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Second in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Soul Makossa' originally released in 1973. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Rechristening themselves Lafayette Afro Rock Band, the group's musical direction shifted towards predominantly instrumental compositions, characterized by a weightier, more intricate Afro-funk sound. Their debut recording under this new moniker, 'Soul Makossa,' made a powerful impact with a dynamic rendition of Dibango's classic, coupled with the intense break of 'Hihache' and the contagious 'Nicky.' Initially released by Musidisc in France and later in the U.S. via Editions Makossa, the album omitted the title track due to publishing clearance issues.

Despite modest sales upon its initial release, the album's enduring influence became evident as hip-hop culture surged in the '80s, establishing it as a primary source for samples and riffs. The iconic 'Hihache' break found fame in Biz Markie's 'Nobody Beats The Biz,' and tracks from the album were lifted by LL Cool J, The Beatnuts, Kruder & Dorfmeister, and numerous others.

Die schwedische Post-Rock-Band OH HIROSHIMA kehrt zurück, um in einem Zeitalter der verblassten Jugend und der Ernüchterung für Wunder und Ehrfurcht einzutreten. All Things Shining", das fünfte Studioalbum der Band, zeigt das auf einen brüderlichen Kern reduzierte Projekt, während es sich immer weiter in neue klangliche Gefilde ausdehnt. Vor über 15 Jahren als DIY-Post-Rock-Aufnahmeprojekt in Kristinehamn gegründet, ist Oh Hiroshima stetig über seine schwedische Heimatstadt hinausgewachsen und zu einem hoch angesehenen Studio- und Live-Projekt in der internationalen Post-Rock-Szene geworden. Nach vier abwechslungsreichen Alben, die Elemente von Shoegaze, Electronica, Post-Punk und tanzbarem Indie-Rock beinhalten, stellt Oh Hiroshimas bevorstehende fünfte Veröffentlichung All Things Shining" eine bedeutende Entwicklung im Songwriting und Sounddesign der Band dar. All Things Shining" ist eine musikalische Reflexion über den bisherigen Lebensweg der Band und darüber, dass das Staunen über die Welt heutzutage so viel schwieriger zu erreichen ist - ein weiterer bedeutender Meilenstein in Oh Hiroshimas Reise. Das Album, das gleichzeitig persönlich und universell ist, dient als klangliche Erkundung der zweischneidigen Natur des Alterns; das zweischneidige Schwert der Anhäufung lebensbejahender Erfahrungen, die unweigerlich unsere Wahrnehmung der Welt um uns herum trüben. Wie der Titel schon andeutet, betonen Oh Hiroshima jedoch, dass noch nicht alles verloren ist. Mit Songs, die von zeitlosen literarischen Werken inspiriert sind, die für Jakob und Oskar im Laufe ihres Lebens von zentraler Bedeutung waren, ist "All Things Shining" eine Erinnerung daran, dass es im Gegensatz zu den anderen Bands, die sich mit dem Alter befassen, noch etwas gibt.

Die schwedische Post-Rock-Band OH HIROSHIMA kehrt zurück, um in einem Zeitalter der verblassten Jugend und der Ernüchterung für Wunder und Ehrfurcht einzutreten. All Things Shining", das fünfte Studioalbum der Band, zeigt das auf einen brüderlichen Kern reduzierte Projekt, während es sich immer weiter in neue klangliche Gefilde ausdehnt. Vor über 15 Jahren als DIY-Post-Rock-Aufnahmeprojekt in Kristinehamn gegründet, ist Oh Hiroshima stetig über seine schwedische Heimatstadt hinausgewachsen und zu einem hoch angesehenen Studio- und Live-Projekt in der internationalen Post-Rock-Szene geworden. Nach vier abwechslungsreichen Alben, die Elemente von Shoegaze, Electronica, Post-Punk und tanzbarem Indie-Rock beinhalten, stellt Oh Hiroshimas bevorstehende fünfte Veröffentlichung All Things Shining" eine bedeutende Entwicklung im Songwriting und Sounddesign der Band dar. All Things Shining" ist eine musikalische Reflexion über den bisherigen Lebensweg der Band und darüber, dass das Staunen über die Welt heutzutage so viel schwieriger zu erreichen ist - ein weiterer bedeutender Meilenstein in Oh Hiroshimas Reise. Das Album, das gleichzeitig persönlich und universell ist, dient als klangliche Erkundung der zweischneidigen Natur des Alterns; das zweischneidige Schwert der Anhäufung lebensbejahender Erfahrungen, die unweigerlich unsere Wahrnehmung der Welt um uns herum trüben. Wie der Titel schon andeutet, betonen Oh Hiroshima jedoch, dass noch nicht alles verloren ist. Mit Songs, die von zeitlosen literarischen Werken inspiriert sind, die für Jakob und Oskar im Laufe ihres Lebens von zentraler Bedeutung waren, ist "All Things Shining" eine Erinnerung daran, dass es im Gegensatz zu den anderen Bands, die sich mit dem Alter befassen, noch etwas gibt.

"The Last of Us" (2013) war der Startschuss für ein bedeutendes Medienfranchise mit Videospielen und einer Fernsehserie. Bei Fans gilt es immer noch als eines der besten Spiele, die jemals entwickelt wurden. Der Plot enthüllt ein postapokalyptisches Szenario, in dem der Überlebende Joel das 14-jährige Mädchen Ellie aus einer bedrückenden Quarantänezone schmuggeln muss. Dies führt zu einer herzzerreißenden Reise durch die zerstörten USA. Der Soundtrack wurde vom zweifachen Oscar-Preisträger Gustavo Santaolalla komponiert. Die fesselnde Klanglandschaft verleiht der Geschichte eine weitere, tief emotionale Dimension. Mit der Veröffentlichung des "The Last of Us - 10th Anniversary Vinyl Box Sets" wird das zehnjährige Jubiläum des Spiels gefeiert. Dieses Set enthält Musik aus den Original-Alben "The Last of Us" sowie "The Last of Us Volume 2" - darunter selbstverständlich das legendäre Main Theme, das zu den prägnantesten Musikstücken in der Videospielwelt zählt.


The stunning new soundtrack to the highly anticipated game, ‘The Last of Us Part II’. ‘The Last of Us’ is one of the most successful video games of all time. It sold over 20 million copies worldwide since it was released in 2013. It’s sequel, ‘The Last of Us Part II’ is one of the most anticipated games of 2020 and has already won awards including a Golden Joystick Award, The Game Award and The Game Critics Award. ‘The Last of Us (Original Soundtrack)’, also scored by Gustavo Santaolalla sold more than 25K copies in the UK. Marketing.

" Brand new vinyl reissue to celebrate the 40the anniversary of zouk pioneers Kassav’ .

Who hasn’t retained at least one memory of the group Kassav’ from their youth? For whether in concert, or onthe radio or TV, the image of Kassav’ remains vivid inthe minds of listeners and spectators.

The group,founded in 1979 by Jacob Desvarieux, Georges andPierre-Edouard Décimus, has become legendary, putting Guadeloupe and Martinique on the musicalmap of the world. Touring the world with zouk, amusical movement introduced and popularized by Kassav’, their albums have repeatedly been rewarded with both gold and platinum discs .A victim of Covid in 2021, the loss of Jacob Desvarieux leaves a huge void. The mix of Jacob Des varieux and George Decimus with Jocelyne Béroard, Jean-Philippe Marthély, Patrick Saint-Éloi and Jean-Claude Naimro has played soldout concerts in 82 countries. With texts recounting reallife in the Caribbean world their lively music draws on the rhythms of Guadeloupe’s gwo-ka and Martinique’sti-bwa. Transcending the well-defined codes of Caribbean music, they have turned the 1980s and all the succeeding decades into a fabulous ballroom.

They have been welcomed in Japan and the USSR, where they became the first group of black musicians to tour. Forty years after the group’s creation, their timeless hits continue to resonate. "

Released in 1999 on Taylor Deupree’s 12k label, »optimal.lp« was the debut album by Dan Abrams under his Shuttle358 moniker. For its 25th anniversary, Keplar presents it on vinyl for the first time with three previously unreleased tracks—the digital version also includes a alternative version of »Tank«—as well as a new artwork recreated by Daniel Castrejón and a remaster by Andreas LUPO Lubich based on the original pre-masters that were been restored and cleaned up for the reissue project by Abrams. »optimal.lp« was inspired by the rich tradition of ambient music and the rhythmic complexity of 1990s electronica while also sharing many traits with the then-emerging clicks’n’cuts movement, making it a true sui generis piece of work—both informed by tradition and visionary, idiosyncratic and seminal for many artists after him.

Abrams developed an interest in ambient music when he was still a child, scouring through cassette tapes of environmental sounds, new age music, and world percussion. Discovering Brian Eno’s »Thursday Afternoon« as a young teenager marked a turning point for him. »It gave me the idea that ambient music could be an intentional creative act, that tone itself is a legitimate form of expression,« he says today. During the 1990s, he increasingly immersed himself in the electronica scene and the output of labels such as Instinct, where Deupree worked as an Art Director and released his first records as Human Mesh Dance. Abrams found a home on 12k after sending Deupree a demo tape that would later evolve into »optimal.lp,« released as the label’s fifth catalogue number.

Abrams was still in college when he started experimenting with a sound module, his laptop and a mixer as well as a MIDI card and a small controller. »Each note was composed in MIDI and played back when I was ready to record,« he explains his working process at the time. »The tracks could be replayed, but the sound interactions with glitches and noise would be a little different each time. I decided to base the concept of the album on these interactions.« Each piece started with a single sound or tone that, as Abrams puts it, already contained the entire composition: »I let these interactions guide me, and tried to complement them as I added sounds. It’s a conversation of sorts with the medium.«

While refining this technique that he would go on to use on every album until 2004’s »Chessa,« reissued by Keplar in 2021, he also used the first-ever Native Instrument product, the Generator soft synth, to write the record’s title track—possibly making it the first album on which it was being used. »optimal.lp« is marked by this curious interplay of cutting-edge technology, the limitations with which every college student with a small budget is faced, and boundless creativity. »I’ve talked with other artists about how we feel about our early work,« Abrams says today. »We all agreed that there were elements that remain a part of us in a timeless way, despite our techniques—or lack thereof—at the time. ›optimal.lp‹ has a lot of things that will always be with me, that are me. I think I left some clues in there for my future self.«

This sense of timelessness remains tangible after a quarter of a century after the album’s original CD release and is even being expanded upon by the vinyl reissue, which is complemented by three pieces that were made while Abrams was working on the album. The digital release even features an entirely new take on the original album’s final piece, »Tank.« While Abrams let one of the masters go through his customised reverb unit when preparing the reissue, he started recording the results of this accidental dialogue between past and present. It’s a fitting tribute to an album whose delicate circular rhythms, rich textures, and ethereal melodies are precisely so exhilarating because their interplay seems to suspend the passing of time altogether.

Reissue of the Historic Album originally Released in 1979

In a heartfelt tribute to Mike Wells, who tragically passed away in 2022, Viasonde, with the blessing of the Wells family, embarks on a mission to reintroduce Gridlock to the world. The four main Gridlock albums will be reissued on vinyl for the first time, starting with "The Synthetic Form" double LP.
Available on June 7th, this limited edition release will be featured on clear vinyl with black and bone splatter alongside black vinyl. Additionally, 50% of the proceeds from LP sales will be donated to the American Foundation for Suicide Prevention, honoring Wells' memory. Both formats are extremely limited and Non-Returnable.
In the mid-90s, a resurgence in Electro-Industrial was firmly focused on dance-floors. At this pivotal time, two San Francisco metal scene defectors, Mike Wells and Mike Cadoo, connected through a mutual friend. Bonding over their shared appreciation for non-metal influences, Wells, armed with a sampler and a couple of synths, had crafted a few tracks. Cadoo swiftly added vocals to these compositions, and thus, Gridlock was born.
With relentless dedication, the duo embarked on sculpting a grittier, more ominous variant of electro-industrial. Steering clear of the upbeat rhythms typical of the genre, they opted for a dystopian, dirge-like pace. Drawing inspiration from iconic acts like Skinny Puppy, Einsturzende Neubauten, and Fields of the Nephilim, they pieced together the Sickness demo. Eager to share their creation, they distributed the demo to anyone who would lend an ear, including many users on the rec.music.industrial newsgroup. Despite numerous rejections from industrial music labels citing its lack of danceability, Pendragon Records saw potential and took a chance.

Thus commenced the earnest endeavor of crafting their debut album, "The Synthetic Form." Upon its release, it marked a pivotal moment in industrial music, ushering in a fusion of classic, experimental, and dystopian ambient elements. Pendragon Records tantalizingly teased the album as "Unleashing a World of Your Demons," offering a glimpse into its bleak exploration of themes like regret and personal turmoil.
Over the years, Gridlock evolved through three subsequent albums, progressively exploring diverse sonic territories beyond the confines of industrial music. However, their journey met an acrimonious end with the duo parting ways, leaving behind their albums as poignant relics, elusive on digital platforms and sought after by collectors at premium prices... until now.

Four Flies is thrilled to announce a reissue of Piero Umiliani's soundtrack to the 1969 giallo thriller  "Orgasmo" (called "Paranoia" in English speaking countries), the first of three erotically charged films directed by Umberto Lenzi and starring cult siren (and Oscar nominee) Carroll Baker. Back in 2020, we unveiled the first-ever release of this iconic soundtrack, whose master tapes were thought lost for decades. After some serious detective work in the composer's archives, our team managed to salvage and restore the original tapes, bringing Umiliani's score back to life for all to enjoy. Due to popular demand, this reissue, unlike the 2020 release, bears the film's original Italian title.   Recorded shortly after "Sweden: Heaven and Hell" in late 1968, Orgasmo is undoubtedly one of Umiliani's finest works. The score perfectly captures the stylish and sleazy vibe of Lenzi's film, its acid-drenched visuals, ...



a 01. Fate Had Planned It So (film version) [feat. Lydia MacDonald]
[b] 02. M5 (jet-set) [feat. Giulia De Mutiis]



[f] 06. M27 (psychedelic trap) [feat. Alessandro Alessandroni & Giulia De Mutiis]


[i] 09. M46 (hammond valzer) [feat. Lydia MacDonald]


[l] 12. Seq. 6 (psychedelic suspense) [feat. Giulia De Mutiis]

2024 Reissue

Baricentro is an Italian funk-rock band founded in 1976 by two brothers Francesco and Vanni Boccuzzi; after the release of two albums in mid seventies (Sconcerto and Trusciant) for the major record company EMI; they recorded in 1983 the single "Tittle Tattle" representing a clear innovation in sound from their past, without believing that would receive a positive response in the New York City underground music scene and soon becoming a Paradise Garage and Loft classic. Best Record Italy today came out with this special reissue-project as a Limited Edition Ep, remastered from the original master tapes and containing for the first time all the versions from 1983 and 84 including the unreleased dub that was previously available as an acetate cut only for deejay play.

On the eve of Drop Nineteens' first live performances in 30 years, we are excited to announce the reissue of the band's 1992 shoegaze masterpiece, Delaware. "Reissue" is slightly misleading as Delaware has never actually been issued on vinyl in the United States. Delaware is the debut studio album by American band Drop Nineteens released on June 19, 1992. Despite the albums release over 30 years ago, and the band remaining inactive from 1993 onwards this album has remained a favorite of shoegaze fans for decades, and was listed as one of the 50 best shoegaze albums of all time by Pitchfork in 2016. This lasting love of the record has cemented the band as one of the most influential bands of the genre from their time. Over the last several years the album has found a new audience that has championed Delaware along side of the band's mostly UK 90's contemporaries. A new legion of Drop Nineteens fans have likely discovered their music through streaming services, rather than on 120 Minutes. Tracks like the towering "Kick The Tragedy" and pop songs "Winona" & "Delaware" sit next to more experimental moments like "Reberrymemberer." And while the album is certainly a wild ride, it all flows together as easily as singers' Greg Ackell and Paula Kelley's vocals. Now for the first time, this record will be available via a USA pressing on yellow colored vinyl. Remastered for vinyl by Carl Saff the album will be available on June 21st.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

2024 Reissue

Alphacut Records reloads its third wave with an upfront jungle plate. Meticulously selected over the years since the last allover amen statement Fundamentals EP as of cat.nr. ACR 3001, these four new killer tunes take no prisoners as well.

Sumone (with his Planet Mu fame) and Dan Miles (formerly Skubi like on Modern Ruins) as the midwest cowboys meet the North Sea sailors Istari Lasterfahrer (running his Sozialistischer Plattenbau) and Ill_K (on Nord and re:st)to execute this smashing Darka Mentors EP!

"Wicked Man Sound" is one of the most sinister jungle sciences we came across lately. Choppage on point, layerslike spread, stabbing basses, dark percussion, oldskool pads - you name it. "Crash!" feels like a UK hardcore banger, but is refreshingly switching breakbeats instead of gabba kicks. "Echo Chamber" drops an irresistible rave stab into the dubber dungeons and "Kuro" celebrates a very samurai style of a halftime cut to round up this breaksfest menu with ease.

Alphacut operates on a non-profit level, most releases cover their costs, if even. Half of any returns will be donated to Webster's Amen Break Gesture campaign II raising funds for the original creator of The Winston's Amen Brother breakbeat: Richard Spencer. With the deepest respect for this milestone of a sample!

2024 Reissue

redux packaging. aja monet's poems are a work of gravity. They are a fundamental for which all things are attracted, considered upon and enacted towards. Her work moves, constantly, between origin and outcome, allowing them to exist in converse. In her debut album when the poems do what they do, we glimpse her indefatigable commitment to speak. Those thematic origins of this album at times center around Black resistance, love and the inexhaustible quest for joy.In when the poems do what they do aja monet appears as a woman of letters and storm, her poems do not roar in pentameter - but rather in storm surge because, "Who's got time for poems when the world is on fire?!." And this work isn't one to pull apart into one liners, these are poems of things felt. There is a fullness here that can't be encapsulated in even the boundaries that language offers. aja monet is a griot, a storyteller, a chronicler, and your grandmother telling you about her first love all at once. These are baby making poems - literally the spring enacting upon the cherry trees. These are poems of urgency and want and the rallying cry to demolish the insidious systems from which our futures seem to be wrought, in other words, "If we had a sense of humor we'd be more radical. More migrant than citizen we'd breathe the air clean and ration our resources...we would melt ALL the guns." You will find yourself readying arms because of these poems, and simultaneously mourning the unstoppable loss of names already destined to be immortalized. aja monet crafts a work as she always does, that can be entered from many doors. These aren't poems for poets, but poems for everyone.She is joined in effort on this album by musicians Christian Scott (trumpet), Samora Pinderhughes (piano), Elena Pinderhughes (flute), Luques Curtis (bass), Weedie Braimah (djembe) and Marcus Gilmore (drums). Together creating music that is insistent and unrelenting. There are songs reminiscent of jazz club virtuosity and melee, others of a healing balm in gilead, and the chords of Castaway move like that of the call to intercessory prayer.

Emilíana Torrini erwacht aus der Pause mit einem brandneuen Album, MISS FLOWER. Es ist die Rückkehr zu einer illustren Karriere, die Chartstürmer wie "Sunny Road" und "Jungle Drum" von gefeierten Alben wie "Fisherman's Woman", "Me And Armini" und "Tookah" sowie ikonische Soundtracks wie "Der Herr der Ringe: Die zwei Türme" umfasst. Emilíana hat mit ihrem vielseitigen Stil aus Folk-, Pop- und elektronischen Einflüssen eine Grammy®-Nominierung, Ivor Novello- und isländische Musikpreise erhalten und eine Generation unauslöschlich geprägt. Ihr neuestes Werk, MISS FLOWER, verspricht, mit ihrem unnachahmlichen Gesang und innovativen Kompositionen das Publikum erneut zu fesseln.

Inspiriert von einer Kiste mit Briefen, die sie an die Mutter ihrer Freundin Zoe – Geraldine Flower – schrieb, begibt sich Emilíana Torrini mit ihrem neuen Album auf eine zutiefst persönliche Reise. Diese Geschichten lösten Torrinis kreative Vision aus und hauchten der fesselnden Erzählung, die sich durch MISS FLOWER zieht, Leben ein. Verspielt und frei, experimentell und erwachsen taucht Emilíana Torrini in verschiedenste Welten ein, lebt in den einzelnen Songs grosse Liebesgeschichten, kleine Dramen und intensivstes Leben. Und baut damit nicht nur der unnachahmlichen Geraldine Flower ein Denkmal, sondern auch weiblicher Selbstbestimmung und Unabhängigkeit.

Zweimal jährlich, wenn die Sonne direkt über dem Äquator steht, sind Tag und Nacht fast gleich lang. Sofia degli Alessandri-Hultquist, alias Drum & Lace, fasziniert diese Symmetrie. Ihr neuestes Album 'ONDA', inspiriert von den Wellen des Ozeans, spiegelt ihre musikalische Reise wider, von der Kindheit in Florenz bis zur elektronischen Avantgarde.

'ONDA' vereint Tanzrhythmen und tiefe Bässe, eine Hommage an ihre Zeit in Florenz und ihre Leidenschaft für europäische House-Musik und experimentelle Klänge. Drum & Lace verbindet darauf elektronische Texturen mit natürlichen Aufnahmen und schafft so eine erdverbundene, organische Klangwelt.

Sofia studierte Musiktechnologie an der NYU und wurde u.a. von Größen wie Morton Subotnik inspiriert. Ihre bisherigen Alben 'Natura' (2022) und 'Frost' (2023), sind beide stark von der Natur beeinflusst. In Live-Performances kombiniert sie audiovisuelle Elemente und teilte bereits die Bühne mit Künstlern wie Suzanne Ciani, William Basinski oder Kaitlyn Aurelia Smith.

'ONDA' (Fabrique Records), das sich tief in Tanzrhythmen und die Schönheit des Ozeans vertieft, markiert auch einen neuen musikalischen Weg für Drum & Lace.

- Ltd. LP: (Transparent Vinyl)

Nach ihrem von der Kritik hochgelobten Album „Allsighr“ aus dem Jahr 2021 legen Sarke mit ihrem ambitionierten achten Studioalbum „Endo Feight“ triumphal nach. Dieses Album deckt alles ab, von SARKEs leichtesten bis zu den härtesten Stücken. Angeführt von Darkthrone's NOCTURNO CULTO am Gesang ist „Endo Feight“ eine musikalische Reise, die Grenzen in der Metal-Szene sprengt.

Produced by Sly & Robbie, Brown Sugar was first released on the TAXI label in 1986, then reissued in 1988 on the RAS RECORDS label.
Backed by the TAXI GANG (Sly & Robbie accompanied by Robbie Lyn: synth, Lloyd "Gitsy" Willis: guitar), this album contains the classic REVOLUTION, a huge Dennis Brown track. Based on the original 1986 tapes, and after impeccable mastering, Diggers Factory is proud to present this must-have Dennis Brown opus, as a 180 g LP, in a 350 g sleeve, to give the listener optimum listening comfort and a definitive version of this masterpiece.

Vinyl-Reissue des gefeierten Debütalbums vom norwegischen Duo Erlend Øye und Eirik Glambek Bøe aka Kings of Convenience. Ein Album voller schlichter Schönheit und auch heute noch musikalischer Ruhepol.

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

Nach ihrem von der Kritik hochgelobten Album „Allsighr“ aus dem Jahr 2021 legen Sarke mit ihrem ambitionierten achten Studioalbum „Endo Feight“ triumphal nach. Dieses Album deckt alles ab, von SARKEs leichtesten bis zu den härtesten Stücken. Angeführt von Darkthrone's NOCTURNO CULTO am Gesang ist „Endo Feight“ eine musikalische Reise, die Grenzen in der Metal-Szene sprengt.

Reissue of late-’80s release by lovably manly Australian punk rock trio! Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. — Eric Friedl, Oblivians / Goner Records 40th Anniversary tour about to hit UK / EU! Go the Hack!! Essential!!

Below Dawn" ist das zweite Studioalbum der Sängerin, Songwriterin und Musikerin Bryony Jarman-Pinto. Das Album, das gefühlvolle Themen wie gesellschaftliche Veränderungen, unausgeschöpfte Emotionen und die tiefgreifende Reise einer Schwangerschaft und Mutterschaft behandelt, strahlt eine Aura von Intimität aus.

Diese emotionale Tiefe wird ergänzt durch Bryonys unverwechselbaren, harmonischen Gesang und die Einbindung von Jazz-inspirierten Melodien. "Below Dawn" ist eine zutiefst persönliche und transformative musikalische Reise, und der Titel fasst diesen Übergang wunderbar zusammen. "Das Album handelt von mir selbst, kurz bevor ich ein Kind zur Welt brachte und in eine neue Ära eintrat, daher spiegelt der Name diesen verborgenen Katalysator wider", fügt Bryony hinzu. Produziert wurde das Album von Ben Lamdin, auch bekannt als Labelkollege von Nostalgia 77, der unter anderem für Künstler wie Jamie Cullum, Alice Russell und Jeb Loy Nichols geschrieben und produziert hat.

Aufbruch in die Grenzbereiche der Musik: Bertrand Chamayou spielt John Cage Schon auf seinem Vorgängeralbum "Letter(s) to Satie" hatte der französische Spitzenpianist Bertrand Chamayou die faszinierende Klangwelt von John Cage erkundet. "Cage2" vertieft diese Erfahrung: Das Frühwerk von Amerikas originellstem Avantgarde-Musiker, komponiert für "präpariertes Klavier", führt in die Grenzbereiche von Musik und Bewegung. Neben einem Pianisten, einer imaginären Tänzerin und einem Klavier befinden sich Schrauben, Gummiteile, Bolzen, Münzen, und im Reisegepäck - Utensilien, die den Charakter des Instruments verändern, erweitern und es wie eine Gruppe von Schlaginstrumenten klingen lässt.

LP Ltd Edition CREAM Vinyl, DL card. Originally released in 2002 ‘Edge Of A Dream’ will be reissued on limited edition Cream vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. Following ‘Crimson Moon’, ‘Edge Of A Dream’ is one of Jansch’s last studio records featuring original and traditional songs that are modal with his trademark bluesy and folk sound. It features some traditional reworkings including the lesser-known instrumental ‘Gypsy Dave’ with fiddler Dave Swarbrick and the stunning ghostly track ‘All That Remains’ with Mazzy Star’s Hope Sandoval. Known for his collaborations, ‘Edge Of A Dream’ sees Jansch accompanied by Bernard Butler, Ralph McTell, Johnny ‘Guitar’ Hodge’, Makoto Sakamoto, Paul Wassif, Colm Ó Cíosóig and Loren Jansch. “One of the most revered artists of his generation” Shindig. “Edge Of A Dream remains that period's most overlooked beauty, featuring some beautiful playing and some great collaborations” The Quietus. “Despite 40 years at folk’s vanguard, Jansch was still bright and inventive, as new generation of musicians embraced his music” Mojo

2024 repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Eivør, die oft als eine der produktivsten und einzigartigsten nordischen Künstlerinnen ihrer Generation angesehen wird, hat bis heute 11 Studioalben veröffentlicht, wobei sie musikalische Genres und immer wieder die Grenzen des Erwarteten überschreitet. Eivørs musikalische Reise, die 2021 mit dem Musikpreis des Nordischen Rates ausgezeichnet wurde, fasziniert weltweit - von den größten Festivalbühnen Europas bis hin zum Soundtrack für die Netflix-Hitserie The Last Kingdom und das Videospiel God of War: Ragnarök.

Ihr kommendes neues Album 'Enn' knüpft an Eivørs nordische Wurzeln an. Die meisten der Texte, die komplett auf Färöisch gesungen werden, entstanden in Zusammenarbeit mit dem färöischen Dichter Marjun Syderbø Kjelnæs. Eivør bezeichnet den Text des Titeltracks als besonders "hardcore". Der Song handelt vom Krieg - "von den Kriegen, die in der Welt vor allem in letzter Zeit stattfinden, die es aber schon immer gegeben hat", sagt Eivør, "und davon, wie man in dieser überwältigenden Dunkelheit einen Lichtblick findet." Der gutturale vorletzte Track, "Upp Úr Øskuni", ist ein aufregender Ausreißer, der knurrendes Beatboxing mit viszeralem Kehlkopfgesang mischt (sicherlich Eivørs metallischster Moment).

'Enn' sticht aus Eivørs Diskografie als kühnes neues Projekt heraus. Ihr Debütalbum für Season of Mist lehnt sich stärker an dunkle Elektronik an - der neuer Prophet-5-Synthesizer hat es kaum aus der Verpackung geschafft, bevor sie "Hugsi Bert Um Teg" anstimmt, ein schwelgerisches Stück Dream-Pop, das wie die Farben der Milchstraße tanzt.

Im Großen und Ganzen folgt 'Enn' einem kosmischen Bogen. Der Titeltrack ist eine symphonische, vom Krieg zerrissene Weltraum-Odyssee. Aber das Album widmet sich auch irdischeren Themen. Die Leadsingle "Jardartra" wird aus der Perspektive einer verletzten Mutter Erde erzählt, mit einer stetig pochenden Basslinie, die so dunkel und warm ist wie der geschmolzene Kern unseres Planeten ist. "Komm und leg dich in meine blaue Umarmung", singt Eivør und entfesselt dabei in ihr opernhaftes Register, als wolle sie uns ins Licht locken.

"Conquerors" ist das zweite Album von New Horizon, das sich als thematische Anthologie, präsentiert, die sich mit entscheidenden Momenten der Geschichte und den bemerkenswerten Persönlichkeiten, die sie geprägt haben, auseinandersetzt.
Der Track "Daimyo" entführt den Hörer in das feudale Japan des 16. Jahrhunderts und erzählt die Sage des berühmten Einigers Oda Nobunaga.

Nach einer bemerkenswerten Reise, die den Sänger Erik Grönwall zu Skid Row führte, begab sich New Horizons Gründer Jona Tee auf die Suche nach einem Sänger, der die Essenz des nächsten Kapitels der Band verkörpern könnte. Seine Suche führte ihn zu seinem langjährigen Freund Nils Molin, dem bekannten Sänger von Dynazty und Amaranthe. Nils souveräner Gesang verbindet sich nahtlos mit Tees vertrackten Melodien, was zu einem Sound führt, der sowohl vertraut als auch erfrischend innovativ ist. Mit "Conquerors", das kurz vor der Veröffentlichung steht, ist New Horizon auf
dem besten Weg, sich im Bereich des Power Metal weiter zu etablieren.

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

Sechstes Album der norwegischen Prog-Rock-Meister um Multiinstrumentalist und Sänger Bjorn Riis.
Jeder Track zeigt die charakteristische Verschmelzung sanfter Selbstbeobachtung und dynamischer Energie, von den hypnotisierenden Tiefen von 'Dysphoria' bis zum eindringlichen Crescendo von 'Tyrants And Kings'. Die fünf Tracks bestechen durch unwiderstehliche Gesangseinlagen und virtuose Leadgitarrenarbeit, die zum Synonym für den Airbag-Sound geworden ist. Während sich das Album entfaltet, wird der Zuhörer auf eine Reise durch Selbstbeobachtung und Intensität mitgenommen, von der introspektiven Ballade 'Awakening' bis zu den erhabenen Tiefen der Single 'Erase'. Dieser Song weckt Anklänge an ihre gefeierte Arbeit auf dem Album 'Disconnected' und entwickelt sich von einer hypnotischen Basslinie zu einem Kraftpaket aus schweren Refrains, die den Grundstein für den epischen 15-minütigen Abschluss von 'Tear it Down' legen. Doch 'The Century of the Self' ist mehr als nur eine Klang-Odyssee - es ist ein Spiegelbild unseres modernen Zeitgeists. Das Album befasst sich mit Themen der Abbruchkultur sowie dem Umschreiben persönlicher Geschichten, und bietet einen ergreifenden Kommentar zu einer Welt voller Angst und Verurteilung.

Sechstes Album der norwegischen Prog-Rock-Meister um Multiinstrumentalist und Sänger Bjorn Riis.
Jeder Track zeigt die charakteristische Verschmelzung sanfter Selbstbeobachtung und dynamischer Energie, von den hypnotisierenden Tiefen von 'Dysphoria' bis zum eindringlichen Crescendo von 'Tyrants And Kings'. Die fünf Tracks bestechen durch unwiderstehliche Gesangseinlagen und virtuose Leadgitarrenarbeit, die zum Synonym für den Airbag-Sound geworden ist. Während sich das Album entfaltet, wird der Zuhörer auf eine Reise durch Selbstbeobachtung und Intensität mitgenommen, von der introspektiven Ballade 'Awakening' bis zu den erhabenen Tiefen der Single 'Erase'. Dieser Song weckt Anklänge an ihre gefeierte Arbeit auf dem Album 'Disconnected' und entwickelt sich von einer hypnotischen Basslinie zu einem Kraftpaket aus schweren Refrains, die den Grundstein für den epischen 15-minütigen Abschluss von 'Tear it Down' legen. Doch 'The Century of the Self' ist mehr als nur eine Klang-Odyssee - es ist ein Spiegelbild unseres modernen Zeitgeists. Das Album befasst sich mit Themen der Abbruchkultur sowie dem Umschreiben persönlicher Geschichten, und bietet einen ergreifenden Kommentar zu einer Welt voller Angst und Verurteilung.

Sechstes Album der norwegischen Prog-Rock-Meister um Multiinstrumentalist und Sänger Bjorn Riis.
Jeder Track zeigt die charakteristische Verschmelzung sanfter Selbstbeobachtung und dynamischer Energie, von den hypnotisierenden Tiefen von 'Dysphoria' bis zum eindringlichen Crescendo von 'Tyrants And Kings'. Die fünf Tracks bestechen durch unwiderstehliche Gesangseinlagen und virtuose Leadgitarrenarbeit, die zum Synonym für den Airbag-Sound geworden ist. Während sich das Album entfaltet, wird der Zuhörer auf eine Reise durch Selbstbeobachtung und Intensität mitgenommen, von der introspektiven Ballade 'Awakening' bis zu den erhabenen Tiefen der Single 'Erase'. Dieser Song weckt Anklänge an ihre gefeierte Arbeit auf dem Album 'Disconnected' und entwickelt sich von einer hypnotischen Basslinie zu einem Kraftpaket aus schweren Refrains, die den Grundstein für den epischen 15-minütigen Abschluss von 'Tear it Down' legen. Doch 'The Century of the Self' ist mehr als nur eine Klang-Odyssee - es ist ein Spiegelbild unseres modernen Zeitgeists. Das Album befasst sich mit Themen der Abbruchkultur sowie dem Umschreiben persönlicher Geschichten, und bietet einen ergreifenden Kommentar zu einer Welt voller Angst und Verurteilung.

Originally released in 1990, Royal Trux's 'Twin Infinitives' is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart's 'Trout Mask Replica', the Velvets' at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore's Neil "Michael" Hagerty and Jennifer Herrema recorded 'Twin Infinitives' while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with moog's, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before "genre mashups" even existed. Arguably, the term "mashup" was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album's chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock 'n' roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. "Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now." Pitchfork Ltd Double Silver Vinyl, Monochrome edition artwork, DL card.

LP (coloured white vinyl) + Download Code + Poster Das Trio Topsy Turvy ist die jüngste Entdeckung aus dem scheinbar unerschöpflichen Pool der neuen Wiener Indie-Szene. Theresa Strohmer (Gitarre), Lena Pöttinger (Schlagzeug) und Victoria Aron (Bass) schaffen es auf ihrem Debütalbum, die Energie des britischen Post-Punk der 80er Jahre mit treibenden Surf-Einflüssen und schön schrägen Indie-Pop-Melodien zu verbinden. Auf ihrem knapp dreißigminütigen Debütalbum "Butt Sore", das von ihrem Siluh-Labelkollegen Peter T. von Euroteuro produziert wurde, erschaffen die drei Musikerinnen wunderbare Soundcollagen, die ihre Musik leichtfüßig und dennoch treibend durch die elf Songs ihres Debüts tragen und sich im Spannungsfeld zwischen dem Lo-Fi Spirit der Moldy Peaches und dem Rock'n'Roll der Black Lips bewegen. Trotz vielfältiger und teilweise gegensätzlicher Einflüsse lassen die Songs schöne, verrückte und organische Assoziationen entstehen, die den Hörer auf eine unruhig entspannte Reise mitnehmen. Jeder Song auf dem Debütalbum ist ein absolutes Unikat, ohne dabei gewollt oder wie ein Fremdkörper auf dem zeitlosen und trotz der verschiedenen Einflüsse homogenen Platte zu wirken.Topsy Turvy haben die große Gabe, Ohrwürmer zu kreieren. Diese Fähigkeit macht "Butt Sore" zu einem der spannendsten Alben des Jahres und die Band zu einem Aushängeschild einer neuen Wiener Indie-Szene, die sich mit Gruppen wie Salamirecorder, Telebrains, Potato Beach, Gardens, oder Laundromat Chicks rund um das Label Siluh Records formiert.

Imaginary time is a representation of time that appears in some approaches to quantum mechanics; mathematically speaking, it simply is a line perpendicular to the time axis. Inspired by this concept and by the possibilty of transcending the normal restrictions of time and space through the power of imagination, Industrial / DIY music cult act Nocturnal Emissions released a first raw and irregular version of Imaginary Time in 1996, followed three years later by a new more rave inspired mix, this time reflecting a political urge of that particular moment in time when the squatting scene, free parties, and non commercial raves - all existing tied up with campaigns of anti-capitalist protests going on in the late 90s - were upsetting the powers of the ruling class and the authoritarian government in the UK. Sunny Crypt is beyond happy to bring back to life all the past forms of Imaginary Time in another particular moment on this timeline as its sixth release with a fully remastered vinyl reissue, with a brand new powerhouse 4/4 remix by all things Techno / Electro / Jacking wizard Gesloten Cirkel and a renewed graphic outfit. There’s another kind of time!

Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO self-titled debut album. Recorded at the Green Room Studio in Palm Springs in 2001 and released on the seminal desert rock label Meteorcity Records in 2002, the band's debut album immediately gathered critical acclaim for its ability to forge a new dynamic in a genre that was rapidly filling with groups cloning the heavier sounds of Kyuss. "There are, quite simply, no faults here - this is a beautiful, potent album that gives just as much attention to pop hooks as it does to atmosphere. As you can imagine, the results are astounding,"

Transparent Orange vinyl, limited to 350 copies. Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO self-titled debut album. Recorded at the Green Room Studio in Palm Springs in 2001 and released on the seminal desert rock label Meteorcity Records in 2002, the band's debut album immediately gathered critical acclaim for its ability to forge a new dynamic in a genre that was rapidly filling with groups cloning the heavier sounds of Kyuss. "There are, quite simply, no faults here - this is a beautiful, potent album that gives just as much attention to pop hooks as it does to atmosphere. As you can imagine, the results are astounding,"