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“‘Bashed Out’... will also likely be her breakout... get ready to hear a lot more from her.” - Stereogum  This Is The Kit is the much beloved musical project of Kate Stables, born in England and based in Paris. ‘Bashed Out’ was produced Aaron Dessner, a member of The National known for both minting indie icons (Sharon Van Etten, Local Natives) and, more recently, becoming a producer to stars like Taylor Swift and Ed Sheeran. Dessner’s former client Sharon Van Etten called This Is The Kit her “favorite new artist” in Pitchfork.  The backing band gathered for ‘Bashed Out’ combines the talents of This Is The Kit’s touring members alongside session players drawn from the Brooklyn music scene: Bryce Dessner, Thomas Bartlett (Doveman, The Gloaming), Matt Barrick (The Walkmen) and Ben Lanz (Beirut, The National) made key contributions.  Since this LP’s initial release Kate made significant contributions to The National’s 2019 album/film ‘I Am Easy To Find’ and became a touring member on subsequent live dates. In 2020, ‘Bashed Out’’s title track became a streaming hit after an impactful needle drop in a key episode of Netflix’s ‘Sex Education’ series.  This music is honest, human and humane - a folky-lovely slowrumble. It’s rock but of the groovy, hangover-friendly, stoner variety. Stables’ voice hearkens back to the singer-songwriter era - her distinctive, cutting vocals up front in the mix.  The Line of Best Fit has the band as an “essential fixture of British folk music for the past 10 years… one of a handful of truly innovate songwriters working with the British folk template today.”  For fans of Joni Mitchell, Bon Iver, Sharon Van Etten, Father John Misty, Gillian Welch, Laura Marling, Natalie Prass, Jose Gonzalez.  This is the first time ‘Bashed Out’ has been widely available on vinyl since 2019.  ‘Green Eyed Muddy Puddle’ eco-vinyl variant.  Heavy touring in UK, Europe and North American to support the June 2023 release on Rough Trade, ‘Careful Of Your Keepers’.

When Black Pumas made their self-titled debut in 2019, the Austin-bred duo set off a reaction almost as combustible and rapturous as their music itself. Along with earning a career total of seven Grammy Award nominations (including Album Of The Year) and winning praise from leading outlets like Pitchfork and Rolling Stone, singer/songwriter Eric Burton and guitarist/producer Adrian Quesada achieved massive success as a live act, touring large theatres all over Europe and North and South America and delivering a transcendent show Burton aptly refers to as “electric church.” As they set to work on their highly awaited sophomore album, the band broadened their palette to include a dazzling expanse of musical forms: heavenly hybrids of soul and symphonic pop, mind-bending excursions into jazz-funk and psychedelia, starry-eyed love songs that feel dropped down from the cosmos. Wilder and weirder and more extravagantly composed than its predecessor, Chronicles of a Diamond arrives as the fullest expression yet of Black Pumas’ frenetic creativity and limitless vision.

Boy bands and girl groups were a huge factor in 90’s and 00’s pop culture. From the Backstreet Boys and Take That to the Spice Girls, Sugababes and many more great pop-bands, they sparked mass hysteria among their young fanbase. Being one of the first bands in the late 80’s, New Kids On The Block kicked off the hype, although in the 60’s bands like Jackson 5 and The Supremes had been around for quite some time.

The pop genre sparked a whole new breed of both boys and girl bands, with #1 hits all around, fueled by the sing-a-long lyrics, catchy videos on MTV, magazines and tours targeting a young audience around the world. Girlz ‘n Boyz Collected represents the legendary 90’s and 00’s girl- and boy bands including Backstreet Boys, Spice Girls, Sugababes, Take That, Atomic Kitten, New Kids On The Block and many more acts.

The 2LP Girlz ‘n Boyz Collected is available as a limited edition on blue
(LP1) and pink (LP2) coloured vinyl and includes an insert.

After touring the world's Techno and Goths clubs intensively, Die Selektion are back with their unique blend of Synth- Pop and Electronic Body Music. Heavyhearted but hopeful trumpet melodies, German lyrics that make you question your past and future once again, synthesizer sounds in the great tradition of '80s Wave and Pop, combined with hard-hitting drum machines - this forms the base of their self- proclaimed Prosecco Wave world. Their new album "Zeuge aus Licht" features 9 hits to live, love and laugh to, and makes you forget your everyday worries.

Die Selektion sat down together in a new line-up consisting of all three founding members Gillian, Rief and Rieger, as well as Savenberg, who joined in 2013.

The outcome of this mesmerising gathering is a supersonic experience for body, heart and soul. The new songs expand the sound of the band with an almost casual, elegant diversity. Every single component shines and an understanding of what makes pop really pop comes through, adding ironic glitter to the black nihilism of Dark Wave. With "Zeuge aus Licht", Die Selektion opens a new door in their fluid band set- up. And we should all be excited to find out what's hiding behind it.

First pressing of this album on White vinyl is now completely sold out via the band's wonderful fanbase. This Red Vinyl version is the first to receive a fully official commercial release.

To celebrate Ruts DC will be playing a headline tour across the UK between May 10th and 28th 2023.

'A resolute return to form, angry and articulate but without exploiting past glories.' Classic Rock
'Ruts DC continue to forge their own path, Counterculture is the natural progression from Music Must Destroy – the strength in the lyrics, the subtlety of the arrangements; Ruts DC remain a force to be reckoned with.' Louder Than War
'Drums and Bass building the defence wall. Guitar and whatever else lobbed in stun/attack mode. That is Ruts DC. That is all you really need to know.' Vive Le Rock

The GRAMMY Award-winning band, Blues Traveler, is back with their fifteenth full-length
album, Traveler’s Soul . This album, similar to Traveler Blues, a blues covers album that
earned the band a GRAMMY nomination, is a covers album paying tribute to R&B and soul
classics with featured artists such as Pat Monahan from Train, Valerie June, Alisan Porter,
Daisha McBride, and many more.

The GRAMMY Award-winning band, Blues Traveler, is back with their fifteenth full-length
album, Traveler’s Soul . This album, similar to Traveler Blues, a blues covers album that
earned the band a GRAMMY nomination, is a covers album paying tribute to R&B and soul
classics with featured artists such as Pat Monahan from Train, Valerie June, Alisan Porter,
Daisha McBride, and many more.

Assiko Golden Band de Grand Yoff is the sprawling drum collective tearing up Dakar's nightlife scene. Senegalese poet Djiby Ly (Wau Wau Collectif) is backed by fourteen different percussive instruments plus horns, winds, balafon, and the occasional accordion, combining Count Ossie's spiritually elevated polyrhythms with Fela Kuti's orchestra and Tony Allen's groove. Based in the impoverished neighborhood of Grand Yoff and operating as a mutual aid group for the larger community, the band builds its songs on ancient rhythms passed on from Senegal, Cameroon and the infamous Gorée Island. In both Wolof and French, Djiby preaches a message of uplift and cooperation rooted in the Sufi teachings of the Mouride Brotherhood, as well as Christianity and animist religions. "Senegal, my life my joy" is the call and response chanted over cascading, infinitely layered drum patterns on opener "La Musique Du Coeur." "We build our own country" the band proclaims in Wolof on "Xarritt." For twenty years and across three generations of band members, Assiko have played raucous all-night jams at weddings, secret parties, and political rallies. Grainy cellphone footage of their live shows have spread online. But this is their first album, the result of a collaboration with Swedish musician and archivist Karl-Jonas Winqvist (Sing A Song Fighter), who met the band in Dakar in 2018 and facilitated recording sessions and overdubs via Whatsapp (no small feat with so many musicians). This is vital, exciting and innovative music, alive with energy and purpose, a band rooted in a very specific community but speaking to the world.

Oslo-based sludge-metal power trio SAVER are back with a vengeance. The band's new album `From Ember And Rust' channels the bare-knuckle ferocity of their 2019 full-length debut, `They Came With Sunlight', alongside a formidable command of dynamic, texture and sonic space that belies the relative youth of the project. Having erupted into the Norwegian metal scene without warning, SAVER is the result of heavy veterans Ole Ulvik Rokseth, Markus Stole and Ole Christian Helstad combining their years of experience into one three-headed beast, hellbent on pushing the boundaries of what the band is collectively capable of. Restless by nature, SAVER are constantly refining and reinventing their sound. The band's debut record was followed by two wildly creative collaborations which saw the trio marry their signature ferocity with some unlikely creative bedfellows in order to test new depths. `Emerald', 2021's full-length release, paired SAVER's calculated minimalism with the frenetic, percussive energy of Belgian post-metal collective Psychonaut whilst last year's `Split EP' saw SAVER and Norwegian folk singer/songwriter Frodekal reinterpret a song from each other's back catalogue with hauntingly spectacular results. With this revelatory experience still ringing in their ears, `From Ember And Rust' bears all of SAVER's heavy hallmarks alongside a newfound sense of dynamic anticipation and organic progression, which ties the seven tracks together as a significant body of work in the band's ascendant trajectory. As well as sharing their years of experience making the heaviest music they can, SAVER also share a passion for the unmistakable soundscapes of classic science-fiction. Already a key component of SAVER's distinctive sound; Rokseth's otherworldly, cinematic synth work is given centre stage on `From Ember And Rust' as the band boldly embark on a new journey together. As their first non-collaborative release in four years, `From Ember And Rust' could be interpreted as the band returning to the safety of their roots. However, SAVER are more determined than ever to keep pushing their sound into uncharted territory as the world they find themselves in continues to turn.

Oslo-based sludge-metal power trio SAVER are back with a vengeance. The band's new album `From Ember And Rust' channels the bare-knuckle ferocity of their 2019 full-length debut, `They Came With Sunlight', alongside a formidable command of dynamic, texture and sonic space that belies the relative youth of the project. Having erupted into the Norwegian metal scene without warning, SAVER is the result of heavy veterans Ole Ulvik Rokseth, Markus Stole and Ole Christian Helstad combining their years of experience into one three-headed beast, hellbent on pushing the boundaries of what the band is collectively capable of. Restless by nature, SAVER are constantly refining and reinventing their sound. The band's debut record was followed by two wildly creative collaborations which saw the trio marry their signature ferocity with some unlikely creative bedfellows in order to test new depths. `Emerald', 2021's full-length release, paired SAVER's calculated minimalism with the frenetic, percussive energy of Belgian post-metal collective Psychonaut whilst last year's `Split EP' saw SAVER and Norwegian folk singer/songwriter Frodekal reinterpret a song from each other's back catalogue with hauntingly spectacular results. With this revelatory experience still ringing in their ears, `From Ember And Rust' bears all of SAVER's heavy hallmarks alongside a newfound sense of dynamic anticipation and organic progression, which ties the seven tracks together as a significant body of work in the band's ascendant trajectory. As well as sharing their years of experience making the heaviest music they can, SAVER also share a passion for the unmistakable soundscapes of classic science-fiction. Already a key component of SAVER's distinctive sound; Rokseth's otherworldly, cinematic synth work is given centre stage on `From Ember And Rust' as the band boldly embark on a new journey together. As their first non-collaborative release in four years, `From Ember And Rust' could be interpreted as the band returning to the safety of their roots. However, SAVER are more determined than ever to keep pushing their sound into uncharted territory as the world they find themselves in continues to turn.

Hellhammer existierte nur zwei Jahre lang, von Mai 1982 bis Mai 1984. In dieser Zeit schrieb die Band drei Demos, eine 12"-EP (Apocalyptic Raids) und das legendäre Death-Metal-Compilation-Album, sowie eine Reihe von nicht aufgenommenen Songs. Angesichts des mittlerweile mythischen Status von Hellhammer in der globalen Metalszene ist es fast unvorstellbar, dass der Großteil dieser Musik fast vier Jahrzehnte lang nie live aufgeführt wurde. Hellhammers Nachfolgegruppe Celtic Frost, die von den ehemaligen Hellhammer-Mitgliedern Tom Gabriel Warrior und Martin Eric Ain gegründet wurde, spielte anfangs zwei Songs von Hellhammer, gab diese Gewohnheit aber schließlich auf, da die Band schnell eigenes Material entwickelte. Die 2008 gegründete Band Triptykon von Tom Gabriel Warrior hat bei bemerkenswerten Konzerten gelegentlich einen seltenen Hellhammer-Song gespielt. Der größte Teil von Hellhammers Werk blieb jedoch unaufgeführt. Bis zum Erscheinen von Triumph Of Death.



Die Wiederbelebung der Musik von Hellhammer war eine Idee, die Tom Gabriel Warrior und Martin Eric Ain seit vielen Jahren diskutierten, ausgelöst durch ihre erneute Zusammenarbeit bei den reformierten Celtic Frost in den 2000er Jahren. Die ersten Schritte zur Verwirklichung von Triumph Of Death, benannt nach Hellhammers berühmtestem Song und als sehr respektvolle und authentische Hommage an Hellhammer gedacht, wurden schließlich 2014 unternommen, und die Band wurde im Herbst 2019 offiziell gegründet. Triumph Of Death besteht aus Menschen, die diese Musik nicht nur lieben, sondern auch wirklich verstehen.



Seit den Anfängen hat Triumph Of Death eine Reihe von hochgelobten Konzerten gespielt, z. B. auf dem Hellfest (Frankreich), dem Wacken Open Air (Deutschland), dem Party.San (Deutschland), dem Brutal Assault (Tschechische Republik), dem Psycho Las Vegas (USA), dem Merry Christless (Polen), dem Inferno Festival (Norwegen), dem Maryland Deathfest (USA), dem UK Deathfest, dem Hell's Heroes Festival (USA) oder dem Mexico Metal Fest. Von Anfang an hatte die Band die Absicht, Live-Mitschnitte von einigen dieser Konzerte zu veröffentlichen. Triumph Of Death ist ein unbefristetes Projekt mit Sitz in Zürich, Schweiz.



Dieses Debüt-Livealbum ist Hellhammer in seiner ursprünglichsten und vitalsten Form, lebendig auf der Bühne und ein Dokument dessen, was Extrem-Metal-Fans auf der ganzen Welt seit der Gründung der Band erlebt haben. Das Album wurde bei drei Festivalauftritten im Jahr 2023 in Houston (USA), München (GER) und Barroselas (PT) aufgenommen.



Die Doppel-LP-Edition enthält ein 24-seitiges Booklet, ein Bandposter und einen Kunstkartendruck. Die CD ist ein 24-seitiges Deluxe-Mediabook.

Hellhammer existierte nur zwei Jahre lang, von Mai 1982 bis Mai 1984. In dieser Zeit schrieb die Band drei Demos, eine 12"-EP (Apocalyptic Raids) und das legendäre Death-Metal-Compilation-Album, sowie eine Reihe von nicht aufgenommenen Songs. Angesichts des mittlerweile mythischen Status von Hellhammer in der globalen Metalszene ist es fast unvorstellbar, dass der Großteil dieser Musik fast vier Jahrzehnte lang nie live aufgeführt wurde. Hellhammers Nachfolgegruppe Celtic Frost, die von den ehemaligen Hellhammer-Mitgliedern Tom Gabriel Warrior und Martin Eric Ain gegründet wurde, spielte anfangs zwei Songs von Hellhammer, gab diese Gewohnheit aber schließlich auf, da die Band schnell eigenes Material entwickelte. Die 2008 gegründete Band Triptykon von Tom Gabriel Warrior hat bei bemerkenswerten Konzerten gelegentlich einen seltenen Hellhammer-Song gespielt. Der größte Teil von Hellhammers Werk blieb jedoch unaufgeführt. Bis zum Erscheinen von Triumph Of Death.



Die Wiederbelebung der Musik von Hellhammer war eine Idee, die Tom Gabriel Warrior und Martin Eric Ain seit vielen Jahren diskutierten, ausgelöst durch ihre erneute Zusammenarbeit bei den reformierten Celtic Frost in den 2000er Jahren. Die ersten Schritte zur Verwirklichung von Triumph Of Death, benannt nach Hellhammers berühmtestem Song und als sehr respektvolle und authentische Hommage an Hellhammer gedacht, wurden schließlich 2014 unternommen, und die Band wurde im Herbst 2019 offiziell gegründet. Triumph Of Death besteht aus Menschen, die diese Musik nicht nur lieben, sondern auch wirklich verstehen.



Seit den Anfängen hat Triumph Of Death eine Reihe von hochgelobten Konzerten gespielt, z. B. auf dem Hellfest (Frankreich), dem Wacken Open Air (Deutschland), dem Party.San (Deutschland), dem Brutal Assault (Tschechische Republik), dem Psycho Las Vegas (USA), dem Merry Christless (Polen), dem Inferno Festival (Norwegen), dem Maryland Deathfest (USA), dem UK Deathfest, dem Hell's Heroes Festival (USA) oder dem Mexico Metal Fest. Von Anfang an hatte die Band die Absicht, Live-Mitschnitte von einigen dieser Konzerte zu veröffentlichen. Triumph Of Death ist ein unbefristetes Projekt mit Sitz in Zürich, Schweiz.



Dieses Debüt-Livealbum ist Hellhammer in seiner ursprünglichsten und vitalsten Form, lebendig auf der Bühne und ein Dokument dessen, was Extrem-Metal-Fans auf der ganzen Welt seit der Gründung der Band erlebt haben. Das Album wurde bei drei Festivalauftritten im Jahr 2023 in Houston (USA), München (GER) und Barroselas (PT) aufgenommen.



Die Doppel-LP-Edition enthält ein 24-seitiges Booklet, ein Bandposter und einen Kunstkartendruck. Die CD ist ein 24-seitiges Deluxe-Mediabook.

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

Legendary Dublin punk band formed in November 1978 by Maurice Foley (guitar/vocals), which had a number of iterations before disbanding in 1981. The Threat built up a following in Dublin and maintained a heavy reputation through the 1979 and 1980. Playing the legendary Dandelion on a couple of occasions towards the end of 1979 and became friendly with members of the Virgin Prunes and U2. Stano, another friend of the band, bought a synthesizer, purely as a sound generator, and joined them. As a nonmusician, his synth added noise and texture to the band's sound and brought out their experimental side.

This "Lullaby in C" / "High Cost of Living" - their sole single - recorded in 1980 with Irish traditional musician Donal Lunny producing, providing his services for free. Lunny went on tour with Planxty before the recordings were completed. Impatient to get the single out, the band completed the work themselves with cover art from Dave Clifford of Vox fanzine. Self-financed, self-released and distributed by the band around Dublin with a few making it over the sea to Rough Trade. A second single was recorded in 1981 with the Virgin Prunes Danny Figgis producing but the mastertapes are lost to the midst of time. We've added a demo from Stano recorded in 1979.

Beloved Polish downtempo / nu jazz masters Skalpel present an exquisite collection of the older Skalpel’s classics and some exclusive material performed live by a masterful 17-piece Big Band. Skalpel’s “Big Band Live” brings mellow, smoky vibes, hypnotic grooves and vibrant, occasionally blissful mood. Polish jazz at its best!

Skalpel is a nu-jazz classic. On their debut and sophomore albums “Skalpel” and “Konfusion” (Ninja Tune) they were able to resurrect the dusty spirit of the 60s & 70s jazz and reimagine it for the 21st century audiophiles. They created emotionally charged music, sophisticated in its structure. After ten years Skalpel returned in 2014 with “Transit” an album that segued from sample-based music into compositions created on virtual instruments. Their critically acclaimed 2020 album “Highlight” together with the follow-up: „Escape Remixes EP” (which included a remix by rising modern classical star Hania Rani and globally respected house duo Catz‘ N Dogz ) had almost 6 million streams on Spotify alone. Their last studio album „Origins” was an inspiring contemporary vision adapting various currents of electronica and dance music of the millennium era. The latest release earned them a „Polish Grammy” - Fryderyk Award.

The journey continues as Marcin Cichy and Igor Pudło present Skalpel Big Band. Patryk Pilasiewicz, composer and musician from Poznań, who is the originator of the idea, dissected and revised Skalpel’s music for a seventeen-person Big Band. The idea was to weave new, acoustic interpretation of Skalpel’s compositions with their original electronic sound.

Celebrating the 30 anniversary of this legendary cult band from Argentina, with more than 150 releases in labels from Japan, Europe, Oceania, Latin America and USA and shows played and their music presented all over the world. A nondescript, experimental, truly original band with a story to match their legacy. LP includes fold out insert. At last! A comprehensive compilation documenting the exciting career of the legendary experimental Argentinian cult band. A career overview through eight of their most mesmerizing compositions. The fact that their drummer and singer Miguel Tomasin has down syndrome not only makes them one of the longest-running and most notable inclusive rock bands of all time, but also allows us to appreciate the importance of Miguel's creative contribution, both for his singular way of singing and for his inimitable verbal inventions. For his work with the band, Miguel stands as one of the most relevant personalities with down's syndrome in the world and his name appears mentioned in diverse books of neuroscience and neurodiversity. Their long list of collaborators includes luminaries such as Lee Ranaldo (Sonic Youth), Pauline Oliveiros, Damo Suzuki (Can), The Nihilist Spasm Band, Michael Snow, N U Unruh (Einstürzende Neubauten), Alan Licht, Pajarito Zaguri, Acid Mothers Temple, John Oswald and many more.

New Zealand indie trifecta Mermaidens, are set to make a resounding splash in the music scene yet again with the announcement of their fourth self-titled album and release of the project's first single ‘I like to be alone’. The trio, comprising of Gussie Larkin (guitar/vocals), Lily West (bass/vocals), and Abe Hollingsworth (drums), has been on an impressive journey of musical excellence, boasting three critically acclaimed albums, international tours, and a slew of accolades to their name. With a sound that is both bold and adventurous, Mermaidens' music is a testament to their unwavering creativity and relentless work ethic. Their upcoming self-titled album, a product of the band's tireless efforts between 2019 - 2022, promises to be a captivating sonic journey, delving into themes of self-awareness, introspection, long-term love, and even channelling political anger and frustration. Recorded mainly at Surgery Studios in Wellington, with the engineering prowess of Lee Prebble and produced by Samuel Flynn-Scott of The Phoenix Foundation fame, the album also saw the band stepping up their production game with Gussie and Lily working their magic with Protools in their DIY home studios, showcasing their growth and versatility as artists. “Working with Sam has really been a round-trip in our creativity,” as Lily explains, “we grew up listening to Sam’s early records and here we are getting the inside scoop on how to make that kind of magic. Listening to Pegasus today still transports me to a time when I listened to music on a Walkman. In the best possible way - sometimes it felt like we’d added an evil genius to the mix, we’d be working on a song and he’d come in like a mad scientist with fresh ideas to try.” To give fans a taste of the upcoming album's brilliance, Mermaidens have released new single 'I like to be alone.' The song has been part of the band's live repertoire for a while and explores the fulfilling contentment of being alone and the struggle to convey this sentiment to a partner. Its relatable lyrics capture the essence of cherishing solitude while navigating the complexities of human connections. Gussie's candid and honest approach to self-discovery is complemented by the song's, Michel Gondry inspired video, as Gussie explains: “The giant jean pocket and denim world were created by Hannah Webster, a textile designer and illustrator based in Wellington. Hannah took all the wild ideas for props and made them come true! I’m still in awe of how she managed to sew a 6x6 metre backdrop for the denim world out of whatever scraps she could find. The video captures our playfulness and sense of humour, and is a hint of what’s to come for the rest of the music videos. I love the way the story wraps up with the three of us together, literally playing “in the pocket”. Mermaidens' self-titled album will be released on Friday 3 November 2023 and is available for pre-order now. UK listeners will be able to pick up an exclusive Rough Trade vinyl pressing in transparent red, along with an A3 poster and jumbo bumper sticker. Having released their last two albums through iconic local label Flying Nun, Mermaidens will be released independently. Creative control is an important pillar for the band, who are hands on in every facet of their projects. Mermaidens gather their community close via their hugely popular multi-city boutique festival Mermgrown, hosting peers including Womb, Hans Pucket, Vera Ellen (Girl Friday) and Kōtiro from 2021 onwards. They've been invited to share the stage with Death Cab For Cutie, Sleater-Kinney, Gang of Four, Parquet Courts, Lorde and The Veils, and have toured extensively in Europe, the UK, and Australia.

First music in 10 years from cult favourites Dark Dark Dark.
B Side is a solo cut from the bands lead vocalist Nona Maie Invie.
10” EP limited to 500 in UK/EU.

Fans of contemporaries Weyes Blood (of which DDD multi-instrumentalist Walt McClements is now a full-time member) and Angel Olsen (in whose live and studio band Invie is now a staple) will find much to love in these songs, as well as the b-side, Invie’s solo piece, “For Now” which, not unlike Invie’s 2017 solo release under the moniker IN / VIA, makes use of seamlessly interwoven piano and swelling, liquid synthesizer.

Invie sounds a bit like an alternate dimension Sharon Van Etten here and elsewhere. The three song set has the understated intensity of Nick Cave’s The Boatman’s Call and the promise of emotional liftoff that characterizes Kate Bush’s The Sensual World. 

Dark Dark Dark’s rich history is punctuated by house shows and train hopping; touring as support for The National in Portugal;
playing both the National and TV on the Radio’s ATP Festivals, and years of indefatigable coast-to-coast U.S. touring. It’s a
history rich with recordings, including a pair of celebrated full-lengths produced by Tom Herbers (Low, The Cactus Blossoms),
three EPs, and a feature film score. Now, ten years later, –– surprise –– a new 10” single.

In 2013, when Dark Dark Dark released the What I Needed EP, anyone might have guessed it was a bridge between the previous year’s lauded LP Who Needs Who and the next big venture. The band had closed out 2012 as part of Australia's touring Harvest Festival, during which they stepped up to fill an unexpectedly vacant slot much later in the day, enchanting thousands of unsuspecting festival goers. Alas, after that, the band went silent.

The release of these new songs is certainly delightful and perhaps startling, as is the promise of more solo work from singer Nona Marie Invie. On the gorgeous and stately “Didn’t I Try,” Invie’s voice is elegant as ever, couched in the familiar sounds of Marshall LaCount’s distorted banjo and Mark Trecka’s rolling drums. The loping and haunted “Something Was There” follows –– a staple of Dark Dark Dark’s live sets in the last year of their touring.

Considering this band's history, their distinctive and dramatic sense of identity, this music is really and truly for fans of Dark Dark Dark.

Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look."Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.There are only eight songs on this rangy debut.Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs. The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.

Formed in 1987 in Umeå, Sweden, Meshuggah has been called "one of the ten most important hard and heavy bands" by Rolling Stone and enjoys the respect and admiration of fans and musicians alike. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking band: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining death metal, mathcore, thrash and progressive metal to create their unique style. The year 2023 now marks the 25th anniversary of one of the band's first milestones, "Chaosphere".

Originally released on November 9, 1998, Meshuggah's third studio album shows the band toning down some of the thrashier sounds of earlier releases in favor of the more technical, polyrhythmic and groove-oriented sound they would explore on subsequent albums.

The album includes the songs "New Millennium Cyanide Christ", "Corridor of Chameleons" and "Neurotica", among others, which are some of the band's most streamed tracks.

Formed in 1987 in Umeå, Sweden, Meshuggah has been called "one of the ten most important hard and heavy bands" by Rolling Stone and enjoys the respect and admiration of fans and musicians alike. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking band: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining death metal, mathcore, thrash and progressive metal to create their unique style. The year 2023 now marks the 25th anniversary of one of the band's first milestones, "Chaosphere".

Originally released on November 9, 1998, Meshuggah's third studio album shows the band toning down some of the thrashier sounds of earlier releases in favor of the more technical, polyrhythmic and groove-oriented sound they would explore on subsequent albums.

The album includes the songs "New Millennium Cyanide Christ", "Corridor of Chameleons" and "Neurotica", among others, which are some of the band's most streamed tracks.

9Million is a Toronto shoegaze band helmed by the multi instrumentalist, songwriter and producer Matthew Tomasi. Best known for his work with alt pop icons like Ethel Cain and Nicole Dollanganger, Tomasi has gained increased notoriety in recent years for his behind the scenes work as a producer and mix engineer, but he is also a tireless creator and songwriter himself; playing and contributing to the music of countless bands and independent artists. With 6 other members including Ace Mendoza (Lead Guitar, Vocals), Danielle Clark (Vocals), Lia Lepre (Keys), Jamie Fastlane (Bass), Brandon Santi (Drums), and Looch Man (Guitar, Vocals); Tomasi says 9million started out “as a creative outlet for myself to explore new sounds and ideas that I wasn’t touching on with any of my other projects or clients'', but quickly the project took on a collaborative spirit not unlike his hardcore band Friction.

The sound of 9million infuses a shoegaze / alt rock foundation with elements of brooding alternative pop, indie rock, and synthwave - resulting in something that recalls ahead of their time 90s bands like Hum and Failure while connecting that sound from the past to the modern world of post-Lana Del Rey slowcore pop sound that Tomasi traffics in on records like Preacher’s Daughter, Natural Born Losers,
and Married In Mount Airy. Featuring several new original songs and two covers, the mixtape explores more electronic elements and layers of vocal processing that, when paired with the fuzzed out rock sound of Between Us, present an exciting blend of styles the band is pulling from. As a whole, Gush is a loose yet emotionally hefty collection of songs that highlights Tomasi’s distinct approach to shoegaze while also capturing the unique dynamic and possibilities of this band as a whole.

A hidden gem of Uruguayan music, Los Terapeutas's second album, released in 1990, is an original take on candombe and its hypnotic groove, blending pop songcraft with expansive soundscapes, never losing their rhythmic pulse. Los Terapeutas is a band of songs, where new wave, candombe beat, funk and rock were mixed in a unique way, with a strange frontman who had traces of Eduardo Mateo, Damo Suzuki, Frank Zappa and David Byrne. "Candombe del no sé quien soy" is related to what the group did live at that time: looking for a state of hypnotic hanging with their songs. The playing of the candombe drums was obviously an inspiration to look for that trance state, as was the music of Mateo and that of Opa, but influences can also be traced from the rhythmic experiments of German band Can of the 70s. The album was released in the late 1990s, a complicated time for Uruguayan music. The album was released on vinyl, a format that was losing weight compared to the CD. They would not release an album together again until 1997. In the 2000s, Los Terapeutas slowly expanded their audience, while also leaning towards a more electric sound. The new generation of Uruguayan musicians recognized the pioneering work of the band and Alberto Wolf was seen as a kind of godfather by several of the rock groups that were beginning to become massive.

The band’s true skill, though, lies in how their instruments interlock, the structuring of movements that grow songs from rotted dirges to triumphant war cries, rhythmic tension building until a riff explodes it into something unexpected and completely satisfying. Notably, the band welcomes Andre Sanabria to take over vocal duties, “Andre has been a musical force in all his previous bands. His vocal intensity is compelling,” Howell says. Sanabria screams like he’s trying to tear the songs apart, though he manages to find moments of almost zen-like contemplation. It’s a deft and mesmerising performance, aided by his deeply thoughtful lyrics about, as Howell says, the steady dismembering of the things that bind us.Whilst the album is a depiction of people losing connection with each other, the shows that the band put on see their audiences coming together in catharsis and fighting back against this separation. In this case, hope inspires action - a knock-on effect of community through art.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

teen suicide's first & only proper album, `i will be my own hell because there is a devil inside my body', has been a sought after release for many collectors after it's ultra-limited vinyl release in 2012. Now, Run For Cover Records will be reissuing my own hell, with remastered audio, expanded artwork and 8 never-before-issued bonus tracks. Across the album's 10 songs, the band displays a knack for different sounds and styles. Intimate, keyboard driven tracks like `cop graveyard' and `grim reaper' sit beside more energetic full-band outings like `dead bird skeleton and `give me back to the sky', the latter even adding an evocative viola, piano and choral arrangement to it's chaotic center. It's to the band's credit that their more outré moments feel necessary, not distracting. What becomes clear upon listening to `my own hell' is that beneath the dreamy haze & noisy apathy of teen suicide's recordings exist ernest, extremely well-written pop songs that reflect and express the uncertainty and desperation of reality

Gawk, released in 2015 on the band's own Gawk Records, was the highly anticipated follow up to the band's debut album Antics. The album received widespread praise from critics and fans and quickly became the band's breakout album. Pitchfork called Gawk a "a charming, chaotic pile-up of surf-, math-, and art-rock."

If Blue Could Be Happiness is the second full-length album from soft-synthesizer-folk band Florist.
Recorded by the band during May of 2017 in an Upstate New York schoolhouse very near to where
songwriter Emily Sprague spent her childhood and where the band originated.

Night Crowned, das schwedische Blacked Death Metal Powerhouse, hat sich zu einer Kraft entwickelt, mit der man in der Heavy-Musik-Szene rechnen muss. Ihr Debütalbum "Impius Viam", das am 28. Februar 2020 via Noble Demon veröffentlicht wurde, fesselte sofort sowohl Kritiker als auch Fans und festigte seinen Platz als eine der außergewöhnlichsten Veröffentlichungen des Jahres.

Night Crowned besteht aus ehemaligen und aktuellen Mitgliedern renommierter Bands wie Dark Funeral, Nightrage und Cipher System und besitzt eine ebenso eindringliche wie klare musikalische Vision. Mit "Impius Viam" haben sie ein Kunstwerk geschaffen, das Wut, Melancholie und pure Zerstörung ausstrahlt und die schlummernden Klänge der einflussreichen skandinavischen Acts und Meisterwerke der 90er Jahre wiederbelebt.

Dieser moderne melodische Death/Black Metal-Klassiker verbindet Aggression, Atmosphäre und fesselnde Melodien und lässt den Hörer von seiner makellosen und unerbittlichen Mischung beeindruckt. Night Crowned's beständiges Streben nach musikalischer Exzellenz kennt keine Grenzen, denn sie verschwendeten keine Zeit mit der Veröffentlichung ihres mit Spannung erwarteten Nachfolges "Hädanfärd" am 9. Juli 2021.

Inspiriert von einer Geschichte des Sängers K. Romlin, taucht "Hädanfärd" in Begegnungen mit dem Tod ein weitreichendes Konzept ein, das während des intensiven Demo-Prozesses akribisch entwickelt wurde. Die neun atmosphärischen Tracks des Albums, begleitet von K. Romlins schriftlichen Interpretationen und Erklärungen, bilden einen höllischen und düsteren Monolith, der Night Crowned als eines von Schwedens bestgehüteten schwarzen Death Metal-Geheimnissen festigt.
Mit "Hädanfärd" hat Night Crowned nicht nur Lob von Fans und Kritikern erntet, sondern auch neue Höhen auf ihrer musikalischen Reise erreicht.

Am 11. Oktober 2023 erscheint das mit Spannung erwartete dritte Album der Band, erneut über das renommierte Label Noble Demon. Mit "Tales" beginnt Night Crowned ein neues Kapitel, das die Grenzen des geschwärzten Death Metal auf ein noch nie dagewesenes Niveau treibt. Bereiten Sie sich auf einen auditiven Angriff vor, der Konventionen trotzt und die Grenzen des Genres neu definiert. Night Crowned ist eine Kraft, mit der man rechnen muss, und ihr unerbittliches Streben nach musikalischer Exzellenz zeigt keine Anzeichen eines Nachlassens. Mit Texten auf Englisch und Schwedisch bringt Jonathan Thorpenbergs Mixing-Fähigkeiten den Sound der Band zur Geltung, während Jani Stefanovics Mastering dafür sorgt, dass jede Note mit Präzision getroffen wird. Ergebt euch also der Dunkelheit und lasst euch von Night Crowned durch ihre fesselnden Erzählungen führen!

- Band mit (Ex-)Mitgliedern von DARK FUNERAL, CIPHER SYSTEM, NIGHTRAGE, THE UNGUIDED u. a.
- Die ersten beiden Alben und die vorherigen Musikvideos haben bisher nur sehr positive Resonanz in der Szene und in den Medien bekommen und die meisten Videos erreichten 6-stellige Ansichten auf YT
- Playlisting in eigenen und 3rd Party Playlists

Night Crowned, das schwedische Blacked Death Metal Powerhouse, hat sich zu einer Kraft entwickelt, mit der man in der Heavy-Musik-Szene rechnen muss. Ihr Debütalbum "Impius Viam", das am 28. Februar 2020 via Noble Demon veröffentlicht wurde, fesselte sofort sowohl Kritiker als auch Fans und festigte seinen Platz als eine der außergewöhnlichsten Veröffentlichungen des Jahres.

Night Crowned besteht aus ehemaligen und aktuellen Mitgliedern renommierter Bands wie Dark Funeral, Nightrage und Cipher System und besitzt eine ebenso eindringliche wie klare musikalische Vision. Mit "Impius Viam" haben sie ein Kunstwerk geschaffen, das Wut, Melancholie und pure Zerstörung ausstrahlt und die schlummernden Klänge der einflussreichen skandinavischen Acts und Meisterwerke der 90er Jahre wiederbelebt.

Dieser moderne melodische Death/Black Metal-Klassiker verbindet Aggression, Atmosphäre und fesselnde Melodien und lässt den Hörer von seiner makellosen und unerbittlichen Mischung beeindruckt. Night Crowned's beständiges Streben nach musikalischer Exzellenz kennt keine Grenzen, denn sie verschwendeten keine Zeit mit der Veröffentlichung ihres mit Spannung erwarteten Nachfolges "Hädanfärd" am 9. Juli 2021.

Inspiriert von einer Geschichte des Sängers K. Romlin, taucht "Hädanfärd" in Begegnungen mit dem Tod ein weitreichendes Konzept ein, das während des intensiven Demo-Prozesses akribisch entwickelt wurde. Die neun atmosphärischen Tracks des Albums, begleitet von K. Romlins schriftlichen Interpretationen und Erklärungen, bilden einen höllischen und düsteren Monolith, der Night Crowned als eines von Schwedens bestgehüteten schwarzen Death Metal-Geheimnissen festigt.
Mit "Hädanfärd" hat Night Crowned nicht nur Lob von Fans und Kritikern erntet, sondern auch neue Höhen auf ihrer musikalischen Reise erreicht.

Am 11. Oktober 2023 erscheint das mit Spannung erwartete dritte Album der Band, erneut über das renommierte Label Noble Demon. Mit "Tales" beginnt Night Crowned ein neues Kapitel, das die Grenzen des geschwärzten Death Metal auf ein noch nie dagewesenes Niveau treibt. Bereiten Sie sich auf einen auditiven Angriff vor, der Konventionen trotzt und die Grenzen des Genres neu definiert. Night Crowned ist eine Kraft, mit der man rechnen muss, und ihr unerbittliches Streben nach musikalischer Exzellenz zeigt keine Anzeichen eines Nachlassens. Mit Texten auf Englisch und Schwedisch bringt Jonathan Thorpenbergs Mixing-Fähigkeiten den Sound der Band zur Geltung, während Jani Stefanovics Mastering dafür sorgt, dass jede Note mit Präzision getroffen wird. Ergebt euch also der Dunkelheit und lasst euch von Night Crowned durch ihre fesselnden Erzählungen führen!

- Band mit (Ex-)Mitgliedern von DARK FUNERAL, CIPHER SYSTEM, NIGHTRAGE, THE UNGUIDED u. a.
- Die ersten beiden Alben und die vorherigen Musikvideos haben bisher nur sehr positive Resonanz in der Szene und in den Medien bekommen und die meisten Videos erreichten 6-stellige Ansichten auf YT
- Playlisting in eigenen und 3rd Party Playlists

"Field of Reeds" ist ein dunkles, ehrliches und experimentelles Orchesterwerk, das die Liebe der Band zu Bach, Britten und Stephen Sondheim widerspiegelt. Es markiert eine klangliche Abweichung für die Band und stellt eine weitere kompromisslose Veränderung einer Band dar, die ihresgleichen sucht.

"Field of Reeds" wurde in Zusammenarbeit mit dem Dirigenten André de Ridder arrangiert und wird begleitet vom Basso profundo Adrian Peacock, dem renommierten britischen Jazztrompeter Henry Lowther, dem niederländischen zeitgenössischen Komponisten Michel van der Aa, dem schwedischen Soundtrack-Arrangeur Hans Ek und der portugiesischen Jazzsängerin Elisa Rodrigues. Zur Feier des 10-jährigen Jubiläums enthält diese Ausgabe eine geätzte Seite auf schwarzem Doppelvinyl.

Die Psychedelic Porn Crumpets sind mit ihrem sechsten Studioalbum zurück. Das australische Psych-Rock-Fünfergespann hat seit der Veröffentlichung von "Night Gnomes" im Jahr 2022 an "Fronzoli" gearbeitet - ein Titel, der so viel bedeutet wie "etwas Unnötiges, das als Dekoration hinzugefügt wurde". Dilemma Us From Evil" ist die neueste Singleauskopplung aus dem Album und ein Paradebeispiel für Psychedelic Porn Crumpets' verblüffende Mischung aus schweren, melodischen Gitarren, harmonischen Texten und exzentrischem Songwriting. Es folgt auf die Singles "Nootmare (K-I-L-L-I-N-G) Meow!" und "(I'm a Kadaver) Alakazam", die Anfang des Jahres veröffentlicht wurden. Das Album strotzt nur so vor dem überdrehten, glitzernden Sound der Band aus Perth, der Einflüsse von klassischen Rockgrößen wie Black Sabbath, Led Zeppelin und den Beatles sowie experimentellen elektronischen Jazz enthält. Diese Rockeinflüsse sind auf "Fronzoli" deutlich zu hören, mit thrashigen Grunge-Tracks wie "Sierra Nevada" und dem frenetischen "Hot! Heat! Wow! Hot!", in denen die hyperaktiven Gitarren und die schrägen Texte der Band zur Geltung kommen. Die Band, die als Freunde begann, bevor sie sich zusammenfand, ist stolz auf ihre fröhliche und ungeschliffene Unordnung, wenn es um Songwriting und Produktion geht. "Diese Platte ist mein bisheriges Lieblingswerk", sagt Songwriter und Frontmann Jack McEwan, "jede Nuance wurde diskutiert, verleumdet und sorgfältig in die richtige Position gebracht, es wird sporadisch außerhalb der Linien gemalt, so dass diese extravertierten Schnörkel übrig bleiben." Jede LP-Farbe ist auf nur 250 Exemplare limitiert. Die CD ist ein aufklappbares Digipack, 500 Stück gepresst.

Brontez Purnell has been making music since the ‘90s. The Southern-raised, Oakland-based American musician and writer has centered his queerness and Blackness in projects Gravy Train!!! and Younger Lovers as well as in his award-winning books ‘100 Boyfriends’ and ‘Since I Laid My Burden Down’. He is also a dancer, film maker and choreographer.
CRYSTAL CLEAR VINYL.
Hot on the heels of recent 7” singles for Sub Pop, PPM and his first solo electronic record ‘No Jack Swing’ (Dark Entries / Papi Juice), Brontez returns in DIY-punk band formation for a new album entitled ‘Confirmed Bachelor’, out Sept 15th on Upset The Rhythm. These twelve songs presented are of the no-time-wasted variety. Fuzzed-out pop songs, hotly delivered from the heart, often sassy, sometimes sappy, always snappy! Brontez’s band includes the multifaceted talents of Vice Cooler (who also produced and mixed the album), Sean Teves (of Younger Lovers) on drums, Kevin Preston (Prima Donna, Green Day) on guitar, Aaron Minton (Prima Donna) on piano and saxophone, and Laena Myers-Ionita on violin. The album was recorded in Los Angeles at The VCR earlier this year.
‘Bachelors Theme’ opens ‘Confirmed Bachelor’ and sets the scene perfectly with the heady, rush along swoon “That's when I heard the doctor singing to me, "Son; you got all those boys in love, I wish I knew what you were saying to them. Their storming castles are coming for you!” It’s a tour de force of bop and bravado. This is what the album does so well, it sweeps you off your feet first, making its lyrical disclosures all the more affecting.
‘Rude Life’ begins in lilting, measured contemplation. “You're the rudest boy I know, and I've a real rude life” confesses Brontez as the violin laces through his vocal. This is all shook up at the halfway mark though when the adrenaline kicks in and the drums pummel. ‘Sky Opens Up’ similarly dials up the tumbling, careening clamour and energy buzz. ‘Hellish Banger’ is more of slow dance meets grunge reverie. The album also boasts an amazing spiraling auto-tuned cover of The Amps ‘Bragging Party’. ‘No Cigarettes / Stay Monkey’ is pulse-grabbing rally of unadorned declarations split into two fleeting sketches.
‘Hey Boy’ and ‘Boy With Butterfly Wings’ are more reflective in intent, both yearning and unapologetically poetic. In fact the little details observed in the lyrics across the whole album are quietly elegiac; winter nights, electric bills, ticking clocks and many allusions to hauntings only lending pathos to the love-drunk / lovelorn axis of the record. ‘Confirmed Bachelor’ is a hot wonder, upbeat, witty and ever-lively only with a forlorn core, a resolute focus and defiant honesty. It’s a rare triumph, a record you can dance your Friday night away to, whilst the songs’ subtly work on your emotions from the inside out.
of it all. Jagged riffs, bubblegum bounce and Brontez’s vocal effortlessly racing to dizzying effect.