Search:one man band

Historically Fucked is a four way entanglement made to create short, eruptive songs and then set about obliterating them from the inside, like improvising a barrel to encase themselves in and then proceeding to lick their way out of it. It is about playing and laughing at playing, and it is about not doing either of those things sometimes. Sometimes it is to do with talking, howling or grunting, and sometimes it is to do with hitting and rubbing.
Historically Fucked contains four people, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce. They are from Manchester and often other places. Guitar, bass, drums and voices keenly jostle amid the group’s frenzy of spontaneous rock throttles. Some of these rampant exercises in avant are collected on ‘The Mule Peasants’ Revolt of 12,067’, the band’s new album, released by Upset The Rhythm on February 3rd. This is the group’s first release since 2018’s mantlepiece staple ‘Aliven Wool’ (Heavy Petting). This is Rock and/or Roll as fertilizer, uncivilised and free, as if one were to imagine what the Plastic Ono Band would’ve hit upon if they had read ‘Riddley Walker’, the sound of an entire timeline of expression put back together back-to-front, misshapen and irradiated.

‘The Mule Peasants’ Revolt of 12,067’ is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”. It is the sound of sacks crammed full of aggregate, a chimerical mind-meld, a seductive din that is to a hound dog in blue suede shoes what a raking of the dorsal fin with a fat marrow pinecone is to a pelican in the midst of being fired from the academy.

‘The Mule Peasants’ Revolt of 12,067’ by Historically Fucked was recorded by Rory Salter, mixed by Otto Willberg and mastered by Mikey Young. The liminally worrisome artwork was painted by John Cobweaver.

“They say these days that History is Fucked. Nothing ever dies but continues to rule the earth as an undead tyrant that cannot accept its own decomposition, look earwardly upon the dance of the proudly dead and decrepit!”

Vymethoxy Redspiders, Leeds 2022

Nada is Bérurier Noir's first 45t EP, released in 1983, originally on vinyl, shared with the band Guernica. 6 punk-psychiatric, aggressive and cold tracks. All in a black and white sleeve, with a terribly disturbing illustration signed by François (singer).

"A delirious rhythm box, relentless guitars, impeccable lyrics, voices from hell, all in a sordid and unhealthy climate, puking as you wish. They walk in the forest, for sure, but their forest is made of concrete, psychiatric hospitals and torture rooms. They're getting uglier and uglier, it's true, but their ugliness is like their music, cold, dark and totally derisory. At last, a dirty record in which one can wallow with pleasure.

In Cauda Venenum n°7 - 1983



The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

Since 2006, Pierce The Veil have unassumingly yet consistently climbed their way into the hearts of millions worldwide via an unshakable devotion to making honest and hypnotic hard rock. The San Diego band — Vic Fuentes (vocals, guitar), Tony Perry (guitar), and Jaime Preciado (bass) — released A Flair for the Dramatic 2007 and Selfish Machines 2010, the latter of which camped out at No. 1 on the Billboard Heatseekers Chart. They have steadily built a dedicated and diehard fanbase through touring and by nurturing an honest connection. PTV truly established themselves with 2012's Collide With the Sky, which spawned their first RIAA Platinum-certified single with "King for a Day." They followed with Misadventures in 2016, which charted at No. 4 on the Billboard Top 200 and notched No. 1s on multiple charts, including Top Alternative Albums, Top Hard Rock Albums, Top Independent Albums, and Top Rock Albums. In between sold-out tours all over the globe and a headlining stint on 2015's Warped Tour Main Stage, the musicians garnered five Alternative Press Music Awards (including "Album of the Year" for Misadventures), two Kerrang! Awards, and a Revolver Golden Gods Award. They've graced the covers of Alternative Press, Kerrang!, Rock Sound, and more — multiple times. Elsewhere, their digital and streaming footprint is nothing short of staggering. They've tallied over 1.5 billion global streams and almost 370 million YouTube views — proving that growth is a constant for them. Ultimately, Pierce The Veil, who've earned multiple gold and platinum certifications, remain one of the most beloved bands of their generation and they show absolutely no signs of slowing down as they march into a new decade ready to share the most important music of their career.

Was lange währt, wird endlich.ein Klassiker! Die DWARVES und ,Born Again" Ja, ihr habt richtig gehört: das neue Meisterwerk der DWARVES Mit dabei: Helden aus allen 25 Jahren der DWARVES Saga. Blag The Ripper, HeWhoCannotBeNamed, Rex Everything, The Fresh Prince of Darkness; eine Truppe, die die 1000er Marker erreicht, darunter Vadge Moore und Sgt. Saltpeter, die zur berühmt-berüchtigten ,Blood, Guts And Pussy"-Platte beitrugen, kehren zurück, um die Gehörgänge des Pöbels auf links zu ziehen. Zwischen Hardcore Punk und Pop liefern die Meister aller musikalischen Spielarten alles, was man sich vorstellen kann. Ausgebrannte Rockstars spielen ebenso eine Rolle wie verdrehte Telefonnachrichten und ohrenbetäubender Lärm - all das serviert mit Pomp und Haltung, so wie es nur die mächtigen DWARVES verstehen.













[m] 13 F.U.T.Y.D. [FUCK U TILL YOU DIE]

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.

It seems fitting that a trilogy of albums celebrating nature should conclude some eight years after its second chapter. Manchester-via-Todmorden based instrumental trio Plank’s first two LPs – 2012’s kosmiche-inspired Animalism and 2014’s more expansive and structurally disruptive follow-up Hivemind – enjoyed relatively quick gestation periods. However, Plank are firm believers in letting nature run its course, and so it is that their third LP Future of the Sea arrives early in 2023. “I always knew I wanted to make three albums inspired by nature” says Plank main-man David Rowe (synths / guitar). “Future of the Sea is another exploration into odd time signatures and traditional rock instruments alongside synths and electronics.”

“Future of the Sea is a celebration of the power and majesty of our oceans and how humankind has been destroying them through industrial scale fishing and global warming” says Rowe. “Rachel Carson put it more eloquently in her book The Sea Around Us: ‘It is a curious situation that the sea, from which life first arose should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’” A post apocalyptic underwater city scape adorns the cover in an illustration by Jake Blanchard, whose work you'll also see on Richard Dawson's latest album 'The Ruby Cord'.
The synthetic nature of Plank’s sprawling rock odysseys feel at their most pronounced on Future of the Sea which leans to the band’s love of Pink Floyd era Meddle, Camel, film score composers like John Carpenter and Vangelis, 70s experimentalists Harmonia, 1980s King Crimson and 90s post-rock adjacent group Tortoise. In polyrhythmic dexterity if not heaviness, Plank also take some influence from Meshuggah, and it’s in their movement between the 16 minute final album track’s sections that it feels most prominent. They swerve from crunching stoner rock jams to more ambient spatial explorations, crescendoing progressive peaks, 80s synth pop and finally a crushing riff-laden finale.

The third compilation (of four instalments) in the Various Artists catalogue of Pi Electronics is hitting physical and digital stores around the globe on the 10th of February 2023.

The concept of releasing artists, who performed at Pi parties (2014-2019) along with musicians who stood close to the label before and during its activity, gathers 18 tracks to the Limitation Compilation.

Music by New York City industrial legend Adam X, Swedish master mind producer Peder Mannerfelt and Irish Techno figure, Eomac (also one half of Lakker) finally takes its place on the label catalogue, along with tracks by the electro side of Italian born producer, Alessandro Adriani and the sound-aesthetic of UK hailing musicians, Slave to Society (formerly AnD ) and Sam KDC.

Berlin artists Alekzandra and Interviews appear with a synth leaning piece, and a hypnotic, broken techno contribution respectively.

You can also meet the sound of Tel Aviv's finest electro duo TV.OUT on this release, which also includes a rare collaboration track by Ireen Amnes and Gramrcy.

Finally, 'Limitation' presents music by Greece affiliated acts of different backgrounds: from the dreamy guitars of Monochromatic Visions and the ambient/drone of Devika, to the broken beats of Zevla and the rolling techno of Thanos Hana; Not to mention the textures of noise band Phallucipher, the industrial slo mo techno of Thessaloniki's, Archaic Intellect, and the noise-techno of label founder, 3.14.

A crossroad of different genres and production styles is offered in the formats of Double Vinyl Sampler, Double CD and digital for this compilation, titled "Limitation".

With their emotive melodies, propulsive rhythms, angular guitars and dark cinematic electronics, TRAITRS have quickly become one of modern post-punk’s fastest rising independent bands. Consisting of Sean-Patrick Nolan and Shawn Tucker, TRAITRS formed during the summer of 2015 in Toronto, Ontario Canada. The duo recorded demos with producer/engineer Josh Korody (Nailbiter, F*cked Up, Japandroids, Dilly Dally), garnered the attention of Pleasence Records label head James Lindsay and released their debut cassette Rites And Ritual in April 2016. After gaining buzz in the European and North American dark music scenes, TRAITRS released their critically acclaimed LP Butcher’s Coin (Pleasence Records, Manic Depression Records, Alchera Visions) in May 2018. Backed by the strength of lead single ‘Thin Flesh’, the duo embarked on a series of lengthy tours overseas, performed in over a dozen countries including showcases at Wave Gothik Treffen, Castle Party, Extramuralhas, Nocturnal Culture Night, Wavefest, Canadian Music Week and Pop! Montreal. Their relentless touring schedule and work ethic caught the attention of Schubert Music Publishing’s Thomas Thyssen and Eric Burton, and in October 2020 they announced TRAITRS as the first signing to their brand-new record label Freakwave Records. This year, TRAITRS will release ‘The Sick, Tired And Ill’ EP on July 30 and the full-length LP ‘Horses In The Abattoir’ on November 19.

Released in 1981& the last in a decade-long run of Top 50 R&B albums, ‘The Electric Spanking Of War Babies’ was the band’s twelfth studio LP & featured several players new to the Funkadelic line-up, notably Sly Stone. With its allusions to the Vietnam War & US imperialism, George Clinton’s project was destined to court controversy from the start, not least for its uncompromising sleeve art which original label Warner Bros. censored. Described by Robert Christgau as “the solidest, weirdest chunk of P-Funk since one nation gathered under a groove” & originally conceived as a double LP, many tracks saw release on Clinton’s later P-Funk projects. Arguably, it is better for having been précised down to a single album while still spawning two hit singles, the title track (US R&B No. 60) & ‘Shockwaves’ (US R&B No.53). FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines.

While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon's tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie's Station To Station, ...And The Gods Made Love by Jimi Hendrix, the synths in the song Mass Production by Iggy Pop, and the general idea of Eno's initial concept of Ambient music.

Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate.

I've been listening to music like this since I was 13 or so, but I felt that making it was out of my reach because of the amount of restraint I imagined it required. Once I found myself making this music, it did not feel like a matter of restraint at all. I wanted to build a certain type of building, and hear certain types of movement, and I knew when it was complete. There was no place for sequences of notes and rhythms in my plans.

I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band's recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc.. What I needed was to create music from the ground up with nothing but sound, and have that music reflect "being" rather than "doing". It was a therapeutic way of re-balancing myself, before and during my band's mixing process.

This music seeks to just exist, and is not attempting to manipulate or grab the listener in any way. I believe it works well if one listens loud and focuses on it, but also works well at soft volumes and in the background. It can compete with silence on silence's own terms, and it can also happily wipe silence out.

There are two versions of this album. The CD version is pronounced "two" and called : I I . This is the longer version. The vinyl version is pronounced "one", and called . I : This version is shorter, but contains one vinyl-only track. The reason the vinyl is shorter is that some of the tracks have sounds that can not be pressed on vinyl.

John Frusciante

Repressed On translucent blue vinyl! Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy DMX – get lost in their crates. For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay! A1. Run's House A2. Mary, Mary A3. They Call Us Run DMC A4. Beats To The Rhyme A5. Radio Station A6. Papa Crazy B1. Tougher Than Leather B2. I'm Not Going Out Like That B3. How'd Ya Do It Dee B4. Miss Elaine B5. Soul To Rock And Roll B6. Ragtime

THE CULT DEBUT ALBUM OF INDUSTRIAL BLACK METAL FROM THE
NORWEGIAN PIONEERS, PRESENTED ON VINYL FORMAT WITH
ORIGINAL COVER ART
One of the pioneering industrial black metal forces to emerge in the early 90's,
Mysticum brought to the world a completely unique brand of extreme &
psychedelic discordant black metal with insane drum machine patterns & synths.
They were originally signed to Euronymous' Deathlike Silence Productions label;
such was his belief in the band (Mysticum even featured Hellhammer from
Mayhem in their line-up for a brief period). However, this venture proved to be cut
short following his death, forcing Mysticum to look elsewhere for the release of
their eventual debut album, 'In The Streams Of Inferno', finally surfacing in 1996.
A perfect concoction of cold, primitive black metal & forward-thinking ideas from
an act unafraid to push boundaries, the hell of 'In The Streams Of Inferno' has had
a lasting & profound impact on many since 1996. For this release, the album has
had some extensive remastering work courtesy of Tom Kvålsvoll at Strype
Studios in Oslo to give a better representation of the sound the band initially
intended & includes 2 bonus songs in the form of 'Eriaminell' & 'Black Magic
Mushrooms'.
This vinyl edition of 'In the Streams Of Inferno' includes the original's cover art,
plus printed inner sleeve.

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

Released in 1987, only now can people understand just how far ahead of its time this album was. Not only did it have maniacal rhythms, but introduced electronica into extreme metal. On every level, it was a remarkable record, full of visionary ideas and ideals. This release includes alternate versions of tracks from the album and a cover of Dean Martin! The concept and art direction of the release was done by the man behind Celtic Frost, Tom G. Warrior.

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

REISSUE

Out Front is the greatest realisation of trumpeter Booker Little"s scope as a musician and composer. It is also one of only five sessions led by Little as a band leader before his premature death at the age of 23 in 1961. Arguably, the seven original compositions here might be more widely known today had his life not been so tragically cut short. Little is mostly known for his work with Max Roach, who he began playing with as early as 1955. The sextet on these dates include the great Max Roach on drums, Eric Dolphy on reeds, and Julian Priester on drums. This brand new reissue is available on CD and LP (180g), and has been remastered from the original Candid master tapes by Bernie Grundman

We are excited to welcome French avant-garde metal duo WuW to our ever-expanding roster of for- ward-thinking artists. Inspired by classical music, free jazz and drone the two classically trained brothers Benjamin and Guillaume Colin have been creating lo-f experimental post-doom epics in the vein of Year of No Light, Dirge and Omega Massif since 2016. "WuW is the sound wind makes when it blows on a hot night," explains the band, "It's a low-end murmur that grabs you by the guts, a blast of air rushing through the mountains and the oceans." Their upcoming third album Orchaostre is an anthem to a restless journey, a fve-part doom symphony that creates a shroud of oppressive atmospheres with only a pinch of light. With their third studio album, WuW deliver a veritable post-metal odyssey, one that takes you on a journey through rhythm and texture and that lets your soul wallow in a soft shell of desolation. The marching rhythm of «Orchaostre 1» and the swaying rhythm with the slow chugging patterns of «Orchaostre 2» take you along on this intric- ate journey, slowly numbing the senses in the throes of repetition. Nevertheless, for those who manage to keep their eyes peeled on this descend into forgetfulness, there is a world of beauty and a spark of hope to be found. The atmosphere is thick, the mood is heavy, and across the slow rifs and funerary drumbeats, the wailing e-bow guitars and myriad of synthesisers evoke kafkaesque at- mospheres as well as strange poignant textures that inspire desolation. Evoking the work of early electronic music innovators, notably during the climactic fnale of «Orchaostre 1» but also halfway through «Orchaostre 3» WuW breed a sense of pristine beauty, like unadulterated nature. In fact, the beauty of Orchaostre feels so un- spoilt, so devoid of any human infuence, it becomes alien, resulting in a harrowing ex- perience of the exquisite in the eye of a hot and hazy storm. FOR FANS OF Russian Circles, Year of No Light, Dirge, Omega Massif, Neurosis, Telepathy, Celeste, Tangled Thoughts of Leaving Limited (100 copies ww) Single Colour Orchaostre 4 (Pink Vinyl) Edition!

Double Groovy / Trans-Pacific Express by Big Boss Man, one of two limited edition of 500 vinyl 45s to Juju Funk / Return To Baron Samedi by Big Boss Man, one of two limited edition of 500 vinyl 45s to be released simultaneously of essential killer funk. Grab while you can. The tracks have already received very strong radio responses from around the world. Both tracks being supported by Gideon Coe and Cerys Mathews at BBC Radio 6 Music, whilst Nasser Bouzida from the band discussed the rhythm influences of Return Of Baron Samedi on the Cerys Mathews show. Specialist funk shows from Australia, Germany, France, Canada and the US have already been supporting these tracks. The tracks are also set to appeal to fans of one of Big Boss Man’s biggest tracks ‘Sea Groove’, which is currently one of the UK’s biggest home-grown funk recordings on Spotify currently close to 7 million streams. These are the first new releases from Big Boss Man since their fourth album Last Man on Earth on Blow Up Records. A Side – Juju Funk, B-Side – Return Of Baron Samedi

Cypress Hill is widely respected and considered to be amongst the main progenitors of West Coast rap and Hip Hop in the early 1990s. With mega-hits like "Insane in the Brain", "I Wanna Get High" or "Tequila Sunrise" they crossed-over to mainstream breaking all records for a rap band up until that time. Cypress Hill were the first Latino-American hiphop group to have RIAA Certified platinum and multi-platinum albums. As musicians they became famous for the crazy sounds produced by DJ Muggs and Bobo and the stoner sympathetic lyrics of B-Real and Sen Dog. They redefined and shattered the boundaries of hip-hop, crafting gutter-dirty tracks that fused deep bass lines with blissful, stoned-out melodies and aggressive hard rock riffs, creating a unique imprint. This is an esential and powerful weapon for all the Hip Hop creators and djs.

Y2K era Central AYR Productions. From the orlando home office of Mr. Cole session genius, all songs written, performed and recorded by a one man band well ahead of his time. We'd like the thank the lady who gifted him the 4-track cassette to digi converter that started this whole journey.

Lady in Satin was released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is legendary singer Billie Holiday's penultimate album completed by the singer and released in her lifetime (her final album, Billie Holiday, being recorded in March 1959 and released just after her death).

AllMusic says: "The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. 'You've Changed' and 'I Get Along Without You Very Well' are high art performances from the singer who saw life from the bottom up."

The song material for Lady in Satin derived from the usual sources for Holiday in her three-decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Song Books series. The album consists of songs Holiday had never recorded before.

Bandleader Ray Ellis used a 40-piece orchestra, complete with horns, strings, reeds and even a three-piece choir. It would turn out to be Holiday's most expensive music production. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J. J. Johnson.

Now with our 45 RPM release, mastered from the original analogue tape by Bernie Grundman, and pressed by our own Quality Record Pressings, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Original album produced by Irving Townsend, and engineered by Fred Plaut.

This is a licensed reissue of the track featured on the album “On The Beach”- Treasure Isle – 1967.

This gorgeous and haunting song boasts remarkable singing and musicianship allied to the finest song-writing.

A Rocksteady masterpiece that totally deserved being released as a single at last.

this is a special limited edition - strictly limited to 500 copies - one release only

The Paragons were originally called “The Binders”, a band that comprised Keith Anderson (better known as Bob Andy),

Garth Evans (aka Tyrone Evans), Junior Menz, and Leroy Stamp. In 1964 John Holt and Howard Barrett replaced Menz,and Stamp

and the name was changed to The Paragons. Anderson left in 1965, and The Paragons continued as a trio.

After John Holt left to pursue a solo career, Vic Taylor took Holt's place. The trio initially recorded two outstanding albums: the legendary

“On The Beach” 1967, and the equally good “Riding High“- later renamed “The Paragons with Roslyn Sweat” - in 1974.

Most of their many masterpieces come from these two albums... They carried on recording more albums, the latest being

“The Paragons Return” with John Holt. In 1980 Blondie covered their song "The Tide Is High" with great international success.

Today “On The Beach” is considered by many as the definitive Rocksteady L.P…

What on earth has happened to gothic rock? This was the thought burning in Joakim Knutsson’s mind, and he felt that something needed to be done to save the much-loved genre from going down the drain. He embarked on this mission with the aim to create something special but also something faithful to the original ideals of the 80’s gothic genre. “I wanted a band that would be an occult mix of The Lords Of The New Church, Adam and the Ants, John Carpenter and Billy Idol”, says Knutsson, “The end result turned out heavier, bloodier and darker than that, but that was probably our destiny anyway.” With a little help from prominent members of the Swedish metal and punk community the idea recently took a solid form. Today the band together sums more than 250 years of knowledge in music and pop culture - knowledge they shamelessly put to use in their own creation. Here they are: die Oberherren. The Gothic rock band the world has been waiting for since the golden age of the 80s. Kept strictly under wraps until now, die Oberherren feature members of the rock and metal royalty in Sweden, with past or current membership in bands such as The Coffinshakers, Ghost, The Mobile Mob Freakshow, Gehennah and many more. The band snatched their ominous-sounding moniker from the intellectual group that operated at the turn of the 20th century, by whom their lyrics are also heavily influenced. “Anarchistic, occult and apocalyptic imagery with prophets of war, armageddon, decadence and love – these themes and ideas are even more actual today than the original ‘overlords’ could ever dream of over a hundred years ago”, comments Knutsson. The debut album Die By My Hand, set for release on January 27th 2023 on Svart Records, is a collection of eight songs that are adorned with infectious hooks and laced with vintage darkness. The apocalyptic celebration will commence this Friday, Sept 7th, with the release of the first single off the album titled The Horned One Stabs.

What on earth has happened to gothic rock? This was the thought burning in Joakim Knutsson’s mind, and he felt that something needed to be done to save the much-loved genre from going down the drain. He embarked on this mission with the aim to create something special but also something faithful to the original ideals of the 80’s gothic genre. “I wanted a band that would be an occult mix of The Lords Of The New Church, Adam and the Ants, John Carpenter and Billy Idol”, says Knutsson, “The end result turned out heavier, bloodier and darker than that, but that was probably our destiny anyway.” With a little help from prominent members of the Swedish metal and punk community the idea recently took a solid form. Today the band together sums more than 250 years of knowledge in music and pop culture - knowledge they shamelessly put to use in their own creation. Here they are: die Oberherren. The Gothic rock band the world has been waiting for since the golden age of the 80s. Kept strictly under wraps until now, die Oberherren feature members of the rock and metal royalty in Sweden, with past or current membership in bands such as The Coffinshakers, Ghost, The Mobile Mob Freakshow, Gehennah and many more. The band snatched their ominous-sounding moniker from the intellectual group that operated at the turn of the 20th century, by whom their lyrics are also heavily influenced. “Anarchistic, occult and apocalyptic imagery with prophets of war, armageddon, decadence and love – these themes and ideas are even more actual today than the original ‘overlords’ could ever dream of over a hundred years ago”, comments Knutsson. The debut album Die By My Hand, set for release on January 27th 2023 on Svart Records, is a collection of eight songs that are adorned with infectious hooks and laced with vintage darkness. The apocalyptic celebration will commence this Friday, Sept 7th, with the release of the first single off the album titled The Horned One Stabs.

• There was plenty of genuine discontent in Britain at the tail end of the 1970s, and it had little to do with bin strikes or dark rumours about overflowing morgues. In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. “Winter Of Discontent” is the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since.

• “Winter of Discontent” has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes “The Daisy Age”, “Fell From The Sun” and “English Weather” ("really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on “Winter Of Discontent”. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence.

• The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity.

• “Winter Of Discontent” is the definitive compilation of the UK DIY scene, and a beacon in grim times.

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

"One Day" ist eines der energiegeladensten und komplexesten Alben der kanadischen Hardcore-Legende Fucked Up, obwohl es nur 10 Songs enthält. Fucked Up waren in der Vergangenheit eher für ihre epischen Auswüchse bekannt, von gewaltigen Konzept-Alben bis hin zu 12-stündigen Konzerten - es mag also überraschen, dass ihr sechstes Studio-Album ihr bisher kürzestes ist, geschrieben und aufgenommen innerhalb eines einzigen Tages - was dem Album auch den Titel gab. Man sollte nun aber nicht Spiellänge mit Substanz verwechseln: Der Sound der Band ist nur noch größer geworden, noch härter, mit noch dichterem Melodie-Dickicht. Das Album klingt vollmundig und unmittelbar, mit Musik, die brutal und leidenschaftlich rüberkommt, so wie sie nur Fucked Up machen können. Die Gitarren klingen gigantisch und die musikalische Abenteuerlust, die das epische, üppige "Dose Your Dreams" von 2018 kennzeichnete, ist auch hier sehr präsent. "One Day" ist ein unbestreitbares Werk der Zuversicht von einer Band, die weiterhin auf höchstem Niveau agiert und Musik macht, die garantiert ein Leben lang, und darüber hinaus, hält.

Clear Vinyl

"One Day" ist eines der energiegeladensten und komplexesten Alben der kanadischen Hardcore-Legende Fucked Up, obwohl es nur 10 Songs enthält. Fucked Up waren in der Vergangenheit eher für ihre epischen Auswüchse bekannt, von gewaltigen Konzept-Alben bis hin zu 12-stündigen Konzerten - es mag also überraschen, dass ihr sechstes Studio-Album ihr bisher kürzestes ist, geschrieben und aufgenommen innerhalb eines einzigen Tages - was dem Album auch den Titel gab. Man sollte nun aber nicht Spiellänge mit Substanz verwechseln: Der Sound der Band ist nur noch größer geworden, noch härter, mit noch dichterem Melodie-Dickicht. Das Album klingt vollmundig und unmittelbar, mit Musik, die brutal und leidenschaftlich rüberkommt, so wie sie nur Fucked Up machen können. Die Gitarren klingen gigantisch und die musikalische Abenteuerlust, die das epische, üppige "Dose Your Dreams" von 2018 kennzeichnete, ist auch hier sehr präsent. "One Day" ist ein unbestreitbares Werk der Zuversicht von einer Band, die weiterhin auf höchstem Niveau agiert und Musik macht, die garantiert ein Leben lang, und darüber hinaus, hält.

Eva Louise Goodman’s Nighttime project locates itself on a musical tree planted on the British Isles, perched atop the branch of folk leaning into sixties rock. Her upstate New York environs don’t stray far from that image. With tempered percussion, floating mellotron, and singing that evokes Bleecker & MacDougal on a fervent Saturday afternoon, her new album Keeper Is The Heart reaches deep into the essence of musicians such as Vashti Bunyan, Sibylle Baier and Pentangle, breaking down the decades into a sound thoroughly and bizarrely modern.

Through her years performing with Mutual Benefit, Goodman fell in love with life on the road and the collaborative energy of a band. In this third Nighttime album, she channels these experiences into her own music. The creative journey from writing to recording to mixing drove her deeper into a sense of self while expanding her sound. In the process, she put aside lo-fi origins and challenged herself to achieve the same intimacy with a bigger production.

Like most paths of self-discovery, the journey started with displacement. In October 2019, Goodman set out to record the album on her own, while cat-sitting at a friend’s empty Brooklyn apartment. Rather than recording, she was drawn to the overgrown garden, where she spent her days listening to music and reading old journals. Charlie Megira, The Incredible String Band and Roy Montgomery invoked the spirit of the album, as she realized that a new, more collaborative approach would be necessary to bring the songs to life.

In March 2021, after a pandemic year immersed in sound experimentation and writing, she entered the upstate New York studio of recording engineer Rick Spataro (Florist). Together, Spataro and Goodman dove into creating the album, recording one song a day, letting the spark and excitement of spontaneity be their guide. “I've always been fascinated with ‘automatic’ arts,” Goodman says, “where things are created intuitively and without premeditation, from the subconscious.” In this light, they worked with abandon–pushing through the heaviness of songs written years earlier with the same energy as songs which were not yet fully developed. Taking chances, improvising, they sought to strip away pretense, and elude perfectionism at all cost.

Among their experiments, the duo manipulated tape speeds–slowing or speeding up different instrument tracks, imbuing passages with altered perspectives. Improvisation was the key in track five, ‘The Way,’ a song about “the magical act of carving out a path through life, amidst all possibility.” After a long day of recording, the song was feeling heavy and uninspired. As night fell, Spataro picked up the Stratocaster and, in one take, laid down a rolling, roiling guitar line that defined the track.

This spirit of surrender weaves through the album. “Break free from time, and sink in the pool of the mind,” begins ‘Garden of Delight’, an energetic highlight, propelled by 60’s-era organ and Jefferson Airplane-esque vocals. The song was accidentally deleted after the first day of recording. By luck or fate, the one surviving file captured the song’s loose and free-wheeling essence. Inspired, Goodman encouraged her circle of collaborators to work similarly: “I gave everyone trust and total freedom to contribute as they felt called to, encouraging an intuitive approach of simply improvising, playing through the song a few times and then sending over the results.” Synth, cello, violin, saxophone and flute all appear, but often in unconventional ways.

Keeper Is the Heart reflects Goodman’s process towards greater creative freedom. The first words she sings: “Lift the veil of all of this hate/To see the fear at its base.” Her last lines: “We’ll follow the fates across the great expanse of time/To the source of the light within our mind.” In between is a work of art awash in personal awakenings that revel in the freedom of intuition, the lifting of veils, and the beauty of transformation. As Goodman states, “What is it you find when you look inward to see beyond, past your fears, to your heart's true desires?”

Chaos & Colour, the energetic and triumphant 25th studio album from British hard rock legends and progenators Uriah Heep, bristles with explosive classic rock guitars, supreme harmonies, and Heep’s famously generous keyboard foundation.

Led by founding member Mick Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the eleven tracks. Opener “Save Me Tonight” shows the band’s weighty yet blistering chops, whilst “One Nation, One Sun” is a journey of soaring balladic contemplation.

“Fly Like An Eagle” emanates magic and mystery in a way that the late, great Ronnie James Dio would have heartily approved, and “Closer To Your Dreams” is a battle cry for all rockers to get out there and do it, with Shaw imploring that “So many have tried but slipped away/Now it’s time for you to have your say.” Throughout the album, Bernie Shaw’s timeless vocals are expertly supported by keyboardist Phil Lanzon, bassist Dave Rimmer and Box, with Russell Gilbrook on drums rounding out exceptional performances throughout.

Produced at Chapel Studios by Jay Ruston, and engineered by Pieter Rietkirk, Chaos & Colour is a superb album of quality hard rock from the pioneers of the genre who continue to create top class material. Old fans will be reinvigorated whilst new fans will surely find Chaos & Colour an exceptional discovery.

Chaos & Colour will be available to pre-order from November 4, in Black and Coloured Vinyl configurations, as a standard CD Digipak, a Deluxe CD packaged in a hardcover book with Uriah Heep’s Chaos & Colour signature patch and in digital formats.

‘Living Rooms’ is a full-blooded debut of rich, playful, experimental pop from the artist Fe Salomon – full of unabashedly big songs and sumptuously big sounds. Fe’s soulful and arresting lead vocals weave amongst soaring strings and big band brass sections; clattering percussion and disjunctive rhythms; dirty electro synth and butchered guitar. A collaboration with producer and contemporary classical composer Johnny Parry, ‘Living Rooms’ is a true pop album with a distinct, exuberant and deeply generous sound.

Born in Northampton, Fe moved to London at 18 for a place at Theatre College; but soon left to concentrate on music and songwriting, falling quickly into the Camden music scene, and earning her a prolific career as a singer. Building on her diverse musical background and honing her unusual sonic style, this album has been percolating at the back of Fe’s mind for a long time. The perfect storm of personal and external factors thus created the moment to make it. ‘Living Rooms’ tells stories of multiple lives lived and lost

in the city, of friendships that meant everything and the characters you’ll never meet again, of transience and loneliness, and of getting by and moving on.

At the forefront of the album is an organic and fiercely honest lead vocal performance. However, Fe permits her voice to be twisted and distorted into the fabric of the instrumentation. The un-doctored lead vocals are frequently haunted by angels and demons, created through Fe’s uninhibited willingness to this manipulation, and capturing the more visceral emotions within the expression of the human voice.

‘Living Rooms’ navigates a wide spectrum of sounds and emotions. Take album opener “Polka Dot”, a track that mixes emotive vocals with an avant-garde alt/pop production to conjure a cut as stylish as it is shrouded in shadowy mystique. A track “about mourning innocence, and the darkness that’s picked up along the way, with an ‘up yours’ sarcastic tone, and not wanting to grow old”, it sets the scene for a twisting collection that up-ends expectations at every opportunity.

Elsewhere, the chunky hooks of “Super Human”, the sci-fi/country/big band of “Wired of Caffeine”, or the intimately sung vocals and Vaughan-Williams-esque string sections of “Taxicabs”, all contribute to an album that evolves like a rich and constantly surprising tapestry.

Although the conception of the album was a frenzy of wild experimentation. The album is faithful too, and celebratory of many joyous pop traditions; but searches for ways to reinterpret the familiar. And no less so than on the off-kilter centre-piece “Quintessential England”. Through wry lyricism and vivid imagination, the track paints a lucid, if lonely, depiction of a life lived out in the sticks; one that ultimately arrives at the conclusion that perhaps “the grass isn’t always greener”.

Gifted with the kind of superpowers that have blessed Alison Goldfrapp with her unwavering glam-pop allure and Stevie Nicks with that invincible soul, Fe Salomon’s empowering first release will prove she’s cut from the same cloth and ready to be your newest musical hero.

BBE Music announces the first-ever re-issue of this sun baked folk/jazz hybrid 45 by Louisiana brothers Will & James Ragar. First released in 1981, this private press 7" showcases Will & James' songwriting skills, refined performance and sophisticated compositions. Remastered by Frank Merritt the re-issue has an analogue warmth that the brothers say sounds even more pleasing than the original. Will & James Ragar began as the Will James Band performing on the popular 'Crawfish Circuit' of Southern Louisiana - this circuit included New Orleans, Thibodaux and Baton Rouge. They played blues, rock and jazz combos, covering everything from James Taylor to Jimi Hendrix. Eventually evolving into an acoustic folk-rock duo by the time they entered the studio in 1980. Both tracks on the 45 were recorded at River City studios in Baton Rouge in 1980. The engineer had the Allman Brothers on his list of recording credits, so they felt they were in excellent company. "Bayou Paradise" was an ode to the beauty of Southern Louisiana. The famous Sunshine bridge over wetlands as the sounds of migrating geese echo overhead on their journey down the Mississippi River flyway. The Atchafalaya river basin flows into the Gulf of Mexico near Lafayette creating a large wetland area and lush lakes connected by endless bayous. Miles and miles of lush swamps with many uninhabited areas just waiting to be explored. "Forever" captures the exhilaration of new love, focusing on its intoxication and ecstasy without looking ahead to the reality of a life on the road. The soulful chorus inspires motion and enthusiasm. The shadow of Woodstock had a defining role against tradition. Things were changing socially. Loving someone forever was always part of the dream but seemingly broken in an age of break-ups and divorce. The optimistic hope that "love will survive" was half dream and half pessimistic glance forward at the social trends of relationships that were to follow. The studio band included Will & James. John Smart on keyboards, he's solo on "Forever" was achieved with the Legendary Analog Prophet synth and saturated the studio with rich layers of its distinctive sound, driving the up-tempo chorus. Dave D'Aubin, a versatile bass player whose resonant tone is very present on both songs. Tommy Jefferson is on drums, an alumnus of the Southern University jazz program, the same place Randy Jackson and Billy Cobham studied. Tommy used a tight higher pitch snare drum on the recording, a sound that would soon become very popular, but at that time was a little ahead of the curve. The session was recorded on analogue tape using the 24-track MCI recorder and mixed down to analogue tape for the single. Will & James added vocal harmonies and soaked up the fidelity during mix-down. The release coincides with the long-awaited re-issue of the brothers' album 'Will & James Ragar One'. This much sort after private press long-player was originally released in 1980 and sold locally in a limited run has now been fully remastered by Frank Merritt. BBE Music presents the album in a glorious gatefold with extensive sleeve notes. This time the vinyl will be pressed over 2 discs to produce the best sound possible.

1000 black vinyl LPs. London-based ‘indie-supergroup’ SUEP announce their long-awaited debut mini-album Shop, a collection of 6 oddball, car-boot-sale pop songs with a sprinkling of theatrical storytelling. Led by Georgie Stott (of Porridge Radio, Garden Centre) and Josh Harvey, SUEP was born out of a near-decade of playing in sheds and barns with like minded personnel, holding a mutual love for Paul McCartney, Jona Lewie, the B-52s, Devo and other performative freaks enjoying themselves. Following a move to London from Brighton, the pair added George Nicholls (The GN Band, Joanna Gruesome, The Tubs), Will William Deacon (PC World, Garden Centre), and Ollie Chapman (Boil King) to the line-up. The 5 piece take turns writing songs and taking the lead vocal duties in a wonderfully playful but coherent collaboration, with their debut being a kaleidoscopic off kilter pop ride, taking the listener through haunted castles, deprived encounters, days lost to the imagination in bed, and through the integral friendships that give SUEP the energy to keep dancing to their own beat. The album was arranged and recorded in the Red Lion Boys Club, an ex-youth centre in which Georgie and Josh both lived. Using equipment collected by Josh in his travels as a bootsale and market trader, the sports hall was transformed into a makeshift studio for a few days, with sessions conducted by producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) Mark Riley (BBC 6 Music) described SUEP’s debut single and album opener, ‘Domesticated Dream’ (2021) as “perfect pop music.” The joyfully kitsch track brims with a 70s Yamaha disco beat, deep bass, nostalgic drum machines, and hooky melodies. Possibly the most psychedelic and infectious track born out of lockdown, it tackles homelife, drinking too much, and making big plans that never come to fruition, but with a big technicoloured positivity for the future of the human-race, with the chorus’ refrain, “the psychedelic 4000s,” predicting the return of the psychedelic Age of Aquarius in a couple of millennia time. The following single ‘Misery’ (2021) is pure cosmic swing-pop wizardry in part inspired by spy music and The Supremes. Ollie, The track’s baritone vocalist, describes it as “A love song disguised as a song about loss. It's about cherishing the things that matter but it’s also about having the courage to say goodbye,” with each line of the song a small story about a different character. Whilst latest Shop taster ‘In Good Health’ is darkly euphoric like a pleasantly strange meeting of Siouxsie Sioux and Jona Lewie. It’s a playfully discombobulating mix of 80s jangly guitar, chirpy keyboard and moody post-punk tackling mental health, drug addiction, and the power of friendship, written after the song’s vocalist Georgie came out of hospital following a mental health crisis. “I wanted to write a song that encapsulated how important my relationships with my friends and boyfriend were at that time” she explains “…and one that also felt dark like I did at the time. I couldn’t go outside due to anxiety surrounding my health so I stayed inside for weeks. People would visit and watch films with me or let me tattoo them or make music with me. My community helped me recover.” Elsewhere on Shop is ‘Just The Job’ fronted by Harvey and described by him as “About the relief of accepting a menial existence, and allowing life to be boring - but (within that) how the small things are the important ones, how pulling a sicky or extra long lunch break are important things to do for yourself. It’s an anthem for working people who’ve had enough - and a crowd favourite at SUEP gigs. The darker undertones and post-punk angles of the Georgie-fronted ‘Onions’ is inspired by the crapness of cliques, with the band calling the song “A cry of welcome to all;” and finally the hooky ‘Friend of Mine,’ described as “A love letter to all the people that come and go throughout your life no matter how long you know them”. SUEP have received coverage in Independent & Clash, (among many others), with big support from Mark Riley and Steve Lamacq (BBC 6 Music) for early singles.

Charly Records presents THE BEST OF THE YARDBIRDS The Yardbirds blend of blues, rock and pyschedelia paved the way for heavy rock… The definitive introduction to one of the UK's most successful and influential groups of the Sixties. This comprehensive band overview draws on the hugley important Giorgio Gomelsky recordings that defined the sound of The Yardbirds during their pivotal period 1963 through 1966. The distinctive and groundbreaking blues style of Eric Clapton features on half these tracks, whilst Jeff Beck and his pioneering brand of swaggering, ear-bending, psychedelic rock takes lead guitar duties on the rest. The compilation features the group's hits from the era, including the top 10 singles “Shapes Of Things”, “For Your Love”, “Still I'm Sad” and “Heart Full Of Soul”, as well as “Stroll On” from the soundtrack to the cult 1960’s film ‘Blow-Up’ scored by Herbie Hancock. Part of a new and lavish “Best of” series highlighting the key artists in the Charly Records catalogue.

Limited Cerulean Blue Vinyl LP. RIYL: Amen Dunes, Adrienne Lenker & North Americans. Numün, the NYC psychedelic instrumental trio Pitchfork dubbed as 'savvy navigators of paths less traveled', is releasing its second album Book of Beyond on the legendary Shimmy Disc label. With this record, the band, which includes Joel Mellin and Christopher Romero of Gamelan Dharma Swara and ambient country pioneer Bob Holmes of SUSS, continues to stretch their exploration of the inner and outer astral worlds of their first release Voyage au Soleil – voted one of the Best Ambient Releases of 2020. Dave Segal of Pitchfork called that album a "blending of the opiated psychedelia of the music territory staked Brightback Morning Light with a loose-limbed minimalism that privileges subtle effects and incremental chord changes" and Chris Ingalis from PopMatters called it "a trippy, ambient ride and ambitious debut that pulls off the neat trick of creating music that evokes space travel while also sounding refreshingly grounded to Earth's atmosphere." The new album, mastered by Kramer (Galaxie 500, Butthole Surfers, Bongwater, Low, Bill Frisell, etc.) features a unique mixture of Eastern and Western musical stylings and instrumentation including Balinese gamelan, gender wayang, and cumbuz (a 12-string fretless banjo) alongside the classic Americana instrumentation of slide guitar, baritone, mandolin and violin. The instrumental music charts new territories as it explores themes that are sometimes deeply personal, spiritual and otherworldly, including new fatherhood, sleep deprivation, loss and rebirth with titles that include Steps, Vespers, Eyes Open & Lullaby. Guests on the album include Trina Basu (Brooklyn Raga Massive), Tori Lo Mellin (Dharma Swara), and Willa Roberts (Black Sea Hotel). With their new album, Book of Beyond, Numün creates music that provides a star map to help us all navigate the inner constellations of our daily lives.

The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism. “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human. It really hits a nerve, and it utterly immerses me to a point where I can’t move.” The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it. Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by. “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.” Never more so than on the first single, ‘The Golden Age’, which is the album’s centrepiece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it. Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest. This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record. “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.” The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ hidden pictures in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.” He’s right, it perfectly sums up the conflict between Romanticism and 21st century life. “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.” With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.1.Ballerina 2.Metamorphosis 3.The Golden Age 4.Sunday Kid 5.So To Speak 6.The Lot

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.