such signs and wonders. This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of “multi-felt dimensions” both mystical and quotidian. The epic scale and transport of “Camelot,” with its swooning strings, gives way dramatically to “Some Friends,” an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises—“bright and beaming verses” versus hot curses which recalls her minimalist last album, 2020’s achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory “Earthsong,” bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to … a wounded lover? a wounded saint? our wounded planet?). Those whom “Trust” accuses of treacherous oaths spit through “gilded and golden tooth” cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry sow uncertainty that can infect the artist, as in “Louis”: “What’s that dance / and can it be done? What’s that song / and can it be sung?” Answering affirmatively are “Lucky #8,” an irrepressible ode to dancing as a bulwark against the “tidal pools of pain” and the “theory of collapse,” and “Full Moon in Leo,” which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and “big hair.” But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise? Castle’s confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on “Lucky #8,” special guest Cass McCombs). Reprising his decennial role on Castle’s beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia’s FAMES Skopje Studio Orchestra. On the ravishing country-soul ballad “Blowing Kisses” Pallett’s crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX’s The Bear Jennifer contemplates time and presence, love and prayer and how songwriting and poetry both manifest and limit all four dimensions: “No words to fumble with / I’m not a beggar to language any longer.” Such rare moments of speechlessness “I’m so fucking honoured,” she bluntly proclaims suggest a state “only a god could come up with.” (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.) Camelot evinces a thoroughgoing faith not only in the natural world including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth but also in our interpretations of and interventions in it: the “charts and diagrams” of “Lucky #8,” a daydreamt billboard on Fairfax Ave. in LA in “Full Moon in Leo,” the bloody invocations of the organ-stained “Mary Miracle,” and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.) The album ends with “Fractal Canyon”s repeated, exalted insistence that she’s “not alone here.” But where is here? The word “utopia” itself constitutes a pun, indicating in its ambiguous first syllable both the Greek “eutopia,” or “good-place” the facet most remembered today and “outopia,” or “no-place,” a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary

What if Japanese city pop met no wave? Neither in your wildest dream such occurrence could be real, but let’s make things clear. Frank Chickens could have been possibly forerunners for several famous alternative bands, Cibo Matto on top of all, but sure had a development on their own. Our history began in London, early eighties, art duo Frank Chickens is the original creation of Japanese performers Kazuko Hohki and Kazumi Taguchi. All of a sudden the band debuts with a pair of singles and a full length on Kaz Records, it’s 1984, but could have been easily 1994. Backed by the likes of Steve Beresford (Alterations, The Slits, General Strike, London Improvisers Orchestra), Annie Whitehead (Penguin Cafe Orchestra, Robert Wyatt), Lol Coxhill, Tony Coe and Clive Bell (the top of the cream of the English avantgarde) the band soon became a case in history. Now we have the pleasure – 37 years after its original release – to reissue their second album: Get Chickenized!

The record came out in 1987 on the british label Flying Lecords and showed a different side of the project, with a major focus on the so-called synth wave counterculture, still maintaining a certain avant feel. With original conspirator Steve Beresford still on board, the band was propelled in the studio by another key figure of the London underground: journalist, composer and producer David Toop. Being John Peel’s favorite for a while, the band built a cult following retaining some absurd live performances, well known for their idiosyncratic choreography. Later revamped in the year 2000 - thanks to cult label Ninja Tune – the band enjoyed a second wave of success, with a remix album featuring the likes of Pizzicato 5, Fink and Neotropic. With a cover embellished by the labor of Pere Ubu David Thomas, this second influential album is finally available for your listening pleasure. Here’s your chance to dive deep into this exotic pop extravaganza.

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on red vinyl, with extensive notes and lyrics.

On How It Ends (?), slinky melodies snake through nocturnal atmospherics, drawing you into a world built on poetic, painterly lyricism. Night Crickets, a long-distance groove affair that materialized during the drawn-out days of lockdown, has emerged once again to soundtrack our waking dreams.

David J (Bauhaus, Love & Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners spearhead a loose collective of like-minded creative souls whom, through sheer tenacity and a burning desire to collaborate and create, transcend the restrictions of space and time. Audio files shared from Los Angeles to Milwaukee, from London to the San Francisco Bay, and the ghosts of Candlestick Park shimmer through the fog, coalescing in a glorious ‘gesamtkunstwerk’ that draws from the past, the present and the imagined future.

Declaring Bauhaus, Love And Rockets, and Violent Femmes iconic, foundational bands in the history of alternative music would receive little pushback from those in the know. San Francisco born artist Darwin Meiners is a fan of all three. A chance meeting with David J grew into a friendship, and Darwin not only became a bandmate, but his manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after their set at Coachella. Soon, after the three collaborated on Darwin’s 2014 release Souvenir.

As the pandemic took hold, Darwin was looking for a new project to occupy the lock down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society.

Following that release, inspired by how well – and quickly – they all worked together, the trio kept up their collaboration. “We are each free to discover musical connections that could only exist in an ideal creative setting” explains Victor. “We are very lucky to have three musicians who write, sing and play various instruments in one trio… our egos seem to melt into one when we face musical decisions, so our expeditions are always filled with pure discovery, humor and drive!”

How It Ends (?) was crafted with the same collaborative spirit as A Free Society. Each member contributed contributed unique elements to spur their collective creativity—whether a drum pattern, a lyrical concept, or a musical idea—and together, they expanded these initial sparks into the finished work. True to their approach, much of what you hear was captured in the first take, reflecting a genuine, unfiltered moment.

The music on the How It Ends (?) is a true evolution of the debut album. It is deeper and darker. Having said that, the dark tone is alleviated by a healthy measure of the buoyant, bouncy and melodic. “Much of the new material is very psychedelic and the contrast between this heavy, dark psychedelia and the more uplifting pop elements puts me in mind of The Beatles’ ‘Revolver’ album to some degree,” tells David J. “The recording process for the new album was exactly the same as the first in that we all recorded remotely, taking turns to share files and reacting spontaneously to the previous track, overdubbing then passing on once again until we all felt that the track was done.”

“While we didn’t start with a specific theme, the album emerged as a contemplative exploration of endings” says Darwin. “It touches on the loss of individuals, the shifting of ideas, and the fragility of systems. Beneath this sense of darkness and finality, however, there are threads of beauty and glimpses of hope. We invite you to immerse yourself in the album and experience the journey we’ve embarked upon.”

Nach dem globalen Erfolg der EPs „brent“ und „brent ii“ veröffentlichen Chelsea Cutler und Jeremy Zucker
nun mit „brent iii“, ihr erstes full lenght Album und überzeugen ihre Fans erneut mit ehrlichen Texten und
für das Duo typischen Melodien.
Nach zwei Jahren, in denen Chelsea ihr Album „Stellaria“ inklusive der Single „your bones“ veröffentlichte
und Jeremy mit Lauv und Alexander 23 die Band „The Girls“ gründete, ist es so weit und nach „black &
white“ folgt nun der finale Teil der brent-Triologie.
„brent iii“ ist ab dem 01. November als Vinyl erhältlich.

2024 Repress

Errol and Alex Rita’s Touching Bass are proud to present Soon Come; a landmark compilation celebrating the talents of their now intercontinental musical community and an introduction to the wide-spanning sound and feeling of their growing label. 22 original tracks spread across double 12” vinyl and split between 'day' and 'night' moods, creating exciting connections between music for both the home and the eclectic sounds of their much-loved dancefloor.

Over the past six years, Touching Bass have steadily established themselves as one of London’s most important musical incubators. More than just a club night, concert series, NTS Radio mainstay and a label, Touching Bass has become something of a movement: a community meeting grounds for music lovers and some of the most exciting contemporary music-makers both in the capital and beyond.

The tracklist is a reflection of that, curated by TB’s Errol, Alex Rita and Sammseed over the course of two years. Among the list of contributors are Chicago/New York’s keiyaA, Stones Throw’s DJ Harrison, Ben Hauke, Ego Ella May, recent WARP signee Nala Sinephro, Melo-Zed, Hiatus Kaiyote’s Clever Austin and many more (see below for tracklist). Artwork for the project comes from Alex Rita, combining moments caught at Touching Bass’ own gatherings over the years.

Since launching properly in 2019, Touching Bass has quickly established itself as one of the UK’s most exciting new labels. The young imprint has championed critically respected and refreshingly innovative works with little genre restriction, receiving recognition from both musical and cultural bil. From the electrifying grooves of Danish trio, Athletic Progression, to the modern classical of South London’s CKTRL (featuring Duval Timothy).

Along the way, Errol and Alex have also been tapped up for collaborations/ commissions with some of the world’s most forward-thinking creatives and institutions; from the world-renowned White Cube gallery for Frieze Week 2021 and fashion designers Nicholas Daley and Azura Lovisa to film music supervision for Ronan McKenzie and Joy Yamasungie’s WATA and multi-award winning director, Jenn Nkiru’s (Beyonce, Kamasi Washington, Neneh Cherry) Black To Techno, the experimental documentary which premiered at Frieze Los Angeles and was nominated for ‘Best Short’ at the IDA Awards.

For newcomers, Soon Come acts as a vital introduction to the label’s wide-spanning DNA. For those already acquainted, it’s a glimpse at its exciting future.

15 stunning group soul tracks (including 3 previously unreleased tracks never before issued in any format.

Sussex recordings licensed courtesy of 43 North Broadway LLC
York & Unreleased recordings licensed courtesy of Fred White and The Decisions
Sleeve Notes edited by Alan Kitchener (Soul Direction)
Sleeve & Label design by Jordan Wilson
Inner sleeve notes by Brian Poust
Mastering by Swift Mastering Ltd

Step right up, ⁢dear music aficionados! Welcome to the melodic adventure of Penny’s Big Breakaway, the long-awaited kinetic 3D-platformer developed by Evening Star and published by Private Division (Take-Two Interactive).

The composer team behind‌ Sonic Mania, led by Tee Lopes, present a new masterpiece, crafted ‌with love and finesse. This colorful soundtrack features various vibes, from funk to rock with even house and EDM accents. So sit ⁣back, and let the‍ groovy waves wash over you.

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

REISSUE of Sun And Sail Club sophomore album. The name might be the Sun and Sail club, but you'll find no yacht rock here. Instead of Michael McDonald, we have Bad Brains. Kenny Loggins? Hall and Oats? More like Matt Pike and Lemmy Fucking Kilmister. "The Great White Dope" is featuring members of Kyuss, Fu Manchu, and the Adolescents, containing 10 riff-filled tracks of high energy, bullshit-free punk and sleaze. The song writing on 'The Great White Dope' steers away from the experimental direction of their previous release, and it's laser focused on one thing: unapologetically rocking your face off. The vocoder is gone and they've recruited singer Tony Adolescent, who delivers balls to the wall vocals with no added effects or frills. The production, like the music itself, is loud, heavy, and beautifully simple. "This record is a direct result of my wife telling me she was pregnant with our son. As a first time father, panic set in and I wrote the album in two hours. I wasn't sure if I'd have a lot of time once he was born so I crammed as many frantic riffs into one album as possible. Looking back it's funny to listen to now, but at the time I was on a mission. Everyone killed it on this record and we recruited Tony Adolescent on vocals which is unreal to me." - Bob Balch

REISSUE of Sun And Sail Club sophomore album. The name might be the Sun and Sail club, but you'll find no yacht rock here. Instead of Michael McDonald, we have Bad Brains. Kenny Loggins? Hall and Oats? More like Matt Pike and Lemmy Fucking Kilmister. "The Great White Dope" is featuring members of Kyuss, Fu Manchu, and the Adolescents, containing 10 riff-filled tracks of high energy, bullshit-free punk and sleaze. The song writing on 'The Great White Dope' steers away from the experimental direction of their previous release, and it's laser focused on one thing: unapologetically rocking your face off. The vocoder is gone and they've recruited singer Tony Adolescent, who delivers balls to the wall vocals with no added effects or frills. The production, like the music itself, is loud, heavy, and beautifully simple. "This record is a direct result of my wife telling me she was pregnant with our son. As a first time father, panic set in and I wrote the album in two hours. I wasn't sure if I'd have a lot of time once he was born so I crammed as many frantic riffs into one album as possible. Looking back it's funny to listen to now, but at the time I was on a mission. Everyone killed it on this record and we recruited Tony Adolescent on vocals which is unreal to me." - Bob Balch

Moon White Vinyl. All her life, Emma Hardyman has wrestled with contradictions. After all, she was practically rendered a living, breathing contradiction the moment she was born into her half-Peruvian, half-white working-class Mormon family. In young adulthood, Hardyman became increasingly disillusioned with Mormonism's righteous black-and-white thinking, as well as its exclusionary elitism, and decided to leave the church. But she also acknowledged that the institution's all-or-nothing philosophy had become a part of her, resulting in a considerable test of grace and unlearning. As the singer-songwriter behind Little Moon, the Tiny Desk Contest-winning, Utah-based avant-folk project, Hardyman uses music as an outlet to illuminate contradictions of all kinds. Following the release of her 2020 debut LP Unphased, Hardyman set out to write a romantic album about her newlywed husband Nathan (who also sings and plays guitar in Little Moon), but the universe had other plans. After Nathan's mother tragically passed away, Hardyman recalibrated her vision and started work on a love-as-grief, grief-as-love album titled Dear Divine. The record serves as a mirror for the darkest parts of ourselves, allowing us to examine our ego_not to dismantle it, but to better understand how we love, process adversity and move through the world. Centering the classical music, folk, video game soundtracks and Tabernacle Choir hymns she grew up with, as well as ephemeral snapshots of personal significance, Dear Divine is an abundant tapestry of Hardyman's life. As enlivening melodies radiate from a string trio, you can envision the classical music that thrums from her parents' radio 24/7, as Hardyman sings in an otherworldly coo, you can imagine her younger self swooning over the tranquil records of Vashti Bunyan and Joan Baez, and as arpeggiated synths twinkle, you can visualize the enchanting kingdom of Hyrule from The Legend of Zelda: Ocarina of Time that she still adores. Songs like "now" and "messy love" embrace the gloriously jumbled stew of life, with the former chronicling Hardyman's arduous quest for love and trust and the latter patiently navigating the ways romantic partners can mirror each other's shortcomings. As Dear Divine attests, Emma Hardyman may not have it all figured out, but that's kind of the point. Through grief, faith crises and all-encompassing love, she's found the most wisdom in life's maddeningly consistent inconsistencies, as well as the subtle ways one can cultivate a feeling of home. Dear Divine doesn't take a red pen to life, it brings an open heart, an open mind and achingly beautiful, opulently weird folk songs.

Steve Leach's Balearic beach-funk beast Ocean Potion, recorded with the Crystal Grass Orchestra is an absolutely ace, Ned Doheny-adjacent funky AOR / blue-eyed soul BBQ classic from 1976.

Who is Steve Leach, you ask? None other than Seasick Steve in a previous life! A French-only release on Philips, it's a hugely immediate, pop-funk firecracker. It features a wonderfully lush, full orchestral sound throughout, underpinning Steve's gorgeous voice and an army of brilliant backing vocalists.

The supporting cast is phenomenal and is arguably the salient reason this is such a fantastic record. We're talking legendary players from the French scene (think Arpadys, Voyage, Kongas, CCPP, Giant, Swing Family) such as Don Ray with his arranger-conductor hat on as well as synths, Marc Chantereau on percussion, Slim Pezin on guitar, André Ceccarelli on drums, Christian Padovan on bass and Pierre Halation on flute.

With these snakes behind the scenes, it remains a mystery how Ocean Potion is so relatively unknown. Hopefully, this long overdue reissue rectifies this and puts a stop to people dropping $200 on it.

Triumphant, horn-forward opener "The Light Of The Mind" has that uniquely Ned Doheny fidgety funk feel with a fantastically irresistible chorus and great harmonies. Just magic. The insouciant, swaggering "Hey! Hey! What You Doin To Me" is straight up white-hot feel-good funk with by turns sweeping and stabbing strings and a neck-snapping break. Crucial. Coming off like something off The Beach Boy's Surf's Up or Holland (including a sneaky "reason to live" reference that surely nods to "The Trader") is the brilliantly ominous, driving wall of sound of "Take Strength". Cavernous drums, urgent strings and a staggeringly good vocal performance make this a real highlight amongst an album of highlights. The blissful folk-funk of "The Lady Of The Sea" is a real naked heartbreaker, melancholic vibes and a beautiful flute line complementing each other perfectly. Side A closes out with "All My Life", a groovy island-funk white-reggae-tinged lilter which just about lands the right side of acceptable.

Side B opens with the gorgeous "You're The Only One Girl" before the propulsive Philly soul of "At Least We Got Love" elegantly glides into focus. Pulsing beats and piano working with that irresistible orchestra of grass. Glacial ballad "All Love's Children" has a deep New Orleans soul feel that truly soars whilst the breezy "Get Out In The Sun" owes a debt to "Crocodile Rock". It's pure pop for now people and wouldn't have been out of place on a late 70s Nick Lowe effort. Deep late-period Beach Boys gem "Golden Hues" is another heavy melancholic down lifter that really beguiles before the real reason you're all here. Pastoral closer "I Meditate Each Day" is just beautiful, and likely the reason this reissue is giving you that special feeling. Another gorgeous flute-led, folk-funk groover, it featured in a memorable mix from the Creme2laCreme crew (Raphael Top-Secret, Jerome Qpchan and Antoine Kogut) live on Red Light Radio over a decade ago and has been top of many heads' wants list never since. Just mellow out.

As ever, the audio for Ocean Potion has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve featuring a topless Steve reclining next to his piano on a flatbed truck on the beach (of course?!) has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

'Once Bitten' ist das dritte Studioalbum der amerikanischen Rockband Great White aus dem Jahr 1987. Bekannt für seine Hit-Singles wie 'Rock Me', zeigt das Album den Blues-beeinflussten Hardrock-Sound der Band und verhalf ihr in den späten 80er Jahren zum Mainstream-Erfolg.

In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time. Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021. This double album is released with colourful inners within a wide spine sleeve.

REPRESS

In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time. Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021. This double album is released with colourful inners within a wide spine sleeve.

Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.

REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.

For fans of Michael Kiwunaka, Jon Batiste, Leon Bridges, Gregory Porter, and Mg.Kee. Full tour in the works for 2025 in North America and Europe. Collaborated with a wide range of artists including Jack White, Dwele, Slum Village, Black Milk, Foreign Exchange, 14KT, and Daru Jones. Former musical director for tours for Black Milk and Slum Village, throughout North America, Europe, Australia, and Japan. “From the Throne Room” is Abernathy’s fourth official LP, following the trilogy of “Monologue,” “Dialogue,” and “Epilogue,” released between 2016 and 2019. Aaron Abernathy has been firmly established in the modern soul scene for almost two decades, and he continues to elevate his craft as a songwriter and performer. His latest LP “From the Throne Room” once again demonstrates a rare ability to seamlessly shift between lyrical themes and musical styles, and it is his most inspired and uplifting album to date.
The turmoil caused by the pandemic was especially hard on touring musicians, and as a veteran musical director and bandleader who has regularly traversed the globe, Abernathy was certainly affected. Instead of wallowing in grief and darkness, he tapped into his gifts as a songwriter and lyricist to manifest light and optimism in his own life. As expressed on the opening track “New Relationship,” this “new way of seeing” kicked open some new creative doors for him as a musician and producer, with a wide variety of influences. The four-to-the-floor push of “A Reason to Smile” brings to mind 80’s post-disco boogie, “Show Off” shows off a modern rock edge, and the booming, driving energy in tunes like “Hope Song” and “Joy” is reminiscent of the electric 60’s soul of Wilson Pickett and Otis Redding. With its catchy hooks, powerful lead vocals, and slick self-produced arrangements, “From the Throne Room” proves that Aaron Abernathy remains one of the most talented singer/songwriters of his generation in contemporary soul music.

Back in print, on white & purple splatter vinyl!

Hailing from Buffalo, NY, Head North has used their indie-influenced pop-punk to break out of the local scene and demand the attention of a national audience. Packing in sentiments as big as their sound, the band hits home with walls of guitar lines, frenetic punk rock drums and an emotional complexity anchored behind their lyrics. Singer Brent Martone hits raspy notes of anger and sadness, knowing when to shriek and when to soften, adding a layer of versatile energy to back up his passion.

RIYL: The Dangerous Summer, Brand New, Have Mercy

Blending elements of post-hardcore, emo and Southern-tinged indie rock, Microwave balance frankness with a penchant for wit, allowing for seemingly standard personal confessions to make a significant and striking impact. While often tipping into the heavier side of resonant punk, the band shines brightest in soft reservation. Their self-released debut album Stovall feels like a snapshot in time, bringing to mind that same unforgettable feeling that albums like Jimmy Eat World’s Bleed American, Manchester Orchestra’s I’m Like A Virgin Losing A Child and Taking Back Sunday’s Tell All Your Friends did years ago.

RIYL: Manchester Orchestra, All Get Out, Taking Back Sunday"

limited edition 2xlp of 3138 copies on opaque white 180 gram vinyl LP1 original album remastered by Bob Weston LP2 full album remixed from original multi-track almasters liner notes by Steve Albini and Ethan Buckler gatefold jacket with full color inner sleeves hand numbered 1 through 3138 SLINT is a band from Louisville, Kentucky. tweez was its first recording. LP1: Originally recorded by Steve Albini and released in 1989, tweez has been remastered by Bob Weston at Chicago Mastering Studio from the original analog master tapes. LP2: tweethan mix. Per Ethan Buckler (Slint bassist on tweez), "Finally - after thirty-five long years - the other guys in Slint decided to be nice to me and let me have my Tweez remix. I complained incessantly back in the day about how the Albini production style ruined our first recording." In 2023, Ethan took the original multi-track recordings to a local studio in Louisville. Upon handing the engineer a copy of a pre-tweez Slint practice tape, he said "Make it sound like this." LP2 of this "tweez (35th anniversary edition)" is the result. Mastered by Bob Weston at Chicago Mastering Studio.

After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

Red vinyl, limited to 300 copies. After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

John Williams' Home Alone soundtrack is a heartwarming classic that perfectly complements the holiday season. Known for his work on Star Wars, E.T.and Harry Potter, Williams brings the same orchestral magic to this beloved Christmas film. The score includes memorable tracks like 'Somewhere in My Memory,' a recurring theme throughout the film, and 'Star of Bethlehem,' which captures the festive spirit with choral and orchestral elegance. The standout track, 'Setting the Trap,' diverges from Williams' usual orchestral sound, incorporating electronics and percussion to enhance Kevin's creative showdown with the burglars. Alongside traditional Christmas carols like 'O Holy Night' and 'Carol of the Bells,' the soundtrack blends nostalgia with whimsy. Though the album repeats familiar motifs, its charm makes it a refreshing alternative to typical holiday music. The Home Alone soundtrack is available in a limited edition red and gold vinyl 2xLP, making it an essential for any festive playlist. Whether it's playing while decorating the tree or enjoying Christmas cookies, this release brings the holiday spirit alive.

Icelandic indie-pop songwriter Kaktus Einarsson will release his second album ‘Lobster Coda’ via One Little Independent Records on October 25th. Amidst a collection of lush, electronic earworms, Kaktus has penned an honest account of his recovery from a sudden functional neurological disorder (FND) that required him to relearn how to use his motor functions, while also performing his duties as a new father.

‘Lobster Coda’ incorporates dreamy, glistening synth-pop and melancholic ambience, created through layers of atmospheric keys, percussion, and groove-laden funk bass. Kaktus details his journey following a stress-induced nonepileptic seizure that halted his brain’s ability to communicate with the rest of his body, resulting in losing control of his legs, arms and causing involuntary facial tics. Crucially, he spent months on a course of physical therapy while also trying to care for his children and his partner, that by his own admission he then needed to reconnect with. With an occasionally brutal candour, Kaktus’s new album is about taking the time to reflect and recognise changes that need to be made, to listen to your body, and to trust the process no matter how long it might take.

Icelandic indie-pop songwriter Kaktus Einarsson will release his second album ‘Lobster Coda’ via One Little Independent Records on October 25th. Amidst a collection of lush, electronic earworms, Kaktus has penned an honest account of his recovery from a sudden functional neurological disorder (FND) that required him to relearn how to use his motor functions, while also performing his duties as a new father.

‘Lobster Coda’ incorporates dreamy, glistening synth-pop and melancholic ambience, created through layers of atmospheric keys, percussion, and groove-laden funk bass. Kaktus details his journey following a stress-induced nonepileptic seizure that halted his brain’s ability to communicate with the rest of his body, resulting in losing control of his legs, arms and causing involuntary facial tics. Crucially, he spent months on a course of physical therapy while also trying to care for his children and his partner, that by his own admission he then needed to reconnect with. With an occasionally brutal candour, Kaktus’s new album is about taking the time to reflect and recognise changes that need to be made, to listen to your body, and to trust the process no matter how long it might take.

Das epische Power Metal-Highlight des Jahres 2010 in der längst überfälligen Vinyl-Neuauflage! Mit der Hymne "We Are Pirates" gelang der Band um Sänger Seeb Levermann seinerzeit der Durchbruch.
"Easton Hope" kommt nun erstmals als 2-Picture LP (limitiert auf 500 Einheiten), auf der alle Details des aufwendigen Andreas Marschall-Artworks perfekt darstellt sind; sowie als Clear White 2-Vinyl (limitiert auf 500 Einheiten).

"Bitten By The Beast is a solo album from David ‘Rock’ Feinstein, cousing to Ronnie James Dio.
The album actually includes the last track ever recorded by Ronnie ‘Metal Will Never Die’.
Long out of print, the album is now available on CD and, for the first time ever, on limited edition black and white splatter vinyl"

"‘Dancing Undercover’ was released in 1986 as RATT toured North America with a brand new LA band called POISON as the opening act. Lead single “Dance” hit the Billboard Hot 100 and spawned another music video hit with “Slip Of The Lip”, while “Body Talk” was featured in a key scene in the Eddie Murphy film, ‘The Golden Child’. ‘Dancing Undercover’ became RATT 3rd consecutive PLATINUM album and reached #26 on the Billboard Top 200.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD and Limited Edition red, black & white stripe vinyl."

"Ratt’s 2nd full length album, ‘Invasion Of Your Privacy’ was released in 1985. Certified double platinum and also reaching #7 on the Billboard Top 200, ‘Invasion of Your Privacy’ also featured the classics “Lay It Down” (#40 Billboard Hot 100) and “You’re In Love”.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD and Limited Edition black, grey & white segment vinyl."

Originally released following Deep Purple’s split in 1976, David Coverdale’s first two solo albums will be available on vinyl for Rocktober 2024, newly remixed and presented as Whitesnake records. Featuring future Whitesnake lead guitarist Micky Moody, and produced by Deep Purple’s Roger Glover, these long out of print albums are a key part of the David Coverdale and Whitesnake story.

The most iconic holiday record in Verve Records’ repertoire and one of the most successful jazz holiday albums of all time like you’ve never heard it before! This expanded edition of Ella Fitzgerald’s classic 1960 album Ella Wishes You A Swinging Christmas features a second LP with six tracks making their vinyl debut - for the first time, all of Ella’s holiday recordings for Verve Records and Decca Records are together on one collection. Housed in a beautiful gatefold jacket featuring a “deluxe” take on Gene Grant’s classic 1960 album artwork, the package also includes a beautiful 8-page booklet with detailed session notes and essay from journalist Will Friedwald, plus a sheet of cut-out holiday ornaments – the perfect gift for any music fan. Nearly 65 years after its original release, Ella’s beloved holiday classic is now twice as long as it was in 1960. As Ella herself once said, “the only thing better than singing is more singing,” and the only thing better than the original Ella Wishes You a Swinging Christmas is the new, expanded edition!

RUN-DMC DOWN WITH THE KING 30th ANNIVERSARY Pressed On Red, White and Black Double Colored Vinyl With Commemorative Numbered OBI Limited To 2000 Copies Thirty years ago on May 4, 1993, Run-DMC made one of the greatest comebacks in Hip-Hop history with the release of their 6th studio album Down With The King. To understand the significance of this feat we have to go back a few years. Coming off an amazing four-album run ending with the platinum album Tougher Than Leather, Run-DMC released their 5th studio album, Back From Hell, to lackluster sales. Did Run-DMC fall off? Did the emergence of gangsta rap push them off to the side? It was sad to see your Hip-Hop heroes take a fall. Then in 1991, a 12-inch remix came out for the single "Back From Hell" featuring Chuck D and Ice Cube and fans took notice. It would be two more years before anyone would hear from Run-DMC again. In March of 1993, a new single and video “Down With The King” debuted on Yo! MTV Raps featuring the new Hip-Hop Gods Pete Rock and CL Smooth paying homage to The Kings calling back verses from Sucker MCs over a dope signature Pete Rock beat. The video would be in constant rotation on Ralph McDaniels Video Music Box, YO!, BET’s Rap City and more. Fans watched it over and over to catch all the cameos, everyone from Eazy-E to the Native Tongues Family of De La Soul and A Tribe Called Quest. The anticipation was building, but would the album live up to the lead single that knocked it out of the park? On May 4, 1993, the album dropped on CD, Cassette, and Vinyl. Run-DMC enlisted The Bomb Squad from Public Enemy, Q-Tip, EPMD, Jermaine Dupri, Kay Gee of Naughty By Nature, and Pete Rock to produce the album with a special appearance by Tom Morello rocking out his guitar emulating DJ scratches he made famous with Rage Against The Machine. Their rhyming was as enthusiastic and powerful as they were on their debut album 10 years prior. Run-DMC, the self-proclaimed Kings of Rock and original Kings of Hip Hop were indeed back. The album debuted at #1 on the R&B/Hip-Hop charts and #7 on the Billboard 200 and would go Gold within two months. Get On Down is proud to present for the first time on vinyl since its original release, a 30 Year Anniversary pressing on double-colored vinyl with numbered OBI in a gatefold jacket.

It's been nearly a decade since Montreal's PYPY (pronounced like 'π π'...with a long 'i' rather than long 'e', thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger "She's Gone" carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial "next level."

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in yr hair.

"Lonely Striped Sock" grooves along like "Earthbeat"-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the "ear-vestment" in dividends throughout. "Ear-vestment"? Yikes. Then it's time for "She's Back," a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day's best-known gem (the aforementioned "She's Gone"). This one packs a hook that'll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn't matter...nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you'll be doing that anyway. A lot. "Erase" is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn't know we had...deceptively kicking off with a no-fi drum machine that is immediately lost in the massive pop din that seemingly includes everything within reach. "Poodle Escape" is two minutes of perfect (and perfectly distorted) synth-punk and "I Am A Simulation" – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70's (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. "15 Sec" (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes' gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album's title track is a love letter to Hawkwind in the musical language already established here. "Vanishing Blinds" is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of "Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

Better Days is the sixth release by Leo James for his own imprint Body Language. The EP weaves together the waveforms of James' evolving sound, from the first tracks he made as a teenager looping samples on an MPC, to the raw, stripped back machine funk of his early Body Language releases, and the deeper, more dubbed and smudged palette of his recent work. A lamentation on the current state of the world, to soundtrack the search for better days.

“…a surprisingly cohesive atmospheric soundtrack to a movie that does not yet exist.” LONER is the stunning album from cult auteur DAVID J (Bauhaus, Love & Rockets) featuring Mia Doi Todd and Tim Newman. U.K. Edition in orange vinyl with gatefold sleeve. Limited edition of 500. Former Bauhaus and current Love and Rockets bass man returns via Dakota Records with a series of deconstructions of an original twenty some year old demo. Originally streamed as part of his 2007 series of unreleased stash ‘Tracks from the Attic,’ a precursor to the now hugely successful platform: Patreon. David’s original demo titled ‘Albino Dog’ alongside singer/songwriter Mia Doi Todd’s sublime studio version both appeared via that platform in 2015; only the latter appears amongst this new series of arrangements. David’s premonition of Mia’s voice on this song is one to be applauded – perfectly suited creating a ghostly sepulchral aura. Here the Colonel is aided by a series of foot soldiers varying in rank. Veteran comrade Joyce Rooks adds texture with her trademark cello to Mia’s ‘Albino Dog’, whilst privates’ Nigel Gwennap (‘The Day that David Bowie Died’) and Whitehall Rec’s Joel Baldwin contribute electric guitar and drum programming respectively. But it’s the work of the captain that captivates this whole package. Tim Newman (Love is a Ghost), arranger, sound alchemist, mixer and lunatic. Tim’s work with David is best savoured via their ‘Analogue Excavations & Dream Excavations’ 2002 Glass Modern set. ‘Loner’ offers the listener a kaleidoscope of sounds best experienced with headphones, the journey from David’s simple ‘Albino Dog’ strummed acoustic demo to ‘Crescendo’ is quite staggering. Joel’s synth on ‘Cold, Cold, Cold’ and the glitch added to Mia’s vocal (‘Loner on the Range’) for example take the song into an altogether different direction. But it’s ‘Crescendo’ though that sits atop the apex. Building, as the title suggests, into a blistering array of guitars, bass and drums with a gorgeous, ethereal repeating low vocal motif from Mia wrapping itself around the cacophony.

Multi-instrumentalist and synth wizard Paul White readies his third album for R&S Records, offering up a cinematic journey on ‘Peace In Chaos’ that captures the current mood with its shadowy electronic prowess. With an unabashed love of 80s synth music and film scores, the South London based producer presents an album of perhaps his most pop leaning tracks yet, following on from 2018’s ‘Rejuvenate’ and 2014’s ‘Shaker Notes’. Across eleven tracks, White delves into a world of esoteric electronic pop, as waves of melodic synths wash over towering drum patterns and majestic bass, with White adding his own enigmatic vocals to many of the productions.

Die Band, die ihre ursprünglichen Wurzeln im Thrash-Metal und Screamo immer noch stolz auf ihren Ärmeln trägt, hat ihren Sound stetig weiterentwickelt und euphorische Elemente aus Post-Rock und Shoegaze mit spektakulärem Effekt eingebaut. "Eunoia", ein Wort, das das gegenseitige Wohlwollen zwischen einem Redner und seinem Publikum beschreibt, nimmt diese Dichotomie von Ruhe und Chaos auf und destilliert sie noch weiter, indem es die Band wirklich in ihrem Element zeigt, sowohl auf der Bühne als auch im Studio. Das Album besteht nur aus Songs, die die Band auf der Bühne spielen kann und will. Es wurde um die Idee herum geschrieben, nach Hoffnung und Inspiration im täglichen Leben zu suchen, während man sich machtlos gegen das Gewicht der Welt fühlt. Die Leadsingle ,Beyond the Raindrops" war einer der ersten Songs, die für das Projekt geschrieben wurden, wurde aber erst in letzter Minute aufgenommen. Der epische Halftime-Groove und die schwebenden, klangvollen Gitarren sind ebenso melancholisch wie großartig, und Tetsus zu Herzen gehender Text wurde im Moment geschrieben, als ehrliche Antwort auf die eindringliche Melodie des Songs. In anderen Stücken wie Whiteout" werden die frenetischen Ursprünge von Envy mit einem pochenden Schlagzeugsolo, das eine stakkatoartige Post-Hardcore-Gitarrenarbeit einleitet, und einem Gesang, der wild zwischen gutturalem Gebrüll und einem Ansturm von gesprochenen Worten schwankt, kanalisiert. Der Eröffnungstrack 'Imagination and Creation' wird von ENVY als ,ein Schritt vorwärts in die Zukunft, der die Vergangenheit als Nahrung nutzt" beschrieben. Blastbeat-Drums und kreischende Gitarren treiben eine trotzige und ansteckend hoffnungsvolle Gesangsmelodie ins Ungewisse, während eine Band mit einer so geschichtsträchtigen Vergangenheit lernt, das Jetzt zu schätzen, um sich für das zu wappnen, was als nächstes passiert. "Eunoia", ENVYs achtes Album, ist wahrhaftig ein Meilenstein; die perfekte Balance zwischen Aggression und Begeisterung, in der das wiederbelebte Lineup der Band ein latentes Gefühl der Machtlosigkeit angesichts einer zerbrochenen und zunehmend gespaltenen Welt erforscht.

Die Band, die ihre ursprünglichen Wurzeln im Thrash-Metal und Screamo immer noch stolz auf ihren Ärmeln trägt, hat ihren Sound stetig weiterentwickelt und euphorische Elemente aus Post-Rock und Shoegaze mit spektakulärem Effekt eingebaut. "Eunoia", ein Wort, das das gegenseitige Wohlwollen zwischen einem Redner und seinem Publikum beschreibt, nimmt diese Dichotomie von Ruhe und Chaos auf und destilliert sie noch weiter, indem es die Band wirklich in ihrem Element zeigt, sowohl auf der Bühne als auch im Studio. Das Album besteht nur aus Songs, die die Band auf der Bühne spielen kann und will. Es wurde um die Idee herum geschrieben, nach Hoffnung und Inspiration im täglichen Leben zu suchen, während man sich machtlos gegen das Gewicht der Welt fühlt. Die Leadsingle ,Beyond the Raindrops" war einer der ersten Songs, die für das Projekt geschrieben wurden, wurde aber erst in letzter Minute aufgenommen. Der epische Halftime-Groove und die schwebenden, klangvollen Gitarren sind ebenso melancholisch wie großartig, und Tetsus zu Herzen gehender Text wurde im Moment geschrieben, als ehrliche Antwort auf die eindringliche Melodie des Songs. In anderen Stücken wie Whiteout" werden die frenetischen Ursprünge von Envy mit einem pochenden Schlagzeugsolo, das eine stakkatoartige Post-Hardcore-Gitarrenarbeit einleitet, und einem Gesang, der wild zwischen gutturalem Gebrüll und einem Ansturm von gesprochenen Worten schwankt, kanalisiert. Der Eröffnungstrack 'Imagination and Creation' wird von ENVY als ,ein Schritt vorwärts in die Zukunft, der die Vergangenheit als Nahrung nutzt" beschrieben. Blastbeat-Drums und kreischende Gitarren treiben eine trotzige und ansteckend hoffnungsvolle Gesangsmelodie ins Ungewisse, während eine Band mit einer so geschichtsträchtigen Vergangenheit lernt, das Jetzt zu schätzen, um sich für das zu wappnen, was als nächstes passiert. "Eunoia", ENVYs achtes Album, ist wahrhaftig ein Meilenstein; die perfekte Balance zwischen Aggression und Begeisterung, in der das wiederbelebte Lineup der Band ein latentes Gefühl der Machtlosigkeit angesichts einer zerbrochenen und zunehmend gespaltenen Welt erforscht.

OH TELEPHONE haben ihren Ursprung in den tiefen Tälern des Glarnerlands, wo sie dank dem Veka Club bestens sozialisiert und resistent gemacht wurden gegen jegliche Mainstreameinflüsse. Bookingagenturen schiessen nur so um sich mit Bands mit Psych in der Bezeichnung welche gerne die nächsten Oh-Sees wären und dabei ihren Sound grausig radiotauglich modellieren. OH TELEPHONE hingegen sind "the real shit", Garage-Psych wie er momentan von keiner Band besser gespielt wird. Ihre Schreie wirken nie berechnet sondern wie ein spontaner Ausbruch der Leidenschaft, ihre Gitarren durchlöchern jedes Trommelfell und wenn am Boden so einige Effektgeräte rumstehen wird nicht Shoegaze sondern Steptanz betrieben. Nun haben die beiden Masterminds hinter ihren früheren Bands SHOUTIN' MOE und THE OUTTA MIND ihren Wohnwagen nach Bern gebracht und dort die perfekte Mischung ihrer beiden früheren Bands gezüchtet, zusammen mit Gael am druckvollen Post-Punk Bass und dem kalifornischen Import Timothy U. am effizienten Schlagzeug. Für diese Aufnahmen auf dem Album sind sie ins Tiefe Süd Frankreich gefahren um mitLo Spider in sein Swamp lands Studio (the Monsters, the Spits, Scanners, the Lullies etc) dieses album einzuspielen den schluss fix hatt dann noch Jim Diamond dazu gegeben (The Dirtbombs, Electric Six, The White Stripes, The Sonics, The Devils) Aufgepasst! Abfeiern! (wicked wiggler)

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

Fighter V kehren mit ihrem neuen Album "Heart of The Young" zurück und liefern erstklassigen Melodic Rock, der Herzen höher schlagen lässt. Mit kraftvollen Riffs, eingängigen Melodien und markantem Gesang nehmen die fünf Vollblutmusiker ihre Fans auf eine unvergessliche musikalische Reise mit. Die Songs strotzen vor Energie, Emotionen und Leidenschaft, und spiegeln dabei die Entwicklung der Band wieder. "Heart of The Young" ist ein Muss für alle Fans von Bon Jovi, Nestor, Gotthard und Whitesnake.

Coke Bottle CLear Vinyl. The breakout success of 2016's Puberty 2 saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who've historically dominated it. But the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. "I had been on the road for a long time, which is so isolating, and had to run my own business at the same time," Mitski explains, "a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs."We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. "With a lot of the romantic infatuations I've had," she says, "when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy figure that I so desire." In Be The Cowboy, delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one.

Field Music will release Limits of Language, their first album of new music for almost four years. Back in 2022, the touring cycle for the Flat White Moon album ended with a sense of finality. For the first time since the Mercury-nominated Plumb ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.

Field Music will release Limits of Language, their first album of new music for almost four years. Back in 2022, the touring cycle for the Flat White Moon album ended with a sense of finality. For the first time since the Mercury-nominated Plumb ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.

Reissue on Yellow/Black/White Vinyl! The follow up to toe's 2012 EP 'The Future Is Now', this album sees the band continue to grow and push their sound in exciting new directions. Die-cut Gatefold jacket/printed inner sleeve incl. Download-Card. FFO: Mono, Envy, Russian Circles.

Mayday is the third LP by Montreal-based artist, Myriam Gendron. It follows her earlier, critically acclaimed albums, Not So Deep As A Well (2014) and Ma délire - Songs of love, lost & found (2021). Myriam began exploring the complex folk traditions of Quebec (and beyond), with Ma délire, which combines traditional and original songs with arrangements that make space for avant-garde musical interludes by such folks as guitarist Bill Nace (Body/Head) and renowned jazz percussionist Chris Corsano. Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three, Xylouris White), whose work provides a quietly aggressive sort of free-rock base. Additional players include Montreal bassist Cédric Dind-Lavoie, Bill Nace and saxophonist Zoh Amba. Mayday is a thoroughly thrilling effort that manages to create new vistas of sound while maintaining a feel that is both intimate and familiar. The music here certainly possesses a richly serious tone, but Myriam Gendron (like Leonard Cohen) is able to infuse her darkness with a subtle, powerful light that reminds us that even the most pitch-black night is but a transitional state. Beautiful work.

Mit The Hard Quartet hat sich eine Band zusammengetan, der man mit Blick auf ihre Mitglieder wohl den ein oder anderen Superlativ zuschreiben kann. Immerhin tummeln sich hier mit Stephen Malkmus, Matt Sweeney, Emmett Kelly und Jim White vier Musiker und Songwriter, die mit prägenden Größen des Indierocks assoziiert werden: Pavement, Chavez, Ty Segall, The Cairo Gang, Bonnie "Prince" Billy, Guided By Voices, Cat Power, Dirty Three und Bill Callahan sind nur ein Bruchteil der musikalischen Institutionen, bei denen die vier ihre Finger (und Stimmen) im Spiel haben. Über das selbstbetitelte Debüt von The Hard Quartet wird m Netz schon seit Bekanntwerden der Gründung der Band angeregt spekuliert: "Es ist einfach ein vertrauensvolles Umfeld, in dem alle bereit sind zu sagen: Komm wir werfen unseren ganzen Kram in einen Topf und machen daraus etwas Größeres", so die Band dazu. Dass es trotz der getrennten musikalischen Biographien so gut läuft, ist aber sicher auch der Tatsache zu verdanken, dass sich die Wege der Vier schon zuvor immer wieder gekreuzt hatten. "Ich habe eine geradezu vorzeitliche Geschichte mit Stephen und Jim", so Matt Sweeney. "Nun, zumindest reicht sie bis in die Neunziger. In jüngerer Vergangenheit war es dann Emmett, der einen wirklich tiefen Eindruck bei mir hinterlassen hat. So sehr, dass es die Art verändert hat, wie ich übers Spielen denke." Das Album vereint die Stärken von Malkmus, Sweeney, Kelly und White, oszilliert zwischen sonnigem Slacker-Rock und Noise-Experimenten und dürfte alle mit einem Faible für die goldene Ära des US-Indierock begeistern.

»Chromacolor« is one of those records that immediately feels like home even though it is hard to locate stylistically. Written and recorded by Hanno Leichtmann in Berlin and Madeira between 2020 and 2022, it draws on rhythmic minimalism as a guiding principle and might call to mind organic, instrument-based ambient music, but also incorporates jazzy moments as well as Annie Garlids multi-layered vocals that permeate through these nine pieces.

The foundation for Leichtmann’s Chromacolor project was laid when the prolific Berlin-based producer, musician, and drummer borrowed a vibraphone and a Fender Rhodes from two friends. Combining their unique sonic affordances with those of a Guitaret, an electric lamellophone, he further expanded his sound palette by inviting other musicians—Anthea Caddy, Sabine Vogel, Tobias Delius, Els Vandeweyer, Sabine Ercklentz, Mike Majkowski, Andrei Ladeishchikov, Oona Farchy, Gonçalo Caboz as well as Rafael and Hugo Andrade—to play small but vital parts in the production of the album.

The opener »Kisses and Wine« masterfully sets the tone for an album that is as inviting as it is challenging. Working with relaxed repetitive rhythms, Garlid’s anthemic vocals and a sprinkle of saxophone and flute tones courtesy of Delius and Vogel, respectively, as well as tender piano notes played by Leichtmann, it evokes a lot with only few means: a certain melancholy, but also an elevated atmosphere that feels both exuberant and restrained.

Leichtmann’s elegant study of the power of repetition, minute rhythmic shifts and subtle use of melodic and harmonic elements creates ambiguities and polyvalences like these throughout the entire record, up until its understated finale, aptly titled »A Beautiful Day«—a drone-jazz piece, if you will, both longing and joyful.

As an album, »Chromacolor« is hard to pigeonhole, but rich and rewarding. All it takes is immersing yourself in it.

This release is part of the Move-E series, but not only that, it is a certified classic. Originally released on a white label in the early 90's, this EP was much sought after then, and remains a personal favourite of many Djs for its eclectic take on early jungle and the incredible combination of samples and sound styles.

Drab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like "The Other Side", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment. The first single, "Ellipsis", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on "Long Division", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in "Oxytocin", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence. Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

Following the recent vinyl reissue of Manuel Tur's cinematic downtempo album "Intertextural", originally self-released during the Covid 19 pandemic, comes this package of fresh remixes featuring interpretations of four standout tracks from the record by DJ Counselling, All Is Well and Yuu Udagawa.

London-based DJ Counselling opens the EP with his energetic version of "Omina", raising tempo and hands with an expertly executed arrangement, while the newly added filtered synth chords echo some of Tur's best-known releases of the late noughties. Next up is Montreal's Frédéric Blais aka All Is Well, who after his recent LP success on Drumpoet and another brand-new album under his main moniker Fred Everything just released, turns "Flakon" into a head-nodding groove masterpiece that recalls the subtle 90s trip-hop flavor of the original version. On the B-side, Tokyo native Yuu Udagawa, who has collaborated with Tur on several occasions, unleashes two beautiful and ethereal remixes of "Slow White" and "Shadowgraph" that let us float through her signature sparkling sound.

Mit The Hard Quartet hat sich eine Band zusammengetan, der man mit Blick auf ihre Mitglieder wohl den ein oder anderen Superlativ zuschreiben kann. Immerhin tummeln sich hier mit Stephen Malkmus, Matt Sweeney, Emmett Kelly und Jim White vier Musiker und Songwriter, die mit prägenden Größen des Indierocks assoziiert werden: Pavement, Chavez, Ty Segall, The Cairo Gang, Bonnie "Prince" Billy, Guided By Voices, Cat Power, Dirty Three und Bill Callahan sind nur ein Bruchteil der musikalischen Institutionen, bei denen die vier ihre Finger (und Stimmen) im Spiel haben. Über das selbstbetitelte Debüt von The Hard Quartet wird m Netz schon seit Bekanntwerden der Gründung der Band angeregt spekuliert: "Es ist einfach ein vertrauensvolles Umfeld, in dem alle bereit sind zu sagen: Komm wir werfen unseren ganzen Kram in einen Topf und machen daraus etwas Größeres", so die Band dazu. Dass es trotz der getrennten musikalischen Biographien so gut läuft, ist aber sicher auch der Tatsache zu verdanken, dass sich die Wege der Vier schon zuvor immer wieder gekreuzt hatten. "Ich habe eine geradezu vorzeitliche Geschichte mit Stephen und Jim", so Matt Sweeney. "Nun, zumindest reicht sie bis in die Neunziger. In jüngerer Vergangenheit war es dann Emmett, der einen wirklich tiefen Eindruck bei mir hinterlassen hat. So sehr, dass es die Art verändert hat, wie ich übers Spielen denke." Das Album vereint die Stärken von Malkmus, Sweeney, Kelly und White, oszilliert zwischen sonnigem Slacker-Rock und Noise-Experimenten und dürfte alle mit einem Faible für die goldene Ära des US-Indierock begeistern.

Originally released September 29, 2009, Skyzoo’s first official full-length LP “The Salvation” is celebrating its 15th Anniversary this fall, via Duck Down Records. The Brooklyn-raised emcee first came to prominence on various Mix CD releases at the peak of hip hop’s blog era, but the album firmly established him as a major talent to be reckoned with, reminding hip hop fans that the hip hop music can still be true to life and heartfelt. An all-star roster of producers contributed beats to the project, including Just Blaze, 9th Wonder, Nottz, Illmind, Black Milk, and Needlz. The 15th Anniversary vinyl will be pressed on a limited edition Navy Blue and White marbled vinyl, matching the colors of the most famous fitted cap from New York.

Mit der neuen Doppel-LP 'Long Distance Love - A Sweet Relief Tribute to Lowell George' hat Sweet Relief, die Organisation, die alle Arten von Berufsmusikern und Beschäftigten der Musikindustrie finanziell unterstützt, die mit körperlichen oder geistigen Problemen, Behinderungen oder altersbedingten Problemen zu kämpfen haben, ein Juwel vorgelegt.

Lowell George war der Gitarrenvirtuose, Sänger und Songschreiber von Little Feat. In dieser Sammlung von 25 Liedern interpretieren und spielen Künstler wie Elvis Costello, Ben Harper und Dave Alvin seinen vielfältigen Katalog. Der in Hollywood, Kalifornien, geborene George war Mitglied von Frank Zappas Mothers of Inventions, bevor er diese Band verließ und mit Bill Payne Little Feat gründete. Lowell gehörte der Band 7 Jahre lang bis zu seinem Tod an und veröffentlichte in dieser Zeit acht Alben. Obwohl George 1979 starb, lebt sein Vermächtnis durch dieses Album weiter.

Die schwedischen Groove-Metal-Legenden Transport League melden sich ihrem explosiven neuen Album 'We Are Satan's People' zurück! Auf ihrem 11. Studioalbum besinnen sie sich tief auf ihre Wurzeln und entfesseln einen Sound, der sowohl nostalgisch als auch ungemein modern ist. 'We Are Satan's People' ist absolutes Must Have für alle Fans von Pantera, Clutch, COC, Mustasch, White Zombie oder Prong.

Die schwedischen Groove-Metal-Legenden Transport League melden sich ihrem explosiven neuen Album 'We Are Satan's People' zurück! Auf ihrem 11. Studioalbum besinnen sie sich tief auf ihre Wurzeln und entfesseln einen Sound, der sowohl nostalgisch als auch ungemein modern ist. 'We Are Satan's People' ist absolutes Must Have für alle Fans von Pantera, Clutch, COC, Mustasch, White Zombie oder Prong.

Liquid Liquid loom large for many - their classic run of EPs on 99 Records has gotten a second, third, and fourth life thanks to devout fans like the Beastie Boys, LCD Soundsystem's James Murphy, and Domino's Laurence Bell. (This to say nothing of the fact that one of rap's all time classics - Melle Mel's "White Lines" - is based around their song "Cavern.) This new double a-side single from Murphy's own DFA features a torrential version of "Bellhead" he co-produced in 2004 alongside a completely new version of the Liquids classic "Optimo" by Glaswegian party crew Optimo (Espacio).

Die für einen Grammy nominierte, genreübergreifende Rockband FEVER 333 hat immer wieder bewiesen, dass sie zu den fesselndsten Acts der modernen Musik gehört. Jetzt, im Jahr 2024, schlagen FEVER 333 ihr bisher aufregendstes Kapitel auf, mit einer Fülle an neuer Musik. Die Band besteht aus dem Schlagzeuger Thomas Pridgen (The Mars Volta, Thundercat, Trash Talk), der Bassistin April Kae und dem Gitarristen Brandon Davis, die sich mit Frontmann Jason Aalon Butler zusammentun, um die mitreißenden Live-Auftritte der Band zu verstärken. Die Band hat außerdem kürzlich Headline-Termine in den Vereinigten Staaten, Europa und Großbritannien angekündigt. Die Tour findet im Herbst statt und beginnt am 17. Oktober in Los Angeles. Sie führt durch alle großen Städte des Landes und endet am 8. November in Brooklyn, NY. Am 14. November beginnt die Tournee in Großbritannien und Europa mit Konzerten in Deutschland, Frankreich, Belgien, Österreich, der Schweiz und anderen Ländern. Tickets sind ab sofort im Vorverkauf erhältlich.

Entdeckt nach den Funk Vinyls nun die schönsten Stimmen des Soul in dieser erstaunlichen Doppel-Vinyl neu.

Sexe Fort is the seventh studio album by Patricia Kaas. With this album, the singer has maintained her status as one of the most important chansonniers of her generation. The album is notable for its many collaborations with important French singers and songwriters such as Jean-Jacques Goldman, Stephan Eicher, Pascal Obispo, Patrick Fiori, Louis Bertignac and Renaud. The album was a huge success in Belgium, France and Switzerland and had "Où Sont Les Hommes" as a popular single. This is the first time the album has been released as an LP. Sexe Fort is a limited edition of 1000 numbered copies on white coloured vinyl.