Buscar:the dead c

Die Record Store Day-Veröffentlichung "The King Is Dead" von den Cutthroat Brothers und Mike Watt war ein solcher Erfolg, dass das Album am 29.4.2022 in einer Vinyl-Neuauflage erscheint.
The Cutthroat Brothers sind ein Duo aus echten Barbieren, die Sweeney Todds des Rock. Jason Cutthroat an Gesang & Gitarre und Donny Paycheck am Schlagzeug. Für das Album "The King Is Dead" holte sich das Duo eine weitere Punkrock-Ikone ins Boot, Mike Watt. Jack Endino (Mudhoney, The Sonics, Screaming Trees, L7, Soundgarden) produzierte, mischte und masterte diese LP. Das Album hat den North Pacific-Sound in sich. Ihre Songs handeln von Blut, Tod, Drogen, Sex, schwarzer Magie und schlechten Beziehungen, wenn auch nicht unbedingt in dieser Reihenfolge.

Repress!
R.A. The Rugged Man is one of the most fascinating figures in hip-hop history. His career spans decades, and defies simple narratives. The Rugged Man has been an up-and-coming star, an industry outcast banished and forgotten, an underground cult hero, an independent success story, and an influential master of the art form.

Now, R.A. The Rugged Man is back with ""All My Heroes Are Dead"", a brand new album that stands as his best work to date. “So many of the greats are gone, and the legends who made it out alive are cast aside,” R.A. explains. “Society left our heroes and their culture for dead. We have to dig that greatness out of its grave, and bring it back with an angry vengeance.” "All My Heroes Are Dead" features an all-star lineup of hip-hop heavyweights, including Atmosphere, Chuck D, Ghostface Killah, Immortal Technique, Vinnie Paz, Ice T, M.O.P., Kool G Rap, Brand Nubian, DJ Jazzy Jeff, Chris Rivers, Onyx, Inspectah Deck, A-F-R-O, Masta Killa, and more.

Picking up where Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever left off, The Earth Is Not a Cold Dead Place begins as a flickering twinkle that soon grows to a blinding light. This new sense of hope is the defining characteristic of this record, and ultimately the journey that their music takes us on.

Born in 1999, Charlie Hickey grew up in South Pasadena,
just minutes from Downtown Los Angeles. Raised by two
singer-songwriter parents, Charlie’s second language was
music since day one. As early as grade school, he was
making sense of the world through songwriting, and by
middle school he was writing, recording and performing
songs that attracted a community of collaborators and could
silence a room.
 A turning point for Charlie came at around the age of
thirteen, when he covered a song by then up-and-coming
artist Phoebe Bridgers, who was still in high school herself.
The two quickly became friends and collaborators, setting
Charlie on an exciting new musical path. Years later,
Bridgers introduced Charlie to songwriter, drummer, producer
and her bandmate Marshall Vore, who noticed something
special about Charlie. The two began writing and recording
songs together, and soon Charlie dropped out of school to
work on his music full-time.
 Charlie Hickey’s first proper single was ‘No Good at Lying’
and it’s the first track on ‘Count The Stairs’. The Marshall
Vore-produced track introduces us to Charlie’s evocative
storytelling and features Phoebe Bridgers on backing vocals.
“I’m no good at lying / on my back or through my teeth / but
I’m good at dreaming / I can do it in my sleep,” he sings over
hushed guitars and a whimsical banjo, searching for truth as
his unconscious mind runs wild and bleeds into reality. It’s a
slow, quiet, and understated peek to the world of Charlie
Hickey, who is barely of legal drinking age, but taps into such
universal themes that showcase a wisdom beyond his years
and exudes promise for what’s to come.

Born in 1999, Charlie Hickey grew up in South Pasadena,
just minutes from Downtown Los Angeles. Raised by two
singer-songwriter parents, Charlie’s second language was
music since day one. As early as grade school, he was
making sense of the world through songwriting, and by
middle school he was writing, recording and performing
songs that attracted a community of collaborators and could
silence a room.
 A turning point for Charlie came at around the age of
thirteen, when he covered a song by then up-and-coming
artist Phoebe Bridgers, who was still in high school herself.
The two quickly became friends and collaborators, setting
Charlie on an exciting new musical path. Years later,
Bridgers introduced Charlie to songwriter, drummer, producer
and her bandmate Marshall Vore, who noticed something
special about Charlie. The two began writing and recording
songs together, and soon Charlie dropped out of school to
work on his music full-time.
 Charlie Hickey’s first proper single was ‘No Good at Lying’
and it’s the first track on ‘Count The Stairs’. The Marshall
Vore-produced track introduces us to Charlie’s evocative
storytelling and features Phoebe Bridgers on backing vocals.
“I’m no good at lying / on my back or through my teeth / but
I’m good at dreaming / I can do it in my sleep,” he sings over
hushed guitars and a whimsical banjo, searching for truth as
his unconscious mind runs wild and bleeds into reality. It’s a
slow, quiet, and understated peek to the world of Charlie
Hickey, who is barely of legal drinking age, but taps into such
universal themes that showcase a wisdom beyond his years
and exudes promise for what’s to come.

Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

Half red/half blue Vinyl. Limited to 350 copies. Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

Ross Sinclair is a drummer, guitarist and founding member of The Soup
Dragons. In the early 1990s Sinclair left the group to complete his studies at
the Glasgow School Of Art.
Ross Sinclair is best known for his Real Life project, initiated in 1994 when he
had the words ‘Real Life’ tattooed across his back. Since then Real Life has become a 23-year performance project, taking form in a wide range of exhibitions, public art and publication contexts. Over the two decades of the Real Life
project, Sinclair’s work has employed various mediums including performance,
painting and music, often at the same time.
Through installation and audience participation Real Life has sought to challenge the conventional exhibition practice and connect with the public. These
projects have been exhibited worldwide. Throughout the course of the project,
a consistent thread of Sinclair’s work has sought to address the nature of the
individual, collective and national identities of Scotland.
During August 2015, Sinclair exhibited his work in 20 Years of Real Life at Edinburgh’s Collective Gallery which celebrated 20 years of his Real Life project.
Sinclair worked with teenagers to create 5 bands and produce an LP titled Free
Instruments for Teenagers. Real Life is Dead/Long Live Real Life The most recent incarnation of the Real Life project came as part of a two-week residency
Ross Sinclair undertook at the Shanghai Himalayas Museum in China, ahead of
his solo exhibition titled Real Life is Dead/Long Live Real Life.
This exhibition served to herald a new phase of Sinclair’s on-going Real Life project. For the exhibition Sinclair added the text ‘Is Dead’ to the ‘Real Life’ tattoo.
The residency focused on the consistent themes of participation, performance
and collaboration, coupled with Sinclair’s use of music in his art throughout his
career. Sinclair worked with students at the GSOA over a period of two years to
develop and record two songs (Real Life is Dead and Long Live Real Life) which
lay at the core of the exhibition. The songs were recorded in both English and
Chinese.
In Shanghai, Sinclair worked with local musicians, artists and singers to create the Chinese-Scottish Real Life Orchestra - a musical dialogue between the
Chinese audience and Sinclair’s Real Life Project. The group came together in
a collective voice, in English and Chinese, to share experiences through music.
The orchestra presented a live performance at the opening reception of the
Phase Three exhibition of CURRENT: Contemporary Art from Scotland, which
provided the soundtrack to Sinclair’s installation consisting of multiple editions
of banners and videos representing the 23-years of the Real Life project. Participants were also invited to respond to the themes of Real Life is Dead/Long
Live Real Life with words and pictures which were displayed on banners and
placards.

“Friends! I am so pleased to announce ‘A Night At The Little Los
Angeles’ - the 4-track version of ‘Sundowner’. Recorded at
home and in my back shed - aka The Little Los Angeles - in
suburban Kansas during the summer and winter seasons of
2017 and 2018. This is quite simply the sound of me alone in a
room with a four-track to catch my songs as they fell out of my
mouth. When I later went into a proper studio to make
‘Sundowner’ my goal was to capture the essence of these initial
recordings, and here you will now have access to the very
essence I was chasing.

“In many ways, this feels like a proper album to me, as it’s my
initial attempt to capture the Kansas sunset and put it into
sound, whereas ‘Sundowner’ was an attempt of an attempt. I
love and am proud of them both, of course, but am happy to -
for the first time - share this vulnerable side of my songwriting
process with the public. Many of my favorite recordings have
been made inside of an artist’s home without regard of the
outside world, but instead deep in their own world that they’re
creating in real time. And with that - I’d like to invite you into my
own little world here and now and ask you to please... step
inside of... and spend ‘A Night At The Little Los Angeles’!” -
Kevin Morby

Released in 2020 on Dead Oceans, ‘Sundowner’, with Morby’s
distinctively conversational and reflective writing style, was
received with open arms and was beloved by fans and critics
alike. Pitchfork lauded it as “a vision of the Midwest that feels
mythical and enormous.” ‘Sundowner’’s vision was further
fleshed out in comprehensive features in Vanity Fair, New York
Magazine, Stereogum, The FADER, Vice, Aquarium Drunkard,
and more.

In addition to traditional music publications, Morby appeared on
Adult Swim’s Fishcenter and Office Hours with Tim Heidecker.
Morby also made his network television debut on CBS This
Morning, where he performed the songs ‘Campfire’ and
‘Sundowner’ as part of a special joint performance with his
partner and fellow songwriter Katie Crutchfield, aka
Waxahatchee.

Private Space, the group's third album, is a previously untapped vibe at the heart of The Indications. Pushing beyond the boundaries of the funk and soul on their previous releases, Private Space unlocks the door to a wider range of sounds and launches boldly into a world of synthy modern soul and disco beats dotted with strings. It's an organic, timeless record that's as fresh as clean kicks and familiar as your favorite well-worn LP. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Its 10 tracks are both an escapist fantasy and a much-needed recentering after a tumultuous 2020. Throughout, The Indications highlight a collective resiliency - as well as the power of a good song to be a light in the darkness. Durand Jones and The Indications have long provided the soulful soundtrack for such deep thoughts, both on stage and on your turntable. But as the world slowly resets from the chaos of the past year, Durand Jones and The Indications' Private Space is arriving at just the right time.

Includes Download Code and Special Insert Drawing !
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture

In the Forest of the Dreaming Dead” is UNANIMATED’s debut album which was released in 1993 on no Fashion Records. After numerous bootleg versions and countless mistakes in either the tracklisting or the layout, it is the first time that this classic piece of Swedish Black/Death Metal history is available in its full glory, but with a fresh remastering by Patrick Engel (Asphyx, Candlemass, Darkthrone) and extensive liner-notes by Chris Dick (Decibel Magazine, US). The vinyl comes in a Ltd. Triple Gatefold 2LP with an Etching on Side D (Coverartwork of “Fire Storm”) and 4-pages LP-Booklet. This format also includes a cover of the Venom classic “Buried Alive”, which was only available on the original pressing of “In the Forest of the Dreaming Dead” (1993

The band’s most experimental album, Anthem Of The Sun was an unprecedented mix of studio and live recordings stitched together to create a hybrid. More than fifty years later, it remains a pinnacle of psychedelic music. It also marked a departure for the band, as they began to channel their creativity into longer jams on songs like “Alligator” and “Caution (Do Not Stop On Tracks)” – two live staples of the Dead’s early days. During this period, the band included: Jerry Garcia, Bob Weir, Ron “Pigpen” McKernan, Phil Lesh, Mickey Hart, and Bill Kreutzmann. The LP features a remastered version of the 1971 mix, mastered by Grammy®-winning engineer David Glasser from the original analog master tapes.

The sixth' studio album, originally released in 1994. A true Dead Moon classic. One of their most beloved LPs. Features the mega hit 'It's Okay' along with other classics like `Day After Day,' `Cast Will Change,' `Unknown Passage,' and the best version of `The Times They Are Changin'' ever recorded!

Cardinal Fuzz and Feeding Tube Records are proud to present a long awaited reissue of Dead Sea Apes & Black Tempest – The Sun Behind The Sun.
This re-issue is presented in a reflective Mirri Board reflective outer sleeve.
Manchester’s Dead Sea Apes and Godalming’s Black Tempest engage in a mind meld of galactic proportions on this; both band’s first outing on vinyl. Both entities weave together seamlessly as Grey Alphabets recalls Goblin’s giallo soundtracks, whilst Wilder Penfield pulses with post-punk metal-loid Harmonia kraut vibes. Side 2 is given over to the 25+minute Heliopause - a dubby astral meditation, where Oneida meet Tangerine Dream in an elongated Komische drift. For fans of: Harmonia, Oneida,Goblin, Mogwai, Tangerine Dream.

With his new album, Year Of The Living Dead, Vienna-born and LA-based producer John Tejada finds a blissful extended moment of balance between the new and the familiar. Anyone who’s followed his career to date, which has included four previous albums for Kompakt, outings for storied labels like Plug Research, Playhouse and Cocoon, and numerous remixes and collaborations – most recently, his Wajatta duo with actor and musician Reggie Watts – will immediately sense the warmth and eloquence that Tejada brings to his gilded, pliant techno and electro hybrids. But there’s more here, too; an explorer’s glimmer in the producer’s eye, as he gets to grips with new ways of working and being, while offering a reflective opening for the listener, something echoed in artwork by graphic designer and ‘contemplative artist’ David Grey.

“The album was started using tools I was unfamiliar with, which became an interesting exploratory process,” Tejada says. “Staying away from the obvious and having to re-learn simple things was a fun challenge.” You can hear these new creative pulsions pushing the eight tracks on Year Of The Living Dead ever-forward; the album has an unique cast, and though there are trace elements of the genres Tejada has indulged previously, he’s never quite put them together this way before. There’s the dubwise glitter sprinkled across the moody opener “The Haunting Of Earth”, the kind caresses found amongst the deftly woven textures of “Sheltered”, and the churchy melancholy, all hymnal and golden, of “Echoes Of Life”.

Year Of The Living Dead also speaks obliquely to its moment, though Tejada works this implicitly, allowing the strange circumstances of 2020 to cast their inevitable shadow without being obvious or didactic. “The production process began right before lockdown and continued through what felt like a very serious time for all of us,” he recalls. “Not being able to see or touch our loved ones made me feel we are all like ghosts. We can observe from a distance but cannot really be there. We are isolated and alone.” And yet, Year Of The Living Dead’s tenderness offers an out for that anxiety and loneliness, its intimate immensities gifting the album a redemptive and compassionate core. Compact and glistening, Year Of The Living Dead sculpts unassuming beauty.

Mit seinem neuen Album “Year Of The Living Dead“ findet der in Wien geborene und in Los Angeles lebende Produzent John Tejada die richtige Balance zwischen Neuem und Vertrautem. Wer seine bisherige Karriere verfolgt hat, seine vier Alben für Kompakt, Beiträge für Labels wie Plug Research, Playhouse und Cocoon, zahlreiche Remixe und Kollaborationen wie zuletzt das Projekt Wajatta zusammen mit dem Schauspieler und Musiker Reggie Watts, spürt sofort wieder die Wärme und Eloquenz, die Tejada in seine geschmeidigen Techno-Elektro-Hybride einbringt. Doch es geht auch noch einen Schritt weiter. Da ist dieses Aufblitzen des Entdeckers im Auge eines Produzenten, der sich mit neuen Arbeits- und Seinsweisen auseinandersetzt und dem Zuhörer gleichzeitig etwas sehr Offenes und Nachdenkliches anbietet, etwas, das im Artwork des Grafikdesigners und "kontemplativen Künstlers" David Grey nachklingt.

"Ich hatte angefangen, das Album mit mir noch unbekannten Tools zu produzieren, was sich zu einem interessanten Forschungsprozess für mich entwickelte", sagt Tejada. "Sich vom allzu Offensichtlichen zu trennen und einfache mal Dinge neu lernen zu müssen, war eine recht spaßige Herausforderung.“ Man kann diese neuen kreativen Impulse hören, die “Year Of The Living Dead“ auf einer Länge von 8 Tracks nach vorne treiben; das Album hat einen einzigartigen Ansatz, denn obwohl es Elemente der Genres gibt, denen Tejada zuvor gefrönt hat, hatte er sie doch noch nie zuvor so zusammengefügt wie hier. Da ist dieses dubbige Glitzern im atmosphärischen Opener "The Haunting Of Earth", die freundlichen Zärtlichkeiten, die man in den Texturen von "Sheltered" findet, und schließlich die heilige Melancholie im hymnischen "Echoes Of Life".

Auch “Year Of The Living Dead“ enthält Andeutungen auf die momentane Situation und erlaubt es, den seltsamen Umständen des Jahres 2020, ihren unvermeidlichen Schatten zu werfen, ohne dabei zu offensichtlich oder gar belehrend zu sein. "Der Produktionsprozess begann kurz vor dem (ersten) Lockdown und setzte sich in einer Zeit fort, die sich für uns alle als eine sehr ernste Zeit anfühlte", erinnert er sich. "Da wir nicht in der Lage waren, unsere Lieben zu sehen oder zu berühren, hatte ich das Gefühl, dass wir alle wie Geister sind. Wir können nur distanzierte Beobachter sein, aber wir können nicht wirklich anwesend sein. Wir sind isoliert und allein." Und doch scheint die Zärtlichkeit von "Year Of The Living Dead" einen Ausweg aus dieser Angst und Einsamkeit anzubieten, die grenzenlose Intimität des Albums enthält einen erlösenden und mitfühlenden Kern. Derart konsistent und schillernd formt "Year Of The Living Dead" eine unprätentiöse Schönheit.

Southern Lord announce Crush The Machine, the debut EP from West Coast hardcore punk collective D.E.A (Dead End America), formed by the late, great Steve "Thee Slayer Hippy" Hanford of Poison Idea, with current and former members of Queens Of The Stone Age, Eyehategod, The Accüsed A.D, World Of Lies, Ape Machine, and more.

Captured before Hanford’s passing earlier this year, D.E.A's debut shall be released on 7" and digital EP on 30th October (Non-Returnable) Recording details, liner notes from Mark Lanegan and more info below.

Crush The Machine sees the primary writers, drummer/vocalist Steve Hanford and guitarist Tony Avila (World of Lies, Why Won't You Die, Aborted Cop, Here's Your Warning) joined by lead guitarist Ian Watts (Ape Machine, Minmae) and bassist/vocalist Nick "Rex Everything" Oliveri (Mondo Generator, The Dwarves, ex-Kyuss, ex-Queens Of The Stone Age), with additional lyrics and vocals from Mike IX Williams (Eyehategod, Corrections House, Outlaw Order) and Blaine Cook (The Accüsed A.D, The Fartz, Toe Tag).

"A perfectly appropriate title for this 7 inch EP of jack-hammering, oldschool style hardcore tunes released by Southern Lord, written and played by a rogues gallery of real deal music lifers as a condemnation of the criminal Trump administration and republican party, in the same spirit of those by-gone days when Ronald Reagan or George Bush was the crooked, self-serving president of the crumbling United States empire. Never before has there been a more obvious target, as Donald Trump and his mafia family cabinet rape the country while Rome burns. D.E.A. is Tony Avila, Ian Watts, Nick Oliveri, Mike IX, Blaine Cook and the legendary and beloved, late producer and drummer of Poison Idea, Steve "Thee Slayer Hippy" Hanford. Dying shortly before the completion of this record, it stands as a final testament to his genius, one last hot-wired blast of his epic musical brilliance."

Mark Lanegan
Los Angeles
August, 2020

a a1. Turn Around And Count 2 Ten Y&Co."B" Mix 7.54
b a2. My Heart Goes Bang Love Machine Remix 5.05
[c] a3. Hit And Run Lover [Ventura Mix] 5.01
[d] b1. You Spin Me Round (Like A Record) [Zi Zone Mix] 4.35
[e] b2. Something In My House [Deadend Of Eurasia Mix] 5.42
[f] c1. Lover Come Back To Me [Earthquake Mix] 9.31
[g] c2. Isn't It A Pity [Bustard Remix] 5.15
[h] d1. Just What I Always Wanted [R.M. Hyper Techno Mix] 4.47
[i] d2. Blue Christmas [P.K.G. Remix] 4.32
[j] d3. I Paralyze [B4 Za Beat Remix] 6.35

Dead Or Alive have sold more than 30 million albums and 25 million singles worldwide and gave Stock Aitken Waterman their first #1
single. Their first three albums, which the band wrote, all reached the UK Top 30, with ‘Youthquake’ reaching the Top 10. In the 1980s, they charted seven unique singles in the UK Top 40, with two further re-entries this century, with a remix and original version of ‘You Spin Me Round (Like A Record)’. Respected US magazine Billboard, ranked them in their all-time Top 100 most successful ‘dance artists’ chart.
‘Fan The Flame (Part 1)’ is their fifth studio album and was only released in Japan in 1990, where it reached #27, until a re-worked
version was included within the ‘Sophisticated Boom Box MMXVI’ box set in 2016. ‘Fan The Flame (Part 1)’ contains the singles ‘Your Sweetness (Is Your Weakness)’ (Japan #3), ‘Unhappy Birthday’ (Japan #14) and ‘Gone 2 Long’ (Japan #18). Renowned and in-demand singer, Tracy Ackerman performed all backing vocal duties, with Londonbeat and the London Community Gospel Choir appearing on ‘Total Stranger’ and ‘Unhappy Birthday’, respectively. Also featured is Billy Currie, better known for his work with Ultravox, Visage and Gary Numan. This special 30th Anniversary Edition of ‘Fan The Flame (Part 1)’, is the first time that the album has been commercially released on
vinyl in its original configuration, with original playing durations and will be pressed on 180g heavyweight white colour vinyl.

The Voices of East Harlem were an ensemble of vocalists who for Just Sunshine Records recorded two albums under the direction of Leroy Hutson and Curtis Mayfield. “Wanted Dead or Alive” is one of their most classic songs, a highly sought after ‘Rare Groove’ track together with “Can You Feel It”.

Hotly Anticipated Album From The Acclaimed Australian
Duo.
The Album Consists Of Two Acts Across Seven
Movements That Represent The Different Facets Of The
Dionysus Myth And His Cult And Takes The Musical Form
Of An Oratorio, Which Has Informed Both Spiritual And
Secular Pieces Of Music As Far Back In History As The
Early 16th Century.
Two Years In The Making, Perry Has Amassed An Array
Of Folk Instrumentation And As Often Heard On Previous
Albums Takes Inspiration From Across The World, Tracks
Evolve Less Like Songs More Akin To Fragments Of The
Cohesive Whole.
Deluxe Lp Format Is Pressed On Heavyweight
Transparent Purple Vinyl Accompanied By A Copy Of The
Album On Cd Plus A Deluxe 16-page 12' X 12'
Hardback Picture Book With Padded Cover.
Standard Lp Format Is Heavyweight Black Vinyl In A
Gatefold Sleeve.
16 Date European Tour Next Year, Including Two
Headline Shows At London's Hammersmith Apollo

The Grateful Dead forged its legend on the road, traveling countless miles between 1965 and 1995 to perform a world record 2,318 shows for millions of devoted fans. The band's refusal to ever play a song the same way twice has endeared generations of fans, many of whom prefer certain live versions of songs over their studio counterparts, and garnered the popular phrase among Dead Heads: There is nothing like a Grateful Dead concert.'

The live albums the band released during its 30-year career are the primary source for the collection, including tracks like Bertha' from Grateful Dead (Skull & Roses) (1971), Fire On The Mountain' from Dead Set (1981), and The Music Never Stopped' from One From the Vault (1991). A testament to its ongoing popularity, the revered double-album Europe '72 (1972), is represented by no less than five tracks, including Sugar Magnolia,' Jack Straw' and a searing rendition of Morning Dew.'

Other performances on the set were selected from the growing number of live releases that have emerged since the death of founding member Jerry Garcia in 1995. Some of those recordings include Touch Of Grey' from Truckin' Up To Buffalo (2005), a 1990 version of Eyes Of The World' with saxophonist Branford Marsalis featured on Wake Up To Find Out (2014), and Estimated Prophet,' which debuted earlier this year as part of Cornell 5/8/77, a recording of the Grateful Dead's mythic show at Cornell University in 1977, thought by many to be the band's greatest live performance.

Made for die-hard Dead Heads and new fans alike, The Best Of The Grateful Dead Live Vol. 1 1969-1977 will be available as a on 180-gram vinyl as a 2-LP set, covering the first half of the album, on March 23rd. The music will be available through digital and streaming services as well.

Remastered 2017 edition of this groundbreaking Dutch westcoast punisher from 1995.

*A pure slab of noise... a ruckus on vinyl! A limited edition piece of wax featuring remixes by the Circus Records superstars Funtcase & Genetix.

*Funtcase has been producing since being inspired by d&b as a kid growing up in Bournemouth. In 2009 he created his dubstep alias Funtcase and released his first single on 4:20 Records. The following year he signed with Circus Records and released the killa 'So Vexxed/Matress Punch'. He is also known for his standout remixes, including mixes for Plan B, Camo & Krooked, The Wideboys & Skizm.

*For this remix Passenger organised Spyda (Pendulum 'Black Tarantula'/Knife Party 'Fire Hive') back into the vocal booth to lay down some fresh vocals for the remix. A former Passenger vinyl buyer, Funtcase is no stranger to the sounds of the label and adds his own nod to its history by flipping some breakbeat twists and turns to proceedings to create what many are saying is his best remix to date!

*The flipside remix is from fellow Circus Records crew members and Bournemouth badmen Genetix. Following a similar path to Funtcase, Matt & Rich started off making d&b before switching the tempo and laying down some filth at 140. With regular appearances on the MistaJam's radio show, guest mixes on KissFm for Hatcha and Crazy D and remixes for the likes of Bassline Smith & Drumsound and Kelly Clarkson, to name a few, these guys are continuing a south coast tradition of bass noise and terror.

*With the label instructions to 'make it as heavy as you can, Genetix took the vocal of Sporty-O, recorded at DJ Lethal's (House Of Pain/Limp Biskit/La Coka Nostra) studio in LA back in 2007, and brought it up to speed with a track that flips from militant dubstep into some proper 808 trap biz.

Featruing G-Force this Delta Kwadrant is probably a bit under the first one... But it brings something more personal, from Akranoid. Check this out !

2x 180g grey vinyl repress!

Benny Blanco debuts with a five-tracks "Staraya Ep" onto his Valkea Music. Every detail has been taken care, from mixing
to the master from the WHITE 180 GRAMS vinyl press to artwork. Following a short description about "Staraya EP"
STRY 1 by Ricky L Red "Is Not Dead Mix" intense and majestic, the track of rare and profound beauty.
STRY 2 "Original Mix" it's a tribute to Benny Blanco's origins and to the electronic/progressive sound of the mid nineties
that had great influence on him and became his trademark from the very beginning.
STRY 3 by Giammaria Coccoluto & Luca Vera "As Soul Sonic Remix" an ethnic rhythm full of grooves thanks to the addition
of percussive elements and a masterly used organ, which won't keep you still.
STRY 4 "The THC Revenge Remix" an atmosphere that captures and hypnotizes, where it extrapolates and magnificently
enhances the most melodic part.
STRY 5 "Erly Tepshi Dark Vision Mix" an esoteric and astral journey in the furthest and most remote corners of your mind.
This original project to the artwork that will in essence, satisfy your eyes and especially the ears.

140 Gramm Vinyl inklusive Downloadcard (inklusive vierExtratracks) Auch "Separations", das Album aus dem Jahre 1992, wird als Teil der Fire Embers Reissue Serie mit unveröffentlichtem Bonus-Material neu aufgelegt. Pulp hatten sich bereits einmal musikalisch verwandelt und sich durch die düstere elektronische Phase auf ,Freaks" weit von ihrem Debüt "It" entfernt und dabei deutlich an Schwung aufgenommen. Der inzwischen zu Kritikerlieblingen avancierten Band ging bereits der Ruf voraus eine Live-Band geworden zu sein, mit der nur wenige mithalten konnten, doch erst ,Separations" war der große Schritt hin zu dem Sound, mit dem Pulp nur wenige Jahre später die Massen mitreißen sollten. Auf ,Separations" gibt es zum ersten Mal diesen unausweichlichen Disco-Puls. ,Separations" ist das Übergangs-Album, in dem Pulp die romantisch-verklärte Außenseiter-Vergangenheit zurückließen und brachte passenderweise mit ,Countdown" und "My Legendary Girlfriend " auch zwei sehr erfolgreiche Singles hervor. Der Download bringt noch vier Bonustracks hinzu: ,Death Goes To The Disco" und "Is This House " sowie die längere Maxi-Version der Single ,Countdown" und das bisher unveröffentlichte "Death Comes To Town". Remastered und neues Packaging. Liner Notes von Everett True.

This almost unheard score holds some never before heard Budd gems. Dynamite Cuts release for the first time a 7' 45 with a selection of original cues and dialogue taken from the Film. How, James Coburn as Professor Robert Elliot creates a masterful plan to get four people, who know too much, to kill each other is a fine example of a classic British thriller with a superb twist at the finale. This 45 is a journey through the film that includes some never before heard tracks. A must have!

THE INTERNECINE PROJECT Musicians

Roy Budd - Piano, Clavinet, Rhodes, EMS AKS

Paul Fishman - ARP 2600 Electronic programmed and effects

Daryl Runswick - Double Bass and Bass

Tristian Fry - drums

Frank Riccotti - Percussion

Judd Proctor - Guitar

Ronnie Scott - Alto sax

Tubby Hays - Sax

Kenny Baker - Trumpet

String orchestral parts led by Sidney Sax: 1974 The National philharmonic

John Richards - Sound engineer

Roy Budd - Arranger

Recorded at CTS Wembley

Funkadelic have created an enduring legacy, and the power of their impact is visceral in Detroit. Their records not only played with genre, but possessed a diabolical sense of humour that led to music domination by the late 70s with Parliament, Funkadelic, Parlet, Bootsy's Rubber Band and the Brides Of Funkenstein all releasing albums the same year for two years in a row.

The music itself is beyond stereotype, but equally huge is that they were a black band not allowing themselves to be limited by anyone else's notions of who they could be, having a massive impact on the next generation of Detroit music, Detroit Techno.

But more than just Techno, it is a freedom of thinking that extends beyond boxes, so we included all sorts of today's generation of Detroit musicians and producers to show the wide range of music that was Funkadelic and how these ideas are still contemporary, they endure and inspire.

40th anniversary year of this (15 million + selling) classic release. Sony Music will be repromoting both formats. A 12 track double gatefold LP with 16 page booklet containing full script, lyrics, original paintings and credits. A double 17 song CD format. There is a 15 date UK arena tour in November/December, featuring Jason Donovan, Newton Faulkner, Adam Garcia and the 3D hologram of Liam Neeson. There is also a major 3 part adaptation of the H.G. Wells novel will on BBC 1 in late November/early December starring Eleanor Tomlinson, Robert Carlyle, Rafe Spall and Rupert Graves. National TV ad campaign across all networks to Xmas. Radio features, spot plays and ad campaign. Press ads and features. Online/social media activity. Poster campaign and database mailout.

This is an essential part of the legacy of the White Stripes!