Suche:the beast

The Beastie Boys originally released Some Old Bullshit in 1994. It compiles several of their early EPs, recorded in the early 1980s. These recordings present a sound radically different from that of the hip-hop sound generally associated with the band. Instead, these songs represent the band’s part in the early New York hardcore scene. The album also features taped segments originally heard on Noise The Show, a popular hardcore radio show on WNYU in New York that played early recordings from the Beastie Boys. These segments feature the hyperbolic introductions of Noise The Show‘s host, Tim Sommer, an early supporter of the band.

Featuring Beastie Boys’ Earliest Recordings, Including “Egg Raid on Mojo”and “Cooky Puss” on 180g black vinyl.

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

Das ursprünglch 1994 veröffentlichte Album ”Some Old Bullshit” der Beastie Boys kommt nun als Reissue
und stellt mehrere ihrer frühen EPs zusammen, die in den 1980er Jahren aufgenommen wurden.
Diese Aufnahmen präsentieren einen Sound, der sich radikal vom Beastie Boys-typischen Hip-Hop-Sound
unterscheidet. Stattdessen repräsentieren diese Songs die Rolle der Band in der frühen New Yorker HardcoreSzene. Das Album enthält auch aufgenommene Teile, die ursprünglich in Noise The Show zu hören waren,
einer beliebten Hardcore-Radioshow auf WNYU in New York, die frühe Aufnahmen der Beastie Boys spielte.
Die Vinyl kommmt auf 180g schwarzem Vinyl, als 1LP.

The fourth studio album from Melbourne’s 7-piece heavy groove combo is an abstruse journey into the darker fringes of instrumental music, drifting from funk to spiritual jazz and through to psychedelic fuzz rock.

Inspired by the catastrophic year that was 2020, the bands recording sessions were rescheduled three times due to extended Melbourne lock downs, before finally being recorded in November 2020. The album’s title, The Old World, refers to life before the onset of the pandemic which shattered 21stcentury humanity’s sense of stability and invincibility. Arcing back to the simplicities and blissful ignorance that existed before the grim onset of empty supermarket shelves, deserted streets and a world locked down.

The album begins with psychedelic-soul lament, Death of the Old Gods, before rolling into apocalyptic-dancefloor-fillers Hold Fast to the Void and Abode of the Clouds, then momentarily mellowing out on laid-back number, Never Again. Side 2 opens with Harry Cooper pt II (a tribute to the bands sax player and a follow up to part I from their 2017 album Drinking Water) before launching into brutal and fiery, The Beast, then finally closing with the epic 12 minute spiritual-jazz title-track, The Old World. The astute listener may also hear sprinkled across the album hints of Afrobeat, Free-Jazz and Stoner-Doom (yep, Stoner-Doom), along with plenty of the bands new favourite instrument, the goat bell.

Released on local Melbourne label, Northside Records, the album will be available on limited edition night-sky marbled vinyl and features cover artwork by Australian artist, Daniel Hend.

This is the very first original soundtrack of our new Japanese Anime Collection!

MEGALOBOX is the tribute animation to the legendary Ashita no Joe, produced by TMS Entertainment and broadcasted worldwide since 2018 with a dazzling success.

MEGALOBOX Original Soundtrack is produced by mabanua (Manabu Yamaguchi) and features several renowned artists such as DJ TAKU, KOMA-CHI or Michael Kaneko. It was acclaimed by the critics for its unforgettable rhythm and melodies, inspired by a broad variety of genres such as hip hop, black music and rap.

This soundtrack is now entirely remastered for the sumptuous vinyl format!

The Megalobox Vinyl Edition features:

- The illustrated gatefold with Joe and Yuri

- 2xLP black color, housed in two illustrated sleeves

- A 12-page booklet with comments from the composer and the team (Yo Moriyama, Keiichirô Miyoshi) and the English translated lyrics from the songs

Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.

Rico started his career in the late 1950’s playing with the likes of Prince Buster, Laurel Aitken and Max Romeo as a session musician in addition to creating his own recordings. He moved to the UK in the early 60’s and continued performing live and playing as a session musician. He signed to Island Records in the 70’s, releasing his first solo albums.
In 1979 Rico met Jerry Dammers and began playing with The Specials. He became an honorary member of the band and featured prominently on some of their most famous tracks, along with Dick Cuthell, which produced a distinctive sound. In 1980 he released his first album for the 2 Tone label, That Man is Forward.
Jama Rico was the second album released on 2 Tone Records in 1982. This album felt like a celebration of Jamaican musicians - Jama Rico was an altogether different beast. This was a more resolute statement, more African in its rhythms and a hidden treasure within the 2 Tone label.
This time the recording sessions were split between Joe Gibbs studio in Jamaica and sessions at London’s Town House Studios. The Jamaican sessions again were produced by Dick Cuthell and comprised of musician friends Sly Dunbar, Robbie Shakespeare, Headley Bennett, and Ansel Collins. The London sessions, produced by Dick and Jerry Dammers, featured Specials John Bradbury and Horace Panter, along with Tony Utah and Satch Dixon.
This new remaster, originally released in May 1982, is a part of the ongoing 2 Tone ‘40th Anniversary’ releases.
The package is a 3mm Spined Sleeve, 180gm Heavyweight Black Vinyl, printed inner and bellyband.

Madness’ fourth studio record “The Rise & Fall” has often been cited as the band’s best record and is home to one of their biggest tracks in “Our House” UK #5. Originally released in 1982 and reaching #10 in the UK album charts, it is now subject to a brand new re-release on 180g black vinyl in a gatefold sleeve as part of an ongoing reissue campaign.

Featuring exclusive liner notes by journalist Stevie Chick (MOJO, The Guardian & NME) and interviews with band members Lee ‘Kix’ Thompson, Mike Barson, Suggs McPherson, Woody Woodgate and Chrissyboy Foreman. Also featuring the hit single “Tomorrow’s (Just Another Day)” [UK #8].

Quietschbunte Indie-Pop-Tunes Nachdem das letzte Tune-Yards-Album "I can feel you creep into my private life" 2018 auf 12 Songs Themen wie Geschlechterteilung, Politik, Feminismus und die nach wie vor um sich greifende Umweltverschmutzung behandelte, hinterfragen sich Merrill Garbus und ihr langjähriger Mitstreiter Nate Brenner auf dem fünften Studioalbum "sketchy." selbst. "We had really been non-stop hustling," reflektiert Merrill, die zwischen 2009 und 2018 vier hoch gelobte Alben als Tune-Yards veröffentlicht hat, durchgängig auf Tour war und zusätzlich noch den Score zum surrealistischen Boots Riley-Film "Sorry To Bother You" kreierte. Ihre eigene Rolle in den von ihr so verhassten, eingefahrenen Systemen, lähmte Merrill, ohne Idee, wie sie nun weitermachen sollte. Inspiriert vom Buch der Beastie Boys und von Questloves "Creative Quest" machte sich das Duo daran täglich für mehrere Stunden in ihrem Proberaum zu jammen, um sich ähnlich wie Athleten vor einem Wettkampf zu trainieren. Dabei tauschten sie Computer-Samples gegen Live-Instrumente ein (Merrill an den Drums, Nate am Bass) und schon nach kurzer Zeit entstanden die ersten neuen Songs. Das Ergebnis ist ein farbenfrohes und fröhliches Album mit Lyrics, die es in sich haben.

The rare French metal cult album finally reissued and bundled together with ten tracks taken from demo tapes. With extensive liner notes by Olivier ‘Zoltar’ Badin. One of mid-80’s heavy-metal characteristics was how it didn’t bother mincing with words. KREATOR had an album called Pleasure To Kill, IRON MAIDEN were celebrating killers and a certain number of the beast, METALLICA introduction letter to the world was bluntly titled Kill’em All, DESTRUCTION was called, well, DESTRUCTION and were promising us an ‘infernal overkill’ or, worst, a ‘bestial invasion from hell’ etc. Plain, simple, direct, in one word: METAL. And in a way, you could use that one single word to describe ADX debut. From its title Exécution (that doesn’t require much translation does it?) to its striking artwork or, of course, its galloping music, it turned overnight the rest of the other wise vibrant French heavy metal scene into old farts stuck in the past.

Catalan singer-songwriter Joana Serrat returns with new album ‘Hardcore From The Heart’, out June 11 on Loose Music. Serrat’s fifth album, ‘Hardcore From The Heart’ is the follow-up to 2017’s acclaimed ‘Dripping Springs’ (“…like Mazzy Star guesting on an early Neil Young demo,” Mojo). For the recording, Serrat travelled from her home in Vic, a small city near Barcelona, to Redwood Studio in Denton, Texas, where she teamed up with engineer and producer Ted Young (Kurt Vile, Sonic Youth, Lee Ranaldo).

Incredible Bongo Band was formed by MGM A&R Michael Viner in 1972 to record the soundtrack to a now virtually anonymous B-Movie entitled 'The Thing With Two Heads'. "The IBB" transformed from a loose studio collective to an instrumental pop covers consortium, interpreting classics of the day in their inimitable percussive fashion. Viner recorded them at MGM studios during downtime, assembling line-ups from whichever musicians were available at the time, leading to a unique blend of multi-talented musicians that included Jim Gordon, King Errisson, Jerry Scheff, and Perry Botkin Jr. The full bands' line-up is shrouded in mystery, but their legacy is undeniable. They spawned cult-classic records that would become a goldmine for hip hop breaks and attain sampling immortality.

'Apache', which was written and made famous by the British band The Shadows, is legendary in the worlds of dance music and hip hop. It was a staple for DJs such as Kool Herc and Grandmaster Flash as they invented their world-shaking take on the art of DJing at the Bronx block parties of the ‘70s. Over the years it has become a hip hop and breakers anthem and is revered as 'the break' of all time (at least in the top three) with the rhythms of this LP even helping to coin the term 'breakbeat'.

“Bongo Rock” is significant, for being one of the musical cornerstones of rap ... it is certainly one of the most sampled LP’s in history, if not the most sampled. Almost every history-minded hip-hop DJ has a copy, and the first few bars of “Apache,” can send crowds into overdrive.” According to Kool Herc, the stylistic pioneer many people consider to be the father of hip-hop music, the Bongo’s “Apache” is “the national anthem of hip-hop.” NY Times.

Sampled over 600 times, including... Nas, Beastie Boys, Moby, Mick Jagger, Kanye West, Sugarhill Gang, Jay-Z, Aphex Twin, DJ Shadow, Massive Attack, Ultramagnetic MC’s, Unkle, LL Cool J, 2 Live Crew, 4 Hero, Fatboy Slim, to name a few…

The real story of “The IBB” is far greater than the recordings themselves and ultimately shows how a distinctly powerful musical performance can get the recognition it deserves, no matter how anonymous its origins.

Izorgor’s sound reflects his burly bouncer name. Drums pound and hi-hats slash in the mean and murderous “HDF-N”, a soundtrack for car crashes and late late club sessions. “Nosferatu” comes from a similarly evil place, percussion is fed through a mincer before a fog of distortion descends to smother samples. If you’re after a respite, you’ll have to wait or feck off home. “HDF-S” wades in. Similar to his sibling in terms of rancorous rhythms, this beast drips with 303 sweat and venom with just a touch of salvation in those soaring notes. Boris Brenicki, of Ontal fame, ends with his own sepulchral take on “Nosferatu.”

Green yellow red splatter vinyl
Into the Future’ is the ninth studio album by the American hardcore punk band Bad Brains, which was originally released on November 20, 2012 on Megaforce Records.
t is a tribute dedication to Adam Yauch of the Beastie Boys, a longtime friend of he band who died of cancer six months before its release, and produced their previous album ‘Build a Nation’
This “Into The Future’ vinyl reissue is on green, yellow and red splatter vinyl in gatefold packaging featuring cover art by Shepard Fairey, a street artist who became widely known with his Barrack Obama “Hope” poster used in his 2008 campaign. His work has been included in many contemporary art museums luding the Victoria and Albert Museum in London.

Have you ever felt like you’re being watched? Have you felt unseen eyes staring at you, monitoring your every move? Composer and guitarist Daniel Davies reflects on this familiar paranoia on his new EP, Spies. Across its five stirringly atmospher- ic tracks, the frequent John Carpenter collaborator evokes the tingle you get on the back of your neck when you sense you’re under surveillance - a feeling some psychologists have dubbed the “psychic staring effect.”

The songs for Spies were composed in the fall and winter of 2020, in the depths of pandemic lockdown. Working in isolation in his L.A. studio, Davies composed the five tracks entirely alone. With no collaborators, his gaze turned inward, and the songs feel intimate and intense. Yet at the same time, they would become the most sonically expansive material he’s ever put on a solo record. His guitar and synthesizer are bolstered by double bass, cello, viola, and violin, adding a new depth to the music.

As he did for his 2020 full-length Signals, Davies teamed up with acclaimed visual artist Jesse Draxler for the artwork. The stark, black-and-white piece that Draxler contributed for the cover of Spies perfectly captures the mood of the record. Eyes are cut out, disassociated from faces, their gazes made inscrutable. Yet they seem to fix on the listener. Have you ever felt like you’re being watched? Maybe you are.

The same crew as the boundary pulsing improvisation record Bent
Arcana has made a trajectory shift and picked up Ben Boye along
the path. The aptly-named Moon-Drenched is the second installment
from these sessions and keeps a heavy-lidded late night perspective
on things as it eases from the somewhat familiar liminal twilight
of skittering hues of black-blue and snaking street groove, to
fizzing off into the ether in pursuit of lunar prism beams heretofore
unseen. The more rhythmically dialed bits here have a lysergic halo of
strangeness to them, and the wispy bits between are spun of iridescent
gossamer. It sounds like a frizzled message from a future just filthy
with guitar hoots echoing off of neon-splattered high rises, oil-slicked
waterways and skittering digital beasts. For Castle Face’s money this
is the strangest slice of this last bunch of John Dwyer and his crew’s
improvisations.

Gruff Rhys releases his new album ‘Seeking New
Gods’ through Rough Trade. This is Gruff’s
seventh solo album.
‘Seeking New Gods’ was recorded following a US
tour with his band and mixed in LA with superstar
producer Mario C (Beastie Boys).
The album concept was originally driven to be the
biography of a mountain, Mount Paektu (an East
Asian active volcano). However, as Gruff’s writing
began to reflect on the inhuman timescale of a
peak’s existence and the intimate features that
bring it to mythological life, both the songs and the
mountain became more and more personal.
“The album is about people and the civilisations,
and the spaces people inhabit over periods of
time. How people come and go but the geology
sticks around and changes more slowly. I think it’s
about memory and time,” he suggests of ‘Seeking
New Gods’ meaning. “It’s still a biography of a
mountain, but now it’s a Mount Paektu of the mind.
You won’t learn much about the real mountain
from listening to this record but you will feel
something, hopefully.” - Gruff Rhys

BLK JKS are a seminal force in the South African underground.
After an extended hiatus the Johannesburg foursome, championed by The Mars
Volta and TV On The Radio (amongst many others), return with a groundbreaking
new album.
Monster grooves meet guitar and brass driven afro-rock. Echoes of spiritual jazz, postapocalyptic funk, renegade dub and kwaito.
Features Malian guitarist Vieux Farka Tour and Beastie Boys accomplice Money Mark
on the track “Maiga.”
”This South African art-rock band traffics in complexity, cross-hatching not only rhythms
and textures but also the signifiers of genre”- The New York Times
“A prequel to 2009’s amazing After Robots … What occurs when you listen to Abantu is
that it is an Old Testament support to After Robots – where that album prophesied Afropunk, this album suggests the roots to that moment, an engrossing journey of Afrobeat,
fuzzy yet hugely suggestive drone and psych textures, and a bristling sense of both pride
and critique that sings through.” The Wire
“A dark and brooding number that simmers and smoulders as it goes, fueled by a driving
rhythm section and mournful horns.” - Brooklyn Vegan about single “Human Hearts”
“BLK JKS, an awe-inspiring exemplar of modern Africa’s indigenous sound, make a victorious return after an extended hiatus … They create something unique on this album.”
***** Morning Star

Canadian bassist/vocalist Neil Merryweather relocated to Los Angeles in the late 1960s and hooked up with the singer, actress and future Penthouse pet, Lynn Carey. They would find greater fame upon forming the band Mama Lion in 1972, but Vacuum Cleaner captures th prototype of the group on this collaboration cut the year before, after RCA signed them as a duo. Merryweather’s bass is a solid anchor and his harmony and musical arrangements help keep everything in place; Canadian keyboardist JJ Velker adds atmosphere, but it is Carey’ powerful voice that really drives this hard rockin’ beast, gleaning comparisons with Janis Joplin. Merryweather & Carey notably appeared in Russ Meyer’s The Seven Minutes too.