Nach Seinem Ausverkauften Konzert Im Berghain Veröffentlicht Ross Tones Aka Throwing Snow, Eine Hälfte Des Electro-goth-duos Snow Ghosts, Mit "loma" Seine Bis Dato Facettenreichste Und Kompetenteste Arbeit. Die 8 Tracks Einer Vierteiligen Digitalen Serie Erscheinen Erstmals Auf Vinyl, Erweitert Um Den Neuen 11-minütigen Extended Remix Der Brooklyner Transgender-künstlerin Octa Octa (100% Silk, Running Back, Honey Soundsystem). Cd Und 2lp Auf Gelbem Und Grünem 180g Vinyl.
UV1 is the debut release by Unity Vega. Scaling BPM's from 140 through 210, the EP reveals a one of a kind sonic vision. Head-spinning percussion and higher dimensional synths mesh with club-ready rhythms across all four, deftly spanning many moods and eureka moments.
Kid Drama presents 'Machines and Other Things', his first full-length album for Metalheadz and a project shaped by instinct from a producer three decades deep into his craft.
Initially conceived through the lens of the classic Headz sound, the album only found its true identity once Kid Drama stopped looking backwards and allowed his own Autonomic influences to take hold. Slowing the tempo and focusing on groove rather than function, he built a body of work unconcerned with club trends, instead prioritising atmosphere, texture and progression.
Written sequentially rather than assembled from a large pool of tracks, 'Machines and Other Things' captures a distinct moment in time. Across the album, layers of tape saturation, analogue processing, noise and environmental detail sit alongside melancholic melodies and intricate rhythms, creating a sound that feels tactile and deeply immersive.
Also featuring collaborations with Goldie, dBridge, Loxy and LaMeduza, 'Machines and Other Things' finds Kid Drama drawing on the past without being defined by it, delivering a body of work that feels unmistakably his own.
Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.
Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.
Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.
Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.
non in magazzino
Ultima consegna 5 mesi fa riordinabile senza garanzia
Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.
Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.
After roughly 15 years out of the game, Marc Kushin makes a highly anticipated return with his Ely Muff project - a label favourite since its inception - debuting proper on Love Love with 4 tracker 'Human Nature'. Kushin's proto-tekno take on the early breakcore sound was a stand-out of a particularly noisy strain of hardcore which emerged in the UK in the late 90s and early 00s, releasing on the likes of Headfuk, One Inch Punch, Deathchant, as well as Kushin's own labels Kinky Stump and Dead Pig, run alongside longtime collaborator Tantrum.
Unpretentious, unserious and completely unapologetic, 'Human Nature' features four tracks of brutal hardcore spiral tekno, distorted and mangled but retaining groove and swagger. The EP features two re-released classics from Kushin's back catalogue: the pumped-up pirate radio pastiche of 'Hold Tite The P, No Need For London' and the feedback-laden blunt lobotomy of 'Automatic Predator', two decades on from their original releases in 2005 on Capsule Core and One Inch Punch. Complementing them are tracks 'Human Nature' and 'Cycle Dirty', previously unreleased spasmoid gems from the same era, unearthed and seeing the light of day for the first time.
All four tracks have been lovingly (re)mastered by Love Love's own Ben Pest for a maximal sonic experience, shining a light on this criminally overlooked corner of UK rave heritage.
With their name taken from an episode of the radio program The Goon Show, Ned's Atomic Dustbin formed in Stourbridge, UK, in 1987. They're known for using two bass-players in their line-up and creating a tense and highly driven sub-hardcore sound featuring distorted effects-laden guitar and energetic drums.
In 1992 they released their second studio album Are You Normal?. The album features their American hit song “Not Sleeping Around”, which hit the top of Billboard's Modern Rock Tracks chart. The album was produced by Andy Wallace, best known for his work with Slayer, Prince, Nirvana, Sonic Youth, Paul McCartney and so on.
Are You Normal? is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert.
Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).
Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.
Special exclusive 7" from Il Sogno Del Marinaio, the avant-rock trio formed by legendary bassist Mike Watt (Minutemen, Firehose, Stooges), cult Italian experimentalist Stefano Pilia (Massimo Volume, In Zaire, Afterhours, Rokia Traore) and drummer Paolo Mongardi (Zeus, Fuzz Orchestra, Fulkanelli). Directly from fratello Mike Watt's words: "the "wing and a prayer" seven inch on _improved sequence_ was a product of the covid19 sitch around xmas of 2020. it was put together remotely, w/me here in san pedro, california, usa while from Italy stefano pilia (in bologna) and paolo mongardi (in imola) brought what they had from italy ... yes, the internet can be used for more than spreading hate and lies - it can also be used to collaborate in the spirit of artistic expression! cazzo, imagine that? il sogno del marinaio had finished work w/their "terzo" album and I thought a good way to rally the band would be to focus on a smaller release that reflected the current sitch we were in - see, the basic tracks of "terzo" were recorded in eleven months earlier here in my pedro town at _casa hanzo_ (stefano pilia and paolo mongardi traveling here by plane) so we had no idea what was ahead of us concerning the challenges of that fucking virus sitch. now the "terzo" album was not finished w/those basic tracks getting recorded, we had spiel (vocals) to add plus other stuff and of course it had to be mixed (tim in wales did a great job w/this - much respect to him!) so those experiences of those early covid19 times got "superimposed" on the music that was created right before it was on us, very trippy. that was a big reason I brought the three tunes of this "wing and a prayer" seven inch to stefano pilia and paolo mongardi - all they had was my bass but I believed they could "take the ball and run w/it" cuz that's how powerful I believe music to be: it can be able to overcome 'pert-near any hell trying to stomp it down. stefano pilia chose "wing and a prayer" to mix, paolo mongardi chose "tantrum" and I got what was left: "hail mary pass" - oh, I got my buddies stephen perkins to help w/percussion and petra haden to help w/singing, violin and mandolin. so one reality reality is w/these three tunes is that no one is actually playing w/each other in real time on this little record! it's all done by trading files via the internet...the starting for all three tunes being was my bass - ain't that a trip? shows how bass can be that springboard or launch pad I've always known it could be when not aiding and abetting a tune after the fact – both these "roles" for bass have been very interesting to me, going back to my early days as a minutemen and writing tunes for d boon and George hurley and by also bringing bass to their stuff
Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
Get ready to rock out with Ned's Atomic Dustbin 'Session'
This high- energy band is known for their unique blend of punk, rock, and indie sound. Formed in Stourbridge, West Midlands, in November 1987, the band is best known for the tracks 'Not Sleeping Around', 'Happy' and 'Trust' all featured on this explosive Live album. Don't miss your chance to experience their electrifying performance.
With their name taken from an episode of the radio program The Goon Show, Ned's Atomic Dustbin formed in Stourbridge, UK, in 1987. They're known for using two bass-players in their line-up and creating a tense and highly driven sub-hardcore sound featuring distorted effects-laden guitar and energetic drums.
In 1992 they released their second studio album Are You Normal?. The album features their American hit song “Not Sleeping Around”, which hit the top of Billboard's Modern Rock Tracks chart. The album was produced by Andy Wallace, best known for his work with Slayer, Prince, Nirvana, Sonic Youth, Paul McCartney and so on.
Are You Normal? is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert.
Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).
A long side from Win in his Hardfloor kick-changes psychedelic roughtness...
A Kvasir kind of same vibe thick fat kicker... (dare playing it at 45 : you will get an Enrbyoneer feeling)
Extra one is Pijlen and a lightspeed driver psychedelic 70's synths sound...
A1 here is the last you can listen, probably because it's a short tune (2min) and not a bad one... Ambient intro to place some XP in this already quiet XP record :)
ENJOY !
non in magazzino
Ultima consegna 3 anni fa riordinabile senza garanzia
2010 release. Since their first show at Hollywood s Hotel Café in December 2008, soulsters Fitz & the Tantrums have toured with Maroon 5, played to thousands at Colorado's world famous Red Rocks Amphitheatre, shared the stage New Year's Eve with Sharon Jones and the Dap Kings, and performed on KCRW s esteemed show, Morning Becomes Eclectic. The recipe for success? Six killer musicians, five dapper suits, irresistible songs, one vintage organ and nonstop touring.
Landscape Tantrums Lost for two decades, the recent rediscovery of Landscape Tantrums the first attempt at recording the music that would become The Mars Volta’s De-Loused In The Comatorium revealed an important and hitherto missing chapter in the group’s evolution. Selfrecorded by Omar (assisted by Jon DeBaun) at Burbank’s Mad Dog Studios within a head spinning four days, Landscape Tantrums captures De-Loused in somewhat embryonic form, though much of what would make The Mars Volta’s debut album such an electrifying, sublime experience was already in place: the fearless invention, the fusion of futurist rock elements and traditions from outside of the rock orthodoxy, the sense of virtuosity working in service of emotional effect. From a distance, The Mars Volta must have seemed as if they were on a high when they walked into the studio to record what they expected to be their debut album (“I didn’t think of it as demos or a dry run,” Omar says). The group had recently played the Coachella festival to rave reviews, a vindication of the quixotic risk Omar and Cedric had taken, quitting At The Drive In to lead such an uncompromising musical proposition.
Their debut EP, Tremulant, had similarly signalled their singular vision, and been rewarded with similarly positive feedback. But the truth was that The Mars Volta entered Mad Dog in tatters, scarcely believing anything other than failure lay within their reach. They’d recently lost their bassist, Eva Gardner, and parted ways with keyboard play Ikey Owens. Tensions were brewing with drummer Jon Theodore, too himself a replacement for founding drummer Blake Fleming Omar questioning Theodore’s commitment to the group. And sound manipulator Jeremy Michael Ward’s drug problem had gotten so far out of hand that he’d been sent to rehab, and wouldn’t return until two days into the Landscape Tantrums. The pressure upon Omar was intense, and it began to manifest in the form of physical and emotional breakdowns. His art was his life, but now he began to wonder if it was actually going to kill him. Under such heavy manners, miracles occurred at Mad Dog. Surely that’s the only way to describe the music contained on Landscape Tantrums, as Omar fashioned early versions of Inertiatic ESP, Drunkship Of Lanterns and Eriatarka that rivalled the Rick Rubin produced versions that ended up on De- Loused for intensity, precision and immediacy, as Cedric delivered a powerfully intimate reading of Televators, and as a bare bones version of the group sketched out the peaks of what would become their debut masterpiece in barely half a week, on a shoestring, and believing they wouldn’t last long enough to see it hit the shelves. Listening to Landscape Tantrums now, with the benefit of hindsight and the knowledge of what these songs will become, one notices Cedric has yet to fully find the voice that will lend The Mars Volta their devastating authority, that Eriatarka will evolve even further under Rick Rubin’s watch, and that the lyrics to De-Loused’s climactic chapter, Take The Veil Cerpin Taxt, have yet to be penned. But one also notices how lithe the group sound here, how hungry, and one appreciates the raw edge that Rubin would later polish to a venomous sharpness. More than mere historical curiosity, Landscape Tantrums is an essential text for the dedicated Mars Volta aficionado, and a breathtaking album in its own right.
[a] a1. Roulette Dares (The Haunt Of) [Unfinished Original Recordings Of De-Loused In The Comatorium]
"This area of the throat," says Chelsea Jade, resting three fingers roughly where her neck meets her chest. "It's particularly soft, and it's connected ... it's halfway between the heart and the mouth. And that's an interesting place of vulnerability." Soft Spot, the Los Angeles-based New Zealand artist's second album, dwells somewhere between feeling and expression, certainty and doubt. It ventures beyond the exploration of delusions of grandeur that formed the focus of the critically acclaimed Personal Best (2018), and simultaneously promotes and undermines romance, specifically, in a more solemn way. "Less glib," offers Jade, who has opened for Lorde and Cat Power among others. Still deliciously glib in places: "Give your worst my best," she sings on the wryly antagonizing, bass-heavy "Tantrum in Duet." Soft Spot's big pop tracks go hard on the interpersonal, physical and amorous, inviting the listener to entertain flirtation, lust, sex, even the experience, rare during its recording in 2020, of being in a room with more than three other people.
I’m gonna love you from the soft spot
Where the fruit begins to rot
“This area of the throat,” says Chelsea Jade, resting three fingers roughly where her neck meets her chest. “It’s particularly soft, and it's connected ... it's halfway between the heart and the mouth. And that's an interesting place of vulnerability.”
Soft Spot, the Los Angeles-based New Zealand artist’s second album, dwells somewhere between feeling and expression, certainty and doubt. It ventures beyond the exploration of delusions of grandeur that formed the focus of the critically acclaimed Personal Best (2018), and simultaneously promotes and undermines romance, specifically, in a more solemn way.
“Less glib,” offers Jade, who has opened for Lorde and Cat Power among others. Still deliciously glib in places: “Give your worst my best,” she sings on the wryly antagonizing, bass-heavy “Tantrum in Duet.” Soft Spot’s big pop tracks go hard on the interpersonal, physical and amorous, inviting the listener to entertain flirtation, lust, sex, even the experience, rare during its recording in 2020, of being in a room with more than three other people.
With the reinforcement of composition and arrangement by Leroy James Clampitt (Justin Bieber) and production by Brad Hale (Now, Now), Jade conjures up atmospheres conducive to feelings of place and potential. Created during a once-in-a-century pandemic, the album is an evocative assembly of found parts: recordings of sentences and asides delivered by friends, the sound of rain in LA, or the distant voice of bureaucracy against a backdrop of hold music. Seeming choruses were produced to give that impression, layered submission by individual vocal submission. On “Best Behavior,” the record’s danciest track, this illusory energy reaches its euphoric height.
The record transports the listener from speaker-side at a club, to wandering a party, to sitting at an open window with a pianist nearby. It shifts effortlessly from expansive sold-out-show sound to ethereal, twinkling detail. The writing on Soft Spot outwits even its clever, resourceful production, the lyrics a testament to the multi award-winning songwriter’s belief in the pop format as a venue for prose.
Heralded by both mainstream and indie press on it's release as an instant British classic, this seminal album rocketed from the underground to five-star acclaim right across the board.
A tense yet energetic journey through the highs and lows of living in the British counterculture of the time, it effortlessly mixed the old and the new, rock and roll and electronica, the past and the future- and brought this eclectic sound to a global fanbase. Now available as a 15th Anniversary Remastered Edition.
non in magazzino
Ultima consegna 6 anni fa riordinabile senza garanzia
Infernal Sounds welcomes their newest member to the imprint, Dark Tantrums. After a brief hiatus from releasing music, the producer who's had previous EP's out on both Deep Medi and GetDarker is back with a bang. From the millitant march of 'Command', to the distorted and twisted mind of 'Darkside', with 'Time Warp' rounding things off in a typical old-school fashion, this EP will knock your socks off and deliver a punch for the dance floor. IFS011 not only displays his ability to adapt his style under the 140 spectrum, but continues to prove why he's one of the most underrated artists to grace the scene.
Chain & the Gang ... the world's only 'DOWN WITH LIBERTY' group ... the best and most radical rock n roll group ever ... have a BRAND NEW long playing record out on RADICAL ELITE records and its a 'head scratcher' for sure ...
Chain & the Gang - known as the dynamic and irresistible live combo that pens provocative, unforgettable odes to obedi- ence and total destruction (e.g. 'Devitalize', 'Certain Kinds of Trash', 'Detroit Music' ) got sick of the simple fare so prevalent at the rock festivals these days. After nodding off to the washed-out zzzounds of the latest five-star folly critic's catastrophe, 'Chain & the Gang' decided to respond with their patented perversity ; they reached to the farther corner of the lab and came up with an immortal classic in the hard-to-hear genre of 'EXPERIMENTAL MUSIC' (!!!!!!!!)
In fact, this record is so confounding, so new and uncharted, they decided to call it 'EXPERIMENTAL MUSIC.' Not only is it a pounding super-classic, but it's the final word in the experimental music genre, answering the questions initially proposed by John Cage, Yoko Ono, LaMonte Young etc., shutting down the need for further experiments forever. The Lab is Closed!
Besides CHAIN & the GANG's 'Chain' — aka Ian Svenonius -- the 'EXPERIMENTAL MUSIC' LP features an all-star cast of avant-garde geniuses such as DANNY KROHA (the Gories, Demolition Dollrods, Danny and the Darleans), FRED THOMAS (Saturday Looks Good to Me, Lovesick, Tyvek, His Name is Alive), SHELLEY SALANT (Shells, Tyvek, SLGTM, Swimsuit), AMBER FELLOWS (Swimsuit), MADELINE MCCORMICK (Chain & the Gang) and BEN COLLINS (Mini- Horse) and was recorded live to four-tracks at WORLD CLASS TAPES in ANN ARBOR, Michigan.
The title track sets forth the premise and the rest of the tunes expound upon it. Its a foot-tapping, head scratching, torso tornado that will crinkle the connossieur's temple in a tantrum of cerebral delight.
Writers in one hundred years will still be piecing together the puzzle of perversity that's named EXPERIMENTAL MUSIC by CHAIN & the GANG on RADICAL ELITE Records.
