2LP Glow In The Dark Vinyl Reprint limited to 3.000 units
IN FLAMES repräsentieren das Beste aus Vergangenheit, Gegenwart und Zukunft des Metal. IN FLAMES sind heute genauso vital und sogar noch energiegeladener als in den vergangenen Jahrzehnten, als sie Klassiker wie Come Clarity und Clayman herausbrachten.
Die Band hat sich einen umwerfenden Ruf erspielt, indem sie auf der ganzen Welt bei jedem erdenklichen großen Rock- und Metal-Festival mitreißende und inspirierende Auftritte absolvierte, als Headliner auf mehreren Tourneen auftrat und mit Bands wie Slipknot, Megadeth, Judas Priest, Killswitch Engage, Within Temptation und Lamb Of God tourte. Sie treten regelmäßig auf einigen der größten Bühnen und Festivals der Welt auf.
"Foregone", das furiose vierzehnte Studioalbum, verbindet die größten aggressiven, metallischen und melodischen Stärken ihrer bahnbrechenden Alben mit dem ausgereiften Songwriting ihrer postmodernen Ära. "Foregone" schafft es meisterhaft, wenn auch unwahrscheinlich, alle Seiten der In Flames-Fangemeinde mit kraftvoller Wucht zu bedienen.
Ein Gefühl von Stolz, Leistung und anhaltender Vitalität ist jedes Mal, wenn die Band die Bühne betritt, und überall auf "Foregone" zu spüren. Als Pioniere des Melodic Death Metal und innovative Verfechter des Grooves sind die Kunst, der Einfluss, die Größe und die Zukunft von In Flames so groß wie der Heavy Metal-Horizont selbst.
The Counts formed in Michigan in 1964 as the Fabulous Counts, releasing two singles, ‘Jan Jan’ and ‘Get Down People’ on the Moira label in 1968 and 1969 that became R&B chart hits. This led to the album “Jan Jan”, issued by Cotillion in 1969.
Snapped up by Westbound, the line-up that recorded “What’s Up Front That Counts” included Mose Davis (Organ), Leroy Emmanuel (guitar), Demetrius Cates (sax) and Andrew Gibson (drums). Although tenor player Jim White is on the front cover, he left the band shortly before the album was recorded. Extended, mostly instrumental tracks like ‘Why Not Start All Over Again’ and the title track are now recognized as some of the juiciest funk ever laid down in the studio. Shorter tracks like ‘Rhythm Changes’, ‘Thinking Single’ and ‘Bills’ are equally sweet. What gives the album such powerful musical chemistry was the fact that the Counts were jazz players weaned on the likes of Miles Davis who were also into the funk of James Brown and Sly & The Family Stone so every track features groove-driven interplay. One might argue this is the sound that Miles Davis was trying to find on his early 70s albums.
The Counts were to tour with Funkadelic and record more singles and albums but it is this 1971 offering that is, and remains, an all-time classic. Indeed, the track ‘What’s Up Front That Counts’ has been sampled by artists like Queen Latifah and Eric B & Rakim, keeping the music of the Counts firmly in the minds of a young contemporary audience.
Out of print on vinyl for nearly two decades, Ace is proud to reissue this beauty
Die Punkrock- und Metal-Superhelden MUTOID MAN - bestehend aus CAVE IN-Sänger/Gitarrist Steven Brodsky, CONVERGE-Schlagzeuger Ben Koller und dem neu hinzugekommenen HIGH ON FIRE-Bassisten Jeff Matz - haben ihr neues Album angekündigt: "Mutants", erscheint am 28. Juli via Sargent House! Brodsky und Koller, die eine fast telepathische Chemie besitzen, haben sich schon immer dadurch ausgezeichnet, dass sie ihre eigene, einzigartige Art von rasendem, hyperfokussiertem, dynamischem und exzessivem Griffbrett-versiertem Metal kreieren. Wenn man zwei Musiker nimmt, die in der Hardcore-Welt aufgewachsen sind und schnell die technischen Anforderungen übertrafen, um selbst die anspruchsvolleren Varianten dieses Sounds zu spielen, und sie dann dazu bringt, sich gegenseitig spielerisch in unverschämte und eingängige Gefilde zu drängen, erhält man eine grobe Annäherung an den MUTOID MAN-Sound. Aber mit dem neuen Bassisten Jeff Matz im Schlepptau hat man nun ein Dreiergespann von Prog-Level-Spielern, die sich dem Metal mit punkiger Respektlosigkeit nähern, auf "Mutants", einem Album, das ihre bisher gelungenste und verblüffendste Leistung darstellt. Nach dem Erfolg ihrer Debüt-EP "Helium Head" (2013) legte die Band in den nächsten vier Jahren eine manische Arbeitsmoral an den Tag, brachte die beiden Alben "Bleeder" (2015) und "War Moans" (2017) heraus, tourte unermüdlich durch die USA und Europa und wurde nebenbei so etwas wie eine De-facto-Hausband des angesagten New Yorker Metal-Clubs Saint Vitus. Mit Tourdaten im Vorprogramm von Acts wie MASTODON und DANZIG schien es, als sei MUTOID MANs Eintritt in die Oberliga der Heavy Metal-Helden unvermeidlich. Doch zwischen Besetzungswechseln, einem Exodus aus Brooklyn, einer Reihe anderer musikalischer Projekte und einer Pandemie wurde die Band inmitten ihres Aufstiegs auf Eis gelegt. Aber nach einer sechsjährigen Aufnahmepause sind MUTOID MAN zurück, um mit "Mutants" ihren Thron zurückzuerobern
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia.
Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form.
These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Che Belew gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.
Waking at Dawn was released in 2016 as a follow-up to Roy's debut EP, Exis. The projectfeatures the hit single, "Gwan Big Up Urself", inspired by his Caribbean roots & brought to lifeby Jamaican producer KRS. Another critically acclaimed single off the project, "How I Feel",shines light on Roy's ability to bend genres and vocal styles effortlessly.
The release brings to life the diverse talents of Roy Woods and his ability to write and singsongs that range in sound. Now his fans can finally listen to it on limited edition red vinyl
Im Frühling 2023 ging Angelo Kelly gemeinsam mit dem Multiinstrumentalisten Matthias Krauss auf „MIXTAPE Tour Vol.3“. Die Resonanz war riesig und die Songauswahl war wieder mal sehr überraschend! Was das MIXTAPE Konzept ausmacht ist, wie die Beiden es schaffen aus Liedern, die man schon kennt, ganz andere Versionen zu schaffen. Die Songs haben alle eine sehr persönliche Note und sind nicht nur anders, um anders zu klingen. „Titanium“ von David Guetta in dieser Form zu hören, macht einem erstmal bewusst, was in so einem Dance Track drinsteckt, „Angels“ von Robbie Williams ist nicht so einfach zu covern, aber bei dieser Version bekommt man direkt Gänsehaut!
Mit „My Hero“ und „Sweet Child Of Mine“ wird die Bühne gerockt! Einen ’Iron Maiden’ Song hätten wohl die wenigsten erwartet, aber die Version von „Wasted Years“ wird bestimmt einige dazu bringen, sich das Original anzuhören. Bei den insgesamt 18 Songs gibt es ein paar Lieder wie „Purple Rain“ und „Who Wants To Live Forever“ wo man zuerst denkt: ‚Das kann man gar nicht covern.’ Es sind aber genau diese Stücke, die einen umhauen und zeigen welche Freiheit sich Angelo Kelly mit seinem MIXTAPE Konzept nimmt. Grossartig! MIXTAPE Live Vol. 3 erscheint als CD in einem schönen Digipack Design. Das Highlight ist aber ganz klar die Vinyl Edition. 2 x Splattered Vinyl in einem Gatefold und dann gibt es ein wunderschönes 8 Seiten großes Booklet mit Tourfotos und persönlichen Geschichten von Angelo zu jedem der Songs.
Johnnie Taylor is revered as one of the all time great Soul singers. He replaced Sam Cooke as the lead singer of the Soul Stirrers and started recording as a solo artist in the early 60's. In 1966 he signed to Stax records where he recorded these two in demand exciting Raw Soul gems.
'Ain't That Loving You' from 1966 is a fantastic two step mid tempo ballad and has been an in demand cut for many years, original UK copies now sell for up to £100. It is the original version of the track later recorded by Luther Ingram, Alton Ellis, Dennis Brown and others.
'Blues in The Night' from 1967 is an up tempo R&B Dancer popular on the Northern Soul scene which was originally issued on a hard to find French EP which also sells for over £100.
These two great tracks are paired together on a 45 for the first time with a specially designed label which reflects their 60s origins. This single is sure to be snapped up by DJ's and collectors.
A central figure in Seattle’s fading disco scene, radio DJ, producer, engineer, writer and multi-instrumentalist…Tony Benton was the driving force behind the Seattle soul-funk sound during the late 70s & 80s. Starting off his career at the age of ten he learned how to play the piano and then finally got to take a music class in the 7th grade. Having access to an electric piano made him fall in love with the thought that he could make his own music. At the age of 16 Tony and his friends already formed their first band called ‘Crystal Clear’ and were making up songs in his basement.
Things would really start off when Tony Benton teamed up with his group to form the avant-boogie group Teleclere who went on to release their first single in 1982 (Fantasy Love / Ultra Groove). That’s when Tony started playing all of the other instruments and thus earning him the title ‘multi-instrumentalist’. Teleclere was all about creating and performing original music, there was no music scene in Seattle at that time for a black artist or group who played original compositions. Rap-music was also emerging and clubs slowly started to switch from live performances to deejays.
Through the success of their independent EP release, Teleclere followed up a year later with their Affection/Defection album which created a serious hype. This gave them the chance to regularly open at concerts for national artists in halls and clubs. They played at nightclubs, bars, festivals, private parties and did mini tours in the Washington State cities & Canada…including opening for Grammy-award winning soul-star Peabo Bryson (performing for a crowd of 3,000 in their hometown Seattle)
Sadly, radio would not play their music so folks never really had the chance to hear it unless they saw them perform live (they always won the crowd over). To add insult to injury, venues and the likes started to mainly book cover bands playing top 40 music. Disappointed by this Tony Benton became a radio personality but would continue to record and perform under the name ‘Teleclere’ with various players and vocalists for many years to come. Only a handful of his tracks recorded were released in the end.
Thankfully we are left with the unique audio-document that is the Affection/Defection LP. The album took the scene by storm in 1983 and sounds like a sci-fi space odyssey unfolding on an intergalactic dance floor…a chopped and slapped slice of 80ies electro-funk, sensual soulful serenades, pulses of Innervisions-worthy bass, top of the line vocals and a plethora of vocoder magic. Also included is the hit ‘Steal Your Love’ that was featured on the acclaimed 2014 Light In The Attic compilation ‘Wheedle’s Groove Volume II: Seattle Funk, Modern Soul And Boogie 1972-1987’.
Tidal Waves Music (in collaboration with the Numero Group) now proudly presents the first ever vinyl reissue of this fantastic private pressed Seattle electronic soul/funk album (originally released in 1983 on Telemusic Productions). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork and obi strip.
Morbider Death Metal aus den Tiefen der Erde!
Nach ihrem selbstbetitelten Debüt-Mini-Album 2022 freuen wir uns, das erste Full-Length-Album mit dem Namen 'Sublimis Ignotum Omni' ankündigen zu können, das aus Italien stammt. Die neuen Songs sind etwas schneller, ohne das vom Debüt bekannte morbide Gefühl zu verlieren.
Dieses Stück morbiden Female Fronted Death Metal ist für Fans von MALIGNANT ALTAR, UNDERGANG oder CORPSESSED sehr zu empfehlen.
Georgia meldet sich mit ihrem dritten Album "Euphoric" zurück!
Als Co-Produzentin von Rostam (Haim, Carly Rae Jepsen, Clairo) hat Georgia zum ersten Mal mit einem anderen Produzenten an ihrem eigenen Material gearbeitet. Das Ergebnis ist ihr dynamisches drittes Studioalbum mit zehn energiegeladenen Songs, das am 28. Juli erscheinen wird. "Euphoric" folgt auf "Seeking Thrills" aus dem Jahr 2020. Seitdem hat Georgia mit Künstlern wie Mura Masa, Gorillaz, Shygirl, Baby Tate, Dan Carey und David Jackson zusammengearbeitet. Zuletzt schrieb sie mit Olly Alexander von Years and Years und wirkte an Shania Twains #1 Album "Queen Of Me" mit. All diese Erfahrungen sind in ihr kommendes Album eingeflossen. Die erste Single aus dem Album, "It's Euphoric" war das erste Stück, das Rostam und Georgia gemeinsam schrieben, und es bestimmt die gesamte bunte Klangwelt des Albums.
Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.
The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.
The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.
With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.
Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.
The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.
Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”
With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.
“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”
Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.
The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.
The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.
With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.
Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.
The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.
Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”
With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.
“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”
Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.
The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.
The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.
With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.
Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.
The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.
Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”
With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.
“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”
Limitierte Farbauflage der 2021 remasterten und auf Doppelformat erweiterten Reissue des vierten Studioalbums 'Egyptology' (1997) der britischen Rockband World Party. Mit den Singles 'Beautiful Dream' und 'She's The One', erweitert um Bonus-Liveaufnahmen aus New York 1997. Blaues und goldfarbenes Doppelvinyl im Gatefold.
Seit fast zwanzig Jahren mischen die Dirty Heads Hip-Hop, Reggae und Rock zu einem einzigartigen Sound, der sowohl ihre Wurzeln in Huntington Beach, Kalifornien, verkörpert als auch ein Publikum auf der ganzen Welt anspricht. Mit ihrem Hit "Vacation", der auf der Plattform über 6 Milliarden Streams und Views hat, sind die Dirty Heads auf TikTok zum viralen Hit geworden und haben über 5 Millionen monatliche Hörer auf Spotify. Ihr mit Spannung erwartetes neues Album Midnight Control enthält 11 brandneue Songs, darunter ihre Interpretation von Joe Walshs 1978er Hit "Life's Been Good", "Rescue Me" und "Island Glow". Midnight Control - das achte Studioalbum der Band - wird die herausragende Erfolgsbilanz der Band bestätigen, denn alle sieben Alben der Band waren in den Top 10 der Billboard Top Independent Albums Charts und Billboard Top Alternative Albums Charts vertreten.
Bush Tetras have made punk music at the fringes for over four decades. Flashes of reggae, bursts of noise, guitars that rattle, shake and snake, born out of a gutter behind CBGBs. Over the years they have respawned time and time again, contorting their sound, tweaking the vision, remaining singular and indispensable. In the late 2010s the group-Pat Place, Cynthia Sley, and Dee Pop-reformed again, releasing an EP, Take the Fall, in 2018. It was their first offering of new music in over a decade. A few years later in, 2021, they released a career spanning box set called Rhythm and Paranoia. The New York Times called the box set an artifact that "proves for decades that Bush Tetras continued to evolve in surprising yet intuitive directions." Around the same time, the band began working on a full length record, writing sessions during the pandemic over Zoom. Right before the release of the box set, beloved drummer Dee Pop passed away. Determined to complete the record to honor his memory, the Tetras went into the studio to finish what they'd started, once the timing was right. They brought in a new drummer, Sonic Youth's Steve Shelley, who also served as producer. Enter They Live in My Head. The band's 3rd official LP (a misleading fact when viewed along - side a catalog as expansive as it is influential), They Live in My Head is a collection of songs that sometimes reflect on the past and sometimes reckon with our current reality. From "Ghosts of People," on which Pat Place's legendary guitar meanders through closed doors and portals, to the scorching "2020 Vision," a matter- of-fact call to arms to get on the streets and get something done, the album addresses new and old, in both abstract and specific terms. But whether they're looking forward or backward, Bush Tetras have always been a political band, a band that calls out all kinds of bullshit. And, in that sense, They Live in My Head is absolutely no exception.
Bush Tetras have made punk music at the fringes for over four decades. Flashes of reggae, bursts of noise, guitars that rattle, shake and snake, born out of a gutter behind CBGBs. Over the years they have respawned time and time again, contorting their sound, tweaking the vision, remaining singular and indispensable. In the late 2010s the group-Pat Place, Cynthia Sley, and Dee Pop-reformed again, releasing an EP, Take the Fall, in 2018. It was their first offering of new music in over a decade. A few years later in, 2021, they released a career spanning box set called Rhythm and Paranoia. The New York Times called the box set an artifact that "proves for decades that Bush Tetras continued to evolve in surprising yet intuitive directions." Around the same time, the band began working on a full length record, writing sessions during the pandemic over Zoom. Right before the release of the box set, beloved drummer Dee Pop passed away. Determined to complete the record to honor his memory, the Tetras went into the studio to finish what they'd started, once the timing was right. They brought in a new drummer, Sonic Youth's Steve Shelley, who also served as producer. Enter They Live in My Head. The band's 3rd official LP (a misleading fact when viewed along - side a catalog as expansive as it is influential), They Live in My Head is a collection of songs that sometimes reflect on the past and sometimes reckon with our current reality. From "Ghosts of People," on which Pat Place's legendary guitar meanders through closed doors and portals, to the scorching "2020 Vision," a matter- of-fact call to arms to get on the streets and get something done, the album addresses new and old, in both abstract and specific terms. But whether they're looking forward or backward, Bush Tetras have always been a political band, a band that calls out all kinds of bullshit. And, in that sense, They Live in My Head is absolutely no exception.
Nachdem sie in den letzten zwei Jahren mit ihrer "Doomsday Machine" weltweit großen Schaden angerichtet haben, kehren die mächtigen ARCH ENEMY triumphal mit dem vielleicht bedeutendsten Album ihrer bereits gefeierten Karriere zurück. Für das neue Meisterwerk "Rise of The Tyrant" kehrten die Meister des Metal zum gefeierten Produzenten Fredrik Nordström (Dimmu Borgir, In Flames, At The Gates) ins Studio Fredman zurück, wo die Band bis zu "Wages Of Sin" (2001) alle ihre Alben aufgenommen hatte. ARCH ENEMY-Mastermind Michael Amott (Gitarren) erklärt: "Rise of The Tyrant" ist das ultimative ARCH ENEMY-Album! Für mich klingt es wie die perfekte Mischung aus Melodie und Brutalität. Diese Scheibe ist ein organisches und ehrliches Statement der Band - es ist purer Metal vom Feinsten, so wie ARCH ENEMY ihn spielen.Das Album ist endlich wieder in den folgenden Formaten erhältlich:- Schweres 180g schwarzes und lilafarbenes Vinyl, inklusive 2-seitigem Einleger- Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 20-seitigen Booklet kommt
Nachdem sie in den letzten zwei Jahren mit ihrer "Doomsday Machine" weltweit großen Schaden angerichtet haben, kehren die mächtigen ARCH ENEMY triumphal mit dem vielleicht bedeutendsten Album ihrer bereits gefeierten Karriere zurück. Für das neue Meisterwerk "Rise of The Tyrant" kehrten die Meister des Metal zum gefeierten Produzenten Fredrik Nordström (Dimmu Borgir, In Flames, At The Gates) ins Studio Fredman zurück, wo die Band bis zu "Wages Of Sin" (2001) alle ihre Alben aufgenommen hatte. ARCH ENEMY-Mastermind Michael Amott (Gitarren) erklärt: "Rise of The Tyrant" ist das ultimative ARCH ENEMY-Album! Für mich klingt es wie die perfekte Mischung aus Melodie und Brutalität. Diese Scheibe ist ein organisches und ehrliches Statement der Band - es ist purer Metal vom Feinsten, so wie ARCH ENEMY ihn spielen.Das Album ist endlich wieder in den folgenden Formaten erhältlich:- Schweres 180g schwarzes und lilafarbenes Vinyl, inklusive 2-seitigem Einleger- Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 20-seitigen Booklet kommt
Auf "Amongst the Low & Empty" wird der wütende Deathcore von SIGNS OF THE SWARM mit einer gehörigen Portion Groove und Industrial-Impulsen angereichert, die Vergleiche mit Meshuggah, Deftones und Fear Factory nahelegen. Die Band aus Pittsburgh, Pennsylvania, erreicht damit eine neue Ebene der Düsternis - der Soundtrack zu einer nicht allzu fernen dystopischen Zukunft, während ihre eigene heller denn je brennt. Das Feuer wurde von Co-Produzent und Mixer Josh Schroeder (Lorna Shore, King 810, Tallah) entfacht, der über einen Monat lang im Studio an dem Album arbeitete, wobei Schlagzeuger Bobby Crow das Fundament legte, auf dem alles aufgebaut wurde. "Amongst the Low & Empty" beginnt mit einer Bulldozer-Note - kein mäanderndes Intro - mit einem Titeltrack, der so schwer ist, dass ein später Ausbruch der Double Bass den Manager der Band buchstäblich zum Lachen brachte. Danach geht es mit "Tower of Torsos", "DREAMKILLER" oder "The Witch Beckons" weiter, bei dem Trivium-Sänger Matt Heafy neben dem animalischen Growl von Sänger David Simonich zu hören ist.Unermüdliches Touren mit Bands wie Lorna Shore, Whitechapel, Fit for an Autopsy, Born of Osiris, Archspire und VIELEN anderen hat es Signs of the Swarm ermöglicht, ihr Handwerk zu verfeinern, aber auf "Amongst the Low & Empty" haben sie es wirklich gemeistert und sind bereit, in der Welt des extremen Metal auszubrechen.Einfach gesagt ist dies der Sound von Kunst, die bis zum Äußersten getrieben wird.
Celebrate Hip-Hop At Fifty and Bad Boy records with the ground-breaking self-titled album by the R&B group, 112. Double Platinum Debut Album from 112, who carry the distinct honour of being one of the 1st R&B records released on Bad Boy.
With chart-topping hits like "Cupid," "Only You," and "Peaches & Cream," this album is a collection of timeless classics that will have you singing along and reminiscing about the magic of love. Whether you're in the mood for slow jams or upbeat grooves, 112 has you covered with their diverse range of soulful tracks.
The very first vinyl edition of Andrew Gold’s pastiche
psychedelic masterpiece ‘The Fraternal Order of the All –
Greetings from Planet Love’.
Initially released in 1997, the album was conceived by
Andrew Gold as a tribute to late 60s psychedelic rock. His
remarkable compositions were wonderful stylistic
evocations of artists such as The Beatles, The Beach
Boys, The Byrds and The Doors.
The project saw Gold create the fictitious band The
Fraternal Order of the All, in reality Andrew playing
most of the instrumentation and singing, along with guest
musicians such as Graham Gouldman.
This Esoteric Recordings limited edition double LP is
pressed on 10-inch coloured splatter vinyl and features a
newly designed lavish gatefold sleeve.
Yasushi Ide, the Japanese Street Music Icon Unleashed "Cosmic Suite 2" in a Revolutionary Blend of Genres.
Yasushi Ide, the revered figure in Japanese street music, has recently unveiled his latest musical opus titled "Cosmic Suite 2," a rebel music masterpiece that pushes the boundaries of musical genres.
This groundbreaking album features collaborations with esteemed pioneers including Afrika Bambaataa, Don Letts, Josh Millan, Jeff Mills, DJ Krush, Tony Allen, and more. By transcending the limitations of time, genre, and even mortality, Ide has crafted a truly unique and eclectic street music experience unlike anything seen before.
Notably, Ide enlisted the expertise of Grammy-winning sound engineer Steven Stanley to embark on the reconstruction of "Cosmic Suite 2" using his renowned dub mix techniques. The outcome of this collaboration is the birth of "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," a mesmerizing rendition that showcases the genius of both artists.
Hailing from Jamaica, Steven Stanley is a highly regarded sound engineer and producer whose illustrious career spans several decades, primarily in the realms of reggae, dub, and rock music. Having worked with acclaimed acts such as Talking Heads, Black Uhuru, and Tom Tom Club, Stanley has solidified his status as a living legend within the industry. His contributions to Tom Tom Club's "Genius of Love" and his Grammy-winning work on Black Uhuru's "Anthem" further exemplify his unparalleled expertise. Additionally, Stanley has collaborated with notable artists including Grace Jones and B-52's.
In "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," Stanley expertly integrates elements from the original "Cosmic Suite 2" tracks, employing his unique dubbing techniques to enhance the sonic experience. Through the addition of his signature dubby reverb and other distinctive sound manipulations, Stanley elevates the album to an entirely new dimension.
"The Battle" Transformed into an Enchanting Disco Dub Experience, Infused with Stanley's Horn Section Effects for a smoky ambience.
In the mesmerizing track "Galactic Beats," the legendary Afrobeat pioneer Tony Allen's powerful drums take center stage. Skillfully applying his dub effects, Stanley adds vibrant layers and new dimensions to the composition, further enhancing its sonic palette.
Another standout is the dub version of "LAVA," featuring acclaimed Japanese singer UA. The track, which was already a fan favorite in its original form, undergoes a remarkable transformation in this dub rendition, further accentuating its appeal.
"Outer Space" Transcends Time and Genre with a Dream Collaboration Between the Late Legendary Reggae Drummer Style Scott and Japan's Turntablist Extraordinaire, DJ Krush. While the original track exudes a stoic and deep cosmic dub essence, Stanley ingeniously reimagines it as a nostalgic old-school dancehall masterpiece.
"Sumimasen" is a track that exemplifies Stanley's mastery, where the unique Japanese word "Sumimasen" (meaning "I'm sorry") is transformed into a psychedelic and deeply immersive dub journey. The track features captivating echoes on the vocals and twisted synth elements, transporting listeners to a cosmic realm of sonic exploration.
Furthermore, it is crucial to highlight "Hear, There, and Beyond," a collaboration between Yasushi Ide, Kan Takagi, the pioneering figure of Japanese hip-hop, and RECK, the bassist from the legendary punk rock band FRICTION. This reconstructed version takes the original track to unprecedented heights. With a remarkable shift to tribal drums in the midst of the song, the energy intensifies, resulting in a wild and exhilarating musical experience.
The reconstruction of this album evokes memories of Mad Professor's "No Protection," a renowned dub reconstruction of Massive Attack's work that remains an enduring masterpiece in the genre. With its exceptional craftsmanship and artistic vision, "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub" has the potential to be regarded as another timeless dub reconstruction masterpiece, solidifying its place in music history.
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After 1979 and 1980 albums by Peter Green were by turns bluesy and funky, White Sky from 1981 emphasizes rock. Maybe this is because all the songs are written by his older brother Mike Green, who sings on the title track. Drummer Reg Isidore of the Robin Trower Band joins Green on this album. White Sky was produced by Peter Green and Geoff Robinson.
Extreme is an American rock band, headed by frontmen Gary Cherone and Nuno Bettencourt, that reached the height of their popularity in the late 1980s and early 1990s. III sides to Every Story was released in September 1992 and the first single from the album was "Rest In Peace". The album is structured as a concept album in three sections labeled as “sides” — a play on the notion of “different sides to a story” and that of “sides” of a vinyl album. The sides, mentioned in the song “Cupid's Dead” as “three sides to every story” are named “Yours”, “Mine” and “The Truth”, and each features a distinct musical style and lyrical imagery.
Life On Display is the second studio album by post-grunge band Puddle of Mudd released in 2003. It was produced by John Kurzweg whose previous work includes Creed, Socialburn, No Address, and also the band's previous album. The album was certified with a Gold status by the RIAA and features the singles "Away From Me", "Spin You Around", and "Heel Over Head". The first single "Away From Me" peaked at #1 at the Mainstream Rock Charts.
Singer-Songwriter Daniel Rossen begab sich zur Unterstützung seiner von der Kritik gefeierten Solo-Debüt-LP YOU BELONG THERE 2022 auf eine einzigartige und intime Tour. Alleine, ohne Crew oder teures Equipment, ausgerüstet mit ein paar Akustikgitarren und einem kleinen Verstärker in seinem Auto, genoss er die Einfachheit und Rohheit seiner Auftritte. Daraus entstand die fesselnde LP 'Live in Pioneertown & Santa Fe' mit Material aus YOU BELONG THERE, der SILENT SONG/GOLDEN MILE EP, Songs von DEPARTMENT OF EAGLES und Coverversionen. Sie folgt dem hochgelobten Filmscore zum US-Drama 'Past Lives', komponiert von Rossen und seinem Grizzly Bear-Bandkollegen Christopher Bear. Limitierte, handnummerierte Auflage von 1.000 Stück mit Download-Code.
Soul music originated in the African American community throughout the United States in the late 50s and 60s. Having its roots in African American gospel music and rhythm & blues, it became popular for dancing and listening with prominent record labels as Motown, Atlantic and Stax.
On this 2LP compilation classic soul songs by Curtis Mayfield, Marlene Shaw, Bill Withers, and Aretha Franklin are paired with funky soul stompers by James Brown, Sly & The Family Stone, The Isley Brothers, and poetic soul by Gil Scott-Heron, Marvin Gaye, The Impressions and many more influential artists and groups.
Soul Collected is available as a limited edition of 2000 individually numbered copies on yellow (LP2) and orange (LP2) coloured vinyl and includes an insert.
After 6 years since his last EP, IAL proudly welcomes the return of AntonZap.
Urban Underground Solutions is a shocking EP that 100% embodies Anton's personality. Introspective, dark and captivating sonorities make this release unique. 4 strictly personal tracks produced with passion and years of field experience available exclusively on vinyl!
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Mighty Baby evolved out of the Action, club favourites who released a number of poor-selling singles. Dropped by Parlophone, musical chairs saw Ian Whiteman (keyboards/flute) and Martin Stone (guitar) join and the music now blended progressive psychedelia with longer pieces dominated by instrumental prowess rather than Reggie King’s soulful vocals. King departed and guitarist Alan King and Whiteman began to share vocal duties on newly penned material like ‘Egyptian Tomb’ and ‘House Without Windows’ that, in retrospect, can be seen as reflecting light from the dark star of the Grateful Dead.
“Mighty Baby” was first released on the Head label on 7th November 1969 in a superb gatefold sleeve with artist Martin Sharp serving up the arresting front cover that looked like a lion being showered in blood. The album received positive reviews, with International Times stating “The music has a hundred characters… Eastern, Oriental, country, folk, rock, blues, pop etc. etc… At this moment in time Mighty Baby’s record is simply THE best thing in its class.”
The album is now seen as a progressive rock classic; cohesive, with no low spots, the inventiveness and musical prowess on a par with the equally revered, albeit jazzier, prog rock band Cressida. This latest edition from Ace, not only replicates the gatefold sleeve of the original but also contains an inner sleeve replete with memorabilia from the collection of Richard Morton Jack
“Mighty Baby” is a must-have purchase not only for fans of the band but those who want to discover this classic progressive rock album for the first time.
'Beautiful Freak' ist das Debütalbum der amerikanischen Alternative-Rock-Band EELS, die 1995 in Kalifornien von dem Sänger/Songwriter und Multi-Instrumentalisten Mark Oliver Everett gegründet wurde. Das Album enthält u.a. die Hit-Single 'Novocaine for the Soul', mit dem EELS international durchgestartet sind.
The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.
Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.
The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.
This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.
Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.
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The next installment of our "Eccentric" single LP compilation series, in the same style as our Eccentric Funk and Eccentric Disco releases. A simple digestable run-down of our favorite genre specific tracks. All killer no filler. Focusing on Deep Soul for this one. The only divorce record you'll ever need to own.
Opaque Purple with Pink Splatter vinyl. The next installment of our "Eccentric" single LP compilation series, in the same style as our Eccentric Funk and Eccentric Disco releases. A simple digestable run-down of our favorite genre specific tracks. All killer no filler. Focusing on Deep Soul for this one. The only divorce record you'll ever need to own.
I Met You When I Was 18, the debut compilation album from multi-Platinum chart-topping singer, songwriter, producer, and multi-instrumentalist Lauv, celebrates its 5th Anniversary. The album features the global hit “I Like Me Better”, which earned platinum certification in seven countries (5X platinum in the US) and over 1 billion streams on Spotify. The compilation also features other hits including, “Paris In The Rain” and “The Other”.
Portsmouth quartet Hallan release the brand new
EP, ‘The Noise of a Firing Gun’, via Nice Swan
Records (English Teacher, Sports Team, Courting).
Spearheaded by lead singles ‘Unwomanly Face Of
War’ and the BBC 6 Music playlisted ‘The Colline
Gate’, the group’s record sees them leave the
mundanity of the 21st century behind and turn to
real life events of the past, bringing attention to the
stories of historical individuals, from the vestals of
Ancient Rome to the art scenes of Berlin.
‘The Noise of a Firing Gun’ debuts a new direction
in songwriting and composition for the band.
Experimenting with new production elements,
Hallan shift their gaze towards synthesised sounds
of the 1980s whilst retaining their post-punk edge.
Beverly Glenn-Copeland announces his long-awaited new album, The Ones Ahead, due out 28th July via Transgressive and available to preorder here. The Ones Ahead is Glenn-Copeland’s first studio LP in almost 20 years and the first since the extraordinary career renaissance triggered by the rediscovery of his now-classic Keyboard Fantasies album.
“All in the Golden Afternoon We Glide” (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate.
Preceded by several collaborative undertakings, LATHE 00’s debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, “All in the Golden Afternoon We Glide” meditates on individuality, technology, and new forms of (post-)human existence.
The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. Upon closer inspection, these tracks feel less like standalone pieces of music and more like outtakes of a single but continuously mutating continuum.
LATHE 00’s first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own.
The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalisations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one’s all-too-embodied presence in this world.
Despite being a concept album grounded in a profound theoretical substrate, “All in the Golden Afternoon We Glide” surprisingly relies on wordless communication only. As such, in it, song titles become key vectors of information. Appealing primarily to the listener’s sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital (“Loading of Image Aborted!”), nature (the title track), and ritual (Pouring Blood into the Lake).
The album will be released in digital format alongside a limited-edition printed publication conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga.
