Buscar:the attack

John Williams' Home Alone soundtrack is a heartwarming classic that perfectly complements the holiday season. Known for his work on Star Wars, E.T.and Harry Potter, Williams brings the same orchestral magic to this beloved Christmas film. The score includes memorable tracks like 'Somewhere in My Memory,' a recurring theme throughout the film, and 'Star of Bethlehem,' which captures the festive spirit with choral and orchestral elegance. The standout track, 'Setting the Trap,' diverges from Williams' usual orchestral sound, incorporating electronics and percussion to enhance Kevin's creative showdown with the burglars. Alongside traditional Christmas carols like 'O Holy Night' and 'Carol of the Bells,' the soundtrack blends nostalgia with whimsy. Though the album repeats familiar motifs, its charm makes it a refreshing alternative to typical holiday music. The Home Alone soundtrack is available in a limited edition red and gold vinyl 2xLP, making it an essential for any festive playlist. Whether it's playing while decorating the tree or enjoying Christmas cookies, this release brings the holiday spirit alive.

Flame is Slow collects together three acclaimed seven-inch EPs (originally released on the Noisebox label in 1996 and 1997) by the mysterious, mercurial Navigator. The post-Loveless UK underground of the early 1990s was a vibrant place, despite what music biographies may tell you. What might now be lumped together as “post-rock” was in fact a varied and forward-thinking group of artists creating inquisitive music in the wake of the grunge goldrush. Contemporaries such as Hood, Flying Saucer Attack, Movietone and – of course – Mogwai and Arab Strap are rightfully seen as timeless nearly thirty years on but they’re really just the tip of the iceberg. Navigator might get mentioned less but their story is every bit as intriguing as any of their peers. Navigator formed in Norwich in 1994. Their music was consistently introspective and melancholic, but their brief existence of five years saw them move rapidly from traditional song structures towards noise, found sound, free improvisation, electronics, primitive instrument building and – ultimately - silence. They were an enigma back then and they remain so now. They released four seven inches before a solitary album Nostalgie (1997, Swarf Finger Records). Each release felt different to the last but always intimate and peculiar. Their use of sound and space is nothing short of magical. Rough and unsettling textures rub against each other, selected and mixed instinctively. Another band’s discarded mistake becomes a key element in their hands. The band received much acclaim and some genuine commercial success when single When the Wires Fall ended up in the indie charts. They shared stages with Low, David Thomas, Aerial M, Stars Of The Lid and Labradford and toured with Mogwai and Arab Strap culminating in the now-notorious, equipment-levelling performance at The Garage in London. The original version of the group played live for the last time in 1999 before quietly disappearing. It was perhaps inevitable that a band so committed to exploring and refining their sound should end by removing themselves from it entirely. Aside from a brief (and excellent) reformation in 2006 and a CDR compilation of those early seven inches, Navigator have been quiet for over 20 years until now. Flame is Slow assembles the blue, red and green Noisebox EPs into one cohesive album-length collection, remastered with care and reassembled by the band. It rightfully places Navigator where they belong – as one of the most curious, adventurous, and beautiful groups this island has ever produced. “Whenever I think of bands that more people should’ve heard than did, I always think about Navigator. It’s great that the music they made is going to be available again as it is truly special and deserves to be heard by more people” – Stuart Braithwaite

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

In collaboration with Back Lot Music and Monkeypaw Productions, Waxwork Records is proud to present MONKEY MAN Original Motion Picture Soundtrack by Jed Kurzel. Monkey Man is a 2024 action-thriller film directed, co-written, and produced by Dev Patel in his directorial debut.

The film follows "Kid", an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a monkey mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city's sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.

Jed Kurzel is an award winning Australian singer-songwriter-guitarist and film composer. His scoring credits include The Babadook, Alien: Covenant, Overlord, Assassin's Creed, and others.

Waxwork Records proudly presents MONKEY MAN Original Motion Picture Soundtrack as a deluxe double LP featuring Blood Red, Black, and Metallic Gold A-Side B-Side colored vinyl, new artwork by Sajan Rai, exclusive director and composer liner notes, heavyweight gatefold packaging, and an 11"x11 insert.

4 tracks of filthy Acid Techno from Chris Liberator & Sam DFL, Sam DFL & Mass_Ive, Jamal, & Loczii 0n the second release on the SUF and Polands Acid
Addicts crew collaboration label JUNKYARD.

Regrooved Records proudly present the ultimate reissue of Axiom Funk's legendary album, Funkcronomicon! This psychedelic and funkalicious masterpiece continues to amaze listeners with its eclectic variety, thanks to the impressive roster of artists under the name Axiom Funk.

At the heart of this project is legendary producer and bassist Bill Laswell, whose artistic vision and skills seamlessly unite the album. Funkcronomicon features appearances by many (former) members of Parliament-Funkadelic, making Funkcronomicon a de facto release of this legendary band. Among the featured musicians are the p-funk legends George Clinton, Bootsy Collins, Bernie Worrell and Jerome “Bigfoot” Brailey, and it features the last studio recordings from guitarist extraordinaire Eddie Hazel. Nex to that it also features contributions from icons such as Sly Stone, Maceo Parker, Fred Wesley, Bobby Byrd, the dynamic duo Sly & Robbie and Herbie Hancock and many, many others.

Funkcronomicon masterfully combines funk with the mythical Necronomicon by H.P. Lovecraft Lovecraft's cosmic horror stories, which radiate liveliness despite the ominous title. The cover art by the legendary Pedro Bell, this was one of his last projects before his vision was tragically lost, adds to the album's enigmatic allure and is reminiscent of Lovecraftian rituals.

Now it's time for a high-quality vinyl reissue of this cultural phenomenon. Remastered and pressed onto three discs, this new batch of Funkcronomicon now comes with extensive artwork and now offers you the ultimate listening experience for this classic album. Don't miss your chance to own a piece of funk history. Get your funk on with this must-have reissue!

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

ANTON NEWCOMBE and DOT ALLISON just announcedthat they will be releasing an album together under the moniker All Seeing Dolls. ''Parallel' will be out in February 2025. Upfront they share the single 'That's Amazing Grace' (backed with "Siren's Echo iron Lung") and make available this 2-track 10" as a limited teaser. Anton Newcombe is the founder, the sole constant and the creative mastermind at the centre of one of music's most fascinating bands; Brian Jonestown Massacre. He's a frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father and force of nature. There have been 21 BJM albums over the last 30 years, each embarking on their own mind-expanding adventure and exploring the outer realms of rock'n'roll; psychedelic rock, country-blues, snarling rock'n'roll, blissed-out noise-pop and more. Newcombe has established himself as a once-in-a-lifetime talent, a revolutionary force in modern music and an underground hero. Dot Allison released her debut solo album Afterglow in 1999. Over the years she has strived to keep the listener on a journey - and herself too. She revolts against what she has done before, to evolve and not just occupy the same space. That journey has taken her from Afterglow's broad church (trip-hop, Tim Buckley-esque ballads, dance tracks, chilled psychedelia) to the sultry synth-pop of We Are Science (2002), the lush, baroque Exaltation Of Larks (2007) and the eclectic, rootsy drama of Room 7½ (2009). After a hiatus to raise her family she returned with the graceful acoustic folk record Heart-Shaped Scars (2021) and the haunting, barely there beauty of Consciousology (2023). The range of guest stars on Allison's records is equally broad: where else would you find a cast list that includes Kevin Shields, Hal David, Paul Weller, Pete Doherty and Darren Emerson. Likewise, Allison's own guest roles with the likes of Massive Attack, Scott Walker, Slam, Philip Shepard, The Babyshambles & Pete Doherty, underlining the huge respect her peers hold her in.

Doom (2005) is a science-fiction film based on the iconic video game series, starring Karl Urban and Dwayne Johnson. The film is centered around a group of marines sent on a rescue mission to a facility on Mars, which quickly turns into a game of survival when the team encounters demonic creatures. This release marks the first vinyl release of Clint Mansell's score, which comes as a 2-LP gatefold set pressed on Black Ice vinyl, with original artwork and a poster by illustrator Micha Huigen.

Very special rare raw acid techno release on the Interstate One label from Strike Force !! Check this one out !!

“Everything here is a gem. Neneh triumphs with a seamless and unorthodox blend of hip-hop, R&B, dance music, and pop” 4 ½/5 Allmusic

Coloured vinyl reissue of Neneh’s second album – first UK reissue on vinyl since its release in 1992. On release the album gained favourable reviews (4/5 in both Q and Rolling Stone) with Allmusic labelling the album “magnificent and risk-taking”.

The singles “Money Love” and “Buddy X” charted internationally with album track “Trout” featuring Michael Stipe and receiving heavy airplay on US alternative radio. Portishead’s Geoff Barrow co-wrote and co-produced “Somedays” and “Move with Me” appeared on the soundtrack of the 1993 Sharon Stone film Sliver.

The Swedish-born, UK-based artist started her musical career in The Slits going on to gain global recognition as a solo artist with her 1988 single ‘Buffalo Stance’ from the album “Raw Like Sushi’. Always irreverent, unpredictable and stylish, she has now released five studio albums and collaborated with Peter Gabriel, Massive Attack, Michael Stipe, Lenny Kravitz, Geoff Barrow and Four Tet, won two Brit Awards and been nominated for a Grammy.

Senking and DYL team up again after first collaborating for a track on 2020’s »Uniformity Of Nature« EP that also featured different solo productions by the two producers. »Diving Saucer Attack« is the first full-length record by the German artist and his Romanian collaborator, released through the Berlin-based Karaoke Kalk label, home to the former’s work for more than a quarter of a century. The six pieces, two of which were produced individually, both showcase the duo’s shared interests for dub-heavy, adventurous electronic music while also emphasising the productive friction generated by the subtle differences between their respective approaches.

Cluj-Napoca-based DYL, real name Eduard Costea, cites his colleague Jens Massel’s work and especially his »Ping« EP—released in 1999 through Karaoke Kalk—as a crucial point of reference for his own development. »He’s one of the producers who inspired me to start making music,« he says. Massel was already familiar with his partner’s eclectic productions when he was approached by him with the idea of collaborating for a piece in 2020. They didn’t stop there, as Massel explains »It went very well and ever since we’ve been sending each sounds and tracks.« As their first joint album, »Diving Saucer Attack« documents the multi-faceted results of this on-going process.

The album opens with a track in true Senking style. Throbbing bass frequencies, haunting synth melodies and carefully placed rhythmic elements form a slow, but driving groove. Before DYL’s »a7r380R« introduces the listener to his anthemic take on IDM, the collaborative second track »2024« showcases how well their respective philosophies complement one another: the two create a detailed soundscape in which an intricate interplay of percussive elements and melodies can unfold. The title track transforms rattling drums and growling bass sounds into a laid-back, spooky trip-hop tune with a live-jazz feel, while »Astral Project« sees the duo venture into the uncanny regions of dub techno. »Not Just Numbers« closes on an even more sombre note—a fitting closing statement to an album full of twists and turns.

»Diving Saucer Attack« is a special album on more than the musical level. Massel released his first records under different guises such as Fumble, Kandis, and Senking through Karaoke Kalk between 1997 and 2001, after which he focused on his work as Senking, putting out a string of iconic albums through raster-noton, among others. 23 years after his last Senking LP for Karaoke Kalk, 2001’s »Silencer,« his return is as non-nostalgic as you’d expect it from such a forward-thinking producer: together with DYL, he continues to explore the possibilities and outer limits of electronic music in an intergenerational dialogue.

Francois Dillinger coming directly for the metallic jugular here. Right hooking the all the AI bots , tearing down mainframes , and anything else his edge out sharp electro sound can rattle . Made to oil the pistons on the dancefloor ONLY .

It's almost a shame were putting online . But this heat seeking missile of a 4 tracker EP is just too good to not let all the fake profiles hear . So grab it quick , before we change our minds , and wipe the data base !

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.