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A Ron Wells classic intended for release in 2020 and delayed for various reasons including moving factory and our original stampers getting recycled.

This release is sourced from mint vinyl as the original masters are long gone, we have carefully restored and remastered this classic release while retaining all the character of the original. Remastering is by Bob Macc @ Subvert Central Mastering. You can be assured the tracks sound fantastic but do not suffer from the Loudness Wars while still holding their own when mixed with modern productions.

ON SAND COLOUR VINYL FOR FIRST TIME

Post-Punk? Indie-Rock? Post-Hardcore? The Van Pelt walked between all these worlds. Spoken/sung vocals, anthemic pop hooks, fiery guitars and a tightly wound rhythm section made them stand outs of the DIY basement scene they emerged from.
RELATED TO: The Lapse, Native Nod, St Vincent, Blonde Redhead, Enon, Jets to Brazil, Vague Angels.

ABOUT “STEALING FROM OUR FAVORITE THIEVES”:
90s NYC indie heroes The Van Pelt have had a lasting power far greater than so many of the other once bigger bands of that era have had. The sort of interest that has neither waxed nor waned over the decades since they disbanded, yet just mysteriously continues on despite their discography being out of print since the end of the last millennium. So what is it that sets them apart? Too soft to have ran with the AmRep or Touch and Go crowds, not hip enough to have made sense on Matador or Merge, ernest yet not histrionic enough to make it onto the “best emo bands” lists, not weird enough to be on bills with Arto Lindsay and Thurston Moore, etc. In a sense, their outsider status comes not from the wings, but from the dead center eye of the storm. The 90s were happening all around them, they were witnesses thereof, yet they emerged transcendent of it all. You Follow? Maybe it’s worth having a listen to see what I mean.
Barcelona’s La Castanya records is treating us with the first ever rerelease of the two Van Pelt albums to mark the 20th anniversary of Sultans of Sentiment, their benchmark album. They teased us in 2014 that this might be on the docket with the release of Imaginary Third, a collection of singles and unreleased Van Pelt tracks which were originally intended to have been the components of their third album, including the alt-famous “Speeding Train”. Now we’ll finally have access to their entire discography. The first album, Stealing From Our Favorite Thieves is an explosion of anthems belted out as if the war was already lost yet they were hoisting that tattered banner anyhow until there wasn’t a shred to salvage. The momentum coming out of that album had every major label in the States salivating at the possibility of turning them into the next Nirvana. Instead, The Van Pelt followed it up by pulling the van into the garage, leaving the engine running, funneling the exhaust into their lungs, and blissfully deciding to bow out of the race with the epic Sultans of Sentiment. Of course as the story goes, their intended financial flop was the exact opus that jettisoned them into the history books. Buy both albums. You’ll need them both.

Blue and orange Stardust vinyl, limited to 500 copies. Since 2016, Indiana's Wraith have been emitting their incendiary brand of blackened thrash and speed metal into the world. Summer 2024 will see them release their debut full length under the Prosthetic Records label banner; prepare for Fueled By Fear. What started as a one-man band many moons ago has evolved into a propulsive beast of a band. Channeling a reverence to classic metal from a bygone era, Wraith incorporate their distinctively blistering sonic signature to create something urgent and contemporary. The band have previously described their collective mission as follows: a war of aggression on the dour confines of the modern metal scene and total sonic annihilation. Fueled By Fear captures the raw punk edge of their previous releases; a sound that will already be familiar to converts who have caught the band live in all their full-throttled abrasive glory. The album was self-produced by the band in Griffith, Indiana -, with engineering, mixing and mastering handled by CJ Rayson. Each member brings their own influences and stylistic flourishes to the table, combining to create a tightly wound, cohesive collection of scorching tracks that reflect their individual personalities and tastes.

The No End In Suffering EP is a compilation of songs that are a bit more outside the box of traditional HAGGUS material. On this record HAGGUS experiments with brand new riff territories, added previously unused tempos and left no stone unturned when it came to delivering this slab of horror-inducing sonic butchery. Production-wise the band purposely went for a more raw 90’s goregrind sound while still adhering to the downtuned, heavy theme of the Three Cadavers EP. Limited Blood Red Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

Mit ihrer EP "Hand Of Blood" legten die Bullet For My Valentine einen Senkrechtstart hin: In Großbritannien verkauften sie aus dem Stand gleich über 20.000 CDs, und auch in Deutschland mischten sie die Singlecharts kräftig auf. Am 30. September erscheint endlich der heiß ersehnte Longplayer "The Poison". Das Ergebnis klingt gleichzeitig eingängig und brutal, was wütenden Songtiteln wie "Suffocating Under The Words Of Sorrow" oder "Hit The Floor" den passenden musikalischen Rahmen liefert. Nach einem Cello-Intro, das die finnischen Klassik-Metaller Apocalyptica eingespielt haben, bricht mit dem eigentlichen Opener "Her Voice Resides" die Hölle los. Danach folgen Metalcore Hymnen der extraklasse wie z.B. "All These Things I Hate" oder "The End". Die Kult Single "Hand Of Blood" darf natürlich auf diesem Album auch nicht fehlen. Das Album "The Poison" erscheint in einer Jewelcase Version und in einer streng limitierten Digipak Edition mit Bonustrack und Enhanced Video Part (inkl. Videos "Hand Of Blood" & "4 Words"). Doch damit nicht genug - nachdem das Quartett den Welsh Music Award gewonnen hat, folgt nun auch noch eine Nominierung von Englands führendem Rockmagazin Kerrang!

To give you an idea of what the New Jersey, USA band Cowardice sound like, “Atavist” exists somewhere on the spectrum between the sombre strains of Bell Witch and the tormented tones of Body Void, with the first half of the album (“Suzerain”) erring more towards the bleakly melodic style of the former, while part two (“Sentinel”) shifts the focus towards a darker, dirgier approach; somewhere on the edges between melancholic doom and experimental sludge metal. Perhaps inevitably, it’s not quite that cut and dry - the gut-churning grind of “Unforgeable Key” for example, is just as nasty and gnarly as anything found on “Sentinel”, while the desolate disharmonies of “The Diminutive Principle” channel a similarly angst-ridden aura as much of “Suzerain” - but this distinction between the two halves, subtle as it may be, plays a big role in giving the whole album its sense of direction and progression.

And while it is always recommended to listen to the totality of “Atavist” so as to get the most out of it - especially if you’re a fan of the likes of Cavernlight and/or Chained To The Bottom Of The Ocean, both of whom also serve as useful touchstones for any prospective listener - also pay extra attention to the gorgeously gloomy slow-burn of opener “To The Hilt Of Humanity”, the haunting melodies and heaving grooves of the sludge-soaked “Clairvoyance Anxiety” and the morbid majesty of “Hall Of Mages”, as some of the record’s major highlights. Indeed, it’s this last track which will both test your resolve and prove, once and for all, that “Atavist” is more than worth every second you’ve invested into listening to it so far, with every crushing, cathartic chord and ringing, harmonic note… every tortured, suffering snarl and trembling, melancholy melody… coming together over the course of seventeen absolutely massive minutes to demonstrate that, despite its imposing size and intense sound, “Atavist” is nothing to be afraid of. Green and red coloured double vinyl edition.

Direct follow up to OKC noise rock band’s 2022’s breakthrough album God’s Country. Mixed by Benjamin Green (Uniform, Portrayal of Guilt, Drab Majesty). Mastered by Matt Coloton (The Rolling Stones, Blur, Nick Cave, Sunn O)). Full US tour in 2024, EU early 2025, with more dates to come. Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Suffocating, the hidden child of Plastikman, Farmer's Manual and Warp. The glitches could just as well be the disgusting sound system of the club crackling under the humidity as a rhythmic pan too well timed to be honest. From durations to sound grain, the gloves are removed. The standards are far behind, the pleasure vibrates from the ears to the lower abdomen. The listener manages to get lost on a straight line, the perfect labyrinth according to Borges, but the exits flash red for those who want to escape. Will Elvis leave the building?.

Haunted is the debut album by American death metal band Six Feet Under. It was released via Metal Blade Records in 1995, just before Chris Barnes'departure from Cannibal Corpse.

Seven Hours After Violet ist das bahnbrechende neue Projekt von Shavo Odadjian, Bassist der legendären
Multi-Platin-Band System of A Down; mit Taylor Barber (Left To Suffer), Morgoth (Platin-Produzent
und Gitarrist von Winds of Plague), AlejandroAranda (Scarypoolparty, American Idol) und Josh Johnson
(Winds of Plague).
”Dieses Album ist der Höhepunkt jahrelanger kreativer Erkundungen. Mit Seven Hours After Violet
wollte ich zu meinen Wurzeln in der harten Musik zurückkehren, aber auch etwas völlig Neues auf den
Tisch bringen. Es ist ein bisschen von SYSTEM OF A DOWN’s ’Toxicity’ auf dem ganzen Album – diese
Art von Scheiße. Du willst dir den Kopf einschlagen, du willst in die Grube rennen, du willst verrückt
werden, aber du willst lächeln, während du es tust, und nicht wütend sein.” - Shavo Odadjian

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

Dennis Bovells produktive und vielseitige Karriere umfasst ein riesiges Spektrum an Musik: von Dub Poetry über Lovers Rock und Post-Punk bis hin zu Disco, Pop und mehr. Seine Produktionsarbeit umfasst so unterschiedliche Persönlichkeiten wie The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse und mehr.

Diese Zusammenstellung konzentriert sich auf die Zeit während und unmittelbar nach Bovells Engagement beim Jah Sufferer Sound System und gräbt tief, um deepe Cuts und weniger bekannte Versions zu finden, hauptsächlich aus den Jahren 1976-1980, samt eines umwerfenden und weniger bekannten Dub des ikonischen Tracks "Silly Games". Sorgfältig restauriert und remastered bei Dubplates & Mastering in Berlin, sodass diese Jahrzehnte alten Tracks makellos und dynamisch klingen und so angeordnet sind, dass sie den Hörer auf eine Reise durch Bovells Produktions- und Arrangement-Genie mitnehmen.

Die beiliegenden Sleevenotes sind das Ergebnis eines langen Gesprächs mit Dennis über diese Zeit seines Lebens, mit Erinnerungen an jeden einzelnen Track und faszinierenden biografischen Anmerkungen. Die Vinyl- und CD-Versionen weisen unterschiedliche Cover auf, wobei jedes Format ein einzigartiges Foto von Syd Shelton verwendet.

Pascal Obispo, französischer Singer-Songwriter aus Bergerac, begann 1988 ber der New-Wave-Band Senso als Bassist und übernahm später die Rolle des Leadsängers. Sein erstes Soloalbum, Le Long du Fleuve, erschien 1990 und wurde mit den Mitgliedern von Senso aufgenommen. Das Album blieb von den Kritikern weitgehend unbeachtet, aber es verhalf Pascal Obispo zu einem Plattenvertrag mit Epic, wo 1992 Plus Que Tout au Monde erschien. Mit dem Titeltrack und anderen Singles wie Tu vas me manquer" festigte er seinen Status als einer der am schnellsten aufsteigenden Stars der französischen Popmusik. Diesem Erfolg ließ er 1994 Un Jour Comme Aujourd'hui folgen, das Platz 17 der französischen Charts erreichte und mit Platin ausgezeichnet wurde. Sowohl Superflu (1996) als auch Soledad (1999) erreichten in Frankreich Platz 2, und das Live-Album Live 98 (1998) brachte ihm seine erste Nummer-1-Platte ein. In den folgenden Jahren wiederholte Pascal Obispo dieses Kunststück noch einige Male mit den Alben Studio Fan - Live Fan (2004), Les Fleurs du Bien (2006), Millésimes (2013) und Billet de Femme (2016). France, sein elftes Album, erschien 2021 und verfehlte nur knapp den Spitzenplatz der Albumcharts und landete auf Platz 2. Das neue Album L'Archipel des Séquelles besteht aus unveröffentlichten Songs von Pascal Obispo - aufgenommen und abgemischt von seinem treuen Begleiter Youri Benaïs in seinen Pariser Studios. Dieses Konzeptalbum mit intimen, akustischen, jazzbeeinflussten Liebesliedern wurde erneut von seinen beiden New-Wave-Jazz-Freunden Fred Nardin und Max Pinto produziert und basiert ausschließlich auf Begegnungen mit Künstlerinnen mit inspirierenden Stimmen: Da wären Zazie, mit der Obisipo seit ,Les meilleurs ennemis" nicht mehr gesungen hatte, mit einem Lied, das sie gemeinsam geschrieben und nie aufgenommen hatten, Carla Bruni, die zwei Songs beisteuert, Elodie Frégé, mit der er bereits auf ihrem Album ,Le grand amour" gemeinsam aufgenommen hat. Oder Nolwenn Leroy, für die er seine allererste Single ,Cassé" produziert hat. Anne Sila, die grandiose Interpretin der Maria in seinem Musical über Jesus von Nazareth. Sharon Laloum, die Interpretin der Myriam in der neuen Version der Zehn Gebote, und nicht zu vergessen sind Isabelle Boulay, die große Künstlerin aus Quebec, für die er bereits Lieder geschrieben hat, und Nawel Ben Kraïem, die junge tunesische Künstlerin, mit der er an seinem ersten Musikprojekt gearbeitet hat. Der Rest des Albums wurde gemeinsam mit Pierre-Dominique Burgaud geschrieben. Mit dem Album ,L'archipel des Séquelles" setzt Pascal Obispo seine Suche nach Schönheit und Stille fort. Als CD oder farbiges Vinyl.

Records suffered during shipment and sleeves are dog-eared :-/
we cannot change that :-/
So the records are a bit "less" expensive...

But the plates are safe and sounds perfect & loud !! They bring the Noisy Hardcore to Speedcore expected with thos musicians !!!

blauweiß marmoriertes Vinyl m. Download Code. "Transition" (der Übergang) fasst als Titel die Bedeutung des Albums für die Wuppertaler Shoegazer Casino Garden bestens zusammen. Bisheriger Live-Drummer Jonas Schoelen löst Gründungsmitglied Alex Alaimo Di Loro ab, David Burdina ergänzt Sänger Matthias Ballke an der zweiten Gitarre, zur Single "Pretend" wird das erste professionelle Musikvideo gedreht und Jo Philippi (Vandermeer) und die Schall und Wahn Studios sorgen für die erste professionelle Albumproduktion. Mit diesem Album verabschieden sich Casino Garden von ihrem DIY-Image und machen einen großen Schritt in Richtung Erwachsenwerden. Das Soundspektrum reicht auf "Transition" vom grungigen Shoegaze über wuchtigen Postrock bis hin zu lupenreinem Indierock.

Vision of Disorder is the first album by American hardcore/metalcore band Vision of Disorder, released on October 22, 1996.

The album showcases a band with a solid sense of songwriting, good melodic riffs, and a lot of variety in tempos and textures. Likewise, the social consciousness of the lyrics is handled in a Rage Against the Machine-reminiscent fashion. Raw, naked anger about everything wrong with American society in the 1990s. Listeners looking for just those qualities will love this album. Elements” and “Excess” are some of the highlights on the album.

Vision of Disorder is now available on black vinyl and contains an insert.