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Im Jahr 2023 veröffentlichte James Elkington "Me Neither", ein Doppelalbum mit Solo-Gitarrenimprovisationen und -Experimenten. Am Ende betrachtete er es als eine wortlose Sammlung von Library Music, eine Fundgrube anonym produzierter Klänge, die für jede Art von Verwendung geplündert werden können, und Elkington, der in Chicago lebende britische Gitarrist, findet in dieser Musik eine Freiheit, die aus dem Nichts zu kommen scheint. Er lässt "Me Neither" mit "Pastel De Nada" ein neues 2xLP-Set folgen, dessen 27 Tracks eher einem Werkzeugkasten als einer Bibliothek gleichen. Helle, optimistische Strums wie 'The Lyre Concordia', vielschichtige Meditationen wie 'Morny in the Earling' und 'The Caves at Aurangabad' und Stücke wie 'The Equal Spacing', die wie kleine Maschinen ticken und surren, um Freude zu erzeugen. Elkington stellt seinen Gitarren Texturen, Atmosphären und flüsternde Perkussionsinstrumente gegenüber.

American Standard is the second studio album by American post-grunge band Seven Mary Three. It was released in 1995. The album would be Seven Mary Three's breakthrough success, rising to number 24 on the Billboard 200 and was certified platinum in the United States and Canada. Many of the songs were rerecorded versions of tracks off Seven Mary Three's independent debut, Churn. The album's biggest hit single was "Cumbersome" (#1 on Billboard's Hot Mainstream Rock Tracks, #7 on Hot Modern Rock Tracks, and #39 on the Billboard Hot 100).Other Billboard-charting singles were "Water's Edge" (#7 on Hot Mainstream Rock Tracks and #37 on Hot Modern Rock Tracks), and "My My" (#19 on Hot Mainstream Rock Tracks).

Roh, ungefi ltert und voller Energie fängt "Live SO36" den Punkrock in seiner schönsten Form ein. New Model Armys kompletter elektrisierender Auftritt vom 16. Juli 2022, im legendären Berliner SO36, erscheint erstmals als Audio- und Videoformat, mit 19 Songs, darunter Fan-Favoriten wie "The Hunt" und "Poison Street" sowie seltenen Stücken, welche die Band noch nie live gespielt hat. Das Album ist ein indirekter Nachfolger ihres Live-Albums "Sinfonia" von 2023, welches in Deutschland ein großer Charterfolg war (#1 Video Charts, #6 Album Charts). Nachdem die Band ein Konzert mit vollem Orchester im Tempodrom gegeben hatte, wollten sie nochmal das genaue Gegenteil tun und buchten zwei Abende im SO36, dem legendären Punk-Rock Schwitzkasten in Kreuzberg, um zur einfachsten Version von New Model Army zurückzukehren. An den beiden Abenden spielten sie 38 verschiedene Songs. Die Erstaufl age beider Formate enthält neben den 19 Songs auch einen exklusiven Audio-Download für die unveröffentlichte Show 2, die einenTag später, am 17. Juli 2022, aufgenommen wurde.

"“We can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one... hard times require furious dancing. Each of us is proof” Alice Walker, Hard Times Require Furious Dancing

Snapped Ankles have given up trying to make sense of it all. The forest only offers so much protection. Feeding on a diet of fractured narratives, meme culture, viral moments and the very worst of human impulses weighs heavy. The woodwose hold up a mirror to the absurdity of modern life once again. The only sane response is to dance. Make your way to the clearing, gather around the megalith of speakers, drum machines, amps and synthesisers and dance like there’s no tomorrow.

Hard Times Furious Dancing is an invitation to all those lost in the unrelenting noise of the present, to leave it all behind and come together in the forest. Driven by the primitive thrust of their single-oscillator ‘log’ synths, high and low culture collide in a surreal, free flowing narrative - but the rhythm is universal. This is easily the closest Snapped Ankles have come to capturing their rapturous live energy in the studio.

The sound of Hard Times Furious Dancing evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album Come Play The Trees, and in doing so have harnessed that feral energy once again. This surreal human/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. Dance it all loose."

Stone Foundation return with their 11th studio album. Collaborative as ever, the band's first LP in 3 years boats appearances from a diverse range of soul artists from Omar and Laville to J.P. Bimeni and regular collaborator Mick Talbot (The Style Council). Following a year celebrating their 25th anniversary as a band with a major compilation release alongside a summer touring with Grace Jones and Paul Weller, Stone Foundation's sights are now firmly fixed on the future. Join them as the sound of small town soul transforms itself once again.

Produced by A Great Big Pile of Leaves and recorded primarily at their home studio, new album Pono was mixed by touring guitarist Matthew Weber at Gradwell House Recording and mastered by Dave Downham (Beach Slang, Into It. Over It.). With eight years between releases, the band recalls how the recording process of Pono felt like they were making their first record, adding 'we worked at our own pace with no preconceived notion of what it needed to be.'

Whipped up in the dust of Rene & Rene’s Tejano tornado “Angelito,” the Dynamic label was just one among San Antonio record and real estate mogul Abe Epstein’s enterprises. Dynamic’s flagship outfit, the Commands, marched “No Time For You” up to the middle of the charts in 1966 with performance chops honed jet-sharp by the demanding Air Force Base circuit. That take off paved a runway for 20 more soulful Dynamic singles over an impressive 30-month campaign. Epstein’s open-door policy brought a diverse cross-section of Texas talent into convergence within his General McMullan Drive studio, as whites, blacks, and Latinos alike suited up for service in whichever new group the call of duty called for. Epstein’s Alamo City melting pot is ladled out here in 21 (28 on the 2LP) of Dynamic’s most intriguing dishes by the Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & His Soul Express, and Doc & Sal. Lone Star pic sleeves, full-color dancehall photography, and rich ephemera plant a new flag for soul in soil that’s seen its share of hoisted banners.

Der Nachfolger von City of Evil, Avenged Sevenfold's viertes Studioalbum, das selbstbetitelte Album im schlichten Weiß mit Logo, debütierte auf Platz 4 der US Billboard 200 Chart und Platz 24 in UK. Mit dem Fan-Favoriten "Afterlife", "A Little Piece of Heaven" & "DearGod", wurde das Album mit dem Kerrang!-Awards als Album des Jahres ausgezeichnet. Das Album ist auch auf Kerrangs "666 Alben You Must Hear Before You Die" aufgenommen. Für Fans von Metallica, Slipknot & Bullet For My Valentine. Avenged Sevenfold (abgekürzt A7X) ist die amerikanische Heavy-Metalcore-Band aus Huntington Beach, Kalifornien, die 1999 gegründet wurde. Das aktuelle Lineup der Band besteht aus dem Sänger M. Shadows, dem Rhythmusgitarristen Zacky Vengeance, dem Leadgitarristen Synyster Gates, dem Bassisten Johnny Christ und dem Schlagzeuger Brooks Wackerman. Avenged Sevenfold sind bekannt für ihren abwechslungsreichen Rocksound und teilweise für ihre dramatischen Bilder auf Albumcovern und Merchandise-Artikeln. Die Band trat mit einem Metalcore-Sound auf ihrem Debütalbum Sounding the Seventh Trumpet in Erscheinung und setzte diesen Sound bis zu ihrem zweiten Album Waking the Fallen weitgehend fort. Der Stil der Band hatte sich bis zu ihrem dritten Album und ihrer ersten Veröffentlichung bei einem Major-Label, City of Evil, zu einem traditionelleren Heavy-Metal-Stil entwickelt. Mit dem selbstbetitelten vierten Album erkundete die Band neue Klänge und feierte einen anhaltenden Mainstream-Erfolg, bevor ihr Gründungsschlagzeuger Jimmy ,The Rev" Sullivan 2009 starb. Trotz seines Todes machten Avenged Sevenfold mit Hilfe des Dream Theater-Mitglieds Mike Portnoy weiter und veröffentlichten 2010 ihr fünftes Album Nightmare, das an der Spitze der Billboard 200 debütierte und ihr erstes #1-Album war. Doppel-LP, 2025er Pressung in rot-rotem Vinyl!

War Drosselbart eine Krautrockband nur weil sie aus München kamen wie Amon Düül, deutsch sangen und 1971 bei einer großen Plattenfirma ihr erstes und einziges Album veröffentlichten? "Nein", meint Monika Vincent-Gunia aka Jemima, Sängerin von Drosselbart. "Wir waren die erste Punkband Deutschlands. Die Jungs von der Band konnten damals nur drei Akkorde, vielleicht auch vier, aber sie brannten vor Begeisterung." Doch mit dem Punk der Mitsiebziger Jahre hat dann Drosselbarts Musik auf dem gleichnamigen Album recht wenig zu tun. Die Jungs hatten anscheinend doch ein bisschen geübt und sich mehr als vier Akkorde draufgeschafft. So klingt das Ganze stark nach den 1960er Jahren, erinnert gelegentlich an härtere rockende, psychedelische US-Bands wie Iron Butterfly oder an die Musik britischer Bluesrocker wie z. B. Brian Auger und Julie Driscoll. Keyboarder Christian Trachsel steuert ein paar progressive Momente bei und Gastmusiker Ralf Nowy sorgt für klassisch angehauchte Hörerlebnisse. Gesungen wird, wie bereits erwähnt, in Deutsch, von Jemima und Peter Randl. Der bevorzugt einen eher aggressiven, agitativ-deklamierenden Stil, wie man ihn auch von diversen deutschen Politrockbands Anfang der 1970er kennt. Aufgenommen wurde in den Union Studios in München, wobei der Band ein junger Toningenieur namens Reinhold Mack zur Seite gestanden und für den Mix gesorgt haben soll. Unter dem Kürzel Mack machte dieser ab Mitte der 1970-er Karriere als Soundmixer und Produzent von Größen wie ELO, Sparks, Deep Purple und vor allem Queen.

Bristol-based singer, songwriter and bandleader, who has powered her way to the-forefront of the British blues and roots scene in recent years, releases 'Shining In The Half Light on "Tidal Wave Splatter" colored vinyl. Crammed with vibrant originals brought to life with her A-list touring band, 'Shining in the Half Light' is Bailey's first full length album recorded in the UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon in December 2020 at Middle Farm Studios and produced by Dan Weller. An exciting team of co-writers feature with three credits for Ashton Tucker & Will Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the hugely successful indie-folk outfit Noah and the Whale, on the aforementioned 'Sunshine City'. The album comes to a striking conclusion with its title track, co-written with Nashville's Craig Lackey, written over Zoom in May 2020.

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

"Perfect Teeth" war das finale Album der amerikanischen Indie-Institution Unrest. Dreißig Jahre nach der ursprünglichen Veröffentlichung lassen 4AD und die Band es als Doppelalbum neu aufleben. Die 30th Anniversary Edition besteht aus dem remasterten Originalalbum sowie "Extra Teeth", einem Bonusalbum mit EP-Tracks, Singles und Raritäten. Unrest, die ihren Namen einer Henry-Cow-Platte entliehen hatten, gründeten sich 1983 in einer Schule in Arlington, Virginia. Anfangs noch improvisierende Instrumentalband, perfektionierten sie bald einen vielseitigen Sound mit unterschiedlichen Genreeinflüssen. Sie veröffentlichten ihre Musik über TeenBeat, das Label ihres Frontmannes Mark Robinson und später auch bei 4AD, Caroline und Matador. Auf "Perfect Teeth" sind die Gründungsmitglieder Mark Robinson und Phil Kraut sowie Bassistin Bridget Cross (ursprünglich Sängerin von Velocity Girl) zu hören. Das Album wurde im Pachyderm Studio in Cannon Falls, Minnesota aufgenommen, wo erst kurz zuvor Nirvanas "In Utero" fertiggestellt wurde. Brian Paulson, bekannt durch seine Arbeit für Slints "Spiderland", nahm "Perfect Teeth" auf. Die Produktion übernahm Simon LeBon. Für die 30th Anniversary Edition wurde das Album nun inklusive aller Bonustracks - meist auf Grundlage der Originalbänder - neu gemastert. In Zusammenarbeit mit Designer Chris Bigg enstand ein neues Backcover, ein neues Sleeve sowie das "Extra Teeth" Artwork. Der einmalig neu aufgelegte Release kommt mit einem 16-seitigen Art Catalogue mit Linernotes von Unrest, 4AD-Gründer Ivo Watts-Russel und Chris Bigg.

"Bloodshot Bill, the Canadian hickup rockabilly Trash LoFi King of One-Man-Bands meets Gerard Van Herk from the legendary Deja Voodoo duo to create music that comes direct out of a rotten crypt and smells like an obscure trashed up rock'n'roll bad-ass delinquent." -VVR Bloodshot Bill ist eine Ein-Mann-Band aus Quebec in Kanada. Keine Computer, keine Overdubs, einfach nur seine Gitarre mit Kickdrum und ein Hi-Hat, 2020 war er Gewinner von ,Ameripolitan Rockabilly Male Of The Year". Bloodshot Bill sei ,wie Roy Orbison mit einer Kopfverletzung", sagt Reg isseur John Waters. Er hat in den letzten 20 Jahren eine Menge Musik veröffentlicht (Norton, Goner, Squoodge etc und wurde auf Platz 8 der Top 10 Rock-Gitarristen des Vintage Rock Magazine gewählt. Gerard Van Herk, Gründer und Frontmann des legendären Duos Deja Voodoo aus Montreal in Kanada, veröffentlichte seit 1981 viele Platten auf u.a Midnight Records oder What Wave. Sie waren Pioniere in Kanada und schufen ihr eigenes Musikgenre Slugabilly. 2024 trafen sich die zwei Musiker und nahmen die vier Songs dieser EP auf. ,Shot of Blood" und ,Crawl" von Gerard Van Herk sowie ,She said no" und ,Shish Taouk" von Bloodshot Bill. Die Tracks gingen verloren und es wurde nur eine dünne MP3 gefunden die dann von Matt von den Ouside Inside Studios versucht wurde wiederherzustellen. Hören Sie selbst!!!

"Elme" ist eine dieser Platten bei der Verzweiflung und Hoffnung, Aufbegehren und Sanftheit aufeinander prallen und eine elektrisierende Spannung erzeugen. ÿdeg ist ein Power-Trio aus Berlin, stammt aber laut Selbstaussage aus den "failed democracies des Ostens" (Sachsen, Ungarn). Deshalb werden auch die Texte auf ungarisch herausgeschrien. Persönlich-politische Themen wie Entfremdung, Großstadtleben, Post-Truth werden dabei durch dunklen, bitteren Humor gefiltert. Bei ÿdeg vereint sich wütender Post-Hardcore der "Revolution Summer"-Schule mit Post-Punk-Einflüssen. Aggressiv-treibende Passagen wechseln sich mit behutsamen Harmonien ab. Bass und Schlagzeug agieren als verzahnte Einheit, durch die komplexe Gitarrenarbeit ist eine ständige Grundspannung in der Luft. Du weißt nie, was um die nächste Ecke passiert. Die sechs Songs von "Elme" wurden von der Band selbst aufgenommen und von ihrem Schlagzeuger Ronny gemischt. Das Mastering stammt von Marvin Menz (Tide Studio, London)."

They are in their thirties, meaning they are "too much too young" to have felt the vibrations of the ska revival of the late 1970s and early 1980s live, when The Specials, The Selecter, Madness and the likes of The Beat were electrifying England at a time when social tensions were running high and were getting brass missiles into the charts, hitting all of Europe. Far too young, it goes without saying, to have experienced the initial shakes of the music that would fuel all that was to come: 1960s Jamaican ska and its later evolutions, bluebeat or rocksteady, from which reggae drew its essence and fever.

The Quireboys trafen 2022 auf ein kleines Orchester! Ein Abend, an dem klassischer Rock auf klassische Musik unter dem Dach des legendären O2 Forum Kentish Town traf. Bei diesem Meilenstein in der Geschichte der Quireboys wurde die Band von einem Streichquartett und einem Bläsertrio begleitet, die dem bewährten Sound der Gruppe eine neue Dimension verliehen. Gemeinsam interpretierte das erweiterte Ensemble der Quireboys Stücke aus dem umfangreichen Backkatalog der Band neu. Ein ziemlich einzigartiger Abend. Zum Glück haben The Quireboys die Erinnerung an dieses einzigartige Live-Erlebnis in ihrem neuen Konzertalbum mit dem Titel ,Orchestral Quireboys Live" festgehalten. Auf dem Album mit sechzehn Titeln spielt die fünfköpfige Band live Fan-Favoriten wie ,There She Goes Again", ,I Don't Love You Anymore" und ,7 O'Clock", aber auch versteckte Perlen aus dem Repertoire der Gruppe. Jeder der dargebotenen Songs wurde dank der Streicher und Bläser zu neuem Leben erweckt. Orchestral Quireboys Live funktioniert. 10-Song-Vinyl-LP & 14-Song-CD mit 16-Song DVD!

Im Laufe der Jahre haben die legendären Helloween aus Hamburg einen unverwechselbaren Weg beschritten
und sich ihren Platz als frühe Pioniere des melodischen Power- und Speed-Metals verdient. Die Band
hinterließ mit den bahnbrechenden Alben Keeper of the Seven Keys Parts I und II einen bleibenden Eindruck
und kann heute eine genreprägende Diskografie vorweisen, die 16 Studioalben, vier Livealben, drei EPs und
30 Singles umfasst. Mit über 10 Millionen verkauften Platten und Bühnenauftritten mit Giganten wie
Iron Maiden, Scorpions und Ozzy Osbourne ist Helloweens Einfluss unbestreitbar und ihr bleibendes Erbe
gesichert. Um 40 Jahre dieser bemerkenswerten Reise zu feiern, hat die Band eine neue Kompilation
namens March of Time veröffentlicht, die ihren gesamten Backkatalog umfasst. Diese Sammlung mit
42 handverlesenen Titeln präsentiert die jahrzehntelange Arbeit der Band. Erhältlich als 5-LP-Boxset
mit farbigem Vinyl, Druck und Puzzle sowie als 3-CD-Set, wirft diese umfassende Veröffentlichung ein
bleibendes Licht auf die Karriere dieser einflussreichen Paten des Genres.

Das weltweit gefeierte, genreübergreifende Trio CHASE ATLANTIC veröffentlicht ihr viertes Studioalbum
„LOST IN HEAVEN“ am 28.03.2025 auf CD & LP.
LOST IN HEAVEN markiert ein weiteres Kapitel in der Entwicklung von CHASE ATLANTIC, eine klangliche
Reise, die Grenzen verschiebt und gleichzeitig die Kernelemente beibehält, die ihre globale Fangemeinde
in ihren Bann gezogen haben. Die Leadsingle ”DIE FOR ME “ sorgte sofort für Aufsehen und erreichte
innerhalb des ersten Monats über 17 Millionen Streams auf Spotify und 2,5 Millionen Views auf YouTube.
Der Nachfolgetrack DOUBT IT „ geht weiter in die Vollen und bietet einen frischen, süchtig machenden
Sound, der die Hörer gespannt auf das macht, was als nächstes kommt.
CHASE ATLANTIC sind bereit, erneut Grenzen zu überschreiten und tiefer in ihre eigene Welt der hypnotischen Melodien, Klangexperimente und epischen Live-Shows einzutauchen.
Der genreübergreifende Sound des Trios bleibt das Herzstück ihrer Anziehungskraft, da er sich mühelos
zwischen Pop, Rock und R&B bewegt und dabei eine magnetische, unvorhersehbare Energie beibehält, die
bei den unterschiedlichsten Zuhörern Anklang findet. CHASE ATLANTIC sind für ihre Fähigkeit bekannt,
sich zwischen verschiedenen Musikszenen zu bewegen. Die ausgedehnte Arena Tour findet 2025 statt &
führt die Band nach Berlin, Hamburg & Köln.

Ein brandneues 9-LP Box-Set von Dio steht an. Die 1982 gegründete Band Dio wurde von Sänger Ronnie James Dio geleitet. Sie haben weltweit über 50 Millionen Platten verkauft. Die Box enthält 140gm
Versionen der Alben, die Dio für Mercury aufgenommen hat. Die LPs sind mit den Originalcovern und
nachgebildeten Innenbeuteln ausgestattet. Die Platten verwenden bereits veröffentlichte und gemasterte
Versionen.

Deafheaven have shared details of their new album Lonely People With Power - set for release March 28th via their new label home, Roadrunner Records alongside releasing the first single from the record ‘Magnolia’.

Recorded with producer Justin Meldal-Johnsen St. Vincent, M83, Lonely People With Power follows Deafheaven’s 2021 studio album, Infinite Granite, which saw the GRAMMY-nominated band charting new ground and expanding stylistic boundaries. On Lonely People With Power, Deafheaven again confound expectations, piling element on element, and towering towards the sky with their most ambitious release yet. Tracked at EastWest Studios, Lonely People With Power includes additional vocal contributions from Jae Matthews of Boy Harsher and Paul Banks of Interpol.
The band return to the UK in June to play Manchester’s acclaimed Outbreak Fest.

Celebrate the 5th anniversary of Future Nostalgia with this stunning special edition triple vinyl set. Including Future Nostalgia Moonlight Edition and Club Future Nostalgia. This unique release features vibrant new artwork and a limited-edition splatter vinyl.

“I will forever be grateful to the album that changed my life and taught me so much about myself over these past five years. I have memories to last a lifetime, and songs to go with them. Future Nostalgia forever”. DUA x

180g black vinyl - limited to 200 numbered copies.

"What is my heart now"is the debut solo album by Ziemowit Klimek, known so far from bands such as Immortal Onion, Hania Rani, and Magda Kuraś Quintet. It is a cycle of five improvised compositions – "What," "Is," "My," "Heart," and "Now" – unified by a unique artistic concept, with each piece created in collaboration with a different musician.

The creative process for each of the five duets began with a conversation between Ziemowit, the guest artist, and the video team. Deconstructing the title word into its fundamental elements through questions like "What does 'What' mean? What emotions and associations does this word evoke in us? How can we capture its essence in sound and image?" became the starting point for artistic exploration.

To preserve the authenticity of the material as much as possible, both sound and image were recorded live, with no cuts or post-production editing. Equally important was the choice of spaces that corresponded to the meaning of each title word. Instead of sterile studios, the recordings took place in a variety of unique locations – "Heart" was captured in Ziemowit's most personal space, his bedroom, while "Now" was recorded inside a car during a dynamic drive, where the physical forces acting on the musicians significantly influenced their decisions while playing.

The album resonates with dialogue – not only musical but also emotional and intellectual. It is a meeting of individualities who, for Ziemowit, are not only inspirations as artists but also significant people in his life."What is my heart now"is an album about defining one's identity and capturing the moment, created in an atmosphere of honesty and trust. Ultimately, the question arises: is it even possible to definitively answer the question posed in the album's title?

"What Is My Heart Now"

Ziemowit Klimek (Double bass, Bass, Piano, Moog)

feat.

Krzysztof Hadrych - Guitar

Michał Jan Ciesielski - Saxophon, Volca

Hania Rani - Piano

Mikołaj Kostka - Violin

Jacek Prościński - Drums

Mr. K with two slices of Philadelphia disco, from smooth and slinky on our A-side to all-out floor pounding disco madness on the B.

Janice McClain, rightly adored for her Garage classic “Smack Dab In The Middle” (feat. on MXMRK-2068) but her second single is a real under-the-radar treat. The comfortably laid back groove somewhere between a stepper and simmering midtempo disco, classy and danceable as the finest Philly soul. Originally on a small LA-based label in 1983 (and sounding like it could have come out a good five years earlier), written and produced by McClain’s uncle Milt Tennant and his writing partner Thom Page, the same team responsible for “Smack Dab” — all Philadelphia rooted, so the sound should come as no surprise. Add McClain’s heartfelt and uplifting vocal and we easily have a lost classic. Mr. K’s edit trims the rare 12-inch version down for maximum sonic fidelity for its first appearance in a 7-inch format.

The flip side vibe goes in a completely different direction, although once again has its roots in Philly. The disco remake of the standard “Brazil” was a massive hit for the Ritchie Family in 1975, topping Billboard’s dance charts and getting deep into the Top 20 on the Hot 100. The group itself was a studio concoction led by veteran producer Richie Rome, with legendary trio Sweethearts of Sigma handling vocals — you’ll recognize their trademark harmonies from other huge classics like “Ain’t No Stoppin’ Us Now” and “Love Is The Message", studious listeners will detect a lot of similarities in the vamp section of “Brazil” and “Love Is…” as the MFSB house band launches into their trademark groove. This vamp section is unfortunately truncated on the original 7-inch single, but the always-attentive ear of Mr. K picks this point to begin his edit, starting where the original single faded out and giving us a full four-plus minutes of galloping disco delight.

Two flavors, both as tasty as it gets, all on one compact piece of wax! Another essential addition to your collection.

The Venezuelan composer Oksana Linde presents Travesías, her second album released by Buh Records, featuring pieces created between 1986 and 1994 in her private studio in San Antonio de Los Altos, Venezuela. These works belong to the same creative period as the pieces included in her acclaimed debut album, Aquatic and Other Worlds (Buh, 2022). Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde's journey is an example of resilience and innovation. After abandoning her career as a chemist due to health problems, Linde devoted herself to music, experimenting with synthesizers to create a deeply evocative sonic universe. She produced a vast number of recordings during the 1980s, many of which remained unreleased until the publication of Aquatic and Other Worlds. This new collection of pieces, taken from the extensive archive of cassette tapes preserved by Linde, unveils yet another perspective of her work. The pieces "Mundos Flotantes" (Floating Worlds), "Horizontes Lejanos" (Distant Horizons), and "Arrecifes en el espacio" (Reefs in Space) were specifically composed for the show Travesía Acuastral (Aqua-Astral Journey), presented by Linde in February 1991 at Casa Rómulo Gallegos as part of the 3rd Encounter of New Electronic Music. This event, produced by Maite Galán in collaboration with the Musikautomatika group, was a milestone in shaping an experimental electronic music scene in Venezuela, one of the most active in Latin America at that time. Linde also composed a series of pieces for use in meditation sessions, four of which are included in this compilation: "Luciérnagas en los manglares" (Fireflies in the Mangroves), "Estrellas I" and "II" (Stars I and II), and "Kerepakupai Vena." The latter refers to two words from the Pemón Indigenous community in southeastern Venezuela, meaning Angel Falls, the name of the world's tallest waterfall. Travesías solidifies Oksana Linde's position as an essential figure in electronic music and furthers the effort to bring to light one of the most fascinating archives of electronic music produced in Latin America. This compilation is released through Buh Records in a limited edition of 500 copies. Compilation and liner notes by Luis Alvarado. Mastered by Alberto Cendra at Garden Lab Audio. Cover photo by Elisa Ochoa Linde. Art and design by Gonzalo de Montreuil.

Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960's and 1970's legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colourful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix - seemingly without much effort. The second and final volume of the "Fortezza Di Vetro" series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy - channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production. -The Quietus Futuropaco returns in a big way with Fortezza di Vetro, a buzzing, groove-heavy album that expands on what came before while staying true to the project's origins. Dizzying, fuzzed-out psych with just the right amount of melancholy for good measure. Justin Pinkerton and Futuropaco have done it again. Fantastico! -Complex Distractions

Der gefeierte Komponist (A Scanner Darkly, Before Midnight, Hit Man) und musikalische Außenseiter Graham Reynolds veröffentlicht sein erstes Soloalbum für Fire Records. Gepresst auf limitiertem lila/weißem Splatter-Vinyl in einem Deluxe Die Cut Mountain Sleeve. Eine sozio-geografische Reise entlang der Sierra im Kopf. Der herausragende Titeltrack "Mountain (Part 1)" ist voll von romantischen orchestralen Schwüngen, die das Bild einer weiten Landschaft heraufbeschwören, die von einem einzelnen Gipfel unterbrochen wird, während "...Part 2" einen zerklüfteteren Weg einschlägt, der einen kantigen Bergrücken überquert, bevor er sich in einem Hermann-esken Hitchcock-Stück festigt. "Mt. Monadnock" in New Hampshire wird namentlich erwähnt, während der "Enchanted Rock" (ein donnerndes, an die Einstürzenden Neubauten erinnerndes Wiedererwachen der Sinne, das von Grahams charakteristischer dröhnender Orchestertrommel begleitet wird) etwas außerhalb von Austin, Texas, steht, wo Reynolds seit über 30 Jahren zu Hause ist. Das Album wurde von Reynolds komponiert und eingespielt, mit Beiträgen vieler seiner musikalischen Freunde. Produziert und abgemischt wurde es von geheimnisvollen englischen Duo PeterTalisman. Das Album birgt einige Überraschungen, Austin-Nachbar Jad Fair (Half Japanese) taucht mit Backing Vocals auf, ebenso die italienische Chanteuse Marta del Grandi, deren beschwörende Worte auf "Linger In Silence" das exquisite siebenminütige "Prophet Harmonic" wieder zum Leben erwecken. ,Dieses Album ist sehr persönlich. Es beginnt mit Monadnock, dem ersten Berg, den ich je bestiegen habe, oben in Neuengland. Die erste Seite endet mit dem Enchanted Rock, dem ersten Berg, den ich in meiner Wahlheimat Texas bestiegen habe. Und obwohl ich schon mein ganzes Leben lang Musik veröffentlicht habe, ist dies das erste Mal, dass ich für etwas Eigenes, das nicht an einen Film oder ein anderes Medium gebunden ist, echte Labelunterstützung bekomme. In gewisser Weise ist es also mein erstes echtes Soloalbum", so Graham Reynolds.

Two killer tracks of erotic psychedelia with a jazzy twist and touches of acid rock by the French cabaret star Rita and Chilean rock pioneers Aguaturbia. A perfect soundtrack to an imaginary sexploitation film, half-way between the classic sound of library records and a progressive and hypnotic musical journey driven by fuzzy guitars. French actress, model, dancer and singer Rita Cadillac, local star at well-known Parisian cabarets like Crazy Horse or Folies Bergère, recorded several 45s in the 1960s. In 1969, and most likely following the success of the Welsh band Man (from whom they "took inspiration" when recorded this 'Erotica'), released this song that could have easily worked as the perfect soundtrack for a sexploitation movie. Rita's sensual voice is wrapped in a piece of background music that could have been taken from a classic library record from the KPM, Chappell or Montparnasse 2000 catalogues. Hammond-driven prog jazzy passages, subtle fuzzy guitar solos and a contagious bassline all delivered by some anonymous studio band accompanied by Rita's provocative whispers and moans. This 7"-only rarity has been compiled many times over the years, but we thought it would be nice to have it reissued in its original format. What better than another song in a similar vein and identical title, 'Erotica' by Chilean rock pioneers Aguaturbia, to complete this single? Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar loaded with fuzz and wah wah effects, building up a progressive and hypnotic musical journey. This song was included in their much sought-after debut LP and we present it here again as the perfect accompaniment to the sensual Rita.

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

Streetcore - Skinhead Hardcore vom Bosporus, aus dem Herzen Istanbuls! Sie gehören zu den Pionieren dieser Subkultur in der Türkei - Die türkische Skinhead-Band Ofisboyz 2003 ins Leben gerufen - diverse personelle Wechsel - entwickelte sich mit der Zeit ein härterer und aggressiverer Sound. Aber Gitarren-Melodien können sie auch. Die Band selber beschreibt ihre Musik als eine Mischung aus Hardcore und Oi! und nennen es einfach "Skinhead Hardcore". Ofisboyz beschäftigen sich in ihren Liedern mit klassischen Themen wie Fußball, Freundschaft und Problemen aus dem Alltag, aber auch politisch nehmen sie Stellung! Auf Türkisch oder auf Englisch. 300 Stück weltweit, klassisch schwarzes Vinyl, 180g durchnummeriert.

Mit ihrem achten Studio Album präsentiert das von Journalisten oft als "Deutschlands unterbewertetste Punk-Rock Band" bezeichnete Berliner Trio ein Cover-Album das es in sich hat. Im klassischen "K-Tel" Gewand werden hier 12 Kracher der 50er, 60er, 70er und 80er Jahre abgeliefert. Allerdings nicht im üblichen, "wir spielen einfach mal alles doppelt so schnell-Hauruck Sound", nein, hier wurde mal richtig tief in die musikalische Trickkiste gegriffen. So kommen die ,Rubettes" im Gewand der ,Ramones" daher, ,Slade" im Sound der ,Stranglers" und ,Jimi Hendrix" sogar als waschechte Southern Rock Nummer a la ,Lynyrd Skynyrd". Von Uli Confidence dem Mastermind der Band und Betreiber des Berliner Kult-Clubs ,Wild At Heart" im hauseigenen Studio produziert, wird auf dieser Scheibe völlig ungeniert von klassischem Rock`n`Roll, über 70s Rock, Glam und sogar New Wave alles zelebriert, was der Kirche des Vertrauens lieb und heilig ist. Spaß-, Party-, und Unterhaltungsfaktor bis zum Anschlag auf Maximum gedreht, zündet hier ein Kracher nach dem anderen... 500 Stück weltweit, klassisch schwarzes Vinyl, durchnummeriert.

Chris Gall, bekannt für seine Arbeit mit der mehrfach ausgezeichneten Formation Quadro Nuevo sowie für seine genreübergreifenden Projekte, widmet sich in "Impressionists Improvised" den Meisterwerken von Komponisten wie Claude Debussy, Maurice Ravel und Erik Satie. Doch statt sich auf historische Reproduktionen zu beschränken, interpretiert er diese ikonischen Stücke auf unkonventionelle und erfrischende Weise neu und lotet die Gemeinsamkeiten zwischen der impressionistischen Musik und dem Jazz aus.

Diana Ross’s eleventh studio album spawned three hit singles, including the number-one ‘Upside Down’. A masterpiece of disco and pop and a dazzling collaborative effort between Chic and Diana Ross. Now in limited edition ultra clear vinyl.

2025 cassette edition, originally released in 2023 on 2CD/digital.

Recordings + booklet of the unveiling of »Katharina AW«, a relational artwork by Joris Martens. The unveiling event took place at St. Catharine’s Church in Hoogstraten - a city in the northeast of Belgium - on two Saturdays in May 2021.

While beholding the artwork, a woven tapestry, you listen to organ music by Miaux. Outside the church, you hear the carillon gurgle with music by Lieven Martens and town carillonneur Luc Dockx, prolonging the event into the public space.

Joris Martens created »Katharina AW« for the city hall of Hoogstraten. The tapestry now serves as an informal conversation starter in the conference room. Joris Martens is a multi-disciplinary artist and works in the field where applied arts and fine arts meet.

Miaux played her own compositions on the church organ. The songs appeared on the albums Black Space White Cloud, Hideaway, Dive and Gigi - released by Ultra Eczema, Lal Lal Lal, and Alien Passengers - and were originally written for electronic keyboard. Mia demonstrates that the church organ, which is normally used as an underscore for sadness or compelling thoughts, is a fitting instrument of connection. Through its resonance, we communicate our sounds.

Lieven Martens invented sketches for the carillon—by loading bird sounds into the computer program Melodyne, varying them and converting them to musical notes. As a nod to the religion crazy Olivier Messiaen, who considered the birds to be God’s chosen singers and songstresses. The trifles were translated on the carillon by town carillonneur Luc Dockx. The playing comes into and out of focus. In this way, Lieven creates a dreamscape and breaks with the dreary carillon as an instrument of power.

Luc Dockx studied church music at the Lemmens Institute in Leuven and the carillon at the Royal Carillon School in Mechelen. He is the city carillonneur of Hoogstraten since 2002. Dockx is an active practitioner of the art of improvisation on the carillon.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

Collection of 12 Blaze tracks compiled from home, studio and intimate live recordings between 1976 - 1988, this 'Best of Blaze' compilation features Blaze's renditions of songs since covered by Merle Haggard, Willie Nelson, Lyle Lovett and John Prine. Culled from posthumous CDs released by Lost Art Records and Fat Possum.

Captures Blaze Foley and his working band-the Beaver Valley Boys-on their first Texas studio recordings dating from 1979 and 1980. Blaze and the band-anchored by the reknowned Gurf Morlix-are at the top of their form. Cold, Cold World includes 17 Foley songs from his well-known classics to six songs that appear on a Foley recording for the first time.

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

Mar De Novo is a mainstay of the Vinyl Only label which is now almost up to release number 20. As always these are magnificent beats that blend great invention with a healthy respect for disco days gone by and they are all made in what must be a studio jam-packed with analogue gear from all across the ages. 'Instant Humidity' has plenty of characterful synth details that are freaky and playful, 'Call Me' pairs stepping disco beats with super sweet vocals and 'Paraggi' is a blissed-out seaside gem. 'Progression' heady back to the club with strobe-lit disco arps, 'Get A Way' pairs plunging basslines with cosmic keys and another great vocal and 'Quiet Down' rounds out with another horizontal downbeat disco gem.