25 years of perpetual, subtle and occasionally lunatic compositional, recording- and production-wise workouts finally result in the first and withal last album „Asphalt“ from the realms of Rico Puestel's childhood pseudonymous getaway „Tetzlaff“.
„Asphalt“ tells genuine stories of mobility and industrialisation, freedom and boundaries, the reciprocity of humanity and technology within the tension of past, present and future. Beneath its overall nostalgic and somehow timeless electronic retro charme it has been inspired by different currents, questions and approaches from philosophy to diverging sciences that shaped this long-haul monument of creation.
Following numerous artistic and technical ordeals, the consistently analogue production went through an emotional roller coaster ride while growing up, defined by the diverging poles of magic momentums and withering setbacks and combined with a fear of never finishing what once has been initiated, wanting to become reality some day.
Years and years of striving and searching for the right gear and recording setups to make this miniature album sound the way it should, never left out the central aspect of one perceptible and pure storytelling. Each song, as intimate, neat and almost predictable it might appear, has been elaborately designed moment by moment, second by second, byte by byte, revised hundreds of times, scrapped and recreated, dismantled and reconstructed.
„Asphalt“ enters and exists stage as a conceptual and musical unicum of its own that claims its self-fulfilling destiny by an endless circularity of endings and new beginnings...
Поиск:secon
Все
- A1: The Pressure
- A2: Death Row East
- A3: 40 Side
- A4: Epmd 2 (Feat. Eminem & Epmd)
- A5: Rare
- A6: Yktv (Feat. A Boogie Wit Da Hoodie & Yg)
- A7: Store Run
- A8: Moments
- B1: Nobody (Feat. Ms. Lauryn Hill)
- B2: No Phony Love (Feat. Charlie Wilson)
- B3: Brunch On Sundays (Feat. Blxst)
- B4: Count Me In
- B5: Composure (Feat. Hit-Boy)
- B6: My Bible
- B7: Nas Is Good
Nas King's Disease II Album Following the Grammy Award winning album, King’s Disease, the king returns to his throne with the second coming, King’s Disease II. The star-studded project offers tacit game on life, love, and loss, uplifting through action and lived experience in a way only Nas can. This is a body of work for the fans, for the day 1’s that contributed to the legacy. Alongside the decorated production savant, Hit-Boy, Nas remains rooted in lyrical prophetism while proving that he constantly reinvents the wheel. The sequel to last year’s King’s Disease features Ms. Lauryn Hill, Eminem, EPMD, Hit-Boy, Charlie Wilson, YG and more.
After closing the first part of Fundamental Records' experiment called Music for The Other People Place, the second part begins. This the fifth record of Music for The Other People Place Experiment 2. A special and highly limited electro / electronics project (a tribute to James Stinson), produced by different artists that will remain anonymous, if they choose to...
Vinyl Edition of 300 copies
Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini.
Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition.
A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 15 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure.
The album opens with “aR1 detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map.
[a] A1
[c] A3
[e] A5 core[2]
[f] A6 [A.box]emission (2)
[g] A7
[i] B2 [4s]detection
[j] B3
[k] B4 [det]0100+
[l] B5 conductive[area]
[m] B6 [s3]microfunktion
[n] B7 [emf]terminal
For Bukva's second release, Swedish producer Coral serves us his debut single. A tribute to the old rave days with a fresh vibe and an updated groove.
While Norwegian jungle magician Msymiakos adds his remix to the dinner table, Dutch "man of the moment" Coco Bryce opens up a bottle of vocal madness!
- A1: Down The Rabbit Hole
- A2: Digital Rain
- A3: Earth That Was
- B1: Victim Of The Modern Age
- B2: Human See, Human Do
- B3 24: Hours
- C1: Cassandra Complex
- C2: It's Alive, She's Alive, We're Alive
- C3: I Think Therefor I Am
- C4: Four Years
- C5: It All Ends Here
- D1: As The Crow Dies
- D2: Two Plus Two Equals Five
- D3: Lastday
- D4: Closer To The Stars
- D5: Knife Edge
In seiner mehr als drei Jahrzehnte umspannenden Karriere hat sich der Komponist und Multiinstrumentalist Arjen Lucassen weltweit als treibende Kraft des Progressive Rock etabliert. Der vielseitig begabte Niederländer ist vor allem für sein Rockopernprojekt Ayreon bekannt, widmet sich aber auch regelmäßig musikalischen Nebenprojekten, die alle verschiedenen Aspekte seiner musikalischen Persönlichkeit erforschen.Lucassen ist bestrebt, bei Star One eine gleichbleibende Sängerbesetzung beizubehalten. Für 'Victims of the Modern Age' hat er die hochkarätige Besetzung der Leadsänger des ersten Albums 'Space Metal' (2002) wieder zusammengeführt: Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), und Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). Die unterschiedlichen Gesangsstile dieser großartigen Vokalisten, die von hochfliegenden Power-Vocals über eindringlich-melodische Passagen bis hin zu brutalem Growl reichen, verleihen jedem Song eine atemberaubende Vielfalt an stimmlichen Texturen.Was die Instrumente betrifft, so spielte der Holländer die Rhythmusgitarren, die Hammondorgel, das Mellotron, die Solina-Streicher und die analogen Synthesizer selbst ein und lud Schlagzeuger Ed Warby (Ayreon, Hail of Bullets, Gorefest) und Bassist Peter Vink ein, die kraftvollen Rhythmusspuren zu liefern. Außerdem holte er sich die einschüchternden Solokünste des ehemaligen After Forever-Keyboarders Joost van den Broek und des Gitarristen Gary Wehrkamp (Shadow Gallery), die beide charakteristisch glühende Soli beisteuerten. Zusätzlich zu dieser formidablen Besetzung rekrutierte Lucassen drei weitere Sänger - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze und den ehemaligen Black Sabbath-Frontmann Tony Martin - für einige Bonustracks des Albums.Zum ersten Mal ist 'Victims of the Modern Age' auf Vinyl als Gatefold 2LP+2CD & LP-Booklet erhältlich, sowie als Ltd. 2CD Digipak und Digitales Album (2CD).
- A1: Down The Rabbit Hole
- A2: Digital Rain
- A3: Earth That Was
- A4: Victim Of The Modern Age
- B1: Human See, Human Do
- B2 24: Hours
- B3: Cassandra Complex
- B4: It’s Alive, She’s Alive, We’re Alive
- C1: It All Ends Here
- C2: As The Crow Dies
- C3: Two Plus Two Equals Five
- D1: Lastday
- D2: Closer To The Stars
- D3: Knife Edge
- CD1 1: Down The Rabbit Hole
- 2: Digital Rain
- 3: Earth That Was
- 4: Victim Of The Modern Age
- 5: Human See, Human Do
- 6 24: Hours
- 7: Cassandra Complex
- 8: It’s Alive, She’s Alive, We’re Alive
- 9: It All Ends Here
- CD2 1: As The Crow Dies
- 2: Two Plus Two Equals Five
- 3: Lastday
- 4: Closer To The Stars
- 5: Knife Edge
In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality
Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures
As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album
For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.
‘This Here Feels Good’ is the sound of an artist using music as
their second language. With all music self-produced / written,
Kay Young is defining an original generation of Black British
Music.
Moving between tightly rapped verses and glorious vocal
performances, often within the space of one track as well as
across the whole EP.
The release is a stunning collection of songs which expands
upon the sonic blueprint Kay has already laid out, that caught
the attention of Jay Electronica and Jay-Z, who later signed her
to Roc Nation.
She delves deeper into dance and soul while continuing to
explore themes of familial legacy and cultural relation, keeping a
perfect balance between lyrical vulnerability and musical uplift.
Live TV performance for Other Voices (Dec 2021), TV
performance for BT Sport (May 2021), Clash New Gen Artist
(autumn 2021), plus performances last year at Boiler Room
Festival, South Facing Festival, BBC Intro Live Summer By The
River, Live at Leeds Festival and more.
Supporting Jay Electronica for UK tour.
“uplifting groove” - The Fader
“pertinent, powerful lyrics” - Cool Hunting
“Young will undoubtedly keep shining” - Line of Best Fit
“Pure and bright promise.” - Beats Per Minute
“Kay Young finds a balance between smooth vocals and hardhitting lyrics” - Gigwise
“one of the UK’s most promising up and coming talents.” - Alfitude
“...an extremely exciting future ahead.” - CLASH Radio - 6 Music, BBC Radio 1, BBC Radio London, BBC 1Xtra, Amazing Radio A-List.
- A1: Seventh Street & Collie Smith Drive
- A2: First Street & West Road
- A3: Second Street & Collie Smith Drive
- A4: Fourth Street & West Road
- A5: Seventh Street & West Road
- A6: Sixth Street & Collie Smith Drive
- B1: Jungle Man
- B2: Trench Town Man
- B3: Rema Man
- B4: Jungle Woman
- B5: Concrete Jungle
- B6: Spanish Town Road
Black LP[17,61 €]
12” album of previously released Dub album by Nkrumah “Jah” Thomas from Kingston, Jamaica. Re-issued on WHITE vinyl.
Nkrumah “Jah” Thomas is an esteemed reggae deejay and record producer who first came to prominence in the 1970s, later setting up his own labels ‘Midnight Rock’ and ‘Nura’.
Berlin and London based avant-pop duo Private Agenda will release their second full-length album – A Mannequin – on Lo Recordings on 22 October via digital, limited-edition LP and music box formats.
Berlin and Reunion based duo, Amine Mesnaoui and Labelle are set to release their debut album on revered London independent imprint Lo Recordings on the 1st of April 2022.
‘African Prayers’ is a collection of seven new compositions, which includes lead single ‘Bleu Noir’, that aims to bring a contemporary and fresh interpretation to the Lila Ritual of the Moroccan Gnawa masters - also known as the Ritual of the Seven Colors.
With a firm belief they can deliver a sound that finds its anchor in heritage and yet escape folkloric clichés and stereotypes, the two musicians have strived to make something that is rich in meanings, minimal but complex, simple but deep. This is a record that is universal and invites the listener to the depth of meditation, to the dance, even to the spiritual state of trance.
Mesnaoui plays a prepared piano that is modified by different objects, which are inserted into its strings while Labelle simultaneously plays electronic instruments and further processes the piano sound. These instruments are not native to the traditional context
- A1: When I Kissed The Teacher
- A2: I Wonder (Departure) (Departure)
- A3: One Of Us
- A4: Waterloo
- A5: Why Did It Have To Be Me?
- B1: I Have A Dream
- B2: Kisses Of Fire
- B3: Andante, Andante
- B4: The Name Of The Game
- B5: Knowing Me, Knowing You
- C1: Angel Eyes
- C2: Mamma Mia
- C3: Dancing Queen
- C4: I've Been Waiting For You
- C5: Fernando
- D1: My Love, My Life
- D2: Super Trouper
- D3: The Day Before You Came
"The soundtrack of the much celebrated smash hit movie of 2018 - MAMMA MIA! Here We Go Again - is to be released on vinyl for the first time as a double picture disc set, emblazoned with the movie's cover image of the whole cast on disc one and a second disc with a scene from the movie.
To be released on 1st April through UMC/Polydor, this double-LP picture disc set features all sixteen songs from the film's original soundtrack, including ‘When I Kissed The Teacher’, ‘One Of Us’, ‘I've Been Waiting For You’, ‘Fernando’ as well as two extra tracks not featured in the movie - ‘I Wonder (Departure)’ sung by Lily James Jessica Keenan Wynn and Alexa Davies and ‘The Day Before You Came’ sung by Meryl Streep."
Montreal duo Mathieu Charbonneau (Avec Pas d'Casque, Organ Mood) and Pietro
Amato (Bell Orchestre, The Luyas) put melody and mood front and centre on this
second volume of luxuriant, immersive synth music. Like a humanist balm amidst
the ongoing wave of conceptronica, the pieces that comprise Synth Works Vol 2
were captured organically, live off the floor, on the eve of the pandemic. Recalling
elements of 70s kosmische and environmental musics, the collection finds the
longtime collaborators roving uncharted territory, ever mindful of their fellow
passengers.
- A1: Two Girls (One Bar)
- A2: Babylonian Warehouses
- A3: Blue Velvet
- A4: Caroleen
- A5: Flames Over Nebraska
- B1: Love Song
- B2: Stolen Cadillac
- B3: Mona
- B4: Synth Farm
- B5: Texas Overture
- C1: Thanks
- C2: Free White
- C3: Feuksly Ma'am, The Hearing
- C4: Mandy
- C5: Musicians Are Scum
- C6: Another One
- D1: And Then Nothing Happened
- D2: Road Trip Of Bipasha Ahmed
- D3: Lampshade Man
- D4 41: 4 Seconds
- D5: The Carpenter Sun
- E1: Golden Surf Ii
- E2: Drag The River
- E3: Irene
- E4: Road To Utah
- E5: Throb Array
- F1: Visions Of The Moon
- F2: Dr Faustus
- F3: Bus Station
- F4: Carnival
- F5: Moonstruck
- G1: Ubu Overture
- G2: Song Of The Grocery Police
- G3: Banquet Of The Butchers
- G4: Tear Your Eyes Out
- G5: March Of Greed
- G6: Big Sombrero
- G7: Bring Me The Head
- G8: Alienating The Audience
- H1: Road To Reason
- H2: Slowly I Turn
- H3: Watching The Pigeons
- H4: The Story So Far
- H5: Snowy Livonia, Pt 1
- H6: Elsinore & Beyond
ltd edition box set, 4xlp + poster & dl card. rewriting the history of music, pere ubu continue to confound convention and shift personnel. the next box set in fire records’ reissue series, ‘nuke the whales’ houses 4 lps originally released between 2006 and 2014 – ‘why i luv women’, ‘carnival of souls’, ‘lady of shanghai’ and ‘long live pere ubu!’. ‘nuke the whales,’ is a nod of respect to a couple in cleveland who would daub such messages over the big news stations’ advertising boards. “very few bands display such dedication to constant self-reinvention as pere ubu” the quietus // all four albums have been remixed and remastered by original pere ubu member david thomas. ‘why i luv women’, originally released on glitterhouse in 2006, gains its first vinyl release. "spews 11 tunes of arcane lyrics and dense music” shrieked the cleveland gazaette. it’s joined by ‘long live pere ubu’ a soundtrack to a musical adaptation of the play. “skronking, squalling rhythms and melodic snippets undulating round a pulsating soundscape." record collector // and ‘lady from shanghai’, their fire debut for fire in 2013. originally released on the 35th anniversary of the group's debut, ‘the modern dance’, a latter day re-evaluation of the unprompted dance genre. and its follow up ‘carnival of souls’, a haunting “underscore’ to a tale of alienation, it “combines metallic percussion, spare guitars and david thomas' muttered vocals into something rustic and rickety, yet threatening at a moment's notice.”
Truls Morck has a background as a guitarist in Graveyard and Slowgoldas well as guitarist, singer and songwriter in Den Stora Vilan
In 2015 he released his first solo album and shortly thereafter he returned to Graveyard, this time as bass player. After a few years of waiting, it's finally time for his second solo LP; "What A Time To Be Alive". The sound is inspired by the soft rock of the 70's and you can hear echoes of Harry Nilsson and George
Harrison mixed with dreamy digital keyboards and a modern, relaxed, psychedelic
production."We have tried to create a soft and easy- to- listen- to sound that
somehow still feels interesting and well-made. My lyrics are probably quite selfabsorbed and introspective. The naive and honest I can read between the lines in
rock history's simpler poetry, inspires me", Truls says.
- A1: Trophy
- A2: Final Song
- A3: Moonshine
- A4: Bird Of Prey
- A5: Dying Breed
- A6: El Diablo Iii
- A7: Dry
- A8: Lucky 57
- A9: White Russian
- A10: Cuss
- A11: Moonshine (Demo)
- A12: Dry (Demo)
- A13: Lucky 57 (Demo)
- A14: White Russian (Demo)
- A15: Dying Breed (Demo)
- A16: King Of Mexico
- A17: Old Work Song
- A18: Angelus Occultation
- A19: Like A Killer (Outtake)
- A20: Missouri Boat Ride (Outtake)
The 25th anniversary edition of the Chicago noise-rock band's undisputed masterpiece recorded by Steve Albini
Remastered edition including a 12- page booklet and a bonus LP of demos, outtakes and unreleased tracks. 'Discipline Through Sound' was the second LP by Big'n, who formed in 1990 and at the time, the band consisted of vocalist William Akins, guitarist Todd Johnson, bassist Mike Chartrand, and drummer Brian Wnukowski. This expanded reissue was intended to come out in 2021 to commemorate the 25th anniversary of 'Discipline Through Sound', Big'n's indisputable masterpiece originally released on Gasoline Boost in 1996, but was delayed due to a PVC shortage and the fallout of the COVID-19 pandemic.
'DTS 25' is a massive album. It contains two pieces of superb-quality vinyl with a reissue and remaster of 'Discipline Through Sound' on the first disc. Side C contains unreleased demos from the album. Side D, contains three previously CDonly tracks from a split with OXES - plus two unreleased outtakes.
The records are packaged in a 6mm spine gatefold cover with matte finish, accompanied by a 12-page booklet featuring photos of the band, a foreword by Steve Albini, and writings from Big'n's associates. The entire package is housed in a sleek, tactile, Type-2 aluminium packaging newly developed and designed by the Computer Students label.
Don't miss your chance to own a brilliant, undersung artifact of '90s noise-rock in Chicago - refreshed, expanded, and more venomous than ever before.
Very limited new repress coming, note new price. It’s unusual for an act to hit its peak after four decades. Yet here it is. The band’s climb to become Britain’s most dazzling live band - shows are played at full energy without the breaks lesser combos need to breathe, drink or chatter – was unexpected, and public awakening to their humour, skill and brilliance demands revision of post-punk history. The Nightingales emerge as the industrious ant to their peers’ workshy grasshopper personae, appearing victoriously at the finish line to puzzled realisations that they’d ever even been in the race. The Nightingales have notoriously had a new label for each new album, a fact which might reasonably call for consumer caution, but they don’t fit in with anything like a scene, they speak their own musical language, and while they bust out slogans about being “slightly superior to others of their ilk” . . . the truth is, they have no ilk. Faust’s Hans-Joachim Irmler adds keyboards and The Lovely Eggs’ Holly Blackwell’s languid voice features on one song, but the album’s real shock is that the band has now gelled to an unspoken, nearly psychic interplay. Captain Beefheart, one of Robert Lloyd’s musical heroes, is best known for the difficult-but-classic Trout Mask Replica, and like that album, this one contains nary a ‘hit’, yet here every song sticks in the brain and grooves . . . outclassing Beefheart’s masterpiece with its effortless charm. John Peel noted, “Their performances will serve to confirm their excellence when we are far enough distanced from the 1980s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans". It’s doubtful he would have bothered with such a pre-emptive defence if he’d been able to witness the explosive growth of the band during their second incarnation. Perish The Thought will be promoted by a far-flung tour, from Scotland to Serbia, with some dates already sold out. Guest supports include Stewart Lee, The Wolfhounds and Near Jazz Experience. Several videos for songs from the album were made.
7" Black Vinyl limited to 1000 copies.
Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial town of Burnley and adopted by the Manchester culture carriers, their teenage years can be viewed as something of a hedonistic pilgrimage into the underbelly of suburban rock and roll- their first gig having been 3 songs blasted out their mates garage, the next on top of a local vintage shop where the floor nearly caved in: “when there’s fuck all, you make do with what you got”. The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. Together, brothers James Douglas Clarke (Guitar + Vocals) and Joe Clarke (Keys), along with Joey Stein (Lead Guitar), Naham Muzaffar (Bass) and Sam Launder (Drums) all contribute to a fuzzy wall of diverse sound, becoming harder to pin down with their constantly evolving, psych-umbrella’d, rock and roll. What sets THE GOA EXPRESS apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time. Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride. With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes THE GOA EXPRESS a guitar band for the 21st Century. Nothing is ever a compromise because they are so unapologetically themselves in everything they do- proud Northerners with a DIY foundation that aren’t afraid to look into the often dim future and see themselves shining brightly in it, unforgiving and unpretentious. So far, the band have released 3 singles with great success. The first: ‘Be My Friend’, produced by Ross Orton right next Sheffield’s famous ‘City Sauna’ brothel, presents itself to us as a cheeky, snarling pop song, holding undertones of raw cynicism laden with psychedelic sunshine. Ross Orton’s studio was also right next door to where the band recorded their last single ‘The Day’ with Nathan Saoudi of Fat White Family at ‘Champ Zone.’ Both these producers have been able to give these instant pop classics a grittier feel, capturing the essence of the unfettered lifestyle the band were living at the time that they were able to capture themselves in the music video for ‘Be My Friend’. After signing with Ra-Ra Rok, (WU-LU/Bingo Fury) the band released anthemic summer hit ‘Second Time’, that went straight to the 6 music B-List before quickly heading up to the A-List 2 for 2 weeks. This was followed by the release of its B-Side ‘Overpass’ that almost immediately caught the eyes and ears of BBC Radio 1’s Jack Saunders, who had the band on his ‘Next Wave’ Segment. Closing the year that saw them play to 1000 strong crowds at festivals like Latitude & End of the Road, the band headlined their biggest headline show to date at Manchester’s Gorilla. Its fair to say that this really is only the beginning.
Second album from the Wipers. Mastered by Greg Sage. Now available on cassette for the first time on Jackpot Records. Simply obliterating any conception of the Wipers as a mere punk band, Greg Sage released this follow-up to "Is This Real?" in 1981 - a sophisticated, overwhelming response to the evil times marked by the turn of the decade. Broken up into six long songs, "Youth of America" is a much colder, harrowing experience than the teen angst of their debut.




















