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Utter presents 'The Ritual EP' by Frank Rodas.

Frank Rodas is the elusive creator of 2019's 'The Sellout EP' (Optimo Music) and one of the brains behind the excellent 'Out The Flat' label. While his previous release deftly dipped into Electro, Industrial and EBM sonics, 'The Ritual EP' sees the versatile producer travel in another direction, taking the listener on an ethereal, acid-tinged Tribal voyage.

The visuals also complement the EP's cohesive deeper sound. Decadence comics co-founder Lando's immersive artwork draws us further into this imagined far-future world, with a vast flooded landscape dominating the front cover, any remnant of civilisation succumbing to nature. A large 50x70cm panoramic poster is included with every copy of the record.

'The Ritual EP' is available on recycled vinyl and digital formats.

Mastered & cut by Anne Taegert at D&M.

Syncrophone Proudly Presents the Latest Musical Revelation From Fred P, in the Form of the Three-Track Ep, “Preserving”. This Exquisite Collection, Available on a Mesmerizing Transparent Swamp Green Vinyl, Is Set to Captivate Hearts and Minds With Its Unique Blend of Sonic Exploration and Timeless Rhythms. “Preserving”is a Sonic Odyssey That Reaffirms Fred P's Position as a Pioneer in the Realm of Deep House. the Opening Track “The Sound Exchange” Sets the Tone for the Ep, Inviting Listeners to Partake in a Captivating Dialogue of Sound. With ‘Sonic Tour’, Embark on a Sonic Tour That Explores the Rich Textures and Ethereal Atmospheres Crafted by Fred P's Deft Hands. This Track Is a Testament to the Artist's Ability to Weave Emotive Chords and Subtle Percussion Into a Harmonious Blend, Leaving an Indelible Mark on the Musical Landscape. Concluding the Ep Is "The Kingdom," Fred P Showcases His Prowess, Fusing Artistic Creativity With Scientific Precision, Making This Track a Standout Addition to the Ep. “Preserving”is Not Just a Collection of Tracks; It's an Auditory Adventure That Invites Enthusiasts and Newcomers Alike to Delve Into the Heart of Deep House....

Erstmals seit 1982 auf Vinyl erhältlich: 'Psychotic Jonkanoo' war das sechste Creation Rebel-Album in drei Jahren, ursprünglich lizenziert an das Glasgower Post-Punk-Label Statik. Ein weiterer solider Killer-Dub, weniger instrumental, mehr ausgereichtet auf bewusste Vocals im militanten Stil samt unterstützenden Harmonien im Black Uhuru-Stil. Mit Backing-Vocals der Punk-Legende John Lydon (The Sex Pistols, Public Image Limited) und einer ausgesprochen experimentell-britischen Herangehensweise an traditionell-jamaikanischen Roots-Reggae, was zu einem unverwechselbaren Hybrid-Sound führt, der immer noch frisch klingt.

'Anybody searching Adrian Sherwood's catalogue for an easy point of entry would do well to start here, and everyone else can simply applaud Psychotic Jonkanoo as the last truly great roots reggae album of the 1980s.' - All Music

Two talents with careers spanning varying eras, yet artists positioned at the heart of Italy’s current house landscape, Alex Neri and Mennie are adding to their rich solo discographies with a series of selected works in partnership with one another. Tuscany’s Neri, co-owner of the iconic nightlife institution Tenax and label boss at Wildflower Records, stands as one of the legendary Italian names from the past 30 years, holding residencies at the likes of Pikes in Ibiza while releasing a long list of classic records since the early 90s under numerous aliases, including Kamasutra alongside Marco Baroni. A familiar name to FUSE fans, having released material via sister imprints LOCUS and INFUSE, Mennie has seen his career flourish of late, regularly touring Europe’s key venues while also holding a residency at the legendary Tenax. Here, the two build on their recent joint studio projects with a debut on FUSE for the third edition of the label’s collaborative X Series, unveiling a quartet of impactful house cuts in heavy rotation for label head honcho Siragusa.

Taking a deep dive amongst swirling synths and cosmic interludes, ‘Reality’ opens proceedings with a trippy and punchy lead cut as the duo introduce slick groove-laden drum arrangements to get things moving, while ‘Find Me’ keeps the pressure on with bumping low-ends, shuffling hats and a menacing yet captivating bass groove sure to keep dancers moving in lockstep. On the b-side, ‘Rockets’ brings luminous melodies amongst breaks-influenced percussion for a playful and dynamic production, before ‘Watch Me’ rounds things out with another all-action affair as acid-dipped and kinetically charged closer made for big moments.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Several Years Ago, the Disco Records Dj Crew Members Got Their Hands on a Couple of Original 70s Obscurities, While These Standout Records Shone Brightly in Their Own Right, the Team Finally Decided to Put Them Out as Those Obscure Old Records Fetch Eye-Wateringly High Prices on the Second-Hand Market. Due to Popular Request & Lovingly Mastered to the Highest Possible Standards, They Are Now Available to Play and Share in Very Special Moments at Parties Around the World. This Will Surely Be One of the Most Keenly Anticipated Disco Release of the Year. for Our First Release, We Are Extremely Proud to Bring You at Last, Three Very Hard to Find Disco Anthems on Sides a & B in Their Glorious Full Extended Versions...

A quietly influential figure among electronic and experimental circles since the late 90s, Berlin based sound artist Hanno Leichtmann has been developing a sprawling and idiosyncratic vision both as a creator and curator.

With a keen sense for charting new territories, Leichtmann's work spawns a multitude of languages that go from deli-cate ambient excursions to techno explorations or abstract sceneries on numerous sound installations, releases on such esteemed labels like Entr'acte or The Tapeworm and collaborations with artists like Valerio Tricoli or Jan Jelinek. A reflection of his keen sense of discovery.

Centered around the Villa Aurora Organ, an intriguing and mostly unknown instrument built in 1928/29 by the Artcraft Organ Company in Santa Monica, California, 'Outerlands' presents a deeply personal approach to the instrument's particular properties, very much in line with Discrepant's ethos. Consisting of a pipe organ, a wall mounted marimba and a two octave tubular bells/chimes ensemble, remotely controllable by MIDI, the Villa Aurora Organ's rich palette of sounds is translated into 12 short tracks capable of conveying the mesmerising spirits of minimalism, exotica and de-votional music.

Starting with the ecstatic sound of the pipe organ, 'Lucero' sets up the hypnotic mood for 'Outerland's excursions through moments of spiralling repetition - 'Tramonto' -, blissful contemplation - 'Sunset' or 'Notteargenta' - or underly-ing tension - ‘Coperto’. 'Espera' amps up the unease, with queasy organ tones lurking beneath marimba harmonic motifs that wouldn't sound out of of place on some survival horror movie, while 'Miramar' or 'Revello' bring an uncanny sense of familiarity through its repetitive melodies.

Drifting seamlessly through a variety of moods that somehow feel connected - the outerlands are within you, if you allow yourself to let go.

New York City"s Jennifer Vanilla, aka Jennifer Vanilla and Brian Abelson, offered a portal into a colourful world of innovative electronic sound with their 2022 debut album "Castle In The Sky", traversing new wave, post-punk, art pop, and experimental R&B. Now Love Injection, the multi-faceted brainchild of Barbie Bertisch and Paul Raffaele comprising a print magazine, radio show, record label, and production duo breathe new life into one of the album"s standout tracks "Jennifer Pastoral" on home turf, in the form of a 12" single alongside two ethereal mixes featuring maestros Dave Darlington on mixing duties and Francois Kevorkian as mastering engineer.

Returning from a period of intense and concentrated seclusion in its purest form, WRISTMEETRAZOR make their return in 2024 with their upcoming third album, Degeneration. The US metalcore outfit’s latest full length will be released via Prosthetic Records on March 29. Following the release of their 2021 sophomore effort, Replica of a Strange Love, the WRISTMEETRAZOR’s line-up went through of metamorphosis with Justin Fornhof abdicating his role on bass in favour of lead vocals - bringing Elaine Dalton (bass) and Nate Billmyer (guitar) to the fold in the process. Extensive North American touring soon followed with stints on the road among the likes of Seeyouspacecowboy, Traitors, Eighteen Visions and festival appearances at Furnace Fest and Code Orange’s Code World, respectively. Having solidified and fine-tuned the strengths of their latest incarnation onstage, the newly upgraded quintet found themselves with a renewed focus leading into Degeneration’s gestation period. During this moment of rare quiet for the group, WRISTMEETRAZOR sought the production skills of Randy Lebeouf (The Acacia Strain, Dying Wish, Kublai Khan). Ushering themselves into near total isolation in the woods of New Jersey, the writing and recording process for Degeneration was one of acute solitude, only leaving the studio’s cabin three times during the 30 day lock-in between almost non-stop 12 hour recording sessions. Degeneration’s backdrop of self-imposed seclusion bore fruit as the album’s lyrical focus began to develop. Whilst there are still traces of WRISTMEETRAZOR’s established world of Nietzchian philosophy and twisted romanticism, Fornhof found himself gravitating towards themes of misanthropy, apoplexy, and moral, political and religious hypocrisy within society. With WRISTMEETRAZOR’s ire pointed outwards rather than inwards, societal degeneration is explored through allegorical tales of mechanical decline and system failure that pull together to reveal a larger picture of the band’s disdain for humankind’s more repulsive traits. Songs such as Turn On, Tune In, Drop Dead, DogdayGod and The Greatest Love Offering in the History of the World reference intentional exits from society and sordid real life stories of assassination, against deftly woven industrial and EBM influences with groove based nu-metal flourishes at the fore. Degeneration’s post-apocalyptic production values lend a cold and methodically calculated quality to WRISTMEETRAZOR’s new skin, without losing the visceral core of their identity. Seeking to ensure a fully realised aesthetic to represent the absurdity of seeking justice in an unjust world, the cover was put together by Philadelphia, PA visual artist Alex Eckman-Lawn (END, Dim Mak, Woe).

This is the assumption; what are the facts?

In an exhilarating convergence of sonic exploration, experimental noise guitarist Nina Garcia and danish trombone virtuoso Maria Bertel have teamed up to create a heavy-hitting, collaborative record that pushes the boundaries between extreme improvisation and harsh noise. Both renowned in their respective fields, Garcia and Bertel bring their unique styles and influences to create a masterpiece of collaborative improvisation.

Known for her fearless approach to the guitar and her ability to conjure otherworldly sounds, Nina Garcia has carved a niche for herself in the experimental music scene. With a minimal setup consisting of only guitar, pedal & amp; constantly touring, collaborating and evolving, Garcia has established herself as a trailblazer, challenging conventional norms and redefining the possibilities of the guitar beyond tonality. There‘s as much free improvisation in her playing as it is informed by no wave and the energy of free jazz, but most of all, this is kinetic music.

And this might be the intersection where Garcia and Maria Bertel meet.

Bertel, an accomplished trombonist active in the free noise rock monolith Selvhenter and in the duo Gud Er Kvinde (God Is A Woman), is no stranger to pushing the limits of her instrument. Known for her dynamic performances and innovative approach, Bertel has earned international acclaim for her ability to seamlessly blend genres and traverse musical landscapes - from delivering the low end in Selvhenter to the drone explorations of G.E.K., together with Nina, she focuses on rhythmic possibilities of her instrument. The distorted, feedbacking trombone is as controlled and precise as it is sonically explorative.

KNÆKKET SMIL (meaning „broken smile“) is a living, breathing, moving entity. It‘s a testament to the raw and emotive power of these two players. Bertel and Garcia‘s practice of mutual listening, reacting and merging is as radically tender as lovers exploring each other‘s scars.

This approach to collaboration is also reflected in every other part of that record. It‘s a joint effort of three labels, french label No Lagos, which is a home to many of Garcia‘s ventures (and the graphic work of Helene Marian), germany‘s Otomatik Muziek, where Maria previously released with G.E.K., and belgian experimental stalwarts Kraak as focal point.

Die beiden vorherigen Veröffentlichungen von Witch Vomit, "Abhorrent Rapture" und "Buried Deep In A Bottomless Grave", festigten und erhöhten ihre Position als eine der stärksten und direktesten Kapellen des aktuellen US-Death Metals, die gekonntes, kakophonisches Gemetzel bieten. Mit methodisch unerbittlicher Inbrunst und gnadenloser Aggression haben sich Witch Vomit einen formidablen Ruf für brutales Riffing mit Hooks erarbeitet, die so eingängig sind, dass sie Fleisch von Knochen reißen.

Auf dem neuen Album "Funeral Sanctum" erweitern Witch Vomit die dunkle Melodik, die in der Raserei vergangener Veröffentlichungen vergraben war - nun zu schwarzem Obsidian geschliffen und mit der für die Band typischen Brutalität verschmolzen. Die DNA von Tracks wie Blood of Abomination" und Dominion of a Darkened Realm" erinnert nicht an die beschwingten Harmonien, die man im typischen Melodic Death Metal hört, sondern eher an die dämonisch-böse Macht der frühen Dissection, die in gefrorener Dunkelheit glänzt. Die blutgetränkte USDM-Grausamkeit bleibt der verrottete Kern von Witch Vomits Fundament.

Witch Vomits dominante dynamische Entwicklung innerhalb ihres konzentrierten stilistischen Rahmens hat mit "Funeral Sanctum" einen neuen Höhepunkt erreicht. Der intensive Fokus des Albums und der unaufhörliche Riffsturm entfesseln eine Welle blutiger Befriedigung, die sich mit unbarmherziger Eindringlichkeit in die Gehörgänge fräst!

Die beiden vorherigen Veröffentlichungen von Witch Vomit, "Abhorrent Rapture" und "Buried Deep In A Bottomless Grave", festigten und erhöhten ihre Position als eine der stärksten und direktesten Kapellen des aktuellen US-Death Metals, die gekonntes, kakophonisches Gemetzel bieten. Mit methodisch unerbittlicher Inbrunst und gnadenloser Aggression haben sich Witch Vomit einen formidablen Ruf für brutales Riffing mit Hooks erarbeitet, die so eingängig sind, dass sie Fleisch von Knochen reißen.

Auf dem neuen Album "Funeral Sanctum" erweitern Witch Vomit die dunkle Melodik, die in der Raserei vergangener Veröffentlichungen vergraben war - nun zu schwarzem Obsidian geschliffen und mit der für die Band typischen Brutalität verschmolzen. Die DNA von Tracks wie Blood of Abomination" und Dominion of a Darkened Realm" erinnert nicht an die beschwingten Harmonien, die man im typischen Melodic Death Metal hört, sondern eher an die dämonisch-böse Macht der frühen Dissection, die in gefrorener Dunkelheit glänzt. Die blutgetränkte USDM-Grausamkeit bleibt der verrottete Kern von Witch Vomits Fundament.

Witch Vomits dominante dynamische Entwicklung innerhalb ihres konzentrierten stilistischen Rahmens hat mit "Funeral Sanctum" einen neuen Höhepunkt erreicht. Der intensive Fokus des Albums und der unaufhörliche Riffsturm entfesseln eine Welle blutiger Befriedigung, die sich mit unbarmherziger Eindringlichkeit in die Gehörgänge fräst!

Northwest & Nebulous is Liverpool-based musician Luce Mawdsley’s sixth studio release, a lush and accomplished instrumental album suffused with radiant and fluid possibilities, where expansively cinematic instrumentals conjure queer cowboy landscapes via the Northern English coastline. The album is a world-building piece of work, pulling from folk, Americana and soundtrack influences, fusing their romantic and exploratory energies to signal the beginning of a new journey for composer, with an open invitation for listeners to come along for the ride. The album was recorded and mixed by Luce Mawdsley in the Grade II listed Scandinavian Church in Liverpool, with a core chamber trio of Luce on guitar, organ and percussion, Nicholas Branton on clarinets, and Rachel Nicholas on viola. A self-taught musician, Mawdsley has released a host of both solo and collaborative albums (Mésange, Cavalier Song), and in 2023 started Pure O records, an independent record label dedicated to the nurture of queer and curious music based in the Northwest of England. “Wordlessly fashions heady, droney atmospheres that could soundtrack a film where a man walks through a monochrome desert” - The Quietus “The spindly guitars and knotty progressions of ‘Insect Fire Dance’ and ‘Heathen’ explore an unprissy English prog with soil under its fingernails” - 8/10 UNCUT "A triumph of imagination – a wide-eyed stare at the skies, in love with sound and possibility." - **** The Skinny “It’s not a stretch to suggest that no one is making music like Mawdsley. While the Liverpool visionary’s 2020 release, Vulgar Displays of Affection (Maple Death Records), was something likened to splintered bones passing through a meat grinder, Mawdsley’s Luke Two is far removed, solidifying the notions of an artist leaping from one sound world” - Sun 13 “Hallucinatory echoes of Alejandro Jodorowsky’s dream-realism symbolic El Topo share room with otherworldly portals and the all-too real depressive, bleak traps of a run-down, unloved English seaside town.” Monolith Cocktail

Repressed clear yellow w/ red splatter vinyl! This is the 5th full length for London-based USA Nails full of post-punk noise rock that's as grating as it is catchy. USA Nails release their fifth album "Character Stop" on October 23rd 2020 through Hex Records. The new album from London-based USA Nails (and 2nd for Hex Records) is a post-punk, noise-rock platter that is as grating as it is catchy. The record was tracked live over 4 days at Bear Bites Horse in London with producer Wayne Adams. Though "Character Stop" still features the pummeling noise-punk that USA Nails have become renowned for, it's balanced with more sober, downbeat moments. On it they explore identity - like the online personas of aggressive twitter users, influencers and vloggers, as well as more introspective takes on mental health, giving up on dreams, the joy (and despair) of being a part-timer, and contemplating who they would be if they decided to hang up their guitars for good. Guitarist Gareth Thomas comments, "For me "Character Stop" is the best album USA Nails have ever made by miles. It's more varied than anything we've ever done before and I think it's stronger for it. I feel like it's more fully realized, and more complete as a collection of songs. Every time we get in a room together and write, the dynamic of our relationship as writers (and mates) develops a bit further, we get better at anticipating and complimenting each other. We've always tried to be efficient in our creativity, to do what feels natural and just let things flow. I'm obviously still really happy with all the music we've written up to this point, but on this record everything seemed to come together so sweetly. " Comes on clear green vinyl. USA Nails will tour Europe and the US in 2021, following a clutch of UK album launch shows in late 2020 - COVID permitting. In the last few years, USA Nails have toured with Sub-Pop lovelies Metz, completed numerous USA and European headline stints, and supported the likes of Mission Of Burma, John, Future Of The Left, Mclusky*, Cocaine Piss, Viagra Boys and Murder Capital. Ffo Pissed Jeans, Wire, Gang Of Four, Pinko, Blacklisters, Drive Like Jehu Press Quotes: 'Heavy, crushing, and aggressive post-hardcore' _The Needle Drop 'A mix of Drive Like Jehu headbangers, nods to psychedelia and a throttling of hardcore for good measure' _The Skinny

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

"Undici/Dodici" war das erste Lebenszeichen des italienischen Screamo-Outfits OJNE aus 2013. Das Line-Up hat sich geändert, mehrere EPs und eine komplette LP wurden veröffentlicht, viele Shows rund um den Globus wurden gespielt. Der klassische Sound des italienischen Screamo trifft auf die Strukturen des Post-Hardcore und die Atmosphäre des Post-Rock, in einem eindringlichen Konzept über Gewalt, Wachstum, Hoffnung und Rache.

Nachdem das Alternative Rock Trio LOST ZONE aus Norditalien mit ihrem Debütalbum „Reslilience“ & der Deluxe Version „Resilience – Full Circle“ schon einen ersten kleinen Achtungserfolg landen konnte, kommt mit "Ordinary Misery" ein ein neuer Longplayer, dass sich mit seinen Elementen aus Moder-Metal & Alternative-Rock, nahtlos an die Vorgänger anschließt.
"Ordinary Misery" ist mehr als nur Musik; LOST ZONE fassen die „alltäglichen Bad News“ mit denen sich jeder von uns leider oft kommentarlos auseinandersetzt und einfach hinnimmt, zusammen und nehmen den Zuhörer mit in diese Stimmungen und Gedanken. Von aggressiven Shouts und Moshparts, bis hin zu ruhigeren Klängen zeigen LOST ZONE, wie moderne Rockmusik klingen kann!
Darüber hinaus verleihen die einzigartigen Gastfeatures dem Album eine zusätzliche Dimension, die es von anderen abhebt. Ob mit dem Berliner Crossover Act BLUTHUND oder Philip Wilhelm von Post-Hardcore Act FROM FALL TO SPRING.
"Ordinary Misery" ist erhältlich als CD, limitierte Vinyl für Sammler und natürlich als digitales Erlebnis für unterwegs.

Die weibliche Stimme ist seit jeher eine Projektionsfläche sexistischer Erwartungen, deren bewusste und unbewusste Reproduktion die britische Pop-Forscherin Helen Reddington treffend als "gender ventriloquism" (die Bauchrednerei der Gender-Stereotypen) bezeichnet. Auch im 21. Jahrhundert, ein halbes Jahrhundert nach Nico, ist der Bruch dieser Erwartungen - ungeachtet aller Empowerment-Posen - immer noch eine auffällige Geste. Wie etwa im Fall der 21-jährigen, in Berlin studierenden Wienerin Edna Million. Deren tiefer, jeden Anflug von Emphase verweigernder, dunkler Gesang bettet sich auf der spröden Unterlage ihrer mit lockerer Hand angeschlagenen Halbakustischen, die klingt wie zwei, weil der übers Mikro aufgeschnappte Saitenklang sich mit dem warmen Sound von Pickup und Verstärker ergänzt. So entsteht eine eindringliche Intimität, die den narrativen Details der von Million stoisch vorgetragenen Geschichten reichlich Raum zum Nachschwingen lässt. Das Debutalbum von Edna Million erscheint am 29.3 und kann ab sofort vorbestellt werden.

Organic, electric, freeform. Pete Jolly's Seasons is comprised of melodies and textures composed live and without pretense—its grooves contain a complete and divine listening experience that surpasses all others of the era in which it was originally released, coming as close to transcendent musical meditation incarnate as one could possibly imagine. Seasons is an unsung masterpiece of ensemble groove and stellar musicianship, equally unsurpassed and inspired in its quiet excellence

While Seasons never had significant commercial success upon its release, it has since amassed a cult following, leading collectors to pay top dollar for copies of the rare record. Out of print since 1971, it has only been reissued once on CD.

In his liner notes accompanying this release, Dave Segal puts the album’s massive demand in perspective: “British label owner Jonny Trunk put up an original pressing of the LP for sale for an undisclosed but large sum on Instagram in January 2023, and it sold in five minutes. With Seasons back in circulation, maybe Pete Jolly will finally gain the broader audience that his phenomenal skills merit,” writes Segal. “If nothing else, it serves as a valuable lesson to artists: venturing outside of your comfort zone can bring the most interesting, enduring results.”

Remastered from the original analog master tapes by Kevin Gray at Coherent Mastering, this record not only foreshadows the roots of hip-hop but manages to embody the richness of a full album listening experience that few records can offer. Its timeless appeal is rare—and its dynamic range sets it apart as an album that straddles both the jazz and pop worlds in a way that almost no others can. Sit back, relax, and enjoy the changing and complex colors of Seasons for the first time ever since its initial release.

Organic, electric, freeform. Pete Jolly's Seasons is comprised of melodies and textures composed live and without pretense—its grooves contain a complete and divine listening experience that surpasses all others of the era in which it was originally released, coming as close to transcendent musical meditation incarnate as one could possibly imagine. Seasons is an unsung masterpiece of ensemble groove and stellar musicianship, equally unsurpassed and inspired in its quiet excellence

While Seasons never had significant commercial success upon its release, it has since amassed a cult following, leading collectors to pay top dollar for copies of the rare record. Out of print since 1971, it has only been reissued once on CD.

In his liner notes accompanying this release, Dave Segal puts the album’s massive demand in perspective: “British label owner Jonny Trunk put up an original pressing of the LP for sale for an undisclosed but large sum on Instagram in January 2023, and it sold in five minutes. With Seasons back in circulation, maybe Pete Jolly will finally gain the broader audience that his phenomenal skills merit,” writes Segal. “If nothing else, it serves as a valuable lesson to artists: venturing outside of your comfort zone can bring the most interesting, enduring results.”

Remastered from the original analog master tapes by Kevin Gray at Coherent Mastering, this record not only foreshadows the roots of hip-hop but manages to embody the richness of a full album listening experience that few records can offer. Its timeless appeal is rare—and its dynamic range sets it apart as an album that straddles both the jazz and pop worlds in a way that almost no others can. Sit back, relax, and enjoy the changing and complex colors of Seasons for the first time ever since its initial release.

Belgian drummer Kobe Gregoir has lived and worked in the Netherlands for over a decade, where he studied jazz and teaches at The Hague Conservatory. In his work he pays tribute to the 1950s and 1960s when jazz had its heyday.

DRIFT. Is British-Italian producer Nathalia Bruno, releasing music under the guise since 2015. Her 'techno-pop' EPs 'Black Devotion' and 'Genderland' released with Avant! records were the first explorations in finding the sound of DRIFT. but as the name suggests, is in constant flux. In 2020 'Symbiosis' the debut record was released on Hamburg's Tapete Records, an assemblage of lo-fi futurism reflecting on the breakdown of communication and interaction Nathalia felt was increasing around her. Channelling classic industrial electronica, haunting melodies, using samples, field recordings and curated sound as a 'canvas to rewire the vision of the future as colourful and old, ceremonial and rust beaten. A shrine like ornament and clinical machine language plaited together.'. In 2022 DRIFT. Self released 'The nature of things', a 30 minute piece entitled 'CTRL/ Algorhythm of love' written and produced for designer Mona Cordes' 'Cellusion' show for London fashion week. "_a journey into the dark heart of the dancefloor. The glimmering bass-heavy trance of its opening section could be classic Underworld, while its ambient center is genuinely Eno-esque. And then it all kicks off again as a Berlin school style banger. It's terrific" says Electronic Sound Magazine. This year, 2023 will give birth to DRIFT.'s second album released with God Unknown records '11 points In Time' written for and based on disappeared artist Rosi Crucci, compiled of sounds/field recordings recorded onto cassettes found in the attic of the home she last lived at, interpreted into song using some of her poetry and journal entries of what was happening in the world around her, attempting to finally give Rosi a voice. PRESS Louder Than War album review 'Symbiosis' (2020) "...blends passion with precision to create a tapestry of machine-made sounds that are bursting with ideas and filled with emotion. "We live in times where nothing means nothing," she sings on Visualise The Invisible. "And nothing is true." Never more so than now...Over the course of its ten tracks, Symbiosis draws from pretty much every strand of electronic music throughout its 50-year history" Shindig Magazine review 'Symbiosis' 2020 "A brilliant, fascinating album" Post Punk Magazine review 'Symbiosis' 2020 "is an exercise in disjointed meditation, a trip through the doors of the spirit lodge and inner workings of the human psyche." Pop Matters Review 'Symbiosis' 2020 "...One track in particular, "In Orbit", speaks to this new disturbing unknown we are creating. A distorted, three-note death knell drives it as repeated knocking seems to come from a dank tunnel. If it sounds bleak, it's likely also to be therapeutic and finds common ground with the entrancing industrial thud of Throbbing Gristle or Third Eye Foundation..."

Originally rumoured to be a double album the plan was shot down - Dave Thompson in conversation with Melanie managed to work out what it would look like and here we present all newly mastered the deluxe version. Woodstock and Glastonbury Fayre icon Melanie had been working with Easy Action on the deluxe vinyl and CD rerelease of one of the most legendary albums in her long catalogue prior to her very sad passing. In 1972, Melanie and her producer and husband Peter Schekeryk began work on what she intended to be her most ambitious album yet. Stoneground Words was to be a double album - the first such statement from any female rock artist. It would also be the first worldwide release on Neighborhood Records, the label she and Schekeryk established in 1971 - another first, as she entered territory into which only The Beatles, The Stones and The Moody Blues had previously stepped. Even more crucially, however, it was her personal response to the enormous success, earlier in the year, of the hit "Brand New Key" - "the bicycle song," as so many people recall it. Stoneground Words returned to the drawing board. Ten songs were selected; the remainder were placed to one side; and the album was released to generally positive reviews which included Melody Maker's assertion that it was "the most sophisticated she's made. The naiveté of the past has been replaced by deeper, more comprehensive methods of expression." She is the first to admit that the new edition of Stoneground Words is not a true facsimile of the original. The paperwork for all three projects, after all, disappeared long ago, as did the tapes ("who knows where?"). Stoneground Words will be released in March 2024 by Easy Action/Neighbourhood Records o Issued for the very first time as a double LP o Completely remastered. o Limited pressing on Pink Vinyl, CD Presented in large deluxe gatefold sleeve with full colour booklet o Brand new artwork o Originally recorded in New York in 1972 and released on Melanie's own Neighbourhood Records label.

Halle Weissensee (or Weißensee if you wish) starts where Sascha Funke’s last Ep for Running Back stopped. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind.
The Halle was a former engine plant in Berlin that got converted into a rave areal for the now legendary Mayday raves and one of the birthplaces and leading spots of the nineties. Coincidentally and unknowingly, 1993’s winter edition was attended by Funke and Gerd Janson and a conversation about it spawned this record. Don’t be mislead: this is not a retro rave fest, but an ode to the esprit of the times, the possibilities if an envisioned future and maybe most of all an afterglow. While Reality (sounding like a Relief record if the label would have been a topic at Bauhaus university) and the warped bleepiness of Halle Weissensee itself come closest to the actual sound aesthetic of that very night, Fantasy invokes the language of contemplative deep house from vintage New York, while Puzzle evokes a notion of what the same thing could be with the prefix progressive instead. Reality often falls short behind fantasy, but once in a while both complement each other very well.

Outer World is the post-punk / freakbeat Richmond, Virginia combo of Kenneth Close and Tracy Wilson (both formerly of Positive No) bringing their record collections to a new life in this retro-futurism debut release 'Who Does the Music Love'', on HHBTM Records. Outer World leaps into the future while blending krautrock, french pop, post punk, freakbeat, and post modernism into one

Die Screamo-Band Ojne aus Mailand veröffentlichen nach Jahren der Nichtverfügbarkeit ihr erstes Full-Length-Album "Prima Che Tutto Bruci" wieder mit welchem sie direkt zur Kultband der europäischen Screamo-Szene auf. Ojne spielten seitdem mehrere ausgedehnte Europa- und Amerika-Touren sowie weitere Touren in Aussicht.

The final album originally released in 1985 from Austin, TX, punk icons, Big Boys, now available on limited edition 180 gram purple vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Where's My Towel / Industry Standard LP, Lullabies Help The Brain Grow LP

Sophomore album originally released in 1983 from Austin, TX, skate-punk stalwarts, Big Boys, now available on limited edition 180 gram pink vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Where's My Towel / Industry Standard LP, No Matter How Long The Line Is At The Cafeteria, There's Always A Seat! LP

Debut album originally released in 1981 from Austin, TX, punk visionaries, Big Boys, now available on limited edition aqua blue vinyl. The Big Boys got their start in the late 1970's Austin punk scene. The band was fronted by the occasionally cross-dressing Randy "Biscuit" Turner, with Tim Kerr on guitar, Chris Gates playing bass, and a series of drummers - the best known of which is Rey Washam (Scratch Acid). Unlike the rest of the early hardcore scene of the day, they weren't afraid to stray away from superfast tempos in favor of some nice white boy skate funk. Beyond the funk tendencies, the band at times played an early brand of post-punk not unlike their contemporaries The Minutemen. Thanks to their inclusion on some of Thrasher magazine's first "skate comps," the Big Boys were hugely popular amongst the new 80's skate punk crowd. They were also known for the encouragement of crowd participation, breaking down the barriers between performer and audience. They even covered Kool & the Gang, never wavering when venturing into uncharted musical territory. Now y'all, go start your own band… Also Available From Big Boys: Lullabies Help The Brain Grow LP, No Matter How Long The Line Is At The Cafeteria, There's Always A Seat! LP

■ Limited Edition Classic LPs
• High-Definition Premium Vinyl Pressing - For Super Fidelity!
• The Way This Music Was Meant To Be Heard!
• 180 Gram Vinyl –Audiophile Pressing
• The Complete Album + 2 Bonus-Tracks

■ Commemorating 100 years of her birth: RITA REYS (1924-2013) CENTENARY LIMITED EDITION.
Once billed as "Europe's First Lady of Jazz," Rita Reys was a legend overseas during the second half of the 20th century, and certainly one of the top European jazz singers. Born in Rotterdam, The Netherlands, in 1945 she married drummer Wessel Ilcken, who introduced her to the post-war jazz scene.
After a successful visit to U.S.A., they recorded the present LP “The Cool Voice of Rita Reys No.2”.

INVOLUCIJA is an experimental post-industrial collaboration with artists from ex-Yugoslavian countries, started by Michel Morin (Sneak-Thief / Polygamy Boys) and Lucija Invo.

This 2×12″ on their new Berlin label expands on their 2023 debut EP on aufnahme+wiedergabe with even fiercer inspiration from EBM, techno & Balkan musical traditions.

“Involution” is a metaphor for the ever-entangling depth of our situation – the world falls apart then re-organizes itself with unexpected and sometimes distressing connections. Increasing effort is demanded for our “productivity” and our only reward is diminishing returns. Enough is enough!

INVOLUCIJA is envisioned as a noise abrasive enough to resonate with and overcome this ever-increasing discomfort from which we try to dissociate.

We call this euphoric deprogramming.”

Ach, komm, ein Mensch kann nicht immer gut sein... This sentiment rings amusingly true for us. How did we find ourselves in this post-truth era, and why does such a term actually exist? In a world where distinctions between right and wrong blur, does the clarity of a black-and-white delineation persist? Are we progressing, or are we regressing to a state reminiscent of the past?

Weaving together the complex tapestry of gore, politics, emotions, and, of course, the human experience in this work is done intricately and reflectively by the hands of Christoph de Babalon.

LP back in again soon, note new price. 5 stars; ‘50 Essential Albums of the 1970s.’ Eccentric & uncompromising, savage & beautiful, literate & guttural. Rolling Stone // Raunchy, pithy, and deeply redolent ... lines quiver with a raw vision rarely heard in folk or country. Pitchfork // Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, a complex memory palace to his West Texas hometown Lubbock, is often cited as the urtext of alt-country. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue. “Lubbock’s got a hard bark, with little or no self-pity; its music has an edge that can be smelled, like Lewter’s feed lot. No one from Lubbock ever apologized for what they were or where they lived.” – Terry Allen (2016) Three hundred forty-four miles of “blue asphaltum line” separate Ciudad Juárez, Mexico from Lubbock, Texas. Even if Allen’s music is more accurately described as art-country, Lubbock (on everything) sowed the seeds of alt-country’s emergence a decade later. It’s no accident that Lloyd Maines went on to play on classic albums like Uncle Tupelo’s Anodyne (1993) and Wilco’s A.M. (1995), and to produce Richard Buckner, nor that Sturgill Simpson and Jason Isbell play “Amarillo Highway” in concert. This is the urtext, the template for everything that followed

The word Asapani is part of the artistic vocabulary of Paolo "Batà" Bianconcini, percussionist of the La Scimmia Records collective, founding member of the Circolo Psiconautico and part of the Neapolitan bands Parbleu, Funkin' Machine and Nu Genea. This ancient-sounding term is a creation of the artist, who defines it as a word of nature, but also the (italian) acronym of Listen to the Silence, Listen to the Peace, Listen to the Inner Nothingness. More than a simple term, an exhortation.

The music contained in Asapani was written and produced between 2022 and part of 2023 by Paolo “Batà” Bianconcini who together with the Circolo Psiconautico (Paolo Petrella on bass and synth, Pietro Santangelo on wind instruments and Roberto Porzio on synths) and takes shape from observation of time and the infinite possibility we have of blocking its fragments and making them our own and then sharing them in another form. The intent is to transport the listener outside of himself, through sound vibrations, during the span of four long tracks that melt into each other feeling like one singular body of work.

This album spans several genres, but at the same time is unique in its style. Spiritual jazz blended with primitive settings, achieving a sensation of sonic primitivism. The listener is projected into a circle of musicians who, sitting around a fireplace, are transported towards infinity by their internal vibrations.The research starts from the four elements of nature (water, fire, earth and air) and thus uniting and fusing with each other they make us question our existence, our depths.
As Batà himself explains, starting from the four fundamental elements in order to keep the search for the fifth element constant.

A location, Melizzano, on the western slopes of Monte Taburno, where the Batahaus stands, the physical and spiritual home of Batà, a magical place in which the Circolo Psiconautico meets, with the aim of navigating the waves of the unconscious and composing music which, through contamination and experimentation, captures the moods of the moment and projects images and colours from the inside out that speak to everyone. Like a real club, the Psiconauti come together to give each other the chance to explore together, create suggestions and get excited among friends.

Vladimir Sivc (Funky Destination a.k.a. Mr. Louie) was born on August 19, 1979 in Osijek (eastern Croatia). With dedication to the retro sound of pure funky instinct, he set out to create a wild and groovy sound with this project. Louie took his first step into the world of music by taking guitar lessons. Later he devoted himself to rock singing and playing rhythm guitar.

At the end of the 90s the move from the eastern part to the western coast of Croatia (on the Adriatic Sea). The encounter with the turntable makes him experiment working as a DJ.

Subsequently he begins to produce his own music, traveling through various styles, using house and tribal elements trying to avoid artificial sound processing as much as possible. By using live instruments, the sound remains fresh and alive, resulting in a musical product whose vibrations contain an indestructible power of movement.

He has collaborated with several European labels including IRMA Records, Timewarp Music and Sound Exhibition Records.

In this single we find two of his most famous songs in remix version: Take It Down by LTJ Xperience and Mr. Bong by himself under his pseudonym Louie. Plus the original versions of Take It Down and another of his classics Praise Me Now. While compiling these notes and preparing the release of the single for distribution, we received the terrible news of his sudden passing at just 44 years old. We are completely shocked by this news and we plan to honor him in any case by publishing this EP to which he was very attached.

"For his fourth full length album, we see the proficiency of instrumentalist and composer Prins Emanuel in full bloom as he turns head deep into the techniques he established on the preceding outing of Diagonal Musik. Here, he revisit what he refers to as a diagonal approach in composing; i.e. starting at one point and then moving to the farthest point in the process, as a way for him to connect the dots somewhere in the middle, or - like I previously described it for the liner notes of that album - “something akin to drawing only shadows and then finishing with the contours”.
And in the tradition of great sequels, this is a much larger and intricate production. While relying on the guitar as a formative backbone to many songs, the layering of brass and woodwinds houses these compositions in bold and sharply lit structures. Mallets and percussion adds an air of momentum but also grounds these tracks in earthy hues.
Thawed and gracious, Diagonal Musik II in essence creates a space that bridges the various paths of Prins Emanuel’s musical universe. At once post-minimalist and avant garde in nature while also peeking through the door at both IDM and folk music, the lingering sensation is that of a well balanced palate that doesn’t break under the presence of repetition. Enveloped in a fourth world approach to jazz and incorporating the more contemplative side of post punk or art pop, there is a story hidden in here that gives cause to the appropriation of these influences.
The inherent warmth of certain instruments play their part in this story. Emanuel often builds on the notion of ‘organic music’ but broadens the definition via subtle electronic enhancements that sit naturally alongside their acoustic counterparts. Take for instance the voice emulator sequence that opens “Kadens Tre” and is dashed on by guitar slides and flute drills to roll further down a hill of staccato percussion. A few tracks in, the lines are so blurred it becomes a natural state until the harsh and eerie sample loops of closing track “Östan Vind” finally breaks the spell. ”

DJ Support: Louie Vega, Kenny Dope, David Morales, Dimitri From Paris, Dave Lee, Simon Dunmore, Michael Gray, Brian Tappert, Melvo Baptist, Seamus Haji, Terry Hunter, DJ Spen, Hector Romero, Dr. Packer, Kenny Carpenter; Jellybean Benitez, Husky, Birdee, Derrick McKenzie.

Legendary Italian producer Gianni Bini Debuts on Groove Culture with 'The House Of Glass' LP. With an inimitable CV and discography that includes over a thousand production credits to his name, hundreds of singles under renowned pseudonyms including Bini & Martini, Fathers Of Sound, The Goodfellas, Subsystem and two Worldwide hits as Eclipse and House Of Glass, Gianni is one of the most revered producers of disco-house, defining each genre with a signature sound. Always looking to push the boundaries of what it means to make music, his latest project sees Gianni return to deliver an epic disco record that takes the sound back to its roots in every way possible. Backing up live drums, live bass, live guitars, live strings with catchy vocals and enough groove to level a discotheque, it’s this Disco-Pop energy that Gianni has captured and expertly delivered with 'The House Of Glass'LP.

Frustration sind zurück und schon nach den ersten Takten wissen wir, wo es hin geht. Und obwohl wir uns genau das wünschen, wird wieder ein anderer Weg als zuvor gewählt, angetrieben von einem ursprünglichen Bedürfnis, das so komplex ist, dass sein Ausdruck niemals eine Wiederholung ist. Frustration lehren keine Musikgeschichte, aber das bedeutet nicht, dass sie nicht wissen, woher sie kommen. DIE Born Bad-Band schreit immer noch Postpunk. Für Snobs, die sich auf dem Boden wälzen, wenn auf der falschen Seite des Ärmelkanals Englisch gesungen wird, gibt es diesmal zwei Tracks auf Französisch, "Omerta" und "Consumés", welche daran erinnern, dass Fabrice Gilbert in einer Zwischensprache singt, die das Beste aus beiden Idiomen bewahrt hat. Es ist die perfekte Art, seine bissigen, unverblümten Tiraden zu genießen, die eine Schneise in diese Generation "of apathetic truffles / fantasizing about assholes full of money" schlagen. Außerdem singt Anne von der Rouener Combo Hammershoi auf "Vorbei" in deutsch Sprache, ein seltener Moment des Innehaltens auf dieser sehr intensiven, wütenden, lauten Platte, deren Sound weniger Cold Wave ist als der Vorgänger So Cold Streams. Das rasante Schlagzeug von "Catching Your Eye" erinnert an das fröhliche Dröhnen von "Shades From Fhe Past", einem Instrumentalstück ihres ersten Albums. "Secular Prayer", das das Album abschließt, bestätigt, dass Frustration genauso zur Ian Curtis-Familie gehören wie zur Ian Dury-Familie. Man muss schon aufpassen, sich bei einem solch kreativem Erfolg nicht zu ernst zu nehmen. Single-Vorbote "State Of Alert" fährt die Synthie-Sirenen hoch, nur ein erster energiegeladener Höhepunkt der französichen Frustration 2024.