Suche:pil

Hatebreed vocalist Jamey Jasta described Supremacy as an “all-out onslaught of completely adrenaline-charged, in-your-face brutality,” and who are we to argue (in fact, we’d be afraid to)?! Hatebreed came up through the Connecticut hardcore scene (they actually kind of invented it), and recorded acclaimed albums for the Victory and Universal labels before moving to Roadrunner for this 2006 record, which featured the debut of guitarist Frank “3 Gun” Novinec. Supremacy’s sonic assault took it to #31 on the charts, but there’s more to it than just piledriving riffs; Jasta’s personal statement (reproduced on the insert) is remarkable for its honesty and its quasi-Nietzschean philosophy, and the lyrics (e.g. “Mind over All;” “Supremacy of Self”) follow suit. Remastered for its U.S. vinyl debut by Mike Milchner at Sonic Vision, pressed in ruby red wax!

Old Juniper is a new album from The Down Hill Strugglers, their first in seven years and first to feature all original songs and tunes.

"These guys are a first rate string band! Walker, Jackson and Eli have absorbed the old tradition, and the songs and tunes they wrote for this album are outstanding."
- Tony Garnier
(Bob Dylan, Asleep at the Wheel)

"From the first track “I’m Gettin’ Ready to Go” to the last “Let the Rich Go Bust", this is a wonderful collection of original songs and tunes by The Down Hill Strugglers (Walker Shepard, Jackson Lynch and Eli Smith).

Based in NYC they have been playing and recording together for 15+ years—this is their first in seven years and it’s a doozy. Old and new, evocative, current—all original. And I, as one who’s always had one foot in “old weird America” and the other in new weird America, love this recording.

The Down Hill Strugglers have, as Nathan Salsburg put it in his notes, 'an exquisite sensitivity to the seam where collective tradition and individual artistry meet….' I couldn’t agree more."
- Alice Gerrard

"If it’s possible to be at the forefront of something old, The Down Hill Strugglers are right there with this new recording! Imaginative arrangements of interesting tunes played with soul, all while reaching back to the best of the old mountain sounds."
- Bruce Molsky

"Throughout the record, the musical texture of Old Juniper shifts and blooms. Eli, Jackson, and Walker exchange roles freely— the banjo, fiddle, and guitar change hands almost every track. No matter their instrument, the three fall into place with the tune their guide. As these dynamics build and transform, a sound raw and beautifully sincere appears.

This album of new old-time tunes and songs will surely be a welcome addition to the well loved canon of American traditional music."
- Nora Brown

"How wonderful is it that The Down Hill Strugglers are releasing a new album? I’ve been a fan of theirs from the beginning and will happily spend time with anything they put out!

I see The Down Hill Strugglers as the primary successors of the great and longstanding tradition of urban interpreter-performers of American vernacular string band music - They pick up where the NLCR left off, with Cohen’s considerable creative guidance ever in their hearts and minds. “Old Juniper” is a testament to the vibrancy of this legacy."
- Jake Xerxes Fussell

Experience the Double-Platinum 1996 Album in Audiophile Sound for the First Time
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Is Sourced from the Original Analogue Tapes
1/2” / 30 IPS analogue master to DSD 256 to analogue console to lathe

If great art, as many believe, is inherently polarizing, then the Stone Temple Pilots’ Tiny Music… Songs from the Vatican Gift Shop easily ranks as the California-based band’s finest album. Simultaneously celebrated and castigated upon release in spring 1996, the group’s third full-length finds vocalist Scott Weiland and company expanding their “grunge” palette with a smart blend of glam rock, psychedelia, jangle pop, and other related styles. Having benefited from long-view reassessments that shed the biases and meanness of initial criticisms, the double-platinum effort is now largely and rightly seen as a creative masterwork. All the more reason why it deserves reference-grade production.

Overseen by producer Brendan O’Brien, Stone Temple Pilots used bedrooms, hallways, bathrooms, and the lawn to capture a broad blend of textures, spaciousness, and ambience that helped underline the group’s obvious (and somewhat unexpected) leap from normal “alternative” status to an artist whose aspirations went beyond that of many of its contemporaries. You can hear the multitude of details and tonalities with previously unattained clarity, presence, and scope on this fantastic reissue, which also delivers the impact and punch every rock record deserves. Another tremendous asset: The depth, grain, and pitch of Weiland’s voice.

For all the contagious choruses and glossy melodies that help make Tiny Music… Songs from the Vatican Gift Shop sparkle, the vocal performances of the late singer arguably rank as the best that the much-missed Weiland committed to tape. None other than the Smashing Pumpkins’ Billy Corgan — who, like many peers and critics, felt a pressing need to reevaluate the record as both time marched on and the self-importance attached to the “alternative” scene faded — praised Weiland’s efforts by noting: “Like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere.”

Smooth and diverse, those traits are everywhere on Tiny Music… Songs from the Vatican Gift Shop. From the clever combination of emotional closeness and distance he brings to the catchy albeit ultimately melancholic “Lady Picture Show”; to the lounge-fly balladeering that causes “And So I Know” to lightly swing akin to a bleary-eyed house band’s final number at a 4 A.M. bar; to the effortless cool and laissez-faire casualness he articulates on the grinding “Pop’s Love Suicide”; to the dimensional raspiness, defiant energy, and let-loose wail that sail through the crunchy “Big Bang Baby.”

The latter tune, the record’s first single and per Weiland a conscious attempt by the band to deconstruct its prior approaches, clearly borrows from the Rolling Stones’ “Jumpin’ Jack Flash.” Because of it, the song drew all kinds of barbs from naysayers. Their disdain extended to most material on Tiny Music… Songs from the Vatican Gift Shop, which indirectly references other prized acts such as the Beatles, Cheap Trick, T. Rex, and Lush. Those cynics failed to grasp that Stone Temple Pilots were paying homage and having a blast, with even Weiland, then battling serious substance-abuse and legal issues, getting in on the action.

Stone Temple Pilots’ skeptics also turned a deaf ear to the records’ stellar pop craftsmanship, sticky hooks, and sly commentary on music-industry machinations and fame. Not to mention the band’s intent, made clear from the outset. In an interview conducted in 1994, guitarist Robert DeLeo stated: “The last thing I wanted to do with this band was make everybody believe we invented something.”

Seen through that lens and the hindsight afforded history, and appreciated independent of the self-righteous authenticity standards of the day, Tiny Music… Songs from the Vatican Gift Shop sounds borderline fearless while authoritatively checking all the right boxes for fun, flavor, and finesse. Part winking send-up, part tribute to the glitter rock age, and part middle finger towards the hip crowd that didn’t know what they were missing, this mid-90s classic repeatedly invites you to drop the needle and press play.

The extroverted blend of attitude, energy, and ostentatiousness that spills from the New York Dolls’ self-titled debut can be seen in full view on the album cover. Depicting the quintet in its hallmark flash-and-trash apparel and in drag appearance, the 1973 album scared away a considerable amount of potential listeners while capturing the attention of a sizable audience that recognized the band for what it was: zeitgeist pioneers who helped develop the punk and glam rock movements.

Named by Rolling Stone the 301st Greatest Album of All Time and by Mojo the 49th greatest album of all time, New York Dolls receives long-overdue audiophile treatment on Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, this collectible version marks the first time the group’s career-making statement is available to be experienced in audiophile quality.

Far from harboring the crude elements that became associated with the punk scene, New York Dolls benefits from keen production overseen by none other than Todd Rundgren. Though more accustomed to working far higher-caliber musicians, Rundgren — taken by the New York Dolls’ charisma and cool, if not their instrumental approach — fully understood the ensemble’s aesthetic. He captured what went down at New York City’s Record Plant with an astute blend of live-on-the-floor feel, raw authenticity, and professional acumen.

On Mobile Fidelity’s definitive-sounding reissue, you can hear those facets as well as key details, dynamics, and textures with previously unimaginable insight. Rundgren preserved generous degrees of grit, grime, and grease while bestowing the raucous music with elevated levels of separation, solidity, and impact every landmark recording deserves. His vision extends to introducing choice accents — barroom piano notes, Moog synthesizer passages, Buddy Bowser’s honking saxophones — that add to the songs’ appeal without interfering with the primary architecture.

Afforded extra groove space on this pressing, the tenor, presentation, and attack of both vocalist David Johansen and now-iconic guitarists Johnny Thunders and Sylvain Sylvain come across with stunning vibrancy and vitality. The New York Dolls often seem headed off the rails and into the red, but somehow, the strut, swagger, and sloppiness — and the associated sleaze and scruff, scrape and snarl, frenzy and feverishness those characteristics entail — remain together as a whole that shakes its collective fist at the frustrations, isolation, disarray, and disillusionment of youth chaos and urban decay.

Kicking off its debut with “Personality Crisis,” cited by Rolling Stone as one of the 500 Greatest Songs of All Time, the band makes obvious its grasp of alienation, deviance, displacement, and suburban disaffection — as well as its capacity to play hanging-by-a-thread boogie, noisy rock ‘n’ roll, and Brill Building-inspired pop. The lipstick-kissed New York Dolls possesses traits many of its harsher predecessors would overlook: joyfulness and melody, topped with a knack for knowing how and where to take a song inside of three-and-a-half minutes.

Dive and dash with the belligerent “Looking for a Kiss”; stomp your feet and clap your hands to the big choruses of “Jet Boy”; surrender to the demands and provocations of the coded “Vietnamese Baby”; decide whether “Bad Girl” yearns to explode or implode. It’s one of several tunes here that allude to the world coming to end. Of course, that doesn’t mean there isn’t time for a fling before everything burns. “There’s no place I gotta go,” yowls Johansen. And he means it.

Adorned with tonal crunch, glitter, and gristle, New York Dolls takes pride in its brashness and brattiness. The rambunctious effort, which earned the band the distinction of being voted both “Best New Group of the Year” and “Worst New Group of the Year” in the pages of Creem, displays knowing reverence for the blues without calling attention to the style. The folk-laden “Lonely Planet Boy” is nothing if not a collision of heart-on-the-sleeve emotions and the desire in the face of challenges to maintain a tough-skinned exterior. An interpretation of Bo Diddley’s “Pills,” complete with shivering harmonica and clattering rhythms, announces there’s no cure for what infects this band. It’s that contagious. And how.

His deliveries gushing with campy fun, playful irreverence, and sheer decadence, Johansen doubles as the equivalent of an open fire hydrant that spouts at will. He’s at once tender and vicious, serious and tongue-in-cheek. On arguably his finest hour on the album, Johansen’s phrasing, passion, and lyrical ambiguity alone turn “Trash” into an insistent glam-rock gem whose echoing harmonies and girl-group references stamp it a pop classic.

Too much, too soon? Only for those averse to some of the finest rock ‘n’ roll ever put on tape.

An adversarial network of ideas, electronic post-punk trio The Wants welcome the possibility that embracing friction can give rise to something cathartic and unexpected. Formed by Madison Velding- VanDam and Jason Gates in 2017, and with the addition of Yasmeen Night in 2021, The Wants' sound is defined by the push and pull of its members' processes: floating rhythms upheaving grounded songwriting, pulsing synths overwhelming live instrumentation. Their new record, Bastard, is an evolution of many of the seeds planted in their debut record, Container (2020), with a refined sense of acerbic emotional urgency and sonic experimentation. Drawing from a deep well of influences across decades and genres, The Wants forge an unlikely alliance of sounds that feels both radical and inevitable. Velding- VanDam channels both the raw power and snark of Public Image Ltd. and The Smiths' romance, while Gates draws intensity from bands like Bauhaus and Throbbing Gristle, and inspiration from experimental techno. Night's sound bridges inspiration from '90s alternative rock like Smashing Pumpkins and Garbage between the nocturnal trip-hop atmosphere of Massive Attack. The result sits in its own category—too raw to be pure electronic music, too mechanised to be straight rock— drawing favorable comparisons to early PIL and contemporaries like Model/Actriz while remaining distinctly their own beast.

Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.

Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.

Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.

“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.

Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.

Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.

Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.

Folk-Musik hat die schlechte Angewohnheit, als eine todernste Angelegenheit dargestellt zu werden. Sie ist etwas, zu dem man weint, sie ist übermäßig heilig, sie ist feierlich von Kritikern und Historikern betrachtet. Aber das Folk Bitch Trio, die ehemaligen Highschool-Freundinnen Heide Peverelle (,they/them"), Jeanie Pilkington (,she/her") und Gracie Sinclair (,she/her"), haben einen gemeinsamen Sinn für Humor , der tief in ihre Musik eingebettet ist und sie zum Leuchten bringt, sicher vor den selbsternsten Fallen des Genres. Now Would Be A Good Time, ihr Debütalbum, erzählt lebendige, viszerale Geschichten und ist witzig und dunkel-ironisch in der Art von Schriftstellerinnen wie Mary Gaitskill oder Otessa Moshfegh. Ihre Musik klingt vertraut, aber die Songs sind modern, jugendlich, singen akut durch dissoziative Tagträume und ärgerliche Trennungen, sexuelle Fantasien und Medienüberflutung, all die belanglosen Ressentiments und kleinen Demütigungen, die Anfang zwanzig in den 2020ern sind. ,Cathode Ray" beginnt mit Vorsicht, seine ersten Harmonien kommen in großen, schleifenden Seufzern an. Es ist verletzlich, aber auch ein wenig bedrohlich, mit , einem weit offenen Refrain und einem geräumigen, luftigen Beat, der alles verankert. ,Moth Song", ein Song über unerwiderte Liebe und ,von so durchgedreht zu sein, dass man sich wie im Wahn fühlt und verrückte Dinge halluziniert", bildet das sparsame Herzstück des Albums, wobei Anita Clarks wogende Geigenstimme wie in einem Traum in den Fokus hinein- und wieder herausdriftet. Andere Songs sind nicht so schräg, sondern schildern brutal vertraute Momente am Ende von Beziehungen: Der spannungsgeladene, emotional flüchtige Torch-Song ,The Actor" handelt laut Peverelle davon, ,zur One-Woman-Show deines Partners zu gehen und dann Schluss zu machen". In ,Hotel TV", einer hypnotischen, nächtlichen Träumerei, geht es darum, ,einen Sextraum über zu haben, während man neben seinem Partner sitzt, und der Partner ist ein Lügner", erklärt Pilkington. Die stärkste Verbindung zwischen dem Trio, abgesehen von der Freundschaft, ist Musik. ,Wir haben alle darüber gesprochen, dass wir Musik liebten, als wir aufwuchsen, , und dass wir wussten, dass Musik ein großer Teil unseres Lebens sein sollte", sagt Pilkington. Dieses Gefühl, dass Musik eine angeborene Berufung ist, im Gegensatz zu Hobby oder Torheit, war berechtigt: Das Folk Bitch Trio tourte bereits auf durch Australien, Europa und die USA und unterstützte dabei so unterschiedliche Bands wie King Gizzard, Alex G und Julia Jacklin. Sie haben bei Jagjaguwar unterschrieben, einer Heimat für einzigartige Ikonen und Ikonoklasten (Bon Iver, Angel Olsen, Sharon Van Etten, UMO und andere), und sie haben ihre ersten eingefleischten Fans mit schillernden Harmonien und bissiger Lyrik gefunden, die über Genreerwartungen und Publikumsgrenzen hinausgehen. Das sind die Herausforderungen: Es geht darum zu lernen, wie man ein Leben ohne Liebeskummer und Verlierer-Ex lebt, wann man im zeitgenössischen Nihilismus versinkt und wann man mit seinen Freunden lacht, und warum sich das Leben so flüchtig und unwirklich anfühlen kann. In diesem Sinne fühlt sich Now Would Be A Good Time wie ein Handbuch für das moderne Leben an: eine Botschaft dreier stolzer Folk Bitches, die gemeinsam Schönheit und Weisheit finden, wo sie können.

Reloaded, originally released in 1995, was produced by Gossard and multiple Grammy winner Nick DiDia (Bruce Springsteen, Pearl Jam, Stone Temple Pilots, Rage Against The Machine). The album’s first single, “Dizzy,” was featured both in the film The Basketball Diaries, and on its soundtrack—sitting alongside tracks from The Doors, Soundgarden, Jim Carroll, and The Cult. CMJ New Music Monthly wrote that the “alterna-rock promise of Wonderful Virus—their debut in no way hints at the leaps and bounds by which the band seems to have grown, or the unexpected paths Reloaded follows.” Finally, 30 years later, Reloaded gets reintroduced, remastered on white vinyl and is also included on the double CD Dizzy: The Medicine Label Anthology. Its missing status on wax has been rectified, and Reloaded is ready to be loaded onto your turntable.

BUY! HERE’S WHY!
• Their sophomore release returns on white vinyl.
• Produced by Nick DiDia (Bruce Springsteen, Stone Temple Pilots, Rage Against The Machine) and Stone Gossard (Pearl Jam).
• Contains “Dizzy” which was featured in 1995’s The Basketball Diaries (starring Leonardo DiCaprio).

Pressed and printed in Japan

Japanese OBI and original booklet reproduction

Original released 1986

For Dragon Ball fans and vinyl collector’s alike



The opening theme "Makafushigi Adventure!" (sung by Hiroki Takahashi) and the ending theme "Romantic Ageru yo" (sung by Ushio Hashimoto) from the TV anime "Dragon Ball" that began airing in 1986, as well as the soundtrack by Shunsuke Kikuchi, have been reissued on LP!

Mutant, in partnership with Hollywood Records and Marvel, is proud to present MARVEL RIVALS: GALACTIC TUNES, the soundtrack to the highly anticipated MARVEL RIVALS video game.

The soundtrack to Marvel's first Team-Based Superhero Shooter is appropriately epic in every way. It’s heavy on guitar solos, symphonic strings, choirs, and powerful percussion, with infectious melodies that make for an endlessly listenable experience, even outside of the game itself.

The album starts with Adriana Figueroa's "Rivals 'Til the End (Main Theme),” which instantly becomes one of the best anime opening themes you’ve never heard of until today. It’s an immediate earworm that leads off a compilation of fifteen incredibly kinetic tracks, including South Korean singer Le'mon's "Fate of Both Worlds," a mid-album pop funk classic in the making.

Bitterviper is an all-new configuration of individuals and intent. Nikos Veliotis (cello), Taku Unami (synthesizer), Sarah Hennies (percussion) and David Grubbs (piano, guitars) have all participated - solo and as collaborators - in some of the most striking avant music-making of the past couple of decades. Their quartet"s collective minimalist interplay passes through dense harmonic fields, transcendentally ionized ambient moods and soundtracks.

Re-Release des Hardcore Klassikers auf silbernem Vinyl.

PARADE is an 8-piece group, predominantly from Brighton and now based in London. Its members - who are all involved in their own capacities in music, art, fashion, design and more - have been making music since they met at college in Brighton, flipping records and making beats in founding member Jago’s attic room. Since then the sound has evolved to incorporate live instrumentation alongside electronic elements. Though always collaborating in each other’s orbits, PARADE was fully formed when all members gravitated towards South-East London, scattering around in musically less mythologised areas across Nunhead, Forest Hill, Camberwell and Norwood.

Lightning Hit The Trees is the band's debut mixtape, and was entirely written, produced, engineered, and mixed in just two weeks. It was recorded in a shipping container in Forest Hill on basic, often broken, equipment with ideas often formed in the moment. As demonstrated by these two first singles, the mixtape pulls together a body of music that incorporates a wide range of ideas from a group of inventive, inspired new artists and comes together in a remarkably clear and unified vision. The mixtape is guided by uncanny valleys, cinematic tones, “hyper-real” mixing techniques, and by a light with no shadow. Influences include: Wim Wenders, Juergen Teller, Velvet Underground, Radio Dept., Scott Walker, Magliano, Soft Machine, This Heat, Pixies, John Cassavetes, Domenico Gnoli, Dadaists, Judy Garland, Cindy Lee, Arca, Bette Davis, Sun Ra.

To celebrate its 20th anniversary, Chinese Man revisits We've Been Here Before with a special expanded and reimagined edition. On the menu: unreleased tracks, remixes, live versions, and original reinterpretations featuring special guests such as La Yegros, OBF, and Chill Bump. This rework offers a fresh perspective on the trio's universe, driven by remixes from Manudigital, G?EG, and Lorkestra, who bring a wave of modern energy to the group's iconic tracks. The album also revisits Chinese Man's classics, including a brand-new version of Get Up and a powerful live performance of the legendary I've Got That Tune, featuring General Elektriks. A touch of the past, a bold step into the future - this shape-shifting album is a heartfelt anniversary gift.

Though Scratch may have at times seemed crazy, it is worth noting that creative
genius appears so because geniuses see things others do not see and inhabit
realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations
re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid,
Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent
producer, naming his studio musicians The Upsetters and scoring instrumental hits
with innovative rhythms that helped forge the new reggae style. In 1970-1971 he
produced what many consider the greatest works by the Wailers; in 1968 one of his
Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave
him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political
commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and
Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots
classic and there are many wonderful obscure singles such as Carlton and the Shoes'
"Better Days." Many dub creations made innovative use of Scratch's sonic wizardry via
echo, phasing, reverb, fanging, wah-wah and various sound effects.
It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious
fanatics and assorted pilgrims, let the studio lapse. And then he set it on fre, some
say due to frustration, others say from mental collapse. He left Jamaica, collaborated
with musicians around the world, toured as a sort of mystic trickster/ shaman and
prospered. But his work at Black Ark will always stand as his ultimate creative
achievement.

'moisturizer' ist das mutige zweite Album von Wet Leg, der fünfköpfigen Band von der Isle of Wight, die von Rhian Teasdale und Hester Chambers gegründet wurde. Zusammen mit Ellis Durand, Henry Holmes und Joshua Mobaraki hat Wet Leg die letzten Jahre auf der Straße verbracht und sich zu einer wilden, elektrisierenden Live-Band entwickelt. Das neue Album fängt diese Energie ein und liefert einen Sound, der straffer, mutiger und selbstbewusster ist, aber immer noch vor dem gleichen schnellen Witz und der rohen, ungeschliffenen Energie strotzt.



Isoliert in einem abgelegenen Haus auf dem Lande entstand 'moisturizer' in einem kreativen Rausch, der sich mit Themen wie Besessenheit und alles verzehrender Liebe befasst. Während ihr Debüt aus dem Jahr 2022 mit zwei Grammys ausgezeichnet wurde und die Charts stürmte, bringt 'moisturizer' den nötigen Biss mit: schrille Gitarren, schwere Beats und eine furchtlose Hingabe, alles auf einmal zu fühlen.

Ltd Edition!

'moisturizer' ist das mutige zweite Album von Wet Leg, der fünfköpfigen Band von der Isle of Wight, die von Rhian Teasdale und Hester Chambers gegründet wurde. Zusammen mit Ellis Durand, Henry Holmes und Joshua Mobaraki hat Wet Leg die letzten Jahre auf der Straße verbracht und sich zu einer wilden, elektrisierenden Live-Band entwickelt. Das neue Album fängt diese Energie ein und liefert einen Sound, der straffer, mutiger und selbstbewusster ist, aber immer noch vor dem gleichen schnellen Witz und der rohen, ungeschliffenen Energie strotzt.



Isoliert in einem abgelegenen Haus auf dem Lande entstand 'moisturizer' in einem kreativen Rausch, der sich mit Themen wie Besessenheit und alles verzehrender Liebe befasst. Während ihr Debüt aus dem Jahr 2022 mit zwei Grammys ausgezeichnet wurde und die Charts stürmte, bringt 'moisturizer' den nötigen Biss mit: schrille Gitarren, schwere Beats und eine furchtlose Hingabe, alles auf einmal zu fühlen.

Pressed to limited edition other-worldly Zoetrope picture disc, Shui is the new album from Sydney based punk rock five-piece, Fangz, out via Impressed Recordings.

Since their 2019 inception, the band have released three EP’s For Nothing (2019), But No Thanks (2020), Falling Is Pretty Normal (2022), and a slew of singles, which received strong support from the likes of triple j, triple j Unearthed, Triple M, Spotify, Apple Music, Amazon Music, Metal Hammer (UK), Loudwire (USA), Classic Rock (UK), Metal Injection (USA), Louder Sound (UK), NME, Pilerats, The Guardian, MANIACS and many more.

They’ve traversed the country multiple times selling out headline shows, performing at festivals and sharing stages with the likes of FIDLAR (USA), Pennywise (USA), The Bronx (USA), Cancer Bats (CAN), RedHook, Comeback Kid (CAN) and He Is Legend (USA).
The group have also completed an East Coast in 24 hours, launched their very own line of hot sauce Fang us Some Sauce, an annually curated festival ‘FANGZstock’, and hold the Guinness world record for the most hard-boiled eggs eaten in one sitting by front man Josh Cottreau (143 eggs in three minutes and ten seconds).

Coming into 2025, the quintet have released singles ‘Wasting Time’, ‘Nothing To Lose’, ‘Same Old Story’ and ‘Wide Awake’ from their forthcoming debut album ‘Shui’ (due July 2025), plus have taken FANGZstock on the road, launching the Melbourne and Brisbane contingents.

The project’s title track is the perfect blend of gossamer shoegaze and Graveface’s signature eerie nocturnal feel, with the lyrics similarly balancing the purity of love against mankind’s darker instincts in the face of romantic obsession.

“‘For Keeps’ is a story written from the perspective of someone who is so desperately in love, they’d do anything to hold onto that love,” the band shares. “We just wanted to explore a really dark part of the human psyche.”

To further elucidate on these themes, Night School has shared a music video that pairs performance footage with a narrative of amour fou that gets a little bit too fou—I won’t spoil anything, but there is manslaughter involved.

For her second full-length as Plume Girl, Sowmya Somanath crafts a space where boundaries of language, feeling, and sound start to dissolve. ‘Unnameable Glory’ ruminates on the limits of expression, and the luminous freedom that emerges when we let go of the need to name. Elaborating on the exploratory songs of her debut, Plume Girl continues to bring together Hindustani classical improvisation, ambient soundscapes, and experimental pop.

Somanath’s voice—from gentle murmur to radiant call—guides the listener through dreamlike arrangements: sunrise guitar arpeggios, humming choirs, heartbeat kickdrums, and synths tremble. Elsewhere field sounds and old family recordings are collaged, a woman’s giggle transposed into a piano melody, a sloshing body of water mirrored by synth bleeps. Plume Girl conjures moments of revelation, drawing from the natural beauty and intuition, that unnameable glory.

Is there a divinity or a wholeness that exists beyond language, belief, or tradition? Unnameable Glory both celebrates and gently challenges the notion: Can we honour the creative richness of culture while also seeing through the divisions it creates? Can we meet the world—and each other—without assumption, without fear, with eyes made new? In these songs, the sacred is found not in grand gestures, but in the anonymous freedom of simply being: the iridescence of oil and water on a street, the smile of a stranger, the hush that settles by a creek.

At the heart of the album is a sense of curiosity and surrender—a willingness to listen without judgment, to let the moment be unnameable, to allow wonder to arise and dissolve. And yet, as Somanath notes, there’s an impulse to capture that’s tough to ignore; a need to replicate and remember. Unnameable Glory dwells in this tension: between holding and letting go, between the urge to define and the beauty of what cannot be contained. There is a quiet, revolutionary joy in simply living and sensing together. Music becomes a meeting place for the whole, the holy, and the unnamable.

Milky Clear Vinyl. Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu - formed in 1999 and sparked an entire movement in music pop culture powered by vintage synths and electro-rock engines. Originally released in 2001 by Emperor Norton Records in the US and Invicta Hi-Fi in the UK, ''604'' is the debut album from the Liverpool formed electronic outfit Ladytron. Named after the area code for British Columbia, the album features break-out tracks 'He Took Her to a Movie' (inspired by Kraftwerk's very own 'The Model'), 'Playgirl' and 'Discotraxx'.

‘With Time, We Learned To Ask Less’ is the first duo album by Giuseppe Ielasi and Riccardo D. Wanke after decades of friendship and the occasional artistic collaboration. Working with only electric guitar and electric piano as well as a gentle dose of reverb, these improvisation-based recordings showcase the rapprochement of two artists whose interests are perfectly aligned. Their carefulness, attention to detail, and shared desire to sculpt space through music instead of just occupying it create a unique harmony between these two exceptional musicians who consistently stay mindful of the old adage that music is the space between the notes. Following up on solo albums sees them seamlessly combining the sparse but lush aesthetics of those experiments throughout these 44 minutes. Having lived close to each other in Northern Italy, where the prolific mastering engineer Ielasi still resides to this day, he and Wanke were members of the group Medves together with Andrea Belfi, Renato Rinaldi and Stefano Pilia before Wanke relocated to Lisbon. When Ielasi, who had mastered Wanke’s recent solo albums including 2023’s »i« for electric pianos, was invited to play a concert in the Portuguese capital in the summer of that year, the two took the opportunity to go on stage together. Infatuated by the results of this fully improvised set, they organised a two-day session in Ielasi’s Monza studio shortly thereafter and edited the recordings over the course of the following months. The resulting album shows them moving slowly through sonic space and time, complementing and counterpointing each other’s playing. They leave each other room in which to unfold and let short moments of silence speak for themselves. ‘With Time, We Learned To Ask Less’ is the closest you will get to hearing the air sing.

6 months after the release of Ed Rain’s (one of Andrei Rusu, half of duo Khidja, solo projects) debut solo album ‘Met him on a Wednesday’, Malka Tuti records is presenting two Huge remixes for the title track’s collaboration with Fantastic Twins.On the A Side we have Pilooski on the banger duties. Heavy sub bass frequencies and edgy rhythms reminiscing of late 90s UK energies (but with a somewhat modern twist) push forward a dance track with a unique structure and unexpected sonic surprises. Big room IDM. Big Big Tip. On the flip side we finally managed to collaborate with one of our favourites Superpitcher. The Kompakt x Pachanga Boys x Hippie Dance xxx alumni is one of our all time favourite people and producers, and we are oh-so-happy that he joined us on this special ride.His interpretation of the track takes it into more “poppy” realms. The entire track is laid over a beautiful sub bass droney kind of bassline and the result is one of those “this has been on repeat the entire day” kind of songs. A melancholic hue paints the song with a ‘Happy-Sad’ kind of energy and gives it more emotional depth yet always keeps it playful.

Dimple Discs is pleased to announce its first release from the legend that is Jah Wobble. It is a completely solo work with Wobble writing playing and arranging. Lee Perry and King Tubby are deep influences with astounding top layer sonics. Jah Wobble, is an English bass guitarist and singer. He became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s; he left the band after two albums. Following his departure from PiL, he developed a solo career. In 2012, he reunited with fellow PiL guitarist Keith Levene for Metal Box in Dub and the album Yin & Yang. He continues to tour with a two hour show often presenting "Metal Box In Dub" with former Siouxsie and the Banshees guitar player Jon Klein who Wobble calls the greatest post punk guitarist.

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

REPRESS

New Delhi-based Peter Cat Recording Co. will release their debut album, ‘Bismillah’ on June 14, 2019 via French independent label Panache Records. Debut UK live shows are soon also to be announced by the band.


Peter Cat Recording Co. could almost have a question mark on the end of its name. Not least as founder & frontman Suryakant Sawhney refuses to explain where that name really comes from or what it means (perhaps a reference to the Tokyo jazz club owned by Haruki Murakami), but also since the very existence of the band itself raises a raft of questions. When was the last time we fell for an indie rock band for the right reasons? Not because the band in question nostalgically imitate a perceived ‘golden age’ but because they innately embody the fundamentals of such music: fantasy, sincerity and the freedom to make music without rules or career aspi- rations. And when was the last time this kind of band sounded like Sinatra, Barry White, the sweetest doo-wop, humid fanfares and a psychedelic wedding band, all at once? And all of this coming from India?
In truth, the story of Peter Cat Recording Co. was written within the triangle of San Francisco, Delhi and Paris.
In the first of these cities, Sawhney (a native of Delhi) pitched up to study film-making. More distracted by the city’s peaking live scene of the early noughties, this is where he started to make music and to sketch out an idea for the band.“
The people I lived with supported my idea of writing music, they introduced me to great mu-
sic. There used to be a great garage scene in San Francisco, like The Oh Sees also Ty Seagall, Mikal Conin, all those bands. This is a world I had never seen in my entire life. A big inspiration from San Francisco was that you could record yourself. You don’t need to be in a studio and spend a lot of money to make an album. You can do it”.


At the end of the 2000s, Suryakant returned home to New Delhi, and started his band for real, more or less the same band that plays today. “I wasn’t so concerned about will we be performing, will we be the greatest band, will we be trendy. I just wanted to make something that was consequential and important for us, I think. Something which would last, something people could listen to and be like « this is life changing ». It was for the sake of beauty”.


For the first few years and in India alone, this is exactly what Peter Cat Recording Co. did, in total indifference to the rest of the world. This was until young Parisian label Panache stumbled across the band online via Vice’s THUMP subsidiary, stupefied by the band’s cosmic video for seven-minutes-and-counting track, ‘Love De- mons’. And so in spring of 2018, ‘Portrait Of A Time: 2010-2016’ was released on Panache - making the first international release from Peter Cat Recording Co., bizarrely enough, an anthology of re-mastered, hidden gems from the band’s ramshackle back catalogue, previously recorded in Suryakant’s own living room. With Peter Cat’s off-kilter charm hitherto unheard of beyond the fringes of India, the release provided a gateway op-
Whilst the title track found its way onto Tracks Of The Year lists at the Guardian & NME, it was tricky for new PCRC enthusiasts to get a firm grip on the startling push/pull between the immediate, uncanny music this release gathered, and the cultural backdrop of New Delhi at which it was so startlingly at odds.


Opportunity for a wider fanbase to fall in love with their cloud-like, drunken songs for the first time.
If discovering your favourite new band via a ‘Best Of’ feels a curious premise, then ‘Bismillah’ does more than hint towards the promise of Peter Cat Recording Co’s future. Blending gypsy jazz, psychedelic cabaret, space disco, bossa supernova, Bollywood and uneasy listening with kaleidoscopic ease, in many senses, the band’s knack hasn’t altered. Always different, paradoxical, unpredictable yet somehow familiar. The new album opens to the strains of bird chatter, the whisper of a city’s soundscape and the first few notes from an instrument which seem to be calling us to the departure lounge, a fore-shadow of the flight ‘Bismillah’ launches its listener
on. Suryakant sings with the detached, rueful elegance of Sinatra marooned on a desert island, whilst his band create small space-time capsules which navigate their way through genres and eras – including the future – and between nostalgia and eccentricity.


Peter Cat recently trailed ‘Bismillah’ with the release of ‘Floated By’, an appositely titled musing on failure & missed opportunities, punctuated by the fulsome brass section which weaves through so much of the album.


The languid, blue quality to the track is offset by the attendant music video, created with footage shot, implau- sibly enough, at Suryakant’s own marriage ceremony (needless to say, the wedding band hired for the day was of course, Peter Cat Recording Co.) Sawhney dryly notes; “Hopefully it’s not a many-a-times-in-a-lifetime event. You can’t fake that set, those people actually having a good time, being really emotional and intense.” ‘Bismillah’’s colour-drenched album cover also captures Suryakant’s father-in-law making his wedding toast on that same day - a nod back towards the cover of ‘Portrait Of A Time’, itself a black & white image taken at the wedding ceremony of Suryakant’s own father.


A stumbling but gracious collection of songs rooted in a kind of drunken soul music, the melancholy nature of some of the songs on ‘Bismillah’ renders them almost liquid, before they develop into more dance-like shapes. Suryakant’s rangy voice swoops from the falsetto glide of ‘I’m This’ to the beat-up baritone blown along by the warm breeze of ‘Soulless Friends’. The elliptical structure of album opener ‘Where The Money Flows’ also al-
lows for the use of brief bursts of autotune effect on his vocal without feeling incongruous, whilst the desultory lyrics of ‘Heera’ (a Hindi word for diamond) - sharing something with the Morricone school of grand storytelling - have an emotional weight that would impress even coming from a native English speaker. Perhaps the most gleefully unpredictable moment on ‘Bismillah’ comes with the illusory, vocal loops on the intro to ‘Memory Box’, errupting into 8 exhilarating minutes worth of unbridled, string-backed disco joy. A cat might have nine lives, but on ‘Bismillah’ and beyond, Peter Cat Recording Co. are hinting towards an un- knowable multitude of dimensions. Throw them all together, and it equates less to a listening experience and more to an out-of-body experience.


Peter Cat Recording Co. are: Suryakant Sawhney (vocals/guitar/organ), Dhruv Bhola (bass), Kartik S Pillai (organ/guitar/electronics), Rohit Gupta (horns), Karan Singh (drums)

Random Coloured Vinyl
Nu-Tone presents Combo Tezeta's debut 7" vinyl record! The A-side, "La Danza Del Camaleón" is an instrumental cumbia-salsera that takes you on a tropical trip with a touch of psychedelia. On the flip side, a dark mid-tempo bolero called, "La Reina Nocturna". Remastered from the original verion, released by Discos Más in 2020. Based out of the Bay Area, Combo Tezeta plays a highly danceable blend of instrumental Cumbias, Chichas, and Musica Tropical inspired by the late 60's and early 70's era of psychedelic Peru. Layering the reverb-fueled sounds of surf rock onto the foundations of Cumbia, the band's focus is to highlight the rich melodies and hypnotic rhythms birthed from the Afro-Latin diaspora. Along with its appreciation of world music and its diverse cultures, Combo Tezeta's mission is to deliver the sounds and musical echoes of the past to the present through a combination of traditional and original music. Combo Tezeta was featured in Noise Pop 2023 and has played Pacific Northwest tours with Satan’s Pilgrim and Thomas Lauderdale of Pink Martini 2023. The band has played famed Bay Area Venues the Chapel, Eli’s Mile High Club and the Ivy Room.  In Summer of 2024 they toured the Pacific Northwest and Southern California, including an appearance at The Hardly Strictly Bluegrass Festival in San Francisco's Golden Gate Park. The band was chosen by NPR’s Tiny Desk Concerts to be one of 20 finalists (out of 7000), and featured them in the Northern California showcase of finalists at Lagunitas Brewery in 2024. “Oakland seven-piece Combo Tezeta kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.” – KQED

The Isle Of Lewis is the largest such of the Outer Hebrides archipelago, and a place where myth and folklore are abundant, The Callanish Stones, a cruciform circle reckoned by tradition to be the forms of petrified giants who would not convert to Christianity, once prompted notable chronicler of the ancient Julian Cope to pronounce himself “Lashed by wind and rain but surrounded by vibe”.

This was where Holy Scum decided to take a pilgrimage for the recording of their second album proper for Rocket Recordings, All We Have Is Never. Frustrated by the physical and logistical challenges keeping the band members from collaborating, they decided the best way forward was at the residential Black Bay Studios on Great Bernera, a two hour plus ferry ride from anywhere. “The isolation of Black Bay was our salvation, a much-needed cleanse after a year of relentless misfortune” reckons the band’s Peter Taylor. Taylor describes the Holy Scum approach jokingly as ‘No riffs’ yet this belies an ability to carve abstraction and minimalism into monolithic and ominous shapes. Whilst the band are as handy as ever with excoriating and ear-splitting experimentation - as on the feverish guitar scree that underpins the taut‘Thieves’ - they also excel in a grittily vital charge as analogous to the ballsy kinetics of Fugazi and The Ex (the primal ‘I Am The Land’) as the overcast catharsis of Killing Joke and Voivod (the infectious ‘Witches’). “The title is a nod to the fact that everything ends - good, bad, ugly, beautiful “ reflects vocalist Mike Mare (Dälek) of their most focused work to date. “That is not a bad thing - it is a rebirth every time. We can spend a lifetime 24/7 together having shared experiences but living separate realities”. “I don’t think it is nihilistic,” he adds. “The despair turns into hope for sure”.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

Deadbeat's latest release is from Malta's own acid pilot - Acidulant. As you'd expect, DBR006 throbs, oozes and drips 303.

If Planet Jack's uncompromising acid baseline is all business (and we're talking Wolf of Wall Street shit here), Taken A Trip is here to play - mischievous, joyous and eventually bursting into a climax of pure acid house. No doubt, these tracks know their heritage - Taking Orders From Machines channeling the energy of electronic originators Kraftwerk via an East London basement at 0600am.

And when the breaks start to kick this EP truly ascends. The growling physicality of Coming Down To The Underground prowling the floor before Space For Crap's anthemic hook lifts us into ecstatic bliss.

Im oberfränkischen Sulzbach-Rosenberg, dem Standort der Maxhütte, brannte Ende des Jahrzehnts natürlich nichts außer dem Feuer in den Hochöfen, in denen Stahl geschmolzen wird. Floh de Cologne sahen sich über viele Monate dort um, die fünf Langhaarigen aus Preußen (Enxing) redeten mit Gott und der Welt. "Wir waren mit der Zeit integriert." So entstand Koslowsky.

Darin gehört das Epos "Prinzessin auf der Nadel" zum Besten, was die deutsche Rockmusik hervorgebracht hat. Der Text stammt von Peter Maiwald (1946–2008). Er porträtiert die Umstände, die eine junge Frau aus Sulzbach in die Droge als »Aus- weg« führt. Uraufgeführt an zwei Abenden im Dezember 1979 im Saal der Gaststätte "Josefshaus", gewerkschaftlich unterstützt wie manche andere Floh-Produktion, er- reichte sie auch die Belegschaft des Stahlwerkes – bis spät in die Nacht unterhielt ich mich danach mit einem Stahlwerker bei gutem bayrischen Bier. Im Betrieb hatte er so einiges mitbekommen von der Vorgeschichte. Das Programm steht für die Brillanz, die Floh de Cologne musikalisch wie textlich im Laufe der Jahre erreicht hatten, erhielt den deutschen Kleinkunstpreis und wurde fürs Fernsehen aufgezeichnet. Ins erste Programm schaffte es Koslowsky nicht, aber immerhin in mehrere dritte.

Das letzte FL0H-Opus - vor dem großen Abschlußspektakel -hieß „F“ und knüpfte an alte Action-Theater-Tage an. Mit einer Musik allerdings, die erneut bewies, wie offen und aufnahmebereit die Routiniers geblieben waren. Moderner Rock, nicht modische Masche. Atemberaubend militante Intensität in den New-wave-Stücken, feinnervige Einfühlsamkeit in epischen Songs. Dazu bitterböse Satire, die an Biss nichts eingebüßt hat.

Die LP zu „F“ heißt FAATERLAND. Sie wurde in C0NNY‘S STUDI0 von Dave Hutchins aufgenommen und gemischt.