Search:the bomb 2

Readers of encyclopedic tomes are obviously familiar with exploding animals – there are numerous reports of torn-apart toads (even in Hamburg, Germany!), actual ants exploding altruistically – but humans that decide to jointly detonate, and with no harm done, that’s rare: Kobe’s own o'summer vacation are unique (and volatile) like that, and they’re back to light the fuse for the second time, presenting 13 more musical quarter sticks that have already blown up venues in Europe and Japan.

“Keep it lean, keep it mean,” they say, and that’s what this band loves to take to the extreme: breakneck concision and collective combustion meet freeform noise punk hazards on o'summer vacation's second (not quite) full-length – as the Kobe-based three-piece’s “Electronic Eye” is set to arrive on October 11, 2024. Following a bunch of trips to Berlin, Munich etc., the Japanese fire starters have found a new home with Alien Transistor, and it’s the perfect launch pad for their latest set of guitarless pyrotechnics. Going right for max q (maximum dynamic pressure), “Electronic Eye” is (unlike those Starships) actually supposed to explode right after lift-off ;)

Even though there have been some line-up changes since the group recorded its sophomore album, the energy caught by producer Shinji Masuko (DMBQ, Boredoms) is still unmatched: a very physical and hard-knocking barrage of mosh-inducing madness that leaves you speechless + inevitably twitching towards the pit. Mastering was done by Masaki Oshima aka Watchman (Melt-Banana).

Opening with sizzling hi-hats and heavy ripples of breathless bass, singer Ami presents a non-sequitur kind of lullaby over the math rock-style interlocutions of “宿痾 (Shuku - A)” – which at 6+ minutes makes up more than a quarter of the album. A shapeshifting frenzy of voice (Ami), unbridled, pedal-powered bassline insanity (Mikkki, formerly Mikiiiii), and hot-blooded drums (Manu, meanwhile replaced by Karry), the album features mosh-inducing blows (previously released “Luna,” “Anti Christ 大体 Super Star”), 30-sec mini noise punk anthems (“竦(shou)”, “Days Go By Fast”), and continues to surf at breakneck pace up and down scales (“@ The”), which often feels like catharsis served with a hammer (“Ultra”). Whereas some tracks are bigger more song-y than others (“Song#2,” that full-throttle “Poodle”), “Vs I” is on time like Tierra Whack (exactly 60 seconds of pick-grinding action), and “Rage” indeed feels like Zack is about to join the party – only to see Ami wipe the floor with pure onomatopoetic fire. Finally, “Aloooooone” and “Humming” (that opening lilt!) are sure going to be live favorites, shifting up and down via hardcore speeds and various break-downs.

Quite hotheaded and terminating things on a high note, o'summer vacation point out that the quick-fire lyrics of their “songs have no meaning. It’s called onomatopoeia in English. Ami, our vocalist, does not like to communicate her thoughts through her music.” Although she considers her contribution “a part of the instrumentation,” they still have strong messages and concerns (unrest, discontent, willingness to shake, wake up, enliven anyone near the audible bomb crater): “That doesn’t mean we don’t have a point of view, but we choose to express ourselves through sound rather than words. Generally, but not exclusively, we are anti-racism, anti-war, gender-free, angry at the companies we work for and their bosses, etc., which are very common sentiments held by so-called rock bands.”

It’s only three ingredients, just like sonic gunpowder: bass, drums, voice – but they tend to explode a few bars into each new track. In a perfect world, there’d be giant colorful clouds of dust gracing the sky over each venue they descend upon.

Following the huge success of his Predator EP, SIkka returns to Influential with this sick slice of heavy jungle. As ever, Sikka shows a deft touch with the gnarlier side of jungle, being both bombastic with the beats and bass and clever with the edits, all wrapped in clean and deadly production. Another fat classic from this rising jungle star, and the EP is part of the Move-E series to boot....

"A group of tried-and-true musicians got together and found the sort of camaraderie and kinship you typically only find once in a lifetime. They didn’t overthink it. They didn’t waste a second. They simply left their blood, sweat, and tears on tape—like they’ve always done. For as much as Better Lovers represents the union of former Every Time I Die members Jordan Buckley guitar,Steve Micciche [bass], and Clayton “Goose” Holyoak [drums] with The Dillinger Escape Plan and Killer Be Killed frontman Greg Puciato [vocals],and musician (Fit For An Autopsy/END) and GRAMMY® Award-winning producer, Will Putney [guitar], it really cements the bond of five friends around a shared vision. That vision is as uncompromising, unapologetic, and undeniable as anything they’ve individually done, yet it’s refined by experience and a commitment to a future together. They’re in it for the long haul... “To me, this band is refreshing,” exclaims Jordan. “Looking back, I’m so happy everything got me to where I am. The pandemic and the last few years made me hungrier and more grateful. This isn’t a hobby. This isn’t temporary. This is the next evolution for each of us. Greg and Will rejuvenated me and made me even more confident.



Now, everybody needs to know we’re a wild animal that just broke out of the zoo—there’s no trying to put it back in the cage.” “Better Lovers definitely feels like its own thing,” states Greg. “I’m in so many lanes right now, so it was important that one lane didn’t step on another. However, nothing I’m doing is this vicious. This is full-on scathing. It’s been really fun. I forgot how much I liked that.” As the story goes, Jordan ended up back in Buffalo, NY, jamming in a basement rehearsal spot with Steve and Goose during the winter of 2022. After working with Will on the last two Every Time I Die records, they shared a handful of early demos with him to produce. As the year progressed, Jordan caught Greg on the road with Jerry Cantrell in Las Vegas, mentioning the new music. Once ideas solidified, he shared them with the vocalist who replied at 3am one night in December. “The text said, ‘Let’s give these motherfuckers what they want’,”chuckles Jordan. “I went to bed smiling and laughing. There is no one like Greg on stage, off stage, or over text. Once I told Will, he was like, ‘Can I play?’ We said, ‘Of course!’ That’s how it was born.” “Once I pick up the scent, I’ll go for the kill,” smiles Greg. “We’ve all hung out, gotten to know each other, and it’s all fire now. Everyone has already been through shit. You know yourself better. Your ego isn’t as big as it used to be. You can share your opinions. It’s a cool dynamic.” Fittingly, they introduce this era with the single “30 Under 13.” A seasick guitar groove bleeds into an incisive riff punctuated by Greg’s vitriolic and venomous screams, “Hold onto me, try to let go of me, let go of what you’ll never be. ”This barrage unpredictably subsides on a haunting clean vocal, only to ramp back up into a pit-splitting thrash crescendo and rapid-fire solo played at warp speed. “We always try to up our game,” notes Jordan. “This is the next step for all of us. There’s just constant forward motion, and we don’t want to compromise that. We want to keep going. We’re doing a lot of shit we haven’t done before in Better Lovers. I’m not going to spoil it for you, but get ready.” “For some reason, this song got me,” recalls Greg. “Once that happens, you have the toe of the dinosaur skeleton in the dirt. You start brushing it away, and soon you have a fucking T-Rex.” The name might give you a hint of what’s coming—or it might not. So, what does the future hold for Better Lovers? Well, it’s entirely in their control. Expect a lot of touring. Expect more music. Expect these five guys to leave a trail of destruction in their wake—really would you want anything less? “We feel like we’re going to explode if we sit around any longer,” Jordan leaves off. “This is my life’s work. I learned all of my lessons, passed all of the tests, and took all of the right turns and the wrong turns. It turns out what I thought were wrong turns got me here, and that’s all that matters. I have no regrets. I know this is what I’m supposed to be doing.” “I just want you to view this on its own merits,” Greg concludes. “I hope it reaches some new people. For me, the enjoyment is making the music and putting it out. The second it’s released, I don’t look back. You drop the bomb and keep flying the plane. You don’t circle back to see how much destruction you cause. You keep moving, which is what we’re going to do.” "

The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pestelnik on drums. The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove. Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’. Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs. According to Tony in Zig Zag’s John Tobler’s sleeve notes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.” “A deep excursion into musical depths further down than Canned Heat ever dared go.” The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track

The Finns have crafted a top-notch piece of powerful heavy metal with the incomparably strong roars of frontbeast Noora Louhimo, catchy keyboards and earworm invasions. From the opening classical up-tempo opening track, 'Straight To The Heart,' to the last note of the closing ballad 'Far From Heaven,' BATTLE BEAST’s new opus is full of heaviness and emotions. Recorded and produced at JKB Studios by keyboardist Janne Björkroth, the album was also mixed by him alongside Viktor Gullichsen and Mikko Karmila, while mastering was done by Mika Jussila at the world famous Finnvox Studios. “Bombastic and brilliant heavy metal with a killer singer! »Bringer Of Pain« is gigantic!” MYROCK (F) “BATTLE BEAST at their best - majestically melodic and 'Straight To The Heart'!” ROCK IT! (D)

Blu’s music has been championed by outlets like XXL, Pitchfork, Okayplayer, HipHopDX, and more. In recent years, he has been interviewed by Billboard, Complex, LA Weekly, Noisey, Red Bull Music Academy, and more. Blu has collaborated with prominent artists like The Roots, Logic, Miguel, MF DOOM, Madlib, Anderson .Paak, Lupe Fiasco, Freddie Gibbs, Aloe Blacc, Roc Marciano, Slum Village, 9th Wonder, and more. Classic 2014 album on gatefold 2LP vinyl, now available after years out of print. Good To Be Home features guest appearances by Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, Chace Infinite, Cashus King, and more. L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip-hop renaissance in the process. With his cool Cali demeanor and undeniable lyrical talent, Blu drew praise from fans and tastemakers alike, launching a remarkable career that continues thriving to this day. His first ever double album, the 2014 masterpiece Good To Be Home is an essential part of this story. An unapologetic celebration of Los Angeles music and culture, the album takes listeners on a vivid journey through Blu’s storied stomping grounds. With sweeping strings and hypnotic bass lines supplied by producer Bombay, Good To Be Home features a host of West Coast hip-hop luminaries, including Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, and more. A cohesive collection with 20 tracks and no filler, this classic release is now available again on vinyl after years out of print.

Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus. (Limitiertes) Pink farbenes Vinyl mit DLC sowie Digisleeve-CD!

THE HEADLINES aus Skandinavien sind zurück! Neues Album der Band, die dich an deine erste Liebe zum Rock'n'Roll oder an dein erstes Punkfestival erinnert, begleitet von einem schnellen Beat und billigem Wein in der Sonne. Als "Homewrecker" wird oft eine Person bezeichnet, die sich - in den meisten Fällen wissentlich - auf eine Beziehung oder Affäre mit einem verheirateten Partner einlässt.Aber was ist die wahre Bedeutung hinter diesem Wort und der übermäßigen Kraft, die nötig ist, um etwas in Schutt und Asche zu legen, sei es ein Haushalt oder ein ganzes Leben mit all seinen Seelen? Drogen, Glücksspiel, Dekadenz, Aggression, Geld, promiskuitiver Sex. Die zerstörerischen Kräfte haben alle Bandmitglieder von THE HEADLINES in irgendeiner Weise fasziniert, und alle 12 Songs versuchen, das Thema bis zu einem gewissen Grad zu zerlegen."Was passiert, bevor, während und nachdem der HOMEWRECKER die Kontrolle über dein Leben übernimmt?"Der Wille, das herauszufinden, führte zu ihrem bisher ambitioniertesten Werk. Das aktuelle Line-Up mit der authetischen und aufgeschlossenen KERRY BOMB im Zentrum markiert einen neuen Schritt für dieses Punk-Quintett in Richtung Alternative, aber noch mit dem gleichen punkigen Nerv und umarmenden Texten. Ein vitaler und ehrgeiziger Sound von hardrockenden Hymnen, die die Ohren herausfordern! Es hat Alternative-Rock-Vibes, Hardrock-Soli, punkiges Knurren und erstklassige Hooks. Skandinavischer Rock hat schon immer die Grenzen von "wie weit kann das gehen?" getestet. Dieses Album bildet da keine Ausnahme, mit Texten, die tief in den Abgrund führen, aber auch mit unbeschwerten Partyhymnen! Für dieses Album hat die Band mit einem starken Team in ihrem "eigenen Hinterhof" Skandinavien zusammengearbeitet. Aufgenommen, bearbeitet und produziert von KB Larsen (Volbeat) und Thomas Larsen (Tambourine Studios/Fabriken Studios) in Kopenhagen und Malmö, gemischt von Håkan Sörle (Mando Diao) in Stockholm. Eine weitere einzigartige der HEADLINES, die in die bei Alternative/Punk/Rock bestens aufgehoben ist. THE HEADLINES touren weltweit und waren Special Guests auf der gesamten Millencolin & Danko Jones Tour (2023 / 2022), zur Album VÖ im Oktober gibt es nun die eigenen Headline-Tour, klaro!

Die Special Edition des neuen Albums kommt als schwarzes Vinyl mit rotem Splatter, verpackt in Headlines-Beutel mit vielen Extras: CD-Album, drei besondere Kunstdrucke von Gitarrist Jake Lundtofte, zweiseitiges Poster, Aufkleber und signierte Band-Karte!



THE HEADLINES aus Skandinavien sind zurück! Neues Album der Band, die dich an deine erste Liebe zum Rock'n'Roll oder an dein erstes Punkfestival erinnert, begleitet von einem schnellen Beat und billigem Wein in der Sonne. Als "Homewrecker" wird oft eine Person bezeichnet, die sich - in den meisten Fällen wissentlich - auf eine Beziehung oder Affäre mit einem verheirateten Partner einlässt.Aber was ist die wahre Bedeutung hinter diesem Wort und der übermäßigen Kraft, die nötig ist, um etwas in Schutt und Asche zu legen, sei es ein Haushalt oder ein ganzes Leben mit all seinen Seelen? Drogen, Glücksspiel, Dekadenz, Aggression, Geld, promiskuitiver Sex. Die zerstörerischen Kräfte haben alle Bandmitglieder von THE HEADLINES in irgendeiner Weise fasziniert, und alle 12 Songs versuchen, das Thema bis zu einem gewissen Grad zu zerlegen."Was passiert, bevor, während und nachdem der HOMEWRECKER die Kontrolle über dein Leben übernimmt?"Der Wille, das herauszufinden, führte zu ihrem bisher ambitioniertesten Werk. Das aktuelle Line-Up mit der authetischen und aufgeschlossenen KERRY BOMB im Zentrum markiert einen neuen Schritt für dieses Punk-Quintett in Richtung Alternative, aber noch mit dem gleichen punkigen Nerv und umarmenden Texten. Ein vitaler und ehrgeiziger Sound von hardrockenden Hymnen, die die Ohren herausfordern! Es hat Alternative-Rock-Vibes, Hardrock-Soli, punkiges Knurren und erstklassige Hooks. Skandinavischer Rock hat schon immer die Grenzen von "wie weit kann das gehen?" getestet. Dieses Album bildet da keine Ausnahme, mit Texten, die tief in den Abgrund führen, aber auch mit unbeschwerten Partyhymnen! Für dieses Album hat die Band mit einem starken Team in ihrem "eigenen Hinterhof" Skandinavien zusammengearbeitet. Aufgenommen, bearbeitet und produziert von KB Larsen (Volbeat) und Thomas Larsen (Tambourine Studios/Fabriken Studios) in Kopenhagen und Malmö, gemischt von Håkan Sörle (Mando Diao) in Stockholm. Eine weitere einzigartige der HEADLINES, die in die bei Alternative/Punk/Rock bestens aufgehoben ist. THE HEADLINES touren weltweit und waren Special Guests auf der gesamten Millencolin & Danko Jones Tour (2023 / 2022), zur Album VÖ im Oktober gibt es nun die eigenen Headline-Tour, klaro!

Die Special Edition des neuen Albums kommt als schwarzes Vinyl mit rotem Splatter, verpackt in Headlines-Beutel mit vielen Extras: CD-Album, drei besondere Kunstdrucke von Gitarrist Jake Lundtofte, zweiseitiges Poster, Aufkleber und signierte Band-Karte!



THE HEADLINES aus Skandinavien sind zurück! Neues Album der Band, die dich an deine erste Liebe zum Rock'n'Roll oder an dein erstes Punkfestival erinnert, begleitet von einem schnellen Beat und billigem Wein in der Sonne. Als "Homewrecker" wird oft eine Person bezeichnet, die sich - in den meisten Fällen wissentlich - auf eine Beziehung oder Affäre mit einem verheirateten Partner einlässt.Aber was ist die wahre Bedeutung hinter diesem Wort und der übermäßigen Kraft, die nötig ist, um etwas in Schutt und Asche zu legen, sei es ein Haushalt oder ein ganzes Leben mit all seinen Seelen? Drogen, Glücksspiel, Dekadenz, Aggression, Geld, promiskuitiver Sex. Die zerstörerischen Kräfte haben alle Bandmitglieder von THE HEADLINES in irgendeiner Weise fasziniert, und alle 12 Songs versuchen, das Thema bis zu einem gewissen Grad zu zerlegen."Was passiert, bevor, während und nachdem der HOMEWRECKER die Kontrolle über dein Leben übernimmt?"Der Wille, das herauszufinden, führte zu ihrem bisher ambitioniertesten Werk. Das aktuelle Line-Up mit der authetischen und aufgeschlossenen KERRY BOMB im Zentrum markiert einen neuen Schritt für dieses Punk-Quintett in Richtung Alternative, aber noch mit dem gleichen punkigen Nerv und umarmenden Texten. Ein vitaler und ehrgeiziger Sound von hardrockenden Hymnen, die die Ohren herausfordern! Es hat Alternative-Rock-Vibes, Hardrock-Soli, punkiges Knurren und erstklassige Hooks. Skandinavischer Rock hat schon immer die Grenzen von "wie weit kann das gehen?" getestet. Dieses Album bildet da keine Ausnahme, mit Texten, die tief in den Abgrund führen, aber auch mit unbeschwerten Partyhymnen! Für dieses Album hat die Band mit einem starken Team in ihrem "eigenen Hinterhof" Skandinavien zusammengearbeitet. Aufgenommen, bearbeitet und produziert von KB Larsen (Volbeat) und Thomas Larsen (Tambourine Studios/Fabriken Studios) in Kopenhagen und Malmö, gemischt von Håkan Sörle (Mando Diao) in Stockholm. Eine weitere einzigartige der HEADLINES, die in die bei Alternative/Punk/Rock bestens aufgehoben ist. THE HEADLINES touren weltweit und waren Special Guests auf der gesamten Millencolin & Danko Jones Tour (2023 / 2022), zur Album VÖ im Oktober gibt es nun die eigenen Headline-Tour, klaro!

The return of Australia's Deathcore Monolith A NIGHT IN TEXAS could not be more bombastic. Armed
with a re-invigorated line up and an album ready to catapult them into the upper echelons of the heavy
sphere, DIGITAL APOCALYPSE is an essential purchase for fans of Thy Art Is Murder, Crown Magnetar,
Lorna Shore and more. Gatefold Splatter vinyl

Acid core and acid hard techno flavour. Once again Techno Sucks but techno rocks ! Acid Bomb !

Dean Spunt"s all-new Basic Editions is an excursion in electronic sound that instrumentally unpacks his fascination with language - in this case, the syntax of systems and processes. By turns meditative, compulsive and consumptive, Basic Editions distills a 64 voice module through a head full of ideas - somewhat like pouring a cornucopia of possible ambient moods and EZ listening impulses backwards through a funnel, inspiring a deceptively absurd rainbow of soul to spray out the other end. With this new release, Dean IDs his process as "using sounds, rather than making sounds". This approach to music-making is a train of thought that"s been rolling out from the far horizon of the past for ages now - but for Dean, whose previous works within and without No Age depended on their making of sounds, it"s a fresh work stance. Given, however, No Age"s traditional sonic manipulations (via loops and treatments), Basic Editions delivers further unexpected hard-rights and lefts in the non-aesthetic aesthetic that has defined Dean"s path over the past two decades. Steering toward wacked digital soundscapes that bounce colorfully across the stereo azimuth, Dean creates a kind of post-ambient neo-exotica that hinges upon a giddy conflation of cosmic and comic.

Die britisch-bengalische Musikerin Tara Lily aus Südlondon verbindet auf ihrem Debütalbum "Speak In The Dark" Alternative-R&B, Jazz, Electronica und traditionelle indische Klänge zu einer einzigartigen Fusion. Produziert von Dom Valentino, sind ferner US-Jazz-Trompeter Theo Croker, UK-Rapper Surya Sen und Archy Marshall (aka King Krule), mit dem sie schon die Bühne teilte, beteiligt. Erste EPs erschienen bei Motown UK, der Musikexpress zählte sie zu den hochgehandelten internationalen Newcomer*innen 2023".

- "Spellbinding" - The Guardian

- "Beautiful, melancholic" - Jamie Cullum, BBC Radio 2

- "One to watch!" - Jamz Supernova, BBC 6Music

- "An all-star jazz collaboration." - Clash

- "One to watch for 2024" - Simon Phillips, Jazz FM

- "Soulful and heartfelt" - Jack Saunders, BBC Radio 1

Napalm Death's "Leaders Not Followers: Part 2" is a ferocious tribute to the band's roots
and influences, released in 2004. This album is a follow-up to their 1999 EP "Leaders Not
Followers" and features Napalm Death scouring the underground with this all-out max
distortion covers treatment.
It comprises 19 tracks that pay homage to punk, hardcore, and metal acts that shaped their
sound and the extreme music landscape.

Napalm Death's "Leaders Not Followers: Part 2" is a ferocious tribute to the band's roots and influences, released in 2004. This album is a follow-up to their 1999 EP "Leaders Not Followers" and features Napalm Death scouring the underground with this all-out max
distortion covers treatment. It comprises 19 tracks that pay homage to punk, hardcore, and metal acts that shaped their sound and the extreme music landscape.

Der ehemalige Wild Beast Sänger Hayden Thorpe legt sein drittes Soloalbum vor

Text: Hayden Thorpe hat sein drittes Soloalbum für den 27.September angekündigt. "Ness" ist inspiriert von Orford Ness in Suffolk, einem ehemaligen Militärstandort für die Entwicklung von Waffen während beider Weltkriege und des Kalten Krieges. Das 1993 vom National Trust erworbene und der Verwilderung überlassene Gebiet ist bis heute ein Ort des Paradoxen, des Geheimnisses und der ständigen Entwicklung. Thorpe's "Ness" ist eine Ode an Orford Ness, an den physischen Ort und an das Buch, das ihn inspiriert hat. Mit Wort und Bild haben der britische Bestseller-Autor Robert Macfarlane und Stanley Donwood darin einen kleinen modernen Mythos geschaffen. Teils Novelle, teils Prosagedicht, teils Mysterienspiel - in "Ness" vereinen sich ihre Fähigkeiten zu einer verblüffenden, beunruhigenden Wirkung und Thorpe erweckt die Lieder darin zum Leben. Nachdem sich Thorpe und Macfarlane auf dem Kendal Mountain Literature Festival kennengelernt und dann zusammengearbeitet hatten, entstand die Idee, dass Thorpe ein Album aus Macfarlanes Prosa machen sollte. Sein Exemplar des Buches ist nun mit schwarzer Tinte bedeckt, die Wörter, Zeilen und Sätze bedeckt, um „das Lied darunter zu enthüllen“. Das Video zur ersten Single "They" bei dem Hayden Thorpe und Andy King Regie führten und das in Orford Ness gefilmt wurde, dient als Einführung in "Ness": die Kiesgrube, das Buch und das Album. In den ersten anderthalb Minuten des Videos spricht Thorpe Macfarlanes Worte und bittet uns: „Listen. Hört jetzt zu. Hört auf Ness. Seid still und hört zu, ja? Hört wirklich zu."


[b] a2. WTF Is That?

"Spell Shock" ist die fulminante Rückkehr der Satanic Speed Metal-Beschwörer und Provokateure aus Portland, BEWITCHER. Im Verlauf eines Jahrzehnts, während dessen sie musikalische Dunkelheit manifestiert und die von Motörhead und Venom gelegten Grundlagen mutwillig mißbrauchten, haben BEWITCHER bewiesen, dass sie zu Recht zu den meistbeachteten Bands des Undergrounds gehören und mit Bands wie Cavalera, Municipal Waste und Creeping Death (um nur einige zu nennen) den Asphalt aufgewühlt haben. Auf "Spell Shock" geht das Trio nicht nur bei Tracks wie dem bombastischen Opener "Starfire Maelstrom" zurück zum Gaspedal, sondern schwelgt auch im Rock mit "Out Against the Law" oder wird beim elegischen "We Die In Dust" liturgisch. Diesmal haben BEWITCHER niemand Geringeren als den legendären Gitarristen, Songwriter und Metal-Punk-Fanatiker Lars Frederiksen (Rancid, Old Firm Casuals) engagiert, um ihr Hell-and-Back-Chaos zu beschwören, und das Ergebnis ist absolut unheilig. Selten klangen Hellfire so gut. "Spell Shock" ist erhältlich als: Standard CD Jewelcase, schwarze 180g LP im Klappcover, Digitales Album.

Die Rockmusiker von Seether werden in diesem Herbst ihr neuntes Studioalbum The Surface Seems So Far
veröffentlichen und damit ihr Vermächtnis als Verfechter roher Emotionen in einer Landschaft fortsetzen,
die von flüchtigen Trends und künstlichen Klängen beherrscht wird. Die erste Singleauskopplung aus dem
11-Track-Album, das am 20. September über Fantasy Records erscheint, ist der fulminante Album-Opener
”Judas Mind”, zu dem es ein grossartiges Video gibt.
Mit The Surface Seems So Far kehren Seether, die für ihre Hymnen wie ”Broken”, ”Fake It” und ”Words as
Weapons ” bekannt sind, zurück und präsentieren ihre typische Mischung aus Aggression und Introspektion.
Die Tracklist des neuen Albums - der Nachfolger von Si Vis Pacem, Para Bellum aus dem Jahr 2020, gibt
den Ton für eine ehrliche und aufregende Reise durch Themen wie Melancholie (”Regret”), Selbstreflexion
(”Same Mistakes”) und rohe Emotionen (”Dead on the Vine”) an, wobei eingängige Hooks und treibender
Bombast die vielen Wendungen unterstreichen.

"Skid Row - Live in London" ist das erste Live-Album der USRocker. Aufgenommen und gefi lmt (in hochaufl ösendem 4K) im
02 Forum Kentish Town im Oktober 2022, fängt das Livealbum
Skid Row auf dem Höhepunkt ihrer Kräfte ein und präsentiert
zeitlose Songs wie "18 And Life", "Slave To The Grind" und
"Youth Gone Wild" sowie neue Fan-Favoriten von "The Gang's
All Here", darunter "Tear It Down" und "Time Bomb". "Live in
London" ist das ultimative Skid Row-Live-Erlebnis und ein Muss
für alle alten und neuen Fans.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements_punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones_are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins_Jonah Falco and Mike Haliechuk_weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act_with Tamsin M. Leach and Jack Goldstein centering them on stage_and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

"Electric Taal Band was a project that came out of the Covid pandemic, a necessity to work alone and some happenstance. I had stumbled on a box of Punjabi records for sale at Bollywood Music Center on Gerrard St. East in Little India -- a store where I had been buying hindi film records for years. I wasn't too familiar with Punjabi music beyond UK Bhangra, took a chance and loved the records; over some time I bought every Punjabi record in the store. I studied the records and bought a tumbi from Kala Kendar, a shop next to the music store that sold instruments. I learned the tumbi from Youtube videos and copying the sounds on the records.

Over time I acquired both a vintage Radel Talometer and electronic Tanpura locally via classifieds and experimented with integrating their sounds into the recordings as well. The basic idea was to take these machines designed for practice, which had their own incredible sound due to technological limitations and apply them to Indian music. Everything I had heard of these machines in recordings and videos only used them in an abstract electronic context. The main intent was and still is to use these sounds in collaboration with South Asian musicians and vocalists in the Toronto area, but this album came from both casual exploration and experimentation with the tools, as well as an inability to collaborate in-person due to pandemic restrictions at the time."

Pianist and composer Bas Bulteel turns his gaze inward after a successful track record as leader of the adventurous energy bomb Wasdaman and as inspirer of his own trio, with which he won the 2014 Klara Music Prize for best CD in the jazz category for the album Coming Home, his debut as a bandleader.

Bas went into residency with visual artist Jan Frederik De Cock which resulted in a unique collaboration where image and sound dialogue with each other, feeding off each other, cursing against each other, loving each other ....

The result has become a profound and layered solo piano record that showcases Bas' versatility as a pianist and composer. Musically hovering between minimalism and avant-garde. Sometimes melancholic and always compelling.

Nilüfer Yanya veröffentlichr ihr neues Album ‘My Method Actor’ auf Ninja Tune!

Während sie am neuen Album schrieb, zog sich Nilüfer mit ihrer kreativen Partnerin Wilma Archer (Sudan Archives/ Celeste) ins Studio zurück. Sie war ein Jahr lang mit ihrem zweiten Album „PAINLESS“ auf Tournee und befand sich in einer Phase des Übergangs, zwischen Alben, zwischen Plattenfirmen und zwischen Wohnorten. „My Method Actor“ hat viel mit der Idee zu tun, von einem Lebensabschnitt in einen anderen zu wechseln. Die Samen für „My Method Actor“ wurden Anfang 2023 gepflanzt, aber erst im Frühjahr desselben Jahres begannen die ersten Triebe zu sprießen. Als die Songs zu entstehen begannen, zogen sich Yanya und Archer von der Welt zurück. „Dies ist in dieser Hinsicht das intensivste Album.“, sagt Yanya. „Weil es nur wir beide waren. Wir haben niemanden sonst in diese Blase gelassen.“ Sie schrieben und nahmen in kleinen Sessions auf, verteilt über London, Wales und Eastbourne. Die Atmosphäre des Albums spiegelt diesen Kokon kreativer Energie wider: Es umhüllt die Hörenden mit cineastischen Schwüngen und wirkt gleichzeitig intim, indem es ihn in die kleine Welt einlädt, die sie geschaffen haben, und seine Geheimnisse preisgibt.

Nilüfers vorheriges Album, „PAINLESS“, wurde durchweg als eines der herausragendsten Alben des Jahres 2022 gefeiert, mit glühenden Kritiken von The Guardian (Album der Woche), The Sunday Times, Crack Magazine, NME und anderen. Das Album enthält die herausragenden Tracks, „anotherlife“, „stabilise“ und „midnight sun“, die Nilüfer in der „Tonight Show Starring Jimmy Fallon“ performte. Nilüfer trat auch in „Late Night with Stephen Colbert“, „Later with Jools Holland“ und in der Tiny Desk-Konzertreihe von NPR auf.

Sie hat Adele, The xx und Mitski auf ihrer Tournee begleitet, war Headlinende im Londoner Shepherd's Bush Empire und hat Shows in ganz Europa, Australien, Japan und den USA ausverkauft. Yanya wurde auch von Sampha, King Krule und Little Dragon geremixt und hat mit Bombay Bicycle Club und Liss zusammengearbeitet.

Formed in 1995 in the small Swedish city of Mariestad by key players from Sweden's legendary hardcore scene, Wolfbrigade (known as Wolfpack until 1999) remain among Scandinavia's most respected, influential and reliable purveyors of real-world brute-force hullabaloo. On this eleventh album, the niftiest skills honed to a fine edge over 30 years are dispatched with greater style and intensity than ever.

Timeless Fairytale ist eine neue internationale Melodic-Metal-Band, gegründet vom dänischen Sänger Henrik Brockmann (ursprünglich Frontmann von Royal Hunt und
Evil Masquerade) und dem italienischen Gitarristen/Songwriter Luca Sellitto (Stamina). Die Band ist ein wahr gewordener Traum für alle Fans von eingängigen und eleganten Gesangsmelodien, klassisch angehauchten Instrumentalparts und majestätisch-bombastischer Musik. Kling wie Royal Hunt, Yngwie J. Malmsteen, Masterplan oder Scorpions.

Timeless Fairytale ist eine neue internationale Melodic-Metal-Band, gegründet vom dänischen Sänger Henrik Brockmann (ursprünglich Frontmann von Royal Hunt und
Evil Masquerade) und dem italienischen Gitarristen/Songwriter Luca Sellitto (Stamina). Die Band ist ein wahr gewordener Traum für alle Fans von eingängigen und eleganten Gesangsmelodien, klassisch angehauchten Instrumentalparts und majestätisch-bombastischer Musik. Kling wie Royal Hunt, Yngwie J. Malmsteen, Masterplan oder Scorpions.

Spanish new grooves for the new era! The latest sample of some of the best tracks from the effervescent and creative new scene of funk, soul and R&B produced in Spain!

For the first time on vinyl! We present the fourth volume of the SAMPLADELIA series. After the resounding success of the previous volume, Enlace Funk magazine has selected sounds from funk, soul and R&B made in Spain 2023 and which are published for the first time on vinyl format.

The fourth installment of Sampladelia opens with an infectious tribute to Prince by Calequi, El Sr. Rojo brings then a bomb of raw hip hop and funk. Astrid Jones & The Blue Flaps delights us with their luxury soul and Chacho Brodas with the production by Griffi, surrounded by an all-star of names, offers solid R&B.

Lalo López ends the side A with his Limited Orchestra with the best electro funk hit. The B side starts with Julia Martín´s modern soul anthem with a positive message for the dance floor. The second track, the debut of Donny's Black Shoes, is a shocking declaration of principles that will give a lot to talk about.

Drunk In Palace updates the sound of the 80s in a personal way and Juli Giuliani brings the groove to the dancers. The last track, “Las paro todas” by Javier Simón offers R&B loaded with a message. This volume of Sampladelia presents the effervescent and creative new scene of proposals based on funk, soul and R&B made here in Spain and never before published in physical format.

Tracklist Side A A1. Calequi Y Las Panteras: Sandía A2. El Sr. Rojo: Dos Gatos A3. Astrid Jones & The Blue Flaps: Shine A4. Chacho Brodas: Sta. Mandanga A5. Lalo López Limited Orchestra: Contradicciones (Ft. Brigitte Emaga Y Kapi One) Side B B1. Julia Martín: Low B2. Donny´S Black Shoes: Why?! B3. Drunk In Palace: Hardfunk B4. Juli Giuliani: On My Way B5. Javier Simón: Las Paro Todas

Next up on _NRV, CHKLTE takes us on a mesmerizing journey. "Enchanted Alley" establishes a hypnotic groove with deep basslines, perfect for late-night sets. "Fallen Algorhythm" delivers a dynamic auditory experience with a driving tempo and ethereal synths. "The Other One Follows" features a rolling bassline and snapping percussion, a straight groove torpedo launched from the kind of sub we'd rather be around. Cristi Cons's remix of "Fallen Algorhythm" adds a pulsating bassline and slicing percussion, creating a high-energy rave weapon sure to vaporize anyone standing in front of the speakers, all while maintaining the essence of the original, if you were at Sunwaves 32, there's no way you didn't hear this bomb drop.

Als dieser exzellente Downbeat-Instrumental-Hip-Hop-Sampler 2002 erschien, waren Zero 7 für ihr brillantes Debütalbum "Simple Things" für den Mercury Prize und den Brit Award als bester Newcomer 2002 nominiert, ihr späteres, drittes Album "The Garden" erhielt 2007 gar eine Grammy-Nominierung. Zero 7 haben unglaubliche Musik gemacht, ihre Remixe stets mit Bedacht ausgewählt (so z.B. Terry Calliers "Love Theme From Spartacus") und sich zu einer hervorragenden Tourband entwickelt.

Die ursprüngliche ALN Vinylausgabe ist so begehrt, dass sie heute für teures Geld verkauft wird. Freuen wir uns auf den Soul-Klassiker "People Make The World Go Round" der Stylistics und die rare, von Roy Ayers produzierte Groove-Bombe "You Can’t Turn Me Away" von Sylvia Striplin. Don Blackmans "Holding You, Loving You" ist ebenfalls enthalten, das von Slum Village gesampelt wurde, die hier mit "Jealousy" vertreten sind, ebenso wie Herberts Boompty-Boom-Rub von Gainsbourgs & Bardots "Bonnie & Clyde". All diese Güte wird wieder für einen anständigen Preis erhältlich. Form ist vorübergehend, Klasse ist dauerhaft. Und Zero 7 sind eine Klasse für sich.

- Gepresst auf schwarzem 180g Doppel-Vinyl samt 30 cm großem Art-Print und Download-Codes für die ausgespielten Tracks und den Original-DJ-Mix in den Formaten MP3/FLAC/WAV.

Nilüfer Yanya veröffentlichr ihr neues Album ‘My Method Actor’ auf Ninja Tune!

Während sie am neuen Album schrieb, zog sich Nilüfer mit ihrer kreativen Partnerin Wilma Archer (Sudan Archives/ Celeste) ins Studio zurück. Sie war ein Jahr lang mit ihrem zweiten Album „PAINLESS“ auf Tournee und befand sich in einer Phase des Übergangs, zwischen Alben, zwischen Plattenfirmen und zwischen Wohnorten. „My Method Actor“ hat viel mit der Idee zu tun, von einem Lebensabschnitt in einen anderen zu wechseln. Die Samen für „My Method Actor“ wurden Anfang 2023 gepflanzt, aber erst im Frühjahr desselben Jahres begannen die ersten Triebe zu sprießen. Als die Songs zu entstehen begannen, zogen sich Yanya und Archer von der Welt zurück. „Dies ist in dieser Hinsicht das intensivste Album.“, sagt Yanya. „Weil es nur wir beide waren. Wir haben niemanden sonst in diese Blase gelassen.“ Sie schrieben und nahmen in kleinen Sessions auf, verteilt über London, Wales und Eastbourne. Die Atmosphäre des Albums spiegelt diesen Kokon kreativer Energie wider: Es umhüllt die Hörenden mit cineastischen Schwüngen und wirkt gleichzeitig intim, indem es ihn in die kleine Welt einlädt, die sie geschaffen haben, und seine Geheimnisse preisgibt.

Nilüfers vorheriges Album, „PAINLESS“, wurde durchweg als eines der herausragendsten Alben des Jahres 2022 gefeiert, mit glühenden Kritiken von The Guardian (Album der Woche), The Sunday Times, Crack Magazine, NME und anderen. Das Album enthält die herausragenden Tracks, „anotherlife“, „stabilise“ und „midnight sun“, die Nilüfer in der „Tonight Show Starring Jimmy Fallon“ performte. Nilüfer trat auch in „Late Night with Stephen Colbert“, „Later with Jools Holland“ und in der Tiny Desk-Konzertreihe von NPR auf.

Sie hat Adele, The xx und Mitski auf ihrer Tournee begleitet, war Headlinende im Londoner Shepherd's Bush Empire und hat Shows in ganz Europa, Australien, Japan und den USA ausverkauft. Yanya wurde auch von Sampha, King Krule und Little Dragon geremixt und hat mit Bombay Bicycle Club und Liss zusammengearbeitet.

VDR Remixes: Beyond Music

The concept for this remix album evolved gradually through various encounters and exchanges. Despite its complexity, the project would not have come to fruition without the firm dedication of each artist involved.

Artists were given the freedom to select any track from my discography for their remix. With no directives, the LP's magic emerged from their unique styles and creative visions, resulting in a diverse palette of tones and rhythms.

The first record opens with Stephen Brown's electrifying remix of Blunt's "Later For It," originally released on Bright Sounds. Stephen's reinterpretation infuses the track with dark, captivating techno.

On the B-side, Markus Suckut presents his masterful adaptation of "Thrust It," a track marking my first release. Following this, Sawlin transforms "The Venue" from The Cruiser series, infusing it with his signature 'Made by Sawlin' style.

The second record continues with two compelling versions of "Moon, Sea and Waves" by Alek S. These reinterpretations—one dub techno and the other Detroit-oriented—offer a unique and immersive vision of the B+A+D tracks, originally released on Newmont.

On the flip side, Joe Metzenmacher delivers a daring electro remix of "1NON1" on D1, followed by Sicaa's bass music rendition of "Archensweet" on D2.

The third record is entirely dedicated to remixes of the Ashppe series, which I hold dear. Drexl provides a powerful breakbeat cut of "Flexit," a true bomb. Simon Ferdinand from Polycarp Records, with whom I had the pleasure of working, captures the punch and melancholy of "Fudge It". The LP concludes with two Dub 3.0 adaptations of "Let's do it" by Anthony Cacharron, using the aliases Alpha GPC and Redrop, ending on an exploratory high note.

A heartfelt thank you to all the remixers for their boundless creativity and commitment to this project

Jon Spencer teams up with Kendall Wind and Macky Spider Bowman - the rhythm section from Woodstock NY punk rock wunderkind The Bobby Lees - to chew bubblegum and kick ass. Two years after “Spencer Gets It Lit” (Marc Riley’s BBC6 Music Album of the Year, “hugely entertaining” MOJO, “a sonic witchdoctor who’ll blow your mind” UNCUT) there is still more work to be done saving rock'n'roll music. “Sick of Being Sick!” will be released on limited clear 45rpm Super-Stereo cut LP. Jon Spencer has been innovative force in the independent music scene since the mid-80s. An acclaimed live performer, he has toured all the continents except Antarctica and has amassed a dizzying discography as the leader of Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash, and Jon Spencer & the HITmakers, as well as with Boss Hog, The Honeymoon Killers, The Gibson Brothers, and Taxi Girls. His collaborations include (but are not limited to) working with Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D, Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Khan, Moby, Money Mark, The Muffs, The North Mississippi All Stars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams, and Bernie Worrell. His production credits include: Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees, and Samantha Fish & Jesse Dayton.

"The debut album of Berlin’s favourite two-thirds Welsh, one-third Danish instrumental psych-disco trio, out Aug 30th. Imagine Jaki, JJ and Jarre*** locked in a room together, with a memo from John Carpenter that reads “Goblin + Swans = ?”. Something like that. Raw drums, bass, vintage organs and synths are utilised to brutal effect via 7 epic songs that deliver disco disquietude, krautrock, oscillating horror soundtracks and beyond.

Or, as the band themselves insist: ""the Nicki Minaj of dungeon synth"".

The band name is the Greek classifying nomenclature for man: aka The Talking Animal. As promulgated by Anthony Burgess.

Zammit A.D. – drums, organs, synths. TNT Taylor – 4-string electric bass. Fred Alert – Moog, Dominion, percussion

featuring guest vocals from Gemma Ray. Recorded and mixed by Ingo Krauss (Swans, Einsturzende Neubauten) at Candy Bomber, Berlin. Produced by Zoon Phonanta

The band has had a difficult birth. They got together, did two shows (one with Gruff Rhys), then pandemic struck, leaving them far apart. They got back together, then Fred broke his back in an accident. When they finally reconvened, they recorded, then their other musical projects took over (eg Jon Spencer & The Hitmakers, The Third Sound). The album and live plans were then delayed by more broken limbs. Now fully healed they are poised to heal you back in gratitude, at their soon to be announced in-person performances.

*** Liebzeit (Can), Burnell (Stranglers), Jean-Michel"

Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.

Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.

On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.

This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.

Remastered with refreshed artwork.

Following a run of successful digital releases, eloelo records presents its debut vinyl release, a multifaceted 4-track EP, featuring three original tracks by label head ELODIE and a remix from coveted producer Michael James.

The A side is headed by the title track, ‘Bohemian’. Consistently well-received, especially by those lucky enough to have heard it on a heavy-duty sound system, the track creates an immersive, euphoric atmosphere that oozes warmth and vibrant energy. Coupled with one-off hits and delightful ear candy meticulously sprinkled throughout, ‘Bohemian’ offers a feast for the senses making it impossible not to move to. Your ears and your feet won’t be able to get enough. Michael James' remix of ‘Bohemian’ transforms it into a peak-time anthem that ignites the dancefloor. His rendition adds a layer of intensity and excitement, characterised by his trademark percs and a thrilling breakdown that leads to an explosive drop, leaving revelers ecstatic every time it is unleashed. A proper ‘bomb’.

The B side takes a more emotive turn with two more original tracks from ELODIE. ‘Like To Dream’, envelops listeners in a dreamy, sense of deep introspection via complex soundscapes which have been expertly woven to create a mesmerising depth of sound. Its seamless blend of pads and synths create a profound journey, inviting listeners to lose themselves in this moving, mature track inspired by the Rominimal sound.

‘Pineapple Ice’ rounds off the EP with a mood that is both tranquil and experimental. The track’s minimalistic yet intricate composition offers a soothing yet intriguing auditory experience, balancing calmness with a touch of playful unpredictability. A dubby techno number which perfectly balances out the EP. ELODIE has stayed true to the production style that she is carving out for herself with an EP that stands to advance the label’s dedication to delivering unconventional releases that cultivate a distinctive and timeless minimal sound.

Bandai Namco Europe S.A.S. und Laced Records haben sich zusammengetan, um die Musik des brandneuen Teils des legendären 'TEKKEN 8'-Franchise auf Vinyl zu bringen.

Diese komplette OST-Box enthält 42 Tracks, die speziell für Vinyl gemastert wurden. Sie werden in einem Schuber aus festem Karton geliefert und sind in Spined Sleeves untergebracht. Das atemberaubende Cover-Artwork stammt von Bandai Namco Entertainment Inc. und Illustrator Samuel Donato und zeigt Jin und Jun Kazama, Kazuya Mishima sowie die Neuzugänge Azucena, Victor Chevalier und Reina.

Das 'TEKKEN 8'-Musikteam hat für den Soundtrack einen Knaller nach dem anderen abgefeuert und dabei den für die Serie typischen Sound aus knallharter Dance-Musik und Electronica beibehalten. Viele der Komponisten sind langjährige Mitarbeiter der Serie, das gesamte Team besteht aus mifumei, Hiroshi Okubo, AJURIKA, Yoshihito Yano, Go Shiina, sanodg, Rio Hamamoto, Sho Okada, Yuu Miyake, Shogo Nomura, Ayako Saso, Mitsuhiro Kitadani, Shinji Hosoe, Yoshinori Hirai und Qing Yan.

Dank des soliden und einzigartigen Gameplays und der epischen Geschichte verkaufte sich die TEKKEN-Reihe über 57 Millionen Mal und ist damit die meistverkaufte 3D-Kampfspielserie aller Zeiten.

If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.

Los Bitchos promise to turn the global indie rock scene upside down in 2024!

Ltd Edtion
If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.