After an extensive tour of the UK at the end of 2022, the band decided to head into the studio to record their first long form offering. Following a passion for storytelling, they pulled together influences from Pulp Fiction to Fleabag, from Zadie Smith to Edward Hopper. They wrote relentlessly during 2022, diligently crafting what was to become this debut album. Released independently on their own Life and Times Recordings, Exit Strategy is a 13-track labour of love, recorded at Abbey Road Studios and Love Electric, enlisting the production smarts of Bernard Butler. The album is in two halves (divided literally by the two sides of the vinyl edition) entitled Galway and London and presents a multifaceted band, pushing themselves and exploring the limits of their philosophy.
Exit Strategy centres around a protagonist who moves from Galway to London in search of meaning, certain that, as the main character in the film of his own life, the solution lies in changing his surroundings and acting as someone he’s not. Both a mirror and a portal, the album promises encounters with manipulative bosses, evil ad agencies, a broken pact to flee to Australia, run-ins with the law, cheating boyfriends, drug fuelled youths, heartache, paranoia, social media anxiety and a drunk singer dressed as Jesus. Thematically the album races between emotions, between irony and sincerity, between soul searching and tongue-in-cheek finger pointing and ends where it all started, both musically and in terms of single rollout, with the nostalgic/euphoric first single Westway.
Explaining the album’s genesis and cinematic influence, James McGregor says: “We were always sure we wanted the album to be greater than the sum of its parts, so decided to create the world of a film, entitled Exit Strategy. We envisaged the record as a series of snapshots, telling the story of a group of characters trying to navigate through life.”
Hallmarked more by a philosophy than a sound, The Clockworks weave pop sensibilities with noisy, post-punk, rock-influenced stylings. The songs seem swaggering and dark yet often have an epic, nostalgic quality. They sit poetic introspection beside witty, kitchen sink drama to create something intense but playful.
With the release of Exit Strategy, The Clockworks have created a world to be explored, to be analysed and to be deciphered, but most importantly to be felt.
Search:parano
The Motion (Club Edit)
One of the biggest tracks from the album Arseholes, Liars & Electronic Pioneers gets a stripped back, DJ friendly remix from PL themselves. A “lose yourself” strobe-light beauty with a pay-off right at the end that makes it all worth while. Tested, proven dancefloor melter from the boys that know.
Help (DJ Version)
Straight up loopy techno type thing for the harder DJ’s out there. The swirling vocal gradually burrows into your brain, slowly driving you mad - in a good way. Once again tested to destruction on dancefloors all over the world.
Pain Management presents a debut collaborative release from Bristol’s Larry McCarthy & mysterious newcomer Eris FM. The limited edition single fuses hellish Bristolian dub with tender vocal excursions on two dark cuts in equal parts tough and tender. A heartfelt comedown offering for the hyperactive via two cathartic weapons primed for maximum emotional release.
The A side’s foolish titular opener is a hellish mess of dub delays and eerie narrative exposition. Reminiscent of blown-out early No Corner offerings; a tangled mess of sirens and harsh noise ensnare FM’s disembodied commands. Turn your phone off / Tell no one where you are / Go out / Press your lips to the cracks in the soil. Overtly human exposition shrouded in a plosive shell of sawtoothed frequencies and machine drum paranoia. The effect is an unsettling hybrid of softness and uncertainty. A teeth-grinding mess of grit and potent anxiety primed for anti-dancefloor devastation; one to comfort the disturbed or disturb the comfortable depending on where you’re at.
On the flip ‘Red’ applies this same methodology to a beatless format, noisy chaos swapped out for ascendent grandeur. Here FM’s voice has more room to breathe, floating above an ever expanding synthscape. Reflective prosaic cohesion replaces the A side’s splintered present-tense directives.The rawness remains but on Red it takes the form of a commanding emotive clarity rather than claustrophobic uncertainty. A subtle heartbeat rhythm pulses beneath the nebulous pads, swaying like a slow dance in the early hours.
Hyper-limited run of 100 7” records
- Frantic
- Come On
- Apocalypse
- Blinded By The Night
- Spy Baloon
- Mississipi Hippie
- I Don't Care
- Riot
Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen. Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt. Erhältlich in klarem Vinyl oder CD sowie limitiert auch als rote Vinyl-LP!
- Frantic
- Come On
- Apocalypse
- Blinded By The Night
- Spy Baloon
- Mississipi Hippie
- I Don't Care
- Riot
Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen.
Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt.
Maximum Violenceis Americandeath metalbandSix Feet Under's 3rd studio album. Thealbum goes back toChris Barnes' roots inCannibal Corpsewith violent themes/lyrics. Itwas also the first Six Feet Under album to featureSteve Swansonon guitars.
- 01: Un Mondo - Generato Da Un Seme Casuale - Con Un Inventario Vuoto
- 02: Sottaceti Di Mare Che Si Generano In Un Burrone Sotterraneo
- 03: Il Nether Presenta Un Terreno Unico Simile A Una Caverna Senza Cielo
- 04: La Foresta Cremisi È Densa Di Funghi Distorti
- 05: Slime In Un Mondo Superpiatto Nella Versione 1.1
- 06: Una Immagine Ingrandita Di Una Foresta Distorta
- 07: Il Portale Dell&Apos;End Conduce Ad Una Dimensione Oscura Che Si Trova Nel Vuoto
nobile, one half of the former Milanese duo Voronoi, presents a new series of recordings of ephemeral ambient soundscapes, organic throbs and broken rhythmic textures that sublimate the more instinctual and playful side of his poetics.
The project is haunted by cavernous sounds and an obsession with the 'netherworld' of the videogame Minecraft, and by Le Matin des Magiciens - the classic and revolutionary book that popularised occultism, alchemy and paranormal phenomena in the 1960s. "...FANTASTICO INTERIORE is" - as the artist puts it - "a fantastic journey inside the body, perhaps also a journey into the unconscious to understand my gastritis?"
The seven tracks traverse underworlds, infused with fantastic realism, where odd sounds materialise like poltergeists of digital folklore. Creepy voices emerge from the hell-like nether, intertwined with clusters of gelatinous percussive sounds that trudge to the surface. Earthy streams of crackling white noise carry volatile sonic particles that bounce off walls with short delays and reverberations, giving an almost visible form to the space.
But it is not always serious. As soon as you come across the curiously long titles of the tracks (which are rough translations of the Minecraft manual into Italian) a subtle irony emerges. The imagery appears to be harmless and eventually, as in a video game, you can switch to safe-mode and refill your health-bar along the way...
No panic attacks in the soft-occultism of FANTASTICO INTERIORE ;)
- A1: King Of The Night . Bobby Harrison Feat. Tony Iommi
- A2: I Believe In You (Fire In My Body) . Bedlam Feat. Cozy Powell
- A3: Finally The Finale . Ian Gillan
- A4: Flowers In The Rain . The Move Feat. Bev Bevan
- A5: Mainline Riders . Quartz (Prod. By Tony Iommi)
- B1: Paranoid . Vince Neil, George Lynch, Stu Hamm & Gregg Bissonnette
- B2: Highway To Madness . Quartz Feat. Geoff Nicholls
- B3: Freak Out Tonight .Chris Catena Feat Glenn Hughes, Tony Franklin & Bruce Kulick
- B4: And The Cradle Will Rock . Vinny Appice, Marko Pukkila, Rowan Robertson & Andy Endberg
- B5: Over The Mountain . Brad Gillis, Mark Slaughter, Gary Moon, Eric Singer & Paul Taylor
- C1: War Pigs . Leaving Eden
- C2: After Forever . Fierce Atmospheres
- C3: Hole In The Sky . Kingshifter
- C4: Into The Void . High Voltage
- C5: Ron Man . Critical Solution
- D1: Children Of The Grave . Bugsy Parker
- D2: Electric Funeral . In His Blood
- D3: Snowblind . Cornivus
- D4: Wicked World . Through The Stone
- D5: Under The Sun . Stalwart
lack Sabbath is, along with Led Zeppelin and Deep Purple, the most important british hard rock band of all time.
With its dark, mystical, obsessive atmosphere, Black Sabbath built an unique sound that has influenced countless bands since its emergence in the late ‘60s to these days. As usual in our series The Many Faces, we will enter the fantastic secret world of Black Sabbath, and we will enjoy their collaborations, side projects and their greatest hits. The Many Faces of Black Sabbath is a fantastic album, especially for those of you who considers yourself fans of hard rock.
Now, it’s part of our Many Faces collection on vinyl format.
- Dreamlife Avenger
- Reaching Out
- Indisposable Heroes
- Paranoid Detectives
- On The Fray
- The Soft Skin
- Tell It All To Me
- Missing Glider
- Big Waves
- Sofia Loren
- Why Can't I Touch It
AMBER GLITTER VINYL[26,01 €]
Rival Schools's Found is a collection of rarities, demos and alternate takes of songs collected in the years following the release of their 2001 debut United By Fate. Initially released over ten years ago, the band has teamed up with Run For Cover Records for a limited reissue to release alongside the reissue of their 2011 album Pedals. Found features eleven songs that show the range of sounds the band tinkered with in the ten years between these albums - it's a must have for any fan of the band, available again on limited colour vinyl.
Pedals is the second studio album from post-hardcore band Rival Schools, released 10 years after their debut record United by Fate was first released. Pedals was recorded by the entire original cast, whom were seen as a tremendous influence within the post-hardcore movement. Where United by Fate was an album often ready to burst at the seams with energy, Pedals shows a more matured and controlled feel, even somewhat experimental at moments with bass tones and frequent use of acoustic guitars and distortion effects. Much like the 2022 reissue of Rival School's first LP, this reissue features packaging updates curated specifically by the band to create the definitive version of this record. The album's artwork has been updated with new gatefold packaging and a slip-case cover along with an updated set of lyrics and liner notes. In addition to all ten original tracks, the second disc of this edition includes three b-sides and four live tracks.
“Commencement/Mineral Blend” delivers a fusion of rough and ready dub-adjacent bass music compositions from the London based trio Damos Room. Also featured are eclectic remixes from artists Gonjasufi, Lewi Boome, Dome Zero, and Nudibranch residents Polyop.
The bulk of the EP came from a rare in-person collaboration at Elijah Minnelli’s loft. The Horse Militia laid belly to the ground, endlessly feeding an effects chain like a battery hen with noises from multiple contrasting sources. It was particularly hot that day and the windows were wide open, so if you listen closely you can hear the humid Selhurst skyline bleeding into the recordings. This long weekend was punctuated by visits to the local swamp and an outing to see Channel One Soundsystem.
"Commencement," the EP's inaugural offering, unfolds with a hypnotic, droning bass groove, providing the floor for a paranoid stream of consciousness.
"Mineral Blend" takes a lazier dancehall-esque approach. Littered with unloved sounds from previous sessions and repurposing the lyrics ("I want to be a vessel") from Damos Room's DR Viewings #2 release with Polyop, this track weaves in and out of consciousness without ever truly bubbling over.
Remixers Lewi Boome and Dome Zero contribute imaginative 150bpm takes on both "Commencement" and "Mineral Blend” respectively, drawing inspiration from their backgrounds in bass, techno and experimental electronic music.
Polyop's remix of "Mineral Blend" leans further into dub techno stylings, infusing a refreshing and spacious perspective that echoes their acid roots.
The LA-based artist Gonjasufi transforms "Commencement" into a foggy and mysterious rendition, using his unique production techniques to transcend the dancefloor and immerse listeners in a misty sonic landscape.
Not much has been written written about the conceptual hardcore band inspired by and named after a 9th century antisocial loner monk-poet of China’s Tang dynasty. Han-shan the band existed from 1991 to ‘93 in California. Their lyrics covered themes of solitude, mystery, poverty, and discord, directly inspired by the verses of the titular poet. Han-shan’s music was psychopathic, with blood-curdling vocals, and messy but powerful, in the vein of Void, Siege or Septic Death. The band played to the absolute limits of their physical ability and then some, with a sound that complemented their West Coast contemporaries—bands like Heroin, Mohinder, Second Story Window, Antioch Arrow and Angel Hair. Recorded in San Diego by Matt Anderson in late 1993 and originally released posthumously in early 1994 on the tiny Soledad record label, Hans-shan’s eight song seven inch EP came packaged in a manila envelope, each one hand-printed with a woodcut block and roller, with the art and insert referencing both the poet and Tang dynasty China. LG Records has carefully reproduced this cover art and returned to the original multitrack tape. Tim Green has remixed the recording at Louder Studios for a significantly more powerful, and yes, LOUDER, 12” 45rpm release. Members of Han-shan had previously been in Suckerpunch, Brain Tourniquet, End of the Line, and John Henry West; and went on to play in Behead The Prophet NLSL, Solid Gold, Drunk Horse, Astral, Tight Bro’s from Way Back When, Sex/Vid, Very Paranoia, Low Plateau and Nudity. For fans of fast, out of control hardcore with a raw emotional edge. And saxophone.
Expected late October/early November
Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45RPM for maximum fidelity.
Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.
Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”
This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.
Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.
The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.
The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”
In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.
With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.
Edle und limitierte Vinyl_Schallplatte der englischen Kultband BLACK SABBATH. Sie gelten als wegweisend für das Genre des Heavy Metal. Seit den
frühen 70er Jahren sind sie eine der beliebtesten und erfolgreichsten Bands weltweit. The Seventies enthält legendäre Radio Broadcasts von 1970
und 1975 inklusive vielen Hits und Klassikern.
- A1: Paris
- A2: If A Cause Is Worth Dying For Then Be
- A3: Euro Nerv
- A4: Tema Principale Orchestra Dedicata Ai Maestri
- A5: Berceuse Piano
- A6: L'homme N'est Ni Ange Ni Bete
- B1: Prettiest Star
- B2: Karma
- B3: Yearning For Your Love
- B4: Hand Of Fate
- B5: Lost In The Memory
- C1: Berceuse Piano Dans L'orchestre A Cordes
- C2: Metamorphosis
- C3: Paranoia
- C4: Mirror Mirror Orchestra And Choir
- C5: This Is The Dream, Beyond Belief
- C6: Theme Du Concerto 494
- D1: Psycho
- D2: Killer
- D3: I'll Go On Loving Someone Else =Version Orchestre=
- D4: Pillars Of Faith
- D5: Voices In My Head
- D6: What If? Orchestra, Choir And Piano
- E1: The Path
- E4: Pensees Intimes Piano
- E5: Unwelcome Orchestra
- F1: Unwelcome Piano
- F2: M & R Suite Pour Piano, Flute Basse Et Orchestre
- F3: What If? Guitar
- F4: Tema Principale Tromba E Orchestra
- F5: Tema Principale Chitarra
- F6: Soul Love Guitar To Orchestra Segue
- E2: Pensees Intimes Piano Dans L'orchestre A Cordes
- E3: The Way Of Life
Erleben Sie die emotionalen Höhen und Tiefen des finalen Films der "Rebuild of Evangelion"-Reihe neu mit Shiro SAGISU's Music from SHIN EVANGELION. Diese exklusive Vinyl-Edition lässt die epische Reise von Shinji, Asuka und Rei in EVANGELION: 3.0+1.0 auf musikalische Weise wieder aufleben und verbindet Sie erneut mit den unvergesslichen Momenten der letzten Schlacht.Das Set besteht aus drei 140g schweren Schallplatten, die in schwarzem Vinyl gepresst wurden. Das hochwertige Trifold-Cover ist nicht nur ein Hingucker, sondern enthält auch persönliche Anmerkungen des Komponisten Shiro SAGISU, die einen Einblick in die Entstehung und Bedeutung der Musik geben. Mit dieser Vinyl-Edition holen Sie sich ein Stück der außergewöhnlichen Welt von Evangelion nach Hause und können die musikalische Untermalung des Films in bester Klangqualität genießen.Ob als Sammlerstück oder um die Atmosphäre des Films erneut zu erleben - diese Vinyl-Ausgabe ist für jeden Evangelion-Fan eine besondere Bereicherung.
Limited to 500 copies on gold vinyl, contains download also. The second of three groundbreaking albums by the ultimate power trio who morphed blues into hard rock and spawned punk. A much-loved opus with a side-long concept piece. A bona fide inspirational rock classic. “Tony McPhee has turned to anarchic paranoid battlegrounds of the mind for inspiration,” Melody Maker. And a second side that delivers the mighty ‘Cherry Red’, McPhee’s take on The Beatles’ ‘A Day In the Life’, a sideswipe at junk food and a glorious interpretation of John Lee Hooker’s ‘Groundhogs Blues’. “Both musically and lyrically, ’Split’ speaks for a lost time, a nomad time when ideals took to the hoof and musicians stayed on the road rather than confront the fact that the '60s 'war' had been lost.” Julian Cope // “Murky, fuzzy, and wisely esoteric.” AllMusic. // “Supercharged, fractured and raging.” MOJO // Remastered and packaged with bonus tracks on the download (out-takes from the original sessions that spawned this spontaneous monster).
Another excellent selection of proper old skool breakbeat business, featuring the legendary Stu Chapman on remix duties, alongside Gaffer and Renegade Genius...absolute mayhem....
Das Wort "legendär" wird ja heutzutage inflationär verwendet. Aber im Fall von Antisect past es. Als Band/Kollektiv stehen sie, was die Wirkung angeht, die sie im Laufe der Jahre hatten, ganz oben auf der Liste anderer großer Namen aus der wütenden Ära des echten "Anti-Establishment"-Punkrocks der frühen 80er wie Discharge, Flux Of Pink Indians, Subhumans, Rudimentary Peni und sogar Crass. Ihr Debütalbum wurde vor vierzig Jahren im paranoiden Jahr 1984 veröffentlicht. Es ist ohne Zweifel eine klassische Kombination aus autonomer Philosophie und Hardcore-Thrash mit Einflüssen von Einflüssen von Discharge, Motörhead, Black Sabbath, Venom usw. Zum 40-jährigem Jubiläum dieses Crust Punk-Klassikers erscheint erstmalig eine offizielle und vollständig autorisierte Ausgabe seit der ursprünglichen Veröffentlichung. 100% analoges Vinyl, von Noel Summerville direkt von den Original-Masterbändern abgenommen. Ursprüngliche Artwork-Dateien wurden verwendet, um die Original-LP-Posterhülle zu reproduzieren, die mit einem zusätzlichen 8-seitigen Booklet geliefert wird. Auf schwarzem Vinyl und auf Rise Above!
Sacred Skin is back! Their sophomore album Born in Fire hits turntables everywhere September 2024. Pre-order now to reserve your copy! This latest effort builds off the band’s full-length debut (2022’s The Decline of Pleasure) and takes their sound to a completely new level. Painting a blackened, dystopian vision of life in modern-day Los Angeles, Born in Fire is a movie soundtrack inspired by a forgotten era. Anthemic pop music steeped in romanticism and melancholy and drenched in layers upon layers of new wave nostalgia. For fans of ’80s soundtracks, Tangerine Dream, INXS, Depeche Mode, and New Order.
Midnight Mannequin Records is proud to present this deluxe pressing of Born in Fire on 2xLP colored vinyl and housed in a gatefold jacket, complete with OBI strip.
Gold Vinyl[39,45 €]
Napalm Death's album "The Code is Red...Long Live the Code" is a sonic onslaught that
captures the band's raw intensity and unyielding commitment to grindcore. Released in
2005, this album showcases the grind luminaries unmasking global fear and paranoia
through fast, unremitting audio-terror.
With blistering speed, punishing riffs, and brutal vocals, Napalm Death confronts the
listener with themes of political corruption, societal decay, and existential dread. The
album features notable guest appearances, including Jello Biafra of Dead Kennedys and
Jamey Jasta of Hatebreed
Black Vinyl[35,25 €]
Napalm Death's album "The Code is Red...Long Live the Code" is a sonic onslaught that
captures the band's raw intensity and unyielding commitment to grindcore. Released in
2005, this album showcases the grind luminaries unmasking global fear and paranoia
through fast, unremitting audio-terror.
With blistering speed, punishing riffs, and brutal vocals, Napalm Death confronts the
listener with themes of political corruption, societal decay, and existential dread. The
album features notable guest appearances, including Jello Biafra of Dead Kennedys and
Jamey Jasta of Hatebreed
"Flood" ist eine Platte und eine Wiedergeburt, für die die Band aus Minnesota fünf Jahre Arbeit aufgegeben hat, um schließlich 13 Tracks in nur 10 Tagen an der texanischen Grenze aufzunehmen. Während die aufschlussreichen Sessions im letzten Jahr auf der Sonic Ranch mit den langjährigen Produzenten Caleb Wright (Charly Bliss, Samia) und Brad Cook (Bon Iver, Waxahatchee) stattfanden, begann der Entstehungsprozess des Albums vor gefühlt einer Ewigkeit. In derselben Nacht, in der Hippo Campus ihre letzte Platte "LP3" feierten, erfuhren sie, dass jemand, den sie liebten, unerwartet verstorben war. Die Peitschenhiebe des Erwachsenwerdens wurden durch die Auswirkungen von Tod, Niedergeschlagenheit, Sucht und Angst noch verstärkt, so dass sie sich dem überwältigenden Ziel verschrieben, etwas Tiefgreifendes und Lebensveränderndes zu schaffen. Sie wurden gemeinsam nüchtern, nahmen regelmäßig an Gruppentherapien teil, schrieben mehr als 100 Songs, traten einen Schritt zurück und stellten plötzlich fest, dass ihnen das, was sie machten, eigentlich keinen Spaß brachte. Für eine Band, die eine Milliarde Streams überschritten hat, historische Veranstaltungsorte wie Red Rocks ausverkauft hat, auf Festivalbühnen auf der ganzen Welt aufgetreten ist - und das alles dank des unwiderstehlichen, frühlingshaften Songwritings, das ihre Reihe von experimentellen Pop- und emphatischen Rockalben füllt - wussten sie, dass das, was sie dieses Mal machten, einfach nicht gut genug war. Gemeinsam mit Wright und Cook räumten sie auf und warfen alle Vorurteile darüber über Bord, wie sie zu klingen gedachten. Sie versuchten nicht mehr, ein sogenanntes Meisterwerk zu erzwingen, und verpflichteten sich gegenseitig, das zu schneiden, was ihnen am besten gefiel: kein Hinterfragen oder Zurückhören, nur ein Mantra des Vorwärtsdrangs. Weniger als zwei Wochen später hatten Sänger Jake Luppen, Gitarrist Nathan Stocker, Schlagzeuger Whistler Allen und Bassist Zach Sutton "Flood" fertig. Auf "Flood" liefern Hippo Campus dicht gedrängte Thesen über Selbstkritik und Selbstvergebung, Ermächtigung und das Zurückbleiben hinter den Erwartungen, gescheiterte Beziehungen und das Finden eines Weges nach vorne. Die Gefühle sind roh, echt und ungeschützt, unterstützt von subtilen Tonartwechseln und Tempowechseln und der angeborenen Raffinesse, die sie so mühelos präsentieren können.
- In A Deserted Landscape (Read By Richard Hamilton)
- In A Little Hotel By The Deserted Sea (Read By Dieter Roth)
- In A Little Hotel By The Deserted Sea - A Landscape (Read By Duncan Smith)
- In A Little Hotel By The Deserted Sea - A Landscape Excerpt (Read By Richard Hamilton & Dieter Roth)
- Die Grosse Bockwurst (Read By Richard Hamilton, Dieter Roth & Friends)
Recital presents an artists’ record from the two giants Richard Hamilton and Dieter Roth. Hamilton (1922-2011) is revered as the father of British Pop Art as both theorist and practitioner, in addition to famously designing the artwork for The Beatles’ White Album. Dieter Roth (1930-1998) was a Swiss German artist who blithely ignored all artistic boundaries and aesthetic dictums. His oeuvre includes hundreds of artist books, almost half a thousand prints, sculptures, multiples and records, all balanced between magnetic playfulness and self-deprecating paranoia. Roth also ran his own record/book press Dieter Roth's Verlag and was a major force in the reckless improvisational music group Selten Gehörte Musik (1973-1979).
The two artists most significant collaborations happened between 1976 and 1978, beginning with a series of 74 paintings in which they reworked each other’s art. The paintings were made for an exhibition for dogs (as suggested by the late Marcel Broodthaers, to whom the works were dedicated) in Cadaqués, Spain. Hamilton and Roth then produced the catalogue Collaborations of Ch. Rotham with reproductions of all the paintings alongside four brilliant new collaborative texts. The narrative of the texts sprung from the “fairy story” (Hamilton) quality that emerged from these dog paintings – a hallucinatory tapestry of sausages, gestating giants, Sancho Panza, Don Quixote, and a donkey. Together they gallop, humorous and beautifully absurd, across the wild field of an imaginary seaside backdrop with endless garbled iterations of ever-mutating names riddled with mad typos.
For these recordings the individual texts were read by Roth and Hamilton, actor friend Duncan Smith, and a huge cast of British artists for the final play Die Grosse Bockwurst, performed at the Whitechapel Gallery in London in 1977. The recordings were first released on cassette on the Audio Arts label in 1978, and have now been remastered from the original ¼″ tapes for this double vinyl edition.
Also included are two booklets: one is a new essay written for this edition by artist and co-producer Malcolm Green (Red Sphinx, Atlas Press), alongside full reproductions of the Roth / Hamilton collaborative Ch. Rotham texts. Thanks to Björn Roth, Rita Donagh, Hansjörg Mayer, William Furlong, Tate Modern, and Hauser & Wirth.
Limited edition double-vinyl record of 300 copies in full color gatefold sleeve with over 70 minutes of audio recordings. Including two booklets: a 16-page new essay on Roth & Hamilton by Malcolm Green that includes new Roth translations, and a 20-page complete reproduction of the collaborative Ch. Rotham texts.
Ltd Edition - 200 copies**
Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.
Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).
The album was mixed and mastered by Marlon Wolterink at White Noise Studio.
ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.
ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.
ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information
Empty Empty is Cinema Paradiso's 3rd album. Cinema Paradiso functions as a trio without a leader, consisting of Kurt Van Herck (Brussels Jazz Orchestra, Dizzie Gillespie Big Band, Bert Joris Quartet), Eric Thielemans (A Snare is a Bell, EARR, Talking About the Weather) and Willem Heylen (KRAKk, Aki, Sargam).
After his guest contributions on several tracks during the recording sessions that resulted in the compilation of the first two albums (Volume I and Volume II), Jozef Dumoulin (Lidlboj, The Red Hill Orchestra, True Company) was involved in the entire creation and recording process of Empty Empty.
Now focusing on original compositions (along with some Indian chants and a piece by Claude Debussy), this album also distinguishes itself from the previous two albums by presenting a new sonic landscape. Blending the rich timbres and textures of both the acoustic and electric sonic worlds of the musicians, we were looking to get a strong, direct, full sound that still retains enough detail and acoustic warmth.
The album was recorded and mixed by Joris Caluwaerts (Stuff) at his Finster Studio in Antwerp.
This debut full-length album by Stockholm-based composer and electroacoustic experimentalist Theodor Kentros, could easily be interpreted as 'just' an assemblage of pieces written between 2021-2024. Named after the paranoid hallucination (or, if said hallucination is real, the underground secret mail system) figuring in the 1966 Thomas Pynchon novel ‘The Crying of Lot 49’, it should rather be perceived as a very distinct, coherent stream running through his output during these years.
The six tracks – ranging in sound and disposition from serialised organ drones constructed to reach screeching and beautiful culminations, to minimalist, repetitive studies in tape loops and string synthesis – were composed and recorded in Stockholm and Visby at different occasions during down-time from his many other projects, which include a myriad of other commissions, co-running labels XKatedral and Kalkatraz Cassettes and touring with punk groups and solo shows.
There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.
There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.
Lucta from Milan finally unleash their debut album ‘Eterna Lotta’ which follows the demo 'Black Magic Punk’ from way back in 2018. The 9 track album takes you by the throat and never lets go. The music rages with a fierce atonal guitar tone and drums that push each track to its limits but it’s the vocals that really make this special. They are passionate and enraged and spat out in Italian. The band mixes the furious years of Italian hardcore from the 80’s, Rudimentary Peni and some classic pogo punk with a sense of paranoia to the overall sound. ‘Eterna Lotta represents the continuous internal and external struggle with life: from social interactions to self expectations and how everyone deals with it in eternal conflict. Lucta is the Latin word for "fight" and Lotta fully embraces every aspect of their lives. The band are outcasts, freaks, queers and punks and will forever fight for rights for those that need a voice and push towards a better future.' Limited to 500 copies on pink vinyl.
Krautige Cumbia der Zukunft trifft auf unverzerrte Gitarre! Bewusstseinserweiternd! Der in Bogotá lebende kolumbianische Komponist Eblis Alvarez, bekannt als Meridian Brothers, kreiert seit 1998 eine einzigartige Mischung aus psychedelischen Klängen. Mit seinem neuesten Projekt "Mi Latinoamérica Sufre" erkundet Alvarez das ungenutzte Potenzial der E-Gitarre in einem tropischen Latin-Kontext. Inspiriert von afrikanischen Highlife- und Soukous-Traditionen schafft Alvarez ein furchtloses Klangexperiment voller Erfindungsreichtum, Verspieltheit und Emotionen. Im Gegensatz zu typischen tropischen Gitarrenalben verzichtet dieses Album auf Verzerrung und Klischees und setzt stattdessen auf einen reinen, sauberen Ansatz. Mit komplizierten Kompositionen, die Cumbia, Champeta, Soukous, brasilianische Tropicalia und psychedelischen Underground-Rock mischen, huldigt Alvarez der goldenen Ära der kongolesischen Rumba, des ghanaischen Highlife und des nigerianischen Afrobeat. "Mi Latinoamérica Sufre" ist ein Egotrip, der eine humorvolle und zugleich introspektive Reise der Selbstfindung und Identität darstellt. Die Hauptfigur, Junior Maximiliano der Dritte, navigiert mit Hilfe psychedelischer Substanzen, politischer Philosophie und Folklore durch die Komplexität der Selbstfindung. Während er sich mit Nostalgie, Paranoia und geteiltem Leid auseinandersetzt, stellt Alvarez sein stimmliches Können unter Beweis und schafft ein akustisches Theater des Geistes. Begleitet von visuellen Erzählungen des kolumbianischen Künstlers Mateo Rivano, porträtiert das Album verschiedene psychologische Zustände von Desorientierung, Selbstmitleid, Erleuchtung und Optimismus. "Mi Latinoamérica Sufre" entpuppt sich als würdige und innovative Ergänzung der Konzeptalbum-Tradition und bietet eine unverwechselbare Mischung aus bittersüßen Aromen, die von Latinoamérica inspiriert sind.
Repress!
Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.
The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.
All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.
The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.








































