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History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

Sometimes, space is the perfect catalyst for intense creativity. Following the release of their fourth LP, 2019's Your Church On My Bonfire, PAWS - the Scottish DIY indie rock songwriting partnership of Phillip Jon Taylor and Joshua Swinney, toured briefly, and as the world began to shut down, they slipped out of sight. Phillip retreated north to the Highlands where he focused on his painting, solo work and the rewarding demands of fatherhood. Josh headed south to London, pursuing his other passion as a chef at the highly acclaimed Plimsoll. It would have been easy for both to settle into their new lives, but PAWS never died…and neither did the tie connecting the two friends. Having missed playing together for too long, a plan was set and in October 2022 Josh travelled to Phillip's home studio in his crofters cottage where work began on the band's fifth self-titled LP. Relying on a set of phone demos and chemistry honed after years on the road the songs came together surprisingly fast. Having recorded previously with both Blink 182’s Mark Hoppus and Frightened Rabbit’s Andy Monaghan, the band once again seized control of production duties as they had on their sophomore release Youth Culture Forever. Utilizing all they had learned and adding their own DIY ethos into the mix, the music was done in a week. Josh headed home and Phillip set to work on lyrics. The resulting record finds the band as grounded and assured as they ever have been. Marrying the deafening assault of youthful abandon with the whispered reasoning that comes with getting older; swaying from anger and exasperation to wide eyed optimism. PAWS is a succinct, razor wire encased documentary chronicling the pains of modern living. Delving into the dark underbelly of 90s alternative rock, painting with evocative instrumentals and reveling in celebratory indie punk, the band also embrace sordid pop and ambient electronics. And while it pays homage to where they have come from, it also signals a clean slate for the pair. Two friends united over distance. After some time apart, all they needed was a spark.

From Northern Ireland and the South of England hail Jetplane Landing - which, for the last two decades has been variously composed of: Jamie Burchell (Bass/Vocals), Raife Burchell (Drums), Andrew Ferris (Vocals/Guitars), Cahir O’Doherty (Guitars/Vocals) and Craig McKean (Drums). Big Scary Monsters are releasing their debut album Zero For Conduct on vinyl this January as well as putting their entire back catalogue back on streaming services. Their debut album ‘Zero For Conduct’, was recorded on an 8-track tape machine in Jamie's parents' garage in Bognor Regis and mixed during engineer Sean Doherty’s downtime in a London studio owned by a diamond mining company. Hailed a 'masterpiece’ (5Ks - Kerrang!) upon its release in 2001 - it contains fan favourites ‘This Is Not Revolution Rock’ and ‘Summer Ends’ and perfectly encapsulates the vitality of the 00's post-hardcore DIY scene that inspired its creation. Deriving their name from the moment a blissed-out Burchell/Ferris witnessed At The Drive-In perform ‘One Armed Scissor’ on their debut British TV performance - “Fuck me Ferris, they sound like a jet plane landing!” - ZFC channels that riotous energy across its heart-felt eleven cuts. Delicate acoustic confessionals sit alongside full-throated math-rock experimentation; this is an album as varied as it is ambitious. Jamie: “We initially set out to track the record during a two-week period Andrew had off from work. At the end of those two weeks, we didn’t even have all the drums recorded let alone the overdubs. So the idea emerged that Ferris and I would drive down every weekend from London to my parents’ house and we would make the album that way. Cut to… one year later…” Andrew: “When I listen back now, I can physically feel the conversations we had on those long drives, all those micro-decisions - getting the songs to be… right. It was a long process, but truthfully I’d have been happy to let it go longer. Jamie gave me so much confidence and pushed me to places I didn’t know I had or even needed to be. It was a really special time.”. Jamie continues, “There was this weird fusion between us musically which seemed to just work.” Fans of Elliot Smith, Nick Drake, J Mascis, and Stephen Malkmus will feel right at home with this lovingly crafted set. Spoiler alert: heavier sounds and bigger rooms were to come for Jetplane but on Zero For Conduct their musical universe feels at once expansive and deeply personal.

Montreal new-age punk outfit NOBRO were playing a show the day after the United States Supreme Court overturned the right to access an abortion in the country. The four band members, Kathryn McCaughey (vocals, bass), Karolane Carbonneau (guitars), Lisandre Bourdages (keys/percussion), and Sarah Dion (drums ) all women, were shaken and furious! But that night McCaughey led a righteous toast against the decision: “This next song is dedicated to setting our vaginas free!” Set Your Pussy Free is a caustic, celebratory, glorious party-punk firework show. It’s a record about the ecstatic pursuit of personal escape and liberation even as the walls are closing in, a 21st century power-punk analog of Born To Run that rages against modern life’s restrictive pressures and dares them to a game of chicken. If a hurricane is bearing down on NOBRO, they’re spitting into it, arm-in-arm, with middle fingers raised.

It may have been 13 years since the last record, but Crime In Stereo are back with the announcement of its forthcoming album House & Trance, set for release on 27th October 2023 on Pure Noise Records. Lead single Hypernormalisation analyses the apathy of people in the face of their imminent demise,"The wildfires gathered themselves together, advancing enough petition signatures to force a vote on rerouting subterranean magma ducts directly into any east/west commuter corridors. Cities of water rushed in from the sea only to circle the neighbourhood for hours, stymied by alternate side parking." House & Trance feels like the natural next step for Crime In Stereo. It was entirely self-produced by the band (outside of it, both Romnes and Cioni are acclaimed and accomplished producers), and flows on so well from their past that it’s almost like the intervening decade and a bit hasn’t happened.

Year of The Knife have announced their new album, No Love Lost, due out October 27th from Pure Noise Records. The album finds Year of The Knife at their most sonically honed with nine lean and vicious songs that clock in at a blistering 20 minutes. Recorded by Kurt Ballou (Nails, The Armed, Code Orange), No Love Lost sounds truly massive, a crushing amalgam of hardcore and death metal influences that demands your attention and stays with you long after its concise runtime. To mark the album's announcement, Year of The Knife have shared two new singles, the 86 second "Wish" and 48 second "Last Laugh," highlighting both the economy of songwriting and the level aggression found on No Love Lost. Both tracks also include guest vocals from some of heavy music's greatest, with the former featuring Devin Swank of Sanguisugabogg and the latter featuring Dylan Walker of Full of Hell. In late June, Year of The Knife were involved in a car accident while on tour. All four members endured serious injuries, especially vocalist Madison Watkins, who suffered many broken bones and a traumatic brain injury. No Love Lost sounds even more urgent and defiant in light of the band's recent circumstances, and profits from the album's sales will be going directly to the members' ongoing recovery efforts.

Symphonic metal powerhouse SERENITY unleash their new studio album, Nemesis AD! The successor to their previous full length, The Last Knight (2020), which landed #25 on the German album charts, is out on October 27, 2023 via Napalm Records and is the first record with Marco Pastorino (Temperance) as additional guitarist and backing vocalist. Known for their thematic albums inspired by historic characters and stories of the past, on Nemesis AD, SERENITY draw inspiration from the life and highly influential art of painter Albrecht Dürer of the German renaissance. Grandiose intro track “Memoriae Alberti Dureri” sets the scene for the album, before legendary singer Roy Khan (Conception, ex-Kamelot) lends his impressive vocals on the mighty “The Fall of Man”. ""Ritter, Tod und Teufel (Knightfall)” (named after Dürer’s famous artwork) features lyrics sung partially in German, for the first time in the band’s history spanning over more than two decades. The powerful track showcases SERENITY’s signature blend of orchestral arrangements, heavy guitar riffs, and soaring vocals. Heart-wrenchingly emotional yet empowering “Reflections (of AD)” mesmerizes the listener with its awe-inspiring instrumentation, multifaceted vocals and brilliant changes throughout the gripping eight-minute track. Theatrical “Sun of Justice” leads the listener to a faraway fantasy world while the vocal performance of skilled singer Georg Neuhauser ultimately unlocks the track's hit potential. “The End of Babylon” represents one of the darker, heavier tracks on Nemesis AD - climactic arrangements carry the dramatic storyline. Monumental orchestral version of “The Fall of Man” closes the album on a thrilling note that is sure to send a chill up your spine. With Nemesis AD, SERENITY add yet another bombastic symphonic metal masterpiece to their notable discography - there is no doubt that the talented unit’s standing in the scene is well deserved. BLURB "The Fall of Man" - Single No 2 Symphonic metal unit SERENITY unleash “The Fall of Man”, a mighty single off of the band’s new album Nemesis AD! With vocal support from legendary singer Roy Khan (Conception, ex-Kamelot), the song is a sure future hit with fans old and new. SERENITY’s previous studio album, The Last Knight (2020), hit #25 on the German album charts, and the band has gained millions of Spotify streams and YouTube views with their earlier efforts.

Death metal is the great undead of subgenres: rising, again and again, to take revenge on the living with maximum violence. Servants of the zombie code and masters of old school brutality, Germany’s ENDSEEKER have made their intent to kill again more than apparent over the last nine years. Formed in Hamburg in 2014, the quintet have swiftly built a reputation as one of European death metal’s most dynamic wrecking crews. From the aspirational evisceration of first full-length Flesh Hammer Prophecy, to Metal Blade debut The Harvest in 2019, and the widely acclaimed Mount Carcass two years later, Endseeker have cooked up such a formidable formula that their rise to glory seems almost inevitable. But like everyone else, they were stopped in their tracks by the Covid pandemic and its aftermath. As that global horrorshow fades in the rear-view, Endseeker are poised to return with their most crushing and charismatic album to date: Global Worming Death metal is a serious business and Global Worming is Endseeker’s most focused and sophisticated offering to date. Nonetheless, there is always room in the underground sewers for a brain-eating monster or two, and fans of zombie-centric death metal will be more than satisfied with the new album’s brilliant, bloody contents. Consumed in its belligerent entirety, Global Worming soon emits the acrid stench of a future classic. Endseeker have stayed true to their deathly roots, while also writing some of the most imaginative songs in their history. Supremely catchy but as brutal and ugly as the arcane gods demand, Global Worming promises to burrow under the world’s skin with maximum force.

Breaking Teeth (3rd Single / Will have a music video & Reddit AMA) Breaking Teeth is the 3rd of 4 singles from their new album The Fear Of Letting Go. Tyler Tate (vox) describes this track as the heaviest song on the record and sounds simply - "pissed off". "When I wrote the lyrics I was so fed up with the world & my life in general. Set back after set back, problems around every corner. Living should be simpler but the society we live in prevents that. We should all be pissed about it.” Band will do Reddit AMA & MV Visualizer We're All Left Suffereing (2nd Single / With Album announce) 'We're All Left Suffering' is the second of four singles from Michigan based metalcore band Hollow Front's upcoming album 'The Fear Of Letting Go'. The release follows their 2022 album ‘The Price Of Dreaming’ (#9 Current Hard Music Albums, #35 Current Digital Albums, #42 Independent, # 48 Current Rock Albums) which received praise from New Noise “a blistering and bruising experience, evoking myriad emotions and conveying a heady and moving blend of euphoria and despair.” and RockNLoad “Hollow Front has dropped nothing short of a phenomenal album with The Price of Dreaming. While the release doesn’t do anything new, it takes an already established formula and polishes it into a perfect shine. If you’re a fan of any of the modern Metalcore titans, you’ll love this release, hopefully as much as I do. Utterly brilliant.” 'We're All Left Suffering' is the first song the band has released since the announce of Dakota Alvarez's departure (former guitarist/singer) and marks the next chapter in the bands journey. The song will be accompanied by a music video and lined up with the announce of their forthcoming record "The Fear Of Letting Go" (Out October 27th). Lead vocalist states “This track is an anthem for the broken spirited. We live in a world riddled with heartache and constant struggle. Whether mentally, physically, or financially; we area collective of human beings doing our best to survive. I think with everything that’s happened in the world over these last three years, things might seem hopeless. It feels like the whole world has gone mad, and we’re all just here suffering along for the ride. It can be incredibly discouraging being a human in today’s social and economic climate. So I think this song is for those people who are sick of dealing with the bullshit life is throwing at them, and just want to truly breathe for once.”

What we love about this compilation is that it’s not one of these boring best off type of stuff, but a gathering of all songs that were published on rare vinyl releases that Hooded Menace put out during the last 15 years. So, in case you had no chance to buy any or all of these 7”s or splits (that go for high prices these days) this compilation is a chance for you to hear some more splendid stuff from these masters of horror. All songs are presented in chronological order, so... The feast begins with two songs which also ended up on the debut album of Hooded Menace “Fulfill the Curse”, but recorded in different versions the year before the album was recorded. We all love how Hooded Menace combines heavy, Doomy riffage with that gloomy, horror atmosphere and some melody. And of course their Doom is strongly infected with old school Death Metal, so this is also why the music of Hooded Menace speaks to many of you so well. Later there’s some stuff from the split with Anima Morte, splits with Coffins, Asphyx and Ilsa. All in all, we have to say that “Gloom Immemorial” is a fantastic compilation of rare stuff from one of the best Doom/Death Metal bands ever. We would love to have them all as originals, as playing such music in vinyl format is simply pure magic and it always give you a special feeling, but if you cannot have what you want, you will be very happy with this substitute. The band and the label took it all seriously and came up with a fantastic booklet, which shows you each original release in details - with lyrics, original artwork and band photographs from that era. It cannot be done better, so this is just a near-perfection type of release with 75 minutes of horror soundtrack on a killer 2-LP.

Svart Records proudly presents Pekka Pohjola's "Heavy Jazz - Live in Helsinki" for the first time on vinyl! Legendary Finnish composer and bassist Pekka Pohjola, known from his work in Wigwam, Made In Sweden, touring with Mike Oldfield and having a successful solo career, caught live at Tavastia Club, Helsinki, Finland on April 18th 1995. Joining Pohjola (bass) on stage are Seppo Kantonen (keyboards), Markku Kanerva (guitars) and Anssi Nykänen (drums). During his long career that took him from riding the Finnish prog rock wave to the heavy jazz rock heights of the 1990s, Pekka Pohjola tried his hand in many things. Heavy Jazz has previously only been released on CD in 1995 and 2011 by Pohjola Records and will now finally be available on wax as well. Heavy Jazz is presented on a 2LP edition of classic black vinyl. Limited to 500 copies.

The sixth full-length release for the Scottish indie pop band was produced by Bright Eyes' Mike Mogis. Since the band started in 1987, the Trash Can Sinatras have always been reliable. Every record has delivered exactly what people needed from them: lovely guitar pop songs done with a light touch, deep emotional feelings, and melodies as rich and warm as a late-autumn heat wave. Since their original run ended in the '90s, they've come back regularly to remind people that they are just about the best guitar pop band still going, with a new album roughly every five years or so. Wild Pendulum finds the band in fine form, expectedly. It also finds them doing a bit of sonic experimentation, unexpectedly. With former Adventures in Stereo mastermind Simon Dine on board providing the kind of ""sonic scenery"" he added to many recent Paul Weller albums and producer Mike Mogis capturing fuller arrangements than usually heard on TCS albums, it's the most sonically interesting album of their long career.

"These sides from 1970s band Smith & Gordera are prototypical for the ""Sounds Like Santana"" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

""Evil Deeds"" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

""Time and Space"" starts with a nod to the classic Dave Brubeck ""Take Five"" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side."

"These sides from 1970s band Smith & Gordera are prototypical for the ""Sounds Like Santana"" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

""Evil Deeds"" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

""Time and Space"" starts with a nod to the classic Dave Brubeck ""Take Five"" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side."

The original single from Escape From New York finally gets an official reissue. Originally released in 1983 ‘Save Our Love’ was released a year before ‘Fire in My Heart’ and sets out their highly effective fusion of New Wave, Disco, Italo and Post Punk. Featuring Jaki Graham and D.C Lee on backing vocals, the 12” also includes an instrumental mix and cult classic ‘Slow Beat’ (Dance Mix).

Escape From New York were short lived and disbanded in 1984 following the release of ‘Fire in My Heart’, ultimately buckling under the pressure of commercial expectations for their innovative brand of pop music. Fast forward to 2023 and history has been kind and these singles are now regarded as being pioneering classics.

■ In den frühen bis mittleren 60er Jahren war Gene McDaniels ein erfolgreicher Gesangstar. Er andete in den Charts mit den Singles "A Hundred Pounds of Clay", "Tower of Strength" und "Chip
Chip". McDaniels war jedoch ein nachdenklicherer und politisch bewussterer Mensch, als seine Hits vermuten lassen würden, und nach der Ermordung von Martin Luther King verließ er Amerika, um in
Europa zu leben und sich auf das Songwriting zu konzentrieren. Als er 1970 in die USA zurückkehrte, nannte er sich Eugene McDaniels the Left Rev. Mc D und seine Musik nahm eine scharfe Wendung in
eine neue Richtung.


"Outlaw" ist eine Sammlung von Songs, die sich an der Grenze zwischen Jazz, Rock und Funk bewegen. Am wichtigsten ist jedoch, dass McDaniels als Songwriter die Gegenkultur und die damaligen gesellschaftlichen Themen begeistert aufgriff, und "Outlaw" ist voll von klugen, pointierten Texten, die von Rasse, Klasse und kultureller Spaltung sprechen. Die Musiker (darunter Größen wie
Ron Carter, Hugh McCracken und Ray Lucas) bringen eine unauffällige Virtuosität in ihre Darbietungen ein. In einer Zeit, in der das Bewusstsein der Afroamerikaner in der populären Musik in
neue und provokative Richtungen explodierte, zeigt "Outlaw", dass Eugene McDaniels an der Spitze dieser Revolution stand

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

When punk arrived in late 1976, the scene acted as a catalyst for an explosion of independent labels which swiftly sprung up around the UK. Named after a classic track by Manchester’s The Drones, ‘Just Want To Be Myself’ boasts classic sevens on imprints such as Small Wonder, The Label, Rough Trade, Dining Out, Deptford Fun City and Cherry Red (all London), Zoom (Glasgow), Attrix (Brighton), Heartbeat (Bristol), Good Vibrations (Belfast) and Bent (Manchester).

Many of the individuals and bands featured would later enjoy success in various incarnations – for example, The Pack mutated into Theature Of Hate, The Outsiders’ Adrian Borland attracted acclaim with his band The Sound, ‘O’ Level’s Edward Ball made an impact with various acts including The Times and Leyton Buzzards evolved into pop combo Modern Romance!

Pure Hell and The Electric Chairs’ Wayne County were American but eligible here because the tracks were recorded in the UK

Our upcoming album, titled "Helichrysum," delves deep into the human experience, exploring the wounds we carry and the transformative power that lies within us. It serves as a culmination of the countless creative and personal choices we have made, leading us to a place of greater harmony within ourselves, with each other, and with our collective intentions. Musically speaking, the new album is a testament to our commitment to delivering a sonic experience that is unapologetically raw, adventurous, heavy, groovy and psychedelic. The choice to name the album after the Helichrysum plant, holds a significance as the plant symbolizes endurance, healing, immortality, and the power to overcome adversity, which mirror many of the themes throughout the record."

Olive green vinyl, limited to 500 copies. "Our upcoming album, titled "Helichrysum," delves deep into the human experience, exploring the wounds we carry and the transformative power that lies within us. It serves as a culmination of the countless creative and personal choices we have made, leading us to a place of greater harmony within ourselves, with each other, and with our collective intentions. Musically speaking, the new album is a testament to our commitment to delivering a sonic experience that is unapologetically raw, adventurous, heavy, groovy and psychedelic. The choice to name the album after the Helichrysum plant, holds a significance as the plant symbolizes endurance, healing, immortality, and the power to overcome adversity, which mirror many of the themes throughout the record."

Produced by legendary rock historian and Bomp! Label founder GREG SHAW, the Los Angeles all-female combo delivers a neo-60's garage punk classic.

"Paula Pierce refused to play it cute. On the Pandoras' debut album she outsnarled, out- screamed, out- fuzzed and out araged the male- dominated competition--like a well-aimed go-go boot to the jugular." - Mike Stax

It's because we want to show this quality to the world that we bring here our "Heavy Brazil" series once again. After the first two chapters, where we brought thrash legends VODU with their first two albums ("The Final Conflict" and "Seeds Of Destruction"), the time has come to present a new chapter of this series.

For all those who are fans of Brazilian thrash, KORZUS' first studio album needs no special introduction. "Sonho Maniaco" (Portuguese for 'Maniac Dream') is by all parameters a thrash metal classic! With a total of 7 songs, "Sonho Maniaco" has everything you'd expect from an 80's thrash album: speed, aggression and a good dose of insanity!

Originally released in 1987 and being a highly sought after record by collectors, it is with great pleasure that we bring you the first vinyl reissue of "Sonho Maniaco"!

Get ready for another ultra- limited edition by our label, with all the extras our followers are used to.

2023 Repress

"Put simply, 'Tired Sounds Of...' is one of the most unremittingly beautiful albums I've ever heard." Drowned In Sound

"Unspeakably beautiful." AllMusic

"One of the most beautiful recordings we have ever heard." Aquarius Records

"A fantastic masterpiece, missing this would be foolish." Touching Extremes

"Their relentless commitment to subtlety sets them apart, as does their masterful hand with tone... dissonance is doled out in small portions, perfectly coloring the sculpted elds of sound." Pitchfork
"When all else fails and you need to shut the rest of the world out, this is a guaranteed mute button." Self- Titled

















I f1. A Lovesong For Cubs Pt. 1

His new EP, "Nostalgic For The Future", was inspired by an experience he had during a lucid dream that evoked a paradoxical and enigmatic feeling. Also influenced by the artists of his childhood such as Daft Punk, Alan Braxe or Jestofunk, this new project is imbued with house sounds.

By using artificial intelligence in the conception of "Nostalgic for The Future", Fhin proposes an innovative vision to tackle eternal and inexhaustible themes of music: love, the meaning of our existence or the intensity of our emotions.

Repress! We at Now-Again unearthed so much information about the bands that recorded the definitive disco and modern soul contained in our recently launched Soul Cal anthology that we decided we had no choice but to release an album and a book at the same time. Well, following that line, the music contained on Loving On The Flip Side music is too damn good to be anonymously relaunched, decades after musical visionaries blended the best of heavy funk and sweet soul into a unified whole. And simply telling the stories of these vocalists and bands without allowing their lovelorn pleas to be heard again wasn’t an option. Thus, Loving On The Flip Side again offers the enthused a chance to listen to, read about and reflect on another great burst of black American creativity: the creation of the sublime
genre we like to call “sweet funk.”
It seems laughable to skip past Thomas East’s “Slipping Around” 7” for the cheesy funk of ‘Just A Trip,” or to listen obsessively to Lou Ragland’s instrumental funk on the Hot Chocolate LP and ignore his indolent-yet-stirring “We Had True Love.” Yet we did just that, until we first heard the Darling Dears and Funky Heavy’s beautiful
two-sider nearly ten years back. This was the record that set Loving On The Flip Side in motion, as the Darling Dears and Funky Heavy’s two songs precipitated the sweet funk genre: the dichotomy of Funky Heavy’s skull snapping rhythm section and the teenage Dears’ angelic harmonies didn’t sound like anything we’d heard before. That discovery set off a decade long search for the band and culminated in their discovery, the documenting of their stories, the emergence of their master tapes and the inclusion of their songs on Loving On The Flip Side.
The excitement we felt while listening to the Darling Dears and Funky Heavy’s masterworks forced us back into the field, in search of other sweet funk swooners and beat-heavy ballads to round out this anthology. The opportunity to present anew such wondrous soul music made the exhaustive process that produced Loving On The
Flip Side worthwhile, and allowed us to collect one-offs that escaped prior investigations into the deep funk and sweet soul genres.

End of Ways is a bridge to healing as it was written during the period of helping a loved one escape an abusive household while working though its lingering horrors to find peace. On this second album
release by indie label Kill Rock Stars, 18-year-old Elliott Fullam touches on even darker subject matter than his predecessor What’s Wrong which was a dissociative trip that reached out to thousands of
like-minded music enthusiasts who hailed the record as their album of the year.

And End of Ways is the next record that will continue in that same gentle melody which alleviates the emotional storm that
torments so many of us. Elliott’s sophomore full-length is a blend of home recordings as well as studio recordings which bring some extra depth within the songs to suit their somber settings in the tracks
Throw It Away, Forget, and Better Way. But the record still retains its stripped down, lo-fi vibe in songs like Let’s Go Somewhere and Remember When with their clear Elliott Smith and Nick Drake
influences in both the acoustic guitar lines and quiet vocals. The addition of young pianist Jeremy Bennett also beautifully adds candle-light melody through-out the album with his haunting notes in the opening song Mistake and his Tim Burton-meets-Vince Guaraldi style in the album’s escapist-themed title track End of Ways along with the dramatic climax to Timeless Tears and the album closer, Over
the Moon which is Elliott’s profession of love to his present companion who he saved from her former home. Nick Drake, Big Thief, Crumb, and Alex G that explores childhood, dissociation, heartbreak and ultimately, survival

Confidence Freaks Me Out is an exercise in patiently constructed joyous absurdity. Each compositional choice was guided by a desire to confound and amuse. Scaffolded by process-first mutant serialism and maximalist cheek, the album crams every inch of the canvas with stimulation, tempered by a lighthearted stupidity. It’s artrock with a bit of orchestral goof, a timid ensemble with party hats on, two composeurs playing musical parlour games

Chicago-based producer/multi-instrumentalist Ben Billington makes music under the name Quicksails.

A pillar of the Chicago experimental scene and its branches across the midwest and national DIY circuits, Billington has enriched his communities through overlapping roles as a musician and curator /
promoter of freak sounds for more than two decades. In addition to his work as a solo artist, he has performed with bands such as ONO, ADT, Circuit Des Yeux, Tiger Hatchery, and Ryley Walker’s
band. Billington’s solo recordings as Quicksails encompass everything from free jazz-inspired electro-acoustic production to rhythmic synth-pulse tapestries to music focused on what could be
considered one primary instrument among the many he works with: the drum kit and auxiliary percussion. Surface, his fifth release to appear on Hausu Mountain, combines all of these idioms into
one diverse program while also expanding his palette to rope in his more recent experiments with touch-sensitive custom synthesizers and modular systems. Surface shimmers with a sense of tonal
sophistication and emotional resonance that sets a high-water mark for the Quicksails project.

The album’s mind-bending juxtapositions of electronic and acoustic sound sources of contrasting fidelities charge each composition with energies at once alien and familiar — rooted in free improvisation and
jazz traditions while streaking off into realms of lush synth arrangement, and textural abstraction.


Within Quicksails’s dense fields of sound, one voice stands out with particularly bold contrast: the saxophone of modern experimental stalwart Patrick Shiroishi (Fuubutsushi, The Armed, a multitude of
improvised collaborations on labels like Astral Spirits and Touch Records), who guests on three of the album’s ten tracks. Shiroishi’s sax performances alternately burst out in squalling atonal spirals and
glow with neo-noir melodicism as if glimpsed in the smoke under a streetlamp on a darkened city corner.

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the jazz- inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky ambition of The Dabsong Conshirtoe on Cunning Stunts. Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line- up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy- on-the-ear singing style. Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid music, especially in the 18- minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectacle within,' the group state on the album's opening track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single. This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto high quality 180g vinyl

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the
jazz-inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky
ambition of The Dabsong Conshirtoe on Cunning Stunts.

Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line-up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy-on-the-ear singing style.

Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid
music, especially in the 18-minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectale within,' the group state on the album's opening
track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single.

This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto
high quality 180g vinyl.

Adam Gibbons meldet sich mit Volldampf mit seinem achten Lack Of Afro-Studioalbum zurück. Es ist ein Album voller Hoffnung, Optimismus und guter Zeiten, inspiriert von seiner US-Reise zu den legendären FAME Aufnahmestudios in Muscle Shoals. In einer über 17-jährigen Karriere, in der seine Musik in Filmen und TV-Shows auf der ganzen Welt zu sehen/hören war und millionenfach gestreamt wurde, musste Adam viele Herausforderungen überwinden und kehrt nun auf SQUARE ONE, den Anfangspunkt, zurück. Dabei liefert er seine bisher beste Arbeit ab und geht auf seine erste US-Tour. Mit einem erneuerten Sinn für Inspiration und Energie ist Adam entschlossen, den Funk am Leben zu erhalten.

Following up on their highly acclaimed debut release from 2020, raster presents Il Quadro di Troisi’s “Remixes” album, an eclectic collection of reinterpretations of eight of the duo’s tracks. By inviting fellow label artists as well as friends and long-term collaborators to contribute to this, “Remixes” shows a broad spectrum of diversity, ranging from colorful, loop-based renditions by Toulouse Low Trax and Tropicantesimo, to (Italo) disco-inspired versions by Daniele Baldelli & Marco Dionigi and Chloé, to more rhythmical and functional tracks by AtomTM, Dasha Rush and Front de Cadeaux. The album also includes a dub-infused reinterpretation of “Il giudizio” by the artists themselves. “Remixes” will be out on raster on August 18, 2023 as 2xLP and digitally. The record’s artwork was contributed by Spanish graphic designer Alicia Carrera.

Haunt the Woods, die 2016 zwischen Plymouth, Devon und Cornwall gegründet wurden, verweben gekonnt Alt-Rock, Folk, Prog und Pop mit einem epischen Maß an Pomp und poetischer Eleganz, die auf ein weitaus längeres Bestehen schließen lassen, als ihre jungen Jahre vermuten lassen. Mit Anleihen von Queen und Muse auf der einen Seite, Jeff Buckley oder Radiohead und mit einem Hauch von Beatles-verliebter Pop-Sensibilität auf der anderen Seite, haben sie die seltene Fähigkeit ein Erbe zu beschwören und gleichzeitig einen Sound zu kreieren, der ganz und gar ihr eigener ist: meisterhaft vielschichtig, fröhlich unkonventionell und kreativ von der Literatur und der Landschaft geprägt. Landschaft.

Haunt the Woods, die 2016 zwischen Plymouth, Devon und Cornwall gegründet wurden, verweben gekonnt Alt-Rock, Folk, Prog und Pop mit einem epischen Maß an Pomp und poetischer Eleganz, die auf ein weitaus längeres Bestehen schließen lassen, als ihre jungen Jahre vermuten lassen. Mit Anleihen von Queen und Muse auf der einen Seite, Jeff Buckley oder Radiohead und mit einem Hauch von Beatles-verliebter Pop-Sensibilität auf der anderen Seite, haben sie die seltene Fähigkeit ein Erbe zu beschwören und gleichzeitig einen Sound zu kreieren, der ganz und gar ihr eigener ist: meisterhaft vielschichtig, fröhlich unkonventionell und kreativ von der Literatur und der Landschaft geprägt. Landschaft.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Jenny from Thebes begann, wie viele Alben der Mountain Goats, mit John Darnielle am Klavier, bis ein Text entstand. Dieser Text, "Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief", wurde zu "Jenny III", einem Song, der eine Herausforderung darstellte, der er sich nie zuvor gestellt hatte: eine Fortsetzung zu einem seiner beliebtesten Alben zu schreiben.

Der Katalog der Mountain Goats ist voll von wiederkehrenden Charakteren_Jenny, die ursprünglich in dem ihren Namen tragenden Stück All Hail West Texas auftaucht, sowie in "Straight Six" von Jam Eater Blues und dem Transcendental Youth side two jam "Night Light", ist einer von ihnen, jemand, der unerwartet in einen Song eintritt und die Ohren der Fans spitzt, die darauf erpicht sind, die verschiedenen Erzählstränge fortzusetzen, die sich durch die Diskografie der Mountain Goats ziehen, bevor sie im Nebel verschwinden.

In diesen Liedern wird Jenny weitgehend durch ihre Abwesenheit definiert, und diese Definition wird ihr von anderen Charakteren gegeben. Sie läuft vor etwas weg.

Diese Merkmale sind betörend, sowohl für die Figuren, die ihre Geschichte bisher erzählt haben, als auch für den Zuhörer. Sie laden zu bestimmten Fragen ein: Wer ist Jenny wirklich? Wovor läuft sie weg? Nun, sie ist eine Kriegerin und eine Diebin, und da es sich um ein Album der Mountain Goats handelt, ist es eine sichere Wette, dass das, wovor sie flieht, etwas Schlimmes ist. Etwas katastrophal Schlimmes. Jenny from Thebes ist die Geschichte von Jenny, ihrem Haus im südwestlichen Ranchstil, den Menschen, für die dieses Haus ein Ort der Sicherheit ist, und der westtexanischen Stadt, die sich mit ihrer Existenz nicht anfreunden kann. Es ist eine Geschichte über das Individuum und die Gesellschaft, über Sicherheit und Schutz und diejenigen, die sich dafür entscheiden, sich um sie zu kümmern, wenn es sonst niemand tut. Aufgenommen im legendären The Church Studio in Tulsa, Oklahoma, mit der Grammy-prämierten Produzentin/Technikerin Trina Shoemaker, ist Jenny from Thebes eine üppige Sammlung von Songs, die Darnielle als Sängerin und die Mountain Goats als Band vorantreibt, indem sie ihre klangliche Palette wieder einmal erweitert und sich an Einflüsse wie Godspell, Jim Steinman und The Cars anlehnt. Getragen von den Bläser- und Streicherarrangements von Matt Douglas, der verträumten Gitarre der Bully-Leaderin (und Bleed Out-Produzentin) Alicia Bognanno und den Backing Vocals von Kathy Valentine von den Go-Go's und Matt Nathanson, ist Jenny from Thebes ein Musical von großem Ausmaß, ein Melodram mit detailreichen Charakteren und mitreißenden Emotionen.

Jenny from Thebes begann, wie viele Alben der Mountain Goats, mit John Darnielle am Klavier, bis ein Text entstand. Dieser Text, "Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief", wurde zu "Jenny III", einem Song, der eine Herausforderung darstellte, der er sich nie zuvor gestellt hatte: eine Fortsetzung zu einem seiner beliebtesten Alben zu schreiben.

Der Katalog der Mountain Goats ist voll von wiederkehrenden Charakteren_Jenny, die ursprünglich in dem ihren Namen tragenden Stück All Hail West Texas auftaucht, sowie in "Straight Six" von Jam Eater Blues und dem Transcendental Youth side two jam "Night Light", ist einer von ihnen, jemand, der unerwartet in einen Song eintritt und die Ohren der Fans spitzt, die darauf erpicht sind, die verschiedenen Erzählstränge fortzusetzen, die sich durch die Diskografie der Mountain Goats ziehen, bevor sie im Nebel verschwinden.

In diesen Liedern wird Jenny weitgehend durch ihre Abwesenheit definiert, und diese Definition wird ihr von anderen Charakteren gegeben. Sie läuft vor etwas weg.

Diese Merkmale sind betörend, sowohl für die Figuren, die ihre Geschichte bisher erzählt haben, als auch für den Zuhörer. Sie laden zu bestimmten Fragen ein: Wer ist Jenny wirklich? Wovor läuft sie weg? Nun, sie ist eine Kriegerin und eine Diebin, und da es sich um ein Album der Mountain Goats handelt, ist es eine sichere Wette, dass das, wovor sie flieht, etwas Schlimmes ist. Etwas katastrophal Schlimmes. Jenny from Thebes ist die Geschichte von Jenny, ihrem Haus im südwestlichen Ranchstil, den Menschen, für die dieses Haus ein Ort der Sicherheit ist, und der westtexanischen Stadt, die sich mit ihrer Existenz nicht anfreunden kann. Es ist eine Geschichte über das Individuum und die Gesellschaft, über Sicherheit und Schutz und diejenigen, die sich dafür entscheiden, sich um sie zu kümmern, wenn es sonst niemand tut. Aufgenommen im legendären The Church Studio in Tulsa, Oklahoma, mit der Grammy-prämierten Produzentin/Technikerin Trina Shoemaker, ist Jenny from Thebes eine üppige Sammlung von Songs, die Darnielle als Sängerin und die Mountain Goats als Band vorantreibt, indem sie ihre klangliche Palette wieder einmal erweitert und sich an Einflüsse wie Godspell, Jim Steinman und The Cars anlehnt. Getragen von den Bläser- und Streicherarrangements von Matt Douglas, der verträumten Gitarre der Bully-Leaderin (und Bleed Out-Produzentin) Alicia Bognanno und den Backing Vocals von Kathy Valentine von den Go-Go's und Matt Nathanson, ist Jenny from Thebes ein Musical von großem Ausmaß, ein Melodram mit detailreichen Charakteren und mitreißenden Emotionen.