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BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog, von Kevin Gray von den OriginalMasterbändern gemastert, bei Optimal auf 180g-Vinyl gepresst. LPs im Single-Sleeve-Cover. Der Tenorsaxofonist Stanley Turrentine begann seine lange Zusammenarbeit mit Blue Note 1960 mit einem grandiosen Doppelschlag, als er gleich zwei exzellente Alben mit souligem Hardbop für das Label einspielte: “Look Out! und “Blue Hour”. Auf letzterem kam es zu einem besonders fruchtbaren musikalischen Austausch mit dem von dem Pianisten Gene Harris geleiteten Trio The Three Sounds, das sich mit seinen eigenen Aufnahmen für Blue Note bereits als eine der besten Hardbop- und Soul-Jazz-Formationen etabliert hatte. Als den “Mittelgewichts-Champion des Tenorsaxofons” hatte der Kritiker Leonard Feather einst den 1986 verstorbenen Hank Mobley bezeichnet. Das klingt zunächst nicht sonderlich schmeichelhaft, sollte aber nur zum Ausdruck bringen, dass Mobley mit seiner Phrasierung zwischen zwei anderen Tenorsax-Champions rangierte: dem “Schwergewicht” John Coltrane und dem “Leichtgewicht” Stan Getz. Auf “Workout” präsentierte sich Mobley 1961, sekundiert von einem Quintett junger Modernisten, in bestechender Höchstform.

Die norwegische Progressive Metal-Größe Rendezvous Point legt mit "Dream Chaser" das mit Spannung erwartete dritte Studioalbum vor. Nach dem von Kritikern gelobten Vorgänger "Universal Chaos" setzt die fünfköpfige Band um Leprous-Schlagzeuger Baard Kolstad, Keyboarder Nicolay Tangen Svennæs, Sänger Geirmund Hansen, Gitarrist Petter Hallaråker und Bassistin Gunn-Hilde Erstad ihre Erfolgsgeschichte fort, indem sie ihr Songwriting noch klarer definiert und sich intensiver auf Groove, Riffs, Melodien und Hooks konzentriert.

"Dream Chaser" taucht tief in das Feld künstlerischer Entwicklung ein und konzentriert sich auf das unerbittliche Streben nach Perfektion. Mit Themen, die von gesellschaftlicher Desillusionierung bis zu persönlichem Wachstum reichen, bietet "Dream Chaser" einen fesselnden Einblick in die menschliche Wahrnehmung. Rendezvous Point laden den Hörer ein zusammen die Komplexität der modernen Existenz und die Tiefen des emotionalen Aufruhrs zu erkunden.

Brandneues Studioalbum des früheren Thin Lizzy-Gitarristen, der auch oft im Hintergrund bei Pink Floyd ('The Wall'-Tour) und später Roger Waters agierte.
Snowy White hat seinen ganz eigenen, 'englischen' Bluesstil entwickelt, der sich durch klare, schnörkellose Bluesphrasen auszeichnet, die er mit härteren Riffs veredelt. Die Songs wirken dadurch sehr direkt, menschlich und authentisch - als ob er jeden Hörer ganz persönlich ansprechen wolle. Diese Kunst beherrschen nur wenige so gut wie der britische Gitarrist und Sänger.

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

With their fourth album, Seas of Static, the French band Dead Horse One establishes itself as one of the heaviest bands of modern shoegaze, propelling the genre to new heights of power and emotion. In this album, Dead Horse One skillfully merges the incisive alternative metal of Deftones with the enveloping and ethereal sound of My Bloody Valentine. The result is a captivating whirlwind, where walls of guitars collide in a surge of creativity, raw emotion, and energy. Far from recycling, Seas of Static is a deep exploration of the grungegaze fusion, thus creating a unique and powerful sound, far from being conventional. Assisted by a massive production by Brendan Williams (Soul Blind, Francis Lung, GoGo Penguin), Dead Horse One creates a unique sonic texture with raw energy that evokes both grunge riffs and shoegaze atmospheres while injecting a new and contemporary energy. With this album, Dead Horse One pushes the boundaries of the genre, offering listeners an immersive and uncompromising musical experience.

AC/DC feiern mit Limited GOLD NUGGET Vinyls ihr 50-jähriges Jubiläum! Der Longplayer, erschienen im Oktober 1978, ist das erste Livealbum der Band und eines der besten Livealben der Musikgeschichte. Die Tracks der LP stammen von einem Mitschnitt aus dem Glasgower Apollo.

KVAEN werden am 21. Juni ihr drittes Album und ihr erstes für Metal Blade Records veröffentlichen: The Formless Fires. Es gibt viele großartige Extrem-Metal-Bands in Schweden, aber nur eine aus Kalix. Dieser abgelegene schöne Ort nahe der finnischen Grenze, am nördlichsten Ufer der Ostsee, ist die Heimat von Jacob Björnfot, dem kreativen Mastermind hinter dem melodischen Black/Death-Metal-Projekt KVAEN. KVAENs "The Formless Fires" ist eine üppige, aber bissig-intensive Erkundung von Schönheit und Gewalt und ein melodisches Black-Metal-Meisterwerk, das ein inspirierendes Gefühl für den Ort vermittelt. Mehr noch als auf dem folkigen, Speed-Metal-lastigen Debüt The Funeral Pyre von 2020 oder dem fesselnden, expansiven Nachfolger The Great Below von 2022 werden die weiten Kiefernwälder und eisigen Seen in den elementaren, düsteren Riffs, kühlen Melodien und windgepeitschten Soli, die sich durch diese acht mächtigen Songs ziehen, kraftvoll beschworen.

On The Healer, the new full length from the Northwest-based trio of guitarist and vocalist Aaron Turner (ISIS, Old Man Gloom) bassist Brian Cook (Russian Circles, Botch) and drummer Nick Yacyshyn (Baptists) the group deepens its multi-faceted exploration into the parallel experiences of creation and destruction. Over the course of 4 tracks in 76 minutes, SUMAC present a sequence of shifting movements which undergo a constant process of expansion, contraction, corruption and regrowth. This musical methodology reflects the thematic nature of the record - narratives of experiential wounding as gateways to empowerment and evolution, both individual and collective. The group"s interpolation of melody, drone, improvisation, and complex riffing becomes a transmogrifying act embodying the depth of human experience. In its highest aspiration it mirrors our ability to endure mortal and spiritual challenges, through which we may emerge with an increased capacity for understanding, empathy, love of self and others. Dismal though the subterranean pits of The Healer may at first appear, from them can be felt the unwavering determination to embrace life, acknowledge interdependence, and honor the gift of existence.

On The Healer, the new full length from the Northwest-based trio of guitarist and vocalist Aaron Turner (ISIS, Old Man Gloom) bassist Brian Cook (Russian Circles, Botch) and drummer Nick Yacyshyn (Baptists) the group deepens its multi-faceted exploration into the parallel experiences of creation and destruction. Over the course of 4 tracks in 76 minutes, SUMAC present a sequence of shifting movements which undergo a constant process of expansion, contraction, corruption and regrowth. This musical methodology reflects the thematic nature of the record - narratives of experiential wounding as gateways to empowerment and evolution, both individual and collective. The group"s interpolation of melody, drone, improvisation, and complex riffing becomes a transmogrifying act embodying the depth of human experience. In its highest aspiration it mirrors our ability to endure mortal and spiritual challenges, through which we may emerge with an increased capacity for understanding, empathy, love of self and others. Dismal though the subterranean pits of The Healer may at first appear, from them can be felt the unwavering determination to embrace life, acknowledge interdependence, and honor the gift of existence.

Critically acclaimed, influential alt metal lifers earthtone9 return.

In Resonance Nexus, released via Candlelight/Spinefarm finds the band in fiery form. Their first new material in a decade sees the band not only harking back to their angular, chaotic, and ferocious roots but injecting an energy, urgency, and intensity beyond anything the band has released before.

The vitality of the songs is palpable, earthtone9 have both retained the essence of their musical identity, and channelled and distilled what they love about heavy music. In Resonance Nexus is a love letter to metal, a soundtrack imbued with persistence, love, pain and loss, determination and community.

Produced by Lewis Johns (Employed To Serve, Svalbard, Ithaca, Modern Error), In Resonance Nexus is a remarkable blend of stellar songwriting, crushing riffs and soaring melodies.

Critically acclaimed, influential alt metal lifers earthtone9 return.

In Resonance Nexus, released via Candlelight/Spinefarm finds the band in fiery form. Their first new material in a decade sees the band not only harking back to their angular, chaotic, and ferocious roots but injecting an energy, urgency, and intensity beyond anything the band has released before.

The vitality of the songs is palpable, earthtone9 have both retained the essence of their musical identity, and channelled and distilled what they love about heavy music. In Resonance Nexus is a love letter to metal, a soundtrack imbued with persistence, love, pain and loss, determination and community.

Produced by Lewis Johns (Employed To Serve, Svalbard, Ithaca, Modern Error), In Resonance Nexus is a remarkable blend of stellar songwriting, crushing riffs and soaring melodies.

With powerful guitar riffs, soulful vocals, and grooving rhythms, The Mercury Riots have a unique and memorable sound. In February of 2023, they had recording sessions at the Warehouse and Armoury studios in Vancouver with legendary producer/engineer Mike Fraser (AC/DC, Metallica, Aerosmith). Mastered by Ryan Smith (The Black Keys, Greta Van Fleet) The Mercury Riots debut album “In Solstice” has a gigantic sound with state of the art production.

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!!

LIMITED EDITION LILAC COLOURED VINYL LP WITH DOWNLOAD CODE
It's a year later and everything has gone from bad to worse.

Machiavellian Art and Riot Season Records present "Population Control". A Sonic Examination of the Mechanisms of Control.

An intense exploration of societal and self-imposed controls, encapsulated in a dynamic contrast between Side A's visceral anger and the introspective ambiance of Side B. This duality mirrors the contrasting themes of external control versus internal reflection.

"Population Control" extends beyond its predecessor, "Indoctrination Sounds," in both musical depth and thematic scope. The album confronts a broad spectrum of modern-day addictions - not just to substances, but to technology, social media, and the relentless 24-hour news cycle. These themes manifest across tracks like "A Slow Death," "Population Control (1) + (2)," "Fear of the Outside World," and "Crisis," each exploring the resulting isolation, paranoia, fear, and hopelessness. "Seaside Holiday," a critique of environmental negligence, specifically highlighting the issue of untreated sewage being dumped into Britain's waterways by private companies.

Previous praise:

"Incredibly progressive, psychedelic but massively discordant, saxophone and static infused psych rock chaos" (Nineherz)

"Nasty noise rock with sax and freeform jam segments, but also—because you may have heard music which answers to that description before—a stamp of individuality." (Maximum Rock N Roll)

"Want a weird and dangerous album with a lot to say then Indoctrination Sounds is that album. " (Outlaws Of The Sun)

"Indoctrination Sounds is a total exercise in distorted, claustrophobic riffs, uneasy, anxious vibes, and industrial noise." (The Sleeping Shaman)

Machiavellian Art are: Amy Murphy, Benjamin Thomas, Joe Parkes, John Andrews,Sam Hunt

The 9th Installment by Fuckthegovernment is a sonic exploration that fuse the nuances of house music, electronica, minimal, and deep, creating a compelling journey through underground worlds, sparse and compelling grooves. Intricate metrics and arrangements serve as a guide in this musical universe, where cross-pollinations are our daily bread.

The Italian Duo F.T.G & Marco Riff (Fuckthegovernment), along with the emerging LCDOT and singer Jenime, join forces with Alex Neri, Germano Ventura, and Giovanni Verrina to weave a captivating musical narrative, celebrating the only medium that embodies the true spirit of sonic art: vinyl; a tangible and unique value for music, preserving stories and emotions that go beyond mere notes.

FUCKTHEGOVERNMENT.LTD project continues to break barriers and chart new paths in the contemporary music universe.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Wormrot's 2011 follow-up to 'Abuse' is about as far from "the difficult second album" as you can get, presenting an even more refined, stream-lined and dynamic take on their ferocious grindcore sound. Whipping past in less than eighteen and a half minutes, there's not a second wasted here whatsoever, and the trio's musicianship has been honed to perfection. The blastbeats are even faster, the riffs even heavier and vocalist Arif deploys an even wider array of shrieks, grunts, growls and barks this time. Whilst the addition of new drummer Vijesh in 2015 would take the band to even greater heights, this is arguably the original lineup's defining statement.

All-woman garage rock band from Phoenix return to pour another down one’s throat. Continuing to tour relentlessly around the world. Produced by Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx). The Darts can’t stop, won’t stop! Hot on the heels on last year’s groundbreaking album Snake Oil, The Darts have returned guns blazing with a brand-new album, Boomerang! While on a break from their intense international touring schedule, the band stopped at
Station House Studio in Los Angeles to work with producer Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx) with the mission of capturing the band’s raw rock spirit. From the opening chords of “Hang Around,” listeners are launched into an explosive garage party, with the Farfisa organ bringing a carnival and snarky gang vocals adding to the fray. The band doesn’t let up from there. With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitars, and Mary Rose Gonzales on drums, the tight lineup fuels the album’s themes of resilience and empowerment. Each track on Boomerang packs a punch, drawing the listener into a world of infectious hooks and soaring riffs. “Boomerang is a reference to the fact that, right after we released Snake Oil, we turned right around and went back into the studio to do a whole new full-length album! I can’t stop writing songs! But ‘boomerang’ also refers to a lyric on the album that describes toxic people and things that keep coming back into your life despite your repeated attempts to fling them as far away as possible. This album is my manifesto about finding strength the kind of strength it takes to do what you personally need to do to be peaceful and healthy. For me it meant cutting a lot of stuff out of my life, and that was really hard, but it also meant adding a lot of amazing stuff I never thought I’d see. I’m in a better place than I’ve ever been, and I think you can feel that power in this record.” – Nicole Laurenne

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

Imagine Crowbar on a diet singing the Ramones refrains at an AC/DC show with Metallica as an opening act. "Rosa" is Italian for "pink" but it also refers to the flower itself. "Rosa" sounds incisive and unconventional, its nine tracks brimming with a buzzing energy and featuring playful vocals and melodies, muscular riffs and highly propulsive drums.

Imagine Crowbar on a diet singing the Ramones refrains at an AC/DC show with Metallica as an opening act. "Rosa" is Italian for "pink" but it also refers to the flower itself. "Rosa" sounds incisive and unconventional, its nine tracks brimming with a buzzing energy and featuring playful vocals and melodies, muscular riffs and highly propulsive drums.

"Headstones" was the successor to the magnificent debut "Greater Art", released n 1995 and certified that these Swedes are ready for great things. Today, 28 years later, we could say that "Headstones" is an immortal album, one of the most important not only of Lake of Tears, but in the entire history of Doom Metal. Even though its main body synthetically moves in doom paths carved by "Greater Art", "Headstones" has many more innovative features to the point that we would do their music an injustice by trying to categorize it under labels. Here in time is perhaps the pivotal point where the first nuggets of the sound that would follow n the next albums are regognized. Heavy & upbeat riffs alternate with acoustic melodies, pompous drums & passionate vocals, overwhelm the 9 tracks that exist n "Headstones".

We'll skip the unenviable task of picking the best songs, as they're all miles away from the bar we usually set for good music. They move at unbelievable heights, to be fair. However, and this is highly subjective, special mention cannot be made for the all- time classic masterpieces like "A Foreign Road", "Raven land", "Headstones", "Burn Fire Burn", but also for the almost fourteen-minute-long epic saga "The Path Of The Gods (Upon The Highest Mountains, Part 2)" where once again they pick up the thread from where they left it one year ago

We're old and familiar friends. These compositions represent the thing that happens when we get together. They aren't representative of one individual, one moment in time, or one chain of decisions. Some are ancient refrains, beginning life as habits and warm-ups, in-jokes; others are distilled jams; more still are refined from MIDI sketches and ideas whistled into voice notes. On whatever terms these elements become something we're happy to stand in front of you and play, to put on record, so be it.” So ANTA describe the process behind 2024's Organesson. Characteristic of the Bristolian Sci-Prog quartet, the record weaves together mesmerising, muscular riffs in insanely loud compositions that extend well into excess. Less typical is the polarisation at play, where granular polymeters will yield in an instant to passages of one or two-note simplicity. The record strides from one raging refrain to the next, lurching between devastation, joy, chaos, and stirring the themes accumulated along the way in exposition. “It comes down to those precious sweaty hours” the group suggest, “in which we get to vibrate these sounds into your face and chest, and you can dance and laugh with us. This is the stuff we remember and plan for, the moments we talk about the most when writing these songs.” ANTA's live shows, ceaseless onslaughts of deafening riffs, have been notable for maintaining the same intense energy among festival crowds or to three people in a basement. Walls of amps going full-pelt. Pounding, ornate drums and metals, wherein drummer James King is relentless in discovering strange and mighty rhythms. Full-drawbar organs, electric pianos, piercing synths from keys-man Alex Bertram-Powell. Joe Garcia's growling bass that strides rather than walks. Ben Harris' all-encompassing, dizzying guitars. Hypnotic, communal, compelling, indefinite energy. Organesson is the latest effort to put this feeling on record.

Mit den grossartigen Produktionsfähigkeiten des ehemaligen Bandkollegen und jetzigen Produzenten, Ingenieurs und Mixers Fotis Benardo (Rotting Christ, Sakis Tolis, Nightfall, On Thorns Ilay, Suicidal Angels) in seinem Athener Devasoundz Studio wurde "Remains Of A Dead World" zu einer Mischung aus all dem, was Nightrage zu einem integralen Biest gemacht hat. Die Band erweist sich als einer der letzten wahren Meister des Melodic-Death-Metal-Genres, mit völlig unaufhaltsamem Riffing, grandiosen Hooks mit überlebensgrossen Gitarrenmelodien und brutalem Gesang, die Ehrlichkeit und pure musikalische Darbietung direkt aus dem Herzen bieten. Das Mastering übernahm der befreundete George Nerantzis (Abbath, Dark Funeral, Pain Of Salvation, Sakis Tolis), dessen Fähigkeiten dem neuen Album einen immensen Sound voller Klarheit, Kraft und analogem Flair ermöglichten.

Dieses raffinierte und mit Hooks versehene neue Album ist ein eigenständiges Universum, ein Feuerwerk an einfallsreichem, viszeralem Death/Black Metal, bei dem schwindelerregende Experimente auf kopfnickende Hingabe treffen - obszön verdreht und süchtig machend, herzzerreißend in seiner Tiefe der Gefühle.

Nach einem Vierteljahrhundert gemeinsamen Musizierens haben sich Hoggard/Saint Merat als eine der stärksten Gitarren-Schlagzeug-Kombinationen im Extreme Metal etabliert, und ihre Musik hat sich organisch zu etwas völlig Eigenem entwickelt. Cutting the Throat of God" ist das bisher bestproduzierte ULCERATE-Album und strotzt nur so vor unvergleichlichen Rhythmen, den fließendsten Übergängen, der überzeugendsten Phrasierung der Band und wahrhaft atemberaubenden Riffs. Der berauschende, flüssige Fluss wird durch eine zerstörerisch dynamische Performance von Sänger/Texter Paul Kelland gekrönt.

"Cutting the Throat of God" erforscht ein zusammenhängendes lyrisches Thema, das sich um den Bruch der Moral, die empfindliche Grenze zwischen Verderbtheit und Extremität und den unumkehrbaren Abstieg in die Dunkelheit dreht.

Hailing from Toronto, the dynamic indie rock quintet, Good Kid, comprises lead vocalist Nick Frost, drummer Jon Kereliuk, bassist Michael Kozakov, and guitarists David Wood and Jacob Tsafatinos, who thrives as a vibrant community fueled by the boundless enthusiasm of its listeners. Their eclectic blend of J-rock, indie-rock and pop-punk resonates with high-energy riffs, catchy melodies and clever lyricism.

A jack-of-all-trades ensemble - musicians, programmers and storytellers, Good Kid has carved a unique path for their audience to follow suit. Good Kid's fanbase is not just passive listeners; they are a passionate community, actively contributing to the band's universe. Through platforms like Discord and Iwitch, as well as their strong social media presence, fans create art, animation, videos and covers, reflecting their profound connection to the music. The band's journey is marked by streaming successes with the release of "From the Start" on November 10th, 2023, hitting 1 million streams in just 24 hours, accumulating several million streams and counting. Their reach extends to leading YouTube and Iwitch accounts in the gaming space, aligning them with top content creators

and gamers. Their energetic performances have not only led to two-sold out headline US tours in 2022, but have included supporting sold-out UK and EU tours, as well as a nationwide run on Portugal the Man's Canada tour.

Hailing from Toronto, the dynamic indie rock quintet, Good Kid, comprises lead vocalist Nick Frosst, drummer Jon Kereliuk, bassist Michael Kozakov, and guitarists David Wood and Jacob Tsafatinos, who thrives as a vibrant community fueled by the boundless enthusiasm of its listeners. Their eclectic blend of J-rock, indie-rock and pop-punk resonates with high-energy riffs, catchy melodies and clever lyricism.

"Strawberry Seed, Big Bill’s third full-length LP, represents evolutionary growth for the Austin rock band. While the album includes some of the snide anthems they’re known for in songs like “Poverty of Wires,” “Throw it Away,” and “Political Meat,” much of the album feels warmer, with layers of acoustic guitar, synthesizers, piano, and background singers adding texture to their esoteric sound. Even when they go for the familiar angular riffs and propulsive drums—provided by former White Denim drummer Jeff Olson, who joined the band in 2020 and produced most of this record—the topics are more relatable than ever before, and more political, too. “Poverty of Wires” hits directly with post-punk fervor and a lyric about how rich people are always sick of talking about the poor, and “Political Meat” rails against a depressingly familiar cycle: “politely critique; get spit out like mouthwash and rinse and repeat.”

On Strawberry Seed, Big Bill is more mature and more self-assured, but you’ll never take the anxious energy out of the punk."

"NY Psychedelic Art Rock!

Touted as the “new Doors,” Ars Nova’s second release shows the band genre-bending jazz and heavy psychedelia in a style that’s their own. Shifting from a largely classical centric sound, this was the group’s last album before going their separate ways. Pressed on pink vinyl!

Sunshine & Shadows takes the baroque-meets-psych sound of the debut and turns a bit more to the psych side. The stately brass interludes are gone, but horns still figure prominently in the mix. There’s some jazzy New Orleans flavor to a couple of the tunes, albeit twisted into a 7/4 vamp on “You Had Better Listen.”

The instrumentalists in the band, featuring trumpet and trombone, really give the music a unique flavor, setting them apart from the multitudes of other American psych bands. Ars Nova might be likened to Ultimate Spinach (but without the overly serious, pretentious lyrics) or later Zombies (though with less emphasis on the keyboards).

It’s all very well written and nicely played, and when they do a tender ballad like “Temporary Serenade,” the acoustic guitar is very lute-like, much more along the lines of classical than folk (like the later work of Jan Akkerman with Focus), and the trumpet descant adds a lovely spice.

“Well, Well, Well” is the heaviest rock tune in their repertoire, with a great electric guitar riff and hot organ playing, again set apart by trombone and trumpet. This one is definitely worth seeking out for baroque pop fans."

"NY Psychedelic Art Rock!

Touted as the “new Doors,” Ars Nova’s second release shows the band genre-bending jazz and heavy psychedelia in a style that’s their own. Shifting from a largely classical centric sound, this was the group’s last album before going their separate ways. Pressed on pink vinyl!

Sunshine & Shadows takes the baroque-meets-psych sound of the debut and turns a bit more to the psych side. The stately brass interludes are gone, but horns still figure prominently in the mix. There’s some jazzy New Orleans flavor to a couple of the tunes, albeit twisted into a 7/4 vamp on “You Had Better Listen.”

The instrumentalists in the band, featuring trumpet and trombone, really give the music a unique flavor, setting them apart from the multitudes of other American psych bands. Ars Nova might be likened to Ultimate Spinach (but without the overly serious, pretentious lyrics) or later Zombies (though with less emphasis on the keyboards).

It’s all very well written and nicely played, and when they do a tender ballad like “Temporary Serenade,” the acoustic guitar is very lute-like, much more along the lines of classical than folk (like the later work of Jan Akkerman with Focus), and the trumpet descant adds a lovely spice.

“Well, Well, Well” is the heaviest rock tune in their repertoire, with a great electric guitar riff and hot organ playing, again set apart by trombone and trumpet. This one is definitely worth seeking out for baroque pop fans."

"15 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

Turning in a smoking rendition of studio guitarist Jan Davis’ “The Fugitive,” later covered by the Ventures (and much later, Laika & the Cosmonauts), they also lay down a hot version of “Opus Twist” – also by way of the Ventures, written by Tommy Allsup and J.I. Allison of the Crickets. Three other instrumentals came from the Let’s Hide Away & Dance Away With Freddy King album: “San-Ho-Zay,” “Just Pickin’,” and “Sen-Sa-Shun.” He delivers a lovely “Sleep Walk” sans Santo & Johnny’s steel guitar, and converts pianist Floyd Cramer’s “Last Date” to guitar.

Balancing out the program are live tracks from Big Al’s Gas House in neighboring Belmont, showing the emergence of British Invasion along with credible renditions of R&B warhorses “Linda Lu” and “Come On.” “Route 66” is obviously the Stones version, with Rich playing the Keith Richards guitar solo – “and ‘Roll Over Beethoven,’ you could tell it was the Beatles’ version because my guitar licks are George Harrison.”

Vividly illustrating the band’s meld of R&B and surf are the two versions of “San-Ho-Zay” – the relaxed groove in the bedroom versus the furious live rave. Lord knows what’s going on in “The Fight” – a typical set-opening/closing riff breaking up a brawl?

Though they never released even a 45, these live cuts and “Bedroom Tapes” prove without a doubt that they’d have been up to the task had the opportunity presented itself."

Seit ihrer Gründung haben REZN die reinen, monochromen Tiefen des Underground-Metal erforscht und sie mit den kaleidoskopischen Freuden von Psychedelia, Prog-Rock und Shoegaze verschmolzen. Mit ihrem neuesten Album Burden loten sie die tiefsten, düstersten Gräben ihres Sounds aus, ohne dabei den Bezug zum Kosmos zu verlieren. An der Schnittstelle zwischen den düsteren Dimensionen moderner Psych-Acts wie Black Angels, der höhlenartigen Düsternis und den mit Hall durchtränkten Gitarren von Bands wie Spectral Voice und den taumelnden Low-End-Meditationen von Künstlern wie OM haben REZN ein Album von ungeheurer, den Verstärker anbetender Wucht und mitreißender Instrumentierung geschaffen. Burden wurde zeitgleich mit ihrem vorherigen Album Solace im Juli 2021 aufgenommen, aber anstatt ein Doppelalbum zu veröffentlichen, teilten REZN das Material in zwei separate Platten auf, jede mit ihrem eigenen emotionalen Timbre. Musikalisch bevorzugt Burden Riffs gegenüber Atmosphäre, Perkussion gegenüber Äther, Dissonanz gegenüber Schönheit, aber es gibt dennoch eine unbestreitbare Kohäsion zwischen ihm und seinem Vorgänger. Die Verbindung von brachialer Gewalt und erhabenen Texturen war schon immer eine Schlüsseltaktik in REZNs Ansatz - eine Dualität, die vielleicht ihre Tournee-Vergangenheit mit den Synästhesie-induzierenden Metallurgie-Kollegen Elder und Russian Circles erklärt - aber das Spektrum der quecksilbrigen Temperamente der Band fühlte sich noch nie so klar definiert und vollständig erforscht an wie auf Burden. Selbst die zurückhaltendsten Momente von Burden fühlen sich wie die Ruhe vor dem Sturm an, ein sich sammelnder Schwung vor dem strafenden Schlussstück und der Leadsingle ,Chasm", einem megalithischen, krautigen Brecher, der durch ein brennendes Gitarrensolo von Russian Circles' Mike Sullivan noch verstärkt wird. LP mit Lyric-Sheet & DLC, Digipack-CD mit Lyric-Sheet!

Seit ihrer Gründung haben REZN die reinen, monochromen Tiefen des Underground-Metal erforscht und sie mit den kaleidoskopischen Freuden von Psychedelia, Prog-Rock und Shoegaze verschmolzen. Mit ihrem neuesten Album Burden loten sie die tiefsten, düstersten Gräben ihres Sounds aus, ohne dabei den Bezug zum Kosmos zu verlieren. An der Schnittstelle zwischen den düsteren Dimensionen moderner Psych-Acts wie Black Angels, der höhlenartigen Düsternis und den mit Hall durchtränkten Gitarren von Bands wie Spectral Voice und den taumelnden Low-End-Meditationen von Künstlern wie OM haben REZN ein Album von ungeheurer, den Verstärker anbetender Wucht und mitreißender Instrumentierung geschaffen. Burden wurde zeitgleich mit ihrem vorherigen Album Solace im Juli 2021 aufgenommen, aber anstatt ein Doppelalbum zu veröffentlichen, teilten REZN das Material in zwei separate Platten auf, jede mit ihrem eigenen emotionalen Timbre. Musikalisch bevorzugt Burden Riffs gegenüber Atmosphäre, Perkussion gegenüber Äther, Dissonanz gegenüber Schönheit, aber es gibt dennoch eine unbestreitbare Kohäsion zwischen ihm und seinem Vorgänger. Die Verbindung von brachialer Gewalt und erhabenen Texturen war schon immer eine Schlüsseltaktik in REZNs Ansatz - eine Dualität, die vielleicht ihre Tournee-Vergangenheit mit den Synästhesie-induzierenden Metallurgie-Kollegen Elder und Russian Circles erklärt - aber das Spektrum der quecksilbrigen Temperamente der Band fühlte sich noch nie so klar definiert und vollständig erforscht an wie auf Burden. Selbst die zurückhaltendsten Momente von Burden fühlen sich wie die Ruhe vor dem Sturm an, ein sich sammelnder Schwung vor dem strafenden Schlussstück und der Leadsingle ,Chasm", einem megalithischen, krautigen Brecher, der durch ein brennendes Gitarrensolo von Russian Circles' Mike Sullivan noch verstärkt wird. Indie-Handel exklusives farbiges Vinyl in Black, Mint and Bone A side/ B side, LPs mit Lyric-Sheet & DLC, Digipack CD mit Lyric-Sheet.

Two gypsies with pedigree backgrounds in Flamenco got together with a drum machine in a studio during the early 80's and the result was Chipen, a somewhat poppy chart oriented project featuring Peret Reyes the grandson of legendary Catalan Gitano musician Peret (aka "El Rey de la Rumba") and Johnny Tarradellas. "Volao" is a mid tempo effort to bridge Pop and Rumba, mixing catchy funk guitar riffs with elements of Flamenco in unprecedented ways. "Chiribiri" sounds like it could be the theme song to a Catalan morning show or even a Japanese 80's Toyota Camry ad, reeks of stereotype and cliche, except that Chipen is the real deal, as real as the darkness of the hair dye on the cover photo. Extended version of Volao on the B side. Remastered at Manmade Mastering in Berlin.

The Italian trio Desert Wave was formed in 2016, when Drugo (drums) and Logan (bass) were already playing in a doom metal band and then decided to break away and form their own with a more psychedelic/stoner-style. Guitarist Burton joined them a month later, and their musical influences were quite similar: Black Sabbath, Pink Floyd, Led Zeppelin, 70's hard rock, Seattle grunge, up to the granite desert sound of Kyuss.

With "Deafening Silence" they created a more psychedelic and epic, mostly instrumental, sound than their 2017 debut “Lost In Dunes”, much more like the long jam sessions they play in the rehearsal room. The songs were born during the pandemic that deeply marked the band. Like everyone else, they spent several weeks at home, while the empty streets generated a ghostly and disturbing silence. The lyrics are a bit dark and gloomy and on "Endless Night", Logan's voice carries that ghostly presence that loomed over us all. Drugo designed the artwork, as a tribute to the Blade Runner movies. In both films, as in the songs on the album, there was the same feeling of foreboding that hovered in a dystopian future, in which not all the answers are clear and many questions are still unanswered. Burton's powerful guitar riffs echo in this unreal silence, sometimes increasing the sense of restlessness, other times instead, in the more psychedelic parts, they create a crescendo of impotence and inevitability that totally invades you and from which you cannot escape. Purple edition.

Over the course of a couple of years in the mid-1970s, several musicians from the St. Louis, Missouri area gave notice to club and festival crowds that they were there to rock the house down. Their cover and original songs were accentuated by a bedrock rhythm section, heavy guitar riffs and tasty solos, topped off with powerful vocals. Rockers that witnessed them agree—Back Jack created solid songs and high-energy performances. Beginning in 1971 as Trellis, the band members changed their name to Back Jack when they saw the bumper sticker that Kim McKinney’s dad, Jack McKinney, distributed during his election bid for the Mayor of Pacific, Missouri, home of the core three-piece band: Kim McKinney, Mike Collier, and Hans Myers (RIP). The 1974 version of Back Jack was active from very early 1974 to late-fall of 1974. The core three-piece band, Collier, McKinney, and Myers, recorded several tracks during their tenure and four of those tracks are included on this release. Temporary band members not on the recordings were Gary Reed (piano, RIP), Greg Witt (guitar, keyboards), Paul Cockrum (guitar), and Bill Niehoff (drums). The four-piece, 1975 version of Back Jack was a merging of members of Back Jack 1974 (Mike Collier and Kim McKinney) and another local band, Osage Lute (Jeff Ballew and Mike Lusher). They were active from late-fall of 1974 to late-summer of 1975. Four of the tracks on the Back Jack LP were recorded by these four musicians.

Review: Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.