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Two original albums by the noise rock/industrial band from Los Angeles, Health, in one commemorative 2LP set.

HEALTH's DISCO4::GENERATIONS brings the highly desired and highly collaborative DISCO4::PART I & DISCO4::PART II into a cohesive singular project. Step into the unconventional world of DISCO4::GENERATIONS and discover the totality of HEALTH directly from the band & those who inspire them.

LP1: CYBERPUNK 2.0.2.0. / BODY/PRISON / POWER FANTASY / JUDGEMENT NIGHT / INNOCENCE / FULL OF HEALTH / COLORS / HATE YOU / D.F. LOOKS / MASS GRAVE / DELICIOUS APE / HARD TO BE A GOD

LP2: DEAD FLOWERS (Vinyl Version) / ISN'T EVERYONE / MURDER DEATH KILL / IDENTITY (Vinyl Version) / COLD BLOOD (Vinyl Version) / AD 1000 (Vinyl Version) / GNOSTIC FLESH/MORTAL HELL (Vinyl Version) / THE JOY OF SECT (Vinyl Version) / STILL BREATHING (Vinyl Version) / NO ESCAPE (Vinyl Version) / EXCESS (Vinyl Version) / THESE DAYS 2.0.2.1. (Vinyl Version)

Pressed on dark green BioVinyl housed in a gatefold cover.Cover and gatefold artwork by Scottish artist Paul Scott Canavan (Dungeons & Dragons, Magic: The Gathering). Includes 12" art card of original artwork. Uncover the secrets of the Scottish Highlands with this beautiful vinyl release of "A Highland Song", brought to you by Lost In Cult in collaboration with Black Screen Records and Inkle Studios. Moira McKinnon has never seen the sea. Tired of her life of seclusion, she runs away from home in search of adventure. A lighthouse can be seen in the distance, but to reach it she must overcome a beautiful yet perilous journey across the Scottish Highlands. This authentic Scottish score is comprised of a suite of hauntingly beautiful original tracks by Laurence Chapman (Heaven's Vault, Total War) complemented by iconic hits from Scottish folk industry legends TALISK and Fourth Moon that provide a rapturous, virtuosic sense of rhythm to Moira's great journey through a wilderness of paths, peaks, dangers and song. This record comes in luscious dark green eco-friendly BioVinyl and features beautiful artwork from Scottish artist Paul Scott Canavan, known for his work on Magic: The Gathering and Dungeons & Dragons. Paul has developed a beautiful piece of cover art showing Moira gazing out at the game's iconic lighthouse, as well as a breathtaking gatefold view of an authentic interpretation of Scottish scenery. Take in the view in your own time with a 12" art print to frame on your wall.

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

"Fast hätten wir gedacht: es könnte gut ausgehen". Zwei nervenaufreibende Jahre lang haben L'APPEL DU VIDE aus Chemnitz an ihrer Debüt-EP gearbeitet, jetzt ist die "Abwärtsspirale" in Gang gesetzt. Ihre selbstgewählte Genre-Zuschreibung Dark Punk kratzt dabei nur an der Oberfläche. Das Spektrum reicht vom aggressiv-düsterem Surf-Punk ("Das bin ich nicht") über spröden, repetitiven Sound mit Noise-Ausbrüchen ("Aufmerksamkeit") bis zu hymnisch-melodischen Post-Punk ("Delirium"). Bei "Das Programm", - einer bittersüßen Romanze in Zeiten totaler Überwachung - , wird es plötzlich ungewöhnlich ruhig-melancholisch dank 60ies-Orgel und Background-Gesang von Mara. L'APPEL DU VIDE beschäftigen sich textlich in knappen Worten mit Verleugnung, Scheitern und Entfremdung. "Delirium" klingt dabei wie der Soundtrack zur Pandemie, wurde aber schon 2019 geschrieben. Die Songs wurden von Flatty aufgenommen und klanglich von Max Herrmann/Gloven Studio Leipzig (Mix) und Mikey Young (Mastering) veredelt.

Love Love host a collaborative release by two of the freshest contemporary Avon producers, Best Pest and Kursa. Kursa (also one half of S.Murk) has built a notable following in the UK as well as in the USA, playing out often at big stateside events with his own style of tight, maximalist bass music - think Tipper, Eprom, Noisia etc… Ben Pest is no stranger to Love Love with 2 previous solo releases under his belt, best known for his crunchy techno & electro and ripping hardware live-sets. Here they come together for a 5 track genre-hopping EP, each flexing their respective production sensibilities, splicing elements of dubstep, grime, hardcore & garage together, along with a healthy dose of multi-dimensional sound design, to make some of the noisiest modern dance music going.

Early support from: Clouds, Giant Swan, Rob Hall, A Made Up Sound, Om Unit, Nikki Nair, Luke Sanger, Deft, Warlock, Second Storey...

"Philadelphia’s So Totally are a portrait of utmost devotion, and how longevity in any kind of relationship can’t occur without it. Since 2015, the band originally called So Totally In Love has humbly studied their surroundings and themselves, perfecting a sound that from inception was present. So Totally’s shimmering guitars and melodies typically sit underneath lush vocals that concurrently embed themselves in a listener’s subconscious, haunting them with heavy mood and nostalgia for 90’s rock groups like Swirlies, Pixies, and The Breeders. Previous releases, and their dedication to spending years playing regionally, brought So Totally to the point of singular focus on drafting a third album, entitled Double Your Relaxation, while in quarantine in 2020.

Upon formation, So Totally collectively bonded over an admiration of Land of Talk. While the influence is certainly present in vocalist/guitarist Roya Weidman’s sugary vocals, the band's love of comfortably resolving melodies, and auxiliary percussion, So Totally sonically have more in common with bands like Sonic Youth, My Bloody Valentine, and Spirit of the Beehive…creating massive walls of sound on each record that plainly implies the quartets towering live experience. Such huge tones aren’t only because of Weidman and guitarist/vocalist Matt Arbiz playing, but the collective effort of the band, which is rounded out by bassist Ryan Wildsmith and drummer Joe McLaughlin.

Lyrically and thematically, Double Your Relaxation explores where influence and “hypnosis” exist in life, specifically in environment, media, relationships, and self (via mental illness), bouncing between perspectives of witnessing, interacting with, and contributing to illusion and how that ultimately affects our idea of identity. The moody and, at times, surreal nature of the songs lends itself very appropriately to the shoegaze and heavy indie style So Totally plays, making them a perfect addition to the canon of the genre."

December 2012 I showed up totally exhausted in Vancouver BC after touring stupidly and relentlessly for however many straight months and got a job at a call centre raising money for the Red Cross. It was a scent free office but one time this woman cooked a piece of fish in the microwave for 10 minutes on low and hot boxed the whole office - we got sent home early no pay. There was the other woman I named the Call Centre Coltrane because her pitch and routine usually involved improvised flights of fancy that went off in both directions at once somehow landing back down with a credit card number and a donation. I used to sleep under the desk. I was there a few months and at the time I reconnected with John Brennan who I had played with briefly in Montreal at the Mutek Festival. In Montreal John was running an experimental music night at a burrito shop downtown called Garbage Night. While in Vancouver I began connecting with the music scene there and would go hang out with the Shearing Pinx lads who I think lived with Sydney the bass player at the time. I knew Nic and Jer from an AIDS Wolf Tour and was so stoked to get to know them both better. I really fell in love with that era of Vancouver's music scene.
Fast Forward to today. 2024
Actually it was the dying days of 2023 but you get it and John asks if I'll sit in with Earth Ball and I keep thinking about Earth Balance, the vegan butter everyone eats here. I brought my aching bones and my ipads on the beautiful ferry named the Queen of Oak Bay and out to Nanaimo BC, home of the nanaimo bar (a dessert treat - special to this region - that seems to be more popularly found under the weird glass sneeze guards in office building deli's out east in Ontario.... anyhoops ). No one in Nanaimo wants to talk to me about the famous treat. I asked a couple of people. Silence. Nanaimo is like London, Ontario but more fried and by the sea. The town is filled with blown out old sea dawgs with tin coffee pots and loose leaf tobacco, then there's the usual streetfolk you find in this part of the Canadian Pacific Northwest and a bunch of bohemians who I guess have left Vancouver behind - that fine city having become uninhabitable for those not making over 100k a year. And then up the way are all the retirees.
Yup Nanaimo is a strange one. They mined the shit out of this region and Nanaimo is surely haunted by those buried in mining shafts or maimed by the heavy machinery or blown up by accident in the explosives store house. And when Earth Ball fire up the amps in Izzy and Jer's basement you can hear the voices of the ghosts hum through electrical lines and out the speakers, Kellen's hued feedback, Izy's sturdy basslines, Jer's paperbag guitar tone and rumble pack zaps, Liam's (aka the Kid) sheets of sound and Brennen's multidirectional drums.
You wouldn't guess Earth Ball was auto-composing and from what my rat brain can tell - the lyrics are improvised too...Improvising lyrics and singing them is the hardest thing to do in all of music.. Izzy and Jer are pros. And their attitudes are pro too.
The live show is scorched and without naming names they've been known to make headliners nervous. Lucky ones will get to see them live as they tour this beast of a record entitled ‘It’s Yours’ (out May 17th on Upset The Rhythm) and I hope I'm one of them.
But now you, fan of fun but totally fucked up music, have the opportunity to Ball with them thanks to Upset The Rhythm. Enjoy
-Alex Moskos, Montreal QC, Feb 2024

With love from Northern Europe...
Erotic Mondo's hidden treasure!
Long-awaited analog reissue of two Monica Lassen album titles

A woman erotic work produced in Japan with the setting of "A work created for the enjoyment of men and women by a Swedish female musician named Monika Lassen, who is also active as a sexual psychologist.''

Mondo's hidden treasure.
This is a rare and unusual record, with sounds that overlap with the dazzling sounds of jazz, rock, lounge, psych, etc.

The sequel was released one year after the previous work ‘Woman’ was well received. It's an erotic Japanese groove that knows no bounds, with more moaning voices than the previous work, heavy fuzz guitar, piercing organ, and sexy scat!


A total concept album consisting of the same song at the beginning and end of both sides.

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

Remastered and expanded release of Toyah’s 1982 Top 20 album. Originally released as a live double album in October 1982, ‘Warrior Rock’ was recorded at Hammersmith Odeon, London across the final two nights of the tour.

The album presents 15 songs centred around material from the band’s Top Ten albums ‘Anthem’ and ‘The Changeling’. The album is named after ‘Warrior Rock’, the B-Side of Toyah’s 1982 single ‘Brave New World’. The band’s hit singles ‘It’s A Mystery’, ‘I Want To Be Free’ and ‘Thunder In The Mountains’ all feature on the album alongside fan
favourites ‘Ieya’, ‘Danced’ and ‘War Boys’. This expanded re-issue now documents ‘The Changeling Tour’, Toyah’s highly successful run of 25 UK concert dates in June/July 1982 in a more comprehensive fashion.

The 3CD set was compiled by Craig Astley and Joel Bogen and presents 41 remastered tracks from master tapes/archive sources
featuring 26 previously unreleased bonus tracks. A total of 19 different songs feature from 11 different gigs, recorded at nine different locations. For the first time ever, the “four sides” of the original live double album are included on CD - unabridged and uncut. Nick Watson/Fluid Mastering has remastered the package from the original master tapes and archive sources, overseen by Joel Bogen. A wealth of bonus tracks have been unearthed from the archives to provide both a glimpse backstage at concert preparations, and act as a definitive souvenir of the tour’s journey across the UK

In a world of announcements of announcements, Gatecreeper are firing no warning shots before dropping their new release. “I think the social media environment has just fried our attention spans,” vocalist Chase Mason says. “Trying to hold someone’s attention for two or three months with a typical album roll-out doesn’t seem feasible with everything else currently going on in the world.” That’s not the only reason An Unexpected Reality comes with no pre-release hype whatsoever. “It’s meant to be listened to as a whole, so we didn’t wanna break it up or release a couple songs ahead of time as ‘singles’ or whatever,” Mason clarifies. “We also didn’t wanna treat it like it’s our next full-length. Because it’s not.” Written, recorded and now released during the Covid-19 pandemic, An Unexpected Reality is Gatecreeper like you’ve never heard them before. Exploring both ends of the tempo spectrum, the release offers two opposing sides of the band’s musical personality. Side one consists of seven short, sharp shocks that have a total running time of less than seven minutes. Inspired by grind, punk and hardcore, tracks like “Starved,” “Rusted Gold” and “Amputation” are some of the fastest offerings the Arizona death metal squad has ever recorded. Side two is the exact opposite.

And once again with a reissue of a rare record that's highly sought after by collectors around the world. After the great undertaking we conducted with lost metal bands like CHILD SAINT and more recently with KNIGHTMARE II, it is with great pleasure that we bring you the first official reissue of TRAITOR and their mini-album "Shot Down"! All those who are familiar with "Show Down" know that it is impossible to remain indifferent to songs like "The Way It Used To Feel", "Have You Ever" or "Feel The Steel".

Formed in 1984 in Bellflower, California, TRAITOR began their short-lived career with the release of the one- sided flexi- single "Feel The Steel" that same year. In the following year, they would release the mini- album "Shot Down" containing a total of five original songs, which takes us unquestionably to the best US Metal made independently in the 80s. We are delighted to bring the first ever official reissue of "Shot Down" on vinyl.

A limited edition with the quality that Lost Realm Records has accustomed you to. With a total of 12 tracks, this reissue will feature the 5 songs from the original "Shot Down" version released in 1985, as well as an alternative mix version, never released before! All tracks fully remastered for the best sound experience.

As a rock icon and filmmaker with a unique vision, ROB ZOMBIE has continuously challenged audiences as he stretches the boundaries of both music and film. He has sold more than fifteen million albums worldwide, and is the only artist to experience unprecedented success in both music and film as the writer/director of eight feature films with a worldwide gross totaling more than $150 million.

In a partnership between Lost Realm Records and Classic Metal Records, we bring you the vinyl edition of Sacred Alien's first studio album "The World Doesn't Care About You" In 2020 we already had the opportunity to work with these NWOBHM legends, with the vinyl release of "Legends" (compilation of studio and unreleased songs recorded between 1980 and 1983), which was a success given the tremendous acceptance by fans and followers of this British band.

An edition that was sold out in less than 2 months! "The Universe Doesn't Care About You" is the logical continuation of the band's legacy. With a total of 9 songs, Sacred Alien once again offers us a sonic journey between parallel universes, extraterrestrial forces and the meaning of life.

As an organism, Blood circa Loving You Backwards, was a six piece. Tim O'Brien is the lyric writer, but the song writing and arrangement is a painstakingly collaborative process in which the band aims for democracy over swiftness.

The record also features the band's first major work with the producer Daniel Enrique Howard, whom the band recorded with at his studio in Brooklyn. Howard helped guide Blood into this new sonic territory. It is not a bedroom project, but instead fully realized, somehow sounding both intimate like Liz Harris' Grouper feels intimate and totally vast in the way that a Talk Talk record feels vast. It's in the same universe as Ought in its earlier iterations.

Nach ihrem von der Kritik gefeierten UK-Top-20-Album 'As Days Get Dark' kehren Arab Strap mit ihrem zweiten Album für Mogwais Rock Action Records zurück, das den treffenden Titel 'I'm totally fine with it don't give a fuck anymore' trägt. Fast 28 Jahre nach ihrem Debüt klangen Arab Strap noch nie so essentiell, so unentbehrlich wie jetzt, und dieses neue Album ist ein glühender Beweis für ihren Laserfokus auf breitere Horizonte. Das Album, das ausschließlich von Malcolm Middleton und Aidan Moffat geschrieben und eingespielt wurde und an dem auch Paul Savage, ein langjähriges Mitglied der Band, mitgewirkt hat, unterstreicht die Wandlung der Band von melancholischen Slow-Core-Romantikern zu wütenden Alt-Pop-Chronisten.

Where stars drench the sky in hues of infinity, amidst the chaotic waves of supernovas, Sleem Gleam emerges from the abyss to debut a fusion of electronic rhythms and reverberated riffs that crash against the shores of reality.

Riding on a hot acid groove and descending into an electric whirlpool, “Lava Barrels at High Tide” is a stripped-back oceanside bop that epitomizes the swell. Up next, “Totally Pitted” hits maximum wetness with an iconic bass line and blazing flanged-out hats guaranteed to jostle a noggin.

On the flip side, the upbeat electro jam “Cosmic Rip Current” presents a hazard to beach-goers in the form of a thick and psychedelic stellar blip-swirl. Lobotomy Party sends it home at high speed with twacked-out vocal samples and surreal pulsating bass.

Sleem Gleam is the new surf-inspired alias of Minneapolis-based Kajunga co-founder Ry Johnson, aka Ryote. He has been making and releasing electronic music since 2007 and DJing since 2011.