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ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.

Brendan Perry und Lisa Gerrard haben als Dead Can Dance eine ganze Reihe herausragender Veröffentlichungen eingespielt. Doch ihr fünftes Album "Aion" von 1990 nimmt dabei noch einmal eine Sonderstellung ein. Es wurde in Perrys Studio im Süden Irlands aufgenommen. Mehr als alle anderen DCD-Einspielungen spiegelt "Aion" ein tiefes Interesse an der Musik des späten Mittelalters und der Renaissance wider. Die aus früheren Werken bekannten elektronischen Klangteppiche tauchen nur noch vereinzelt auf, die Instrumentierung ist damit überwiegend akustisch. Teilweise kommen mit Drehleier und Dudelsack sogar historische Instrumente zum Einsatz, verpackt in mittelalterliche Chorgesänge. Das Spektrum reicht von sakralen Arrangements mit gregorianischen Gesängen ("The Song Of The Sybil", "The End Of Words") über beschwingte Tanzmotive ("Radharc", "Saltarello") und Liedern wie "The Promised Womb", die von Gerards magischem, berührend-traurigem Elfengesang leben. Atmosphärisch!

Standard Black Vinyl LP w/ Foil stamped jacket, printed inner sleeves + DL card. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's debut full-length American Nervoso was originally recorded in 1998, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's debut album is set to be re-issued on Sargent House 25 years after its original release. The album features white-hot guitar action, scathing vocals, sweet bass moves, and torrential drums, smashing existing precepts of hardcore and redefining both the word and the music for a generation of kids and grizzled vets alike. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates in the Pacific Northwest in February 2023. 25th anniversary re-issue of Botch's critically lauded debut album. Botch have their first live performances in over 20 years for early 2023. Botch have been included on "Most Influential lists" by outlets like Decibel, Rock Sound, Alternative Press, A.V. club + more

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.

After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.

Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.

That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.

The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.

The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.

With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.

Repress!

Silver Sleeve 2012 Version

This special edition 2LP package comes housed in an a silver jacket featuring DOOM’s infamous metal mask icon embossed on it.

Each record is pressed on black vinyl. An absolute must have for the DOOM completist. The long awaited reissue of DOOM's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as "Side Zero". Side B is "Side One". And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation Doomsday’s left-of-center beats and rhymes are the perfect remedy.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

CRYSTAL CLEAR VINYL
Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon. Recorded in 1988, Lyburnum would not be released until 1993 several years after Moss Icon’s demise.

Originally released on Vermiforn – the esoteric noise label founded by Sam McPheeters of Born Against – the vision that Moss Icon’s Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, “My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy’s post-Moss Icon band, Universal Order of Armageddon.

Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues.

With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision.”

Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond.

Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon’s seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored and includes previously unpublished photos that were inadvertently missing from the original release.

Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon. Recorded in 1988, Lyburnum would not be released until 1993 several years after Moss Icon’s demise.

Originally released on Vermiforn – the esoteric noise label founded by Sam McPheeters of Born Against – the vision that Moss Icon’s Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, “My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy’s post-Moss Icon band, Universal Order of Armageddon.

Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues.

With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision.”

Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond.

Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon’s seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored and includes previously unpublished photos that were inadvertently missing from the original release.

Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Standout track Disco currently sits at 88 million plays on Spotify. Surf Curse has over 8 million monthly listeners on Spofity. Departing from the overblown visceral sound of previous Surf Curse records, 2019’s Heaven Surrounds You is a bold step towards HIFI for the Los Angeles DIY scene veterans. The polished orchestral production and driving cinematic moments would feel at home in any of the cult films that inspired the album’s coming-of-age stories. Lyrically, the record finds the duo returning to themes of love, loss and mystery veiled beneath more symbolism and mysticism creating their most emotionally poignant record to date. One ingredient the band doesn’t change is the earworm guitar melodies and massive hooks that have always fueled their famously raucous live shows

Pressing Info: 180g clear blue vinyl, printed inner-sleeve. Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock'n'roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours' self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: "The musical backgrounds of each member are pretty broad but somehow when we come together there's a pretty clear definition of what our music should sound like. There's a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically."

Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock’n’roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours’ self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: “The musical backgrounds of each member are pretty broad but somehow when we come together there’s a pretty clear definition of what our music should sound like. There’s a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically

Porto-based trio 10 000 Russos will release their new ‘Live In Berlin’ double LP on March 24th 2023 via Rubber Duck, a new live album imprint by Fuzz Club Records. The record captures the band storming through their subterranean motorik psych-drone live at Berlin’s Astra Kulturhaus on October 16th 2021. Recorded whilst out on a European tour, ‘Live In Berlin’ finds 10 000 Russos performing their 2021 ‘Superinertia’ LP in full the album’s five songs expanded and taken to even more transfixing and hedonistic heights in a live setting. These shows were 10 000 Russos’ first with the new, more-electronic line-up and sound, with newly-recruited synth player Nils Meisel making his debut on the ‘Superinertia’ LP and completing the line-up alongside founding members João Pimenta (drums/vocals) and Pedro Pestana (guitar). Across the hour-long set, Pimenta’s deadpan sprechgesang vocal and machine-like percussion, Pestana cascading psych guitar-loops and Meisel’s repetitive synth basslines all combine on a performance that will pull you into a trance at times and get you on your feet at others.

Red Vinyl

Super smooth and funky 2 track EP, limited red 10 Inch. UK Duo Flying Mojito Bros have their unique sound, mixing several US styles together to make their own brand: Disco, Westcoast and Swamp/Stoner Rock become: Swamp Disco! (side b of our release is an edit for none other than the Grateful Dead!) They have a huge following and just released their debut album. The duo has their boots firmly planted in dusty 70s sunsets, their pan-USA productions take cosmic country funk and rock to modern dancefloors via NYC latin disco and baggy acid house - on a bed of hefty contemporary rhythms. Their music has turned party people loose in clubs, parties and late-night festival tents at Glastonbury, Bestival, Pikes Ibiza, Austin City Limits and beyond. In addition to residencies at The Social, Spiritland and Nobu, they've been invited to work their hoodoo on remixes of Flamingods, Raf Rundell (The 2 Bears), Black Peaches, Jouis, 77:78, Scott Hirsch, James Matthew VII, Katy J Pearson, Jeffrey Silverstein, Rudy Norman and more - releasing on prestigious independent labels such as Heavenly, Paper Recordings and Ubiquity. The Flying Mojito Bros have seen over a million streams worldwide and a mushrooming US fanbase.

First time available on cassette. Gap Girls led by Jacob Rubeck of Surf Curse. Gap Girls is the synth-pop project of Los Angeles DIY scene mainstay Jacob Rubeck. As half of the electrifying indie rock duo Surf Curse, Rubeck is no stranger to a good hook, but when he trades jangly guitars for synths, an entire new world opens up. On his new album Forever Love, Forever After, that world is one of love, hope, and welcomeness. In contrast to the shadowy wistful sounds of Gap Girls’ previous effort ‘Street Desires,’ ‘Forever Love, Forever After’ sounds like an uplifting triumph of love, in all its mysterious shapes and forms. With punchy drum machines, shimmering synths, and chest-rumbling bass, these songs are pure synth-pop bliss for letting love in.

Before MF DOOM donned his mask and became one of the most prolific MC-producers of modern Hip-Hop, he was a member of KMD, an early ‘90s rap group whose work still goes criminally under-appreciated to this day.

Following their 1991 debut album, Mr. Hood, the former trio shed one member leaving only two remaining – Subroc and his brother, Zev Love X (better known today as MF DOOM). Originally scheduled for release in 1994, their sophomore album Black Bastards showed clear progression from their debut. It was a truly amazing record, both sonically and lyrically, full of youthful creativity and tinged with the stresses of growing up as Black men in urban America. Songs like the lead single “What A N*gga Know”, the slippery, bass-driven “Get U Now”, and the album’s title track explore Black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw – many times both, concurrently – the tracks gave the MC’s the springboard they needed to express themselves clearly.

Sadly, Subroc would face a sudden and untimely death in 1993, just as the duo were finishing the album. Grief-stricken, his brother Zev Love X – now the sole remaining member of the group – was determined to carry the legacy of KMD onward, but Elektra Records unceremoniously shelved the project in the eleventh hour, due to controversy surrounding the album’s provocative cover art. Following the fallout with Elektra, Zev tried for years to release the album on other labels, but he was continually met with dead ends. Struggling through the pain of losing his brother, coupled with the inability to release their final project together, a discouraged Zev Love X quietly withdrew from the scene and began quietly plotting his revenge on an industry that had broken him spiritually. Thus, in order to understand the true origin story of the super-villain, MF DOOM, one must recognize and appreciate the evolution of his former group, KMD, and the backstory of their pivotal album, Black Bastards.

2023 Repress

Noisia's uncompromising approach to dance music has never been more keenly felt. While they're turning out remixes for commercial acts such as Katy Perry and Deadmau5 that sound just as filthy as any usual Noisia production, the Dutch trio are also sticking to their D&B roots with releases on their own Vision imprint.For Vision's latest release label bosses Noisia team up with long-term collaborators, Phace, to whip up 'Program'. As you'd expect from one of their collabs, this one is hard and heavy complete with an intense breakdown reminiscent of Wolfgang Gartner's 'Undertaker'. Winding bass notes finish the job and rib-crushing subs will have the dancefloor churning every time this drops.Flip over and 'Regurgitate' brings you in slowly, stuffing you gently with an epic atmosphere and sultry guitar licks. Looped vocals bring you up to the drop before a trademark Noisia bassline pukes all over your best dancing shoes. If this one doesn't get people 'going sick' we don't know what will!

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- 30TH ANNIVERSARY OF THE LEGENDARY ALBUM
- REMASTERED AUDIO

Fishbone was one of the most distinctive and eclectic alternative rock bands of the late '80s. With their hyperactive, self-conscious diversity, goofy sense of humor, and sharp social commentary, the group gained a sizable cult following during the late '80s.

Truth and Soul is their second album, originally released in 1988. The album features a wide array of genres including punk, ska, reggae, soul, funk, elements of hard rock and blues. Truth and Soul contains a cover version of Curtis Mayfield's Freddie's Dead', originally from the soundtrack of the film Super Fly and it is the first single of the album.

Three other tracks were released as singles Ma and Pa', with a video directed by Mike Lipscombe, Change' and One Day'.

The album was awarded four-out-of-five stars in 2004's The New Rolling Stone Album Guide. Music critic Tom Moon called the album one of his 1000 Recordings to Hear Before You Die' and Robert Dimery listed it as one of his 1001 Albums You Must Hear Before You Die'.

This year we are celebrating the 30th birthday of Truth and Soul. The album is finally available again on vinyl and includes the original insert with lyrics and liner notes.

Nach fünf langen Jahren seit ihrer letzten Veröffentlichung sind die finnischen Metaller Suotana mit ihrem neuen Album ''Ounas I'', das am 17. März 2023 erscheinen soll, aus dem ewigen Eis erwacht!

Diese Full-Length-Veröffentlichung ist eine epische Fortsetzung
der Reise, die der Vorgänger ''Land of the Ending Time'' im Jahr 2018 begann, und katapultiert die Band zu einem neuen Höhepunkt.

''Ounas I'' enthält 41 eisige Minuten Musik, darunter fünf brandneue Suotana-Tracks und eine "suotanisierte" Version von Summonings "Land of the Dead".

Musikalisch führt das Album neue Nuancen ein, bleibt aber fest im vertrauten SuotanaSound verankert, einschließlich melodischem Death Metal, melodischem Black Metal und einer Prise Power Metal.

Die bemerkenswertesten Unterschiede sind die Gäste auf dem Album. Keyboarder Veli-Matti Kananen (Kalmah) und Sängerin Mora steuern
ihre eigenen Talente bei.

Die Kinks sind eine der größten britischen Bands und eine der einflussreichsten Rockgruppen aller Zeiten, ohne die viele der nachfolgenden großen Rockbands nicht existiert hätten.
Ihr mehrfach preisgekrönter, legendärer Frontmann Sir Ray Davies ist einer der größten britischen Songwriter.

Anlässlich des 60-jährigen Jubiläums der Kinks und zusammengestellt von The Kinks, erscheint diese neue, hochkarätige Veröffentlichung, die die Kataloge von Pye und RCA kombiniert.
Es ist das erste neue "Best of" der Kinks seit vielen Jahren, insbesondere auf Vinyl.

"The Journey" ist eine Sammlung von Titeln, die von Ray Davies, Dave Davies und Mick Avory ausgewählt wurden und die die Versuche und Drangsale ihres gemeinsamen Lebens als Band seit 1963 widerspiegeln.
Die Sammlung enthält Hits, wichtige Albumtracks, Singles, Juwelen der Band und B-Seiten. Alle Aufnahmen wurden für die Veröffentlichung von den originalen Bändern neu gemastert.

"The Journey" enthält acht Top 20 Hits (davon fünf Top 3), darunter: "Waterloo Sunset", "You Really Got Me", "Celluloid Heroes", "Supersonic Rocket Ship", "Dead End Street", "Death Of A Clown", "All Day And All Of The Night".

Die Booklets enthalten Bandfotos und persönliche Notizen von Ray Davies, Dave Davies und Mick Avory zu den einzelnen Titeln.
"The Journey - Part 1" ist als Heavyweight 2LP und Digipack 2CD erhältlich.

Riding high on the inexplicable Tech-house adoption of their last release, Talking Drums return with hit number six.
This desert island disc finds the family bagging a last minute flight to sunnier climes, where the cocktails are strong and the seas are calm.

On 'Air Ecosse', the crew provide an engine overhaul to a middling slice of Scotch boogie, squeezing maximum thrust out of the new beat-y intro before a bubbling bassline and chiming chords provide some serious uplift. The captain takes the comms for a late deadpan vocal, hinting at a little Pet Shop Boys karaoke prior to touchdown in paradise.

The percussion pals kick off the Birkies on the B side, boarding the bateau with a pair of proper harbour heaters. 'Too Yacht To Handle' bubbles along like Mick'n'Keef in disco mode, oozing grooves under a swooning vocal a la Nicolette Larson. A hazy arrangement lets the music play, indulging the instrumental breaks, soaring synths and subtle delays in true 12" Extended Mix stylee, perfect for peak-time at poolside or la playa.

Dropping the tempo to a sunset strut, 'AORwaves' provides the perfect cool-down, as TD cut back the fat on a forgotten soft-rocker to create a cosmic yacht bomb. Low slung, sleazy and spaced out, this is gonna rock a bar set and beyond.

Limited Press - Numbered Insert - Drum Fun Guaranteed.

Orange Vinyl

The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.

ELYSION präsentieren ihr lang erwartetes neues Studioalbum "Bring Our Your Dead" und läuten damit eine neue Ära der Band ein! Das Album ist stark vom aktuellen Zeitgeschehen beeinflusst und zeigt die vielfältigen musikalischen Facetten der Band und den Mut, mit einem härteren Sound und alternativen Dynamiken zu experimentieren.

Was das Songwriting betrifft, so besteht dieses Album aus verschiedenen Komponenten, die viele verschiedene Facetten von ELYSIONs musikalischem Können zum Vorschein kommen lassen.
Abgesehen von ihrer unverwechselbaren eigenen Identität, die sich durch alle Songs zieht, war es für die Band sehr spannend, mit härteren Klängen sowie einer anderen Stimmung und Dynamik zu experimentieren, was zu einem deutlich weiterentwickelten Sound im Vergleich zu ihren früheren Veröffentlichungen führte.
"Bring Out Your Dead" ist ELYSIONs bisher ausgereiftestes und durchdachtestes Werk, das von Anfang bis Ende mit viel Liebe und Sorgfalt entstanden ist.
ELYSION können es kaum erwarten, es endlich mit ihren treuen Freunden wie Fans und den Menschen auf der ganzen Welt zu teilen, die den Glauben an sie nicht verloren haben.
Lasst uns die neue und absolut spannende Ära von ELYSION mit der Veröffentlichung des brandneuen Albums "Bring Out Your Dead" einläuten!

ELYSION präsentieren ihr lang erwartetes neues Studioalbum "Bring Our Your Dead" und läuten damit eine neue Ära der Band ein! Das Album ist stark vom aktuellen Zeitgeschehen beeinflusst und zeigt die vielfältigen musikalischen Fa
cetten der Band und den Mut, mit einem härteren Sound und alternativen Dynamiken zu experimentieren.

Was das Songwriting betrifft, so besteht dieses Album aus verschiedenen Komponenten, die viele verschiedene Facetten von ELYSIONs musikalischem Können zum Vorschein kommen lassen.
Abgesehen von ihrer unverwechselbaren eigenen Identität, die sich durch alle Songs zieht, war es für die Band sehr spannend, mit härteren Klängen sowie einer anderen Stimmung und Dynamik zu experimentieren, was zu einem deutlich weiterentwickelten Sound im Vergleich zu ihren früheren Veröffentlichungen führte.
"Bring Out Your Dead" ist ELYSIONs bisher ausgereiftestes und durchdachtestes Werk, das von Anfang bis Ende mit viel Liebe und Sorgfalt entstanden ist.
ELYSION können es kaum erwarten, es endlich mit ihren treuen Freunden wie Fans und den Menschen auf der ganzen Welt zu teilen, die den Glauben an sie nicht verloren haben.
Lasst uns die neue und absolut spannende Ära von ELYSION mit der Veröffentlichung des brandneuen Albums "Bring Out Your Dead" einläuten!

El Choop makes a welcome return to Echocord this March with the ‘Closing Motif’ EP, Deadbeat and Luke Hess step in on remix duties.

Harvey Jones, better known to most as El Choop, is a London based producer and DJ most notably known his Dub leaning House and Techno output for the likes of Greyscale, Ornate Music, Ranges, Etui Records and of course Echocord where he returns here following the 2021 ‘Insane Sends’ EP.

Leading the way on this new project is the original mix of ‘Faith’, a six-minute journey through cascading dub stabs, fluttering low-end pulsations, dynamically evolving percussion and intricate nuance throughout. Deadbeat’s ‘In The Chapel Dub’ mix of ‘Faith’ follows next, stripping things back to a swaying, heavily dubbed out feel via heavy sub bass swells, a bouncy rhythmic drive and echoing elements of the original composition. Title-cut ‘Closing Motif’ is up next on the b-side, employing a murky, plucked bass melody which ebbs and flows around hazy atmospherics, rattling hi-hats and muted drums. Luke Hess then steps in on remix duties for ‘Closing Motif’ to round things out, the Detroit native delivers a typically classy interpretation, taking the core of the original and twisting it into an IDM tinged cut via crunchy broken drums and shimmering synth textures.

The Schnitzelbeat goes on ..... und wir finden uns am Übergang zweier Jahrzehnte wieder. Woodstock hat gerade das offizielle Ende des Summer Of Love besiegelt, die Beatles befinden sich im Stadium des Zerfalls und The Stooges läuten mit unbarmherzigem Lärm ein neues Zeitalter ein. Zurück in Österreich ... die Stadt Wien dämmert weiterhin selig im bornierten Mief der Nachkriegszeit. Gelegentlich weht der Wind den Klang einer Ziehharmonika und eines Jodlers vom Land in Richtung Stephansdom. Die eingeweihten Hörer der Schnitzelbeat-Serie ahnen es allerdings bereits: da war noch etwas Anderes, etwas Wildes, Ungutes, ein dröhnender Faustschlag in die hornbebrillten Gesichter der Spießbürger. Doch wer hätte gedacht, dass die gelungenste Annäherung an den Proto-Punk der Blue Cheer oder MC5 ausgerechnet auf dem Volksmusiklabel Alpenton erscheint? (Albatross, "I am dead"). Da fährt schon ein Aufschrei des Entsetzens aus der Lederhose. Und ein Lächeln puren Glücks in die Gesichter aufgeklärter Fans obskurer Rockmusik. Auch The Seals erweisen sich 1969 als würdige Kämpfer im Krieg der Generationen: "You know nothing about the new generation / because you live in the U-Bahn-Station" stellen die Psychedelic-Punks aus Wien interessanterweise in ihrer Nummer "Stop this War" fest. Und auch sonst ist der Krieg ein geläufiges Thema: der 2. Weltkrieg (The Cop Stigh, "War History"); der Vietnamkrieg (Maybe Hair, "War"); der Krieg der Geschlechter (Young Society, "It's War"). Doch was wäre die Zeit der Hippies und Kommunarden ohne freie Liebe, Blumenarrangements und von allerlei Substanzen unterstützte Ausnahmezustände? "Nicht auf die Blumen in dem Haar, auf euer Herz kommt es an / denn Liebe nur allein alles ändern kann" singt die Casting-Boyband The Wallflowers, aufs trefflichste begleitet von einem Kinderchor, der leider nicht immer ganz textsicher ist. Die Aussage an sich würden aber sicher auch The V-Rangers unterschreiben ("Make Love"). Oder Hannes, Erich, Peter und Arno von der Salzburger Beatband Les Marquis, die einen Westcoast-Liebestraum an den Stränden des Salzkammerguts lebendig werden lassen ("Sand on the Shore"). Zur Halbzeit von Schnitzelbeat Vol. 3 wird ein unvergesslicher Höhepunkt gereicht. 1973 veröffentlicht Rocky F. Holicke die ultimative psychedelische Hymne aus heimischer Produktion: "Ready for Take Off" ist ein unbeschreibliches Monument eines Songs, eine wahrhaft überirdische Erfahrung musikalischer Transzendenz. Wenn es schon über die Wolken geht, dann bitte so, Herr Reinhard Mey. Und natürlich auf Holickes eigenem Label, Aero-Sound. Wo sonst? Während Hide & Seek auf den Spuren von Cream wandeln und ebenfalls von jeder Flugangst befreit durch den Orbit segeln ("I can fly"), blasen aus den Triebwerken von Karl Ratzers Gitarre längst sengend heiße "White Flames". Der legendäre Musiker und Frontmann der Charles Ryders Corporation ist nicht nur einer der besten Jazzgitarristen die Österreich je hatte - er nimmt es auch mit James Marshall Hendrix auf, wenn alle Effektpedale bis zum Bühnenboden durchgedrückt sind. Etwa zur selben Zeit findet sich eine oberösterreichische Ministrantenband - heimlich, nächtens - am Wochenende im Musikzimmer einer Mühlviertler Volksschule ein. Und nimmt dort eine brandgefährliche Granate hochexplosiven, psychedelischen Garagenpunks auf. Mit mehr Fuzz, Wah-Wah, Echo und Farfisa-Orgel als selbst der Leibhaftige persönlich erlaubt hat (The Hush, "Giny"). Und dies ist nicht die einzige weithin unbekannte Super-Rarität, die der Archivar, Subkulturforscher und Rare-Track-DJ Al Bird Sputnik und sein Team von den Trash Rock Archives zusammengetragen haben: die verschollene erste Single von Novaks Kapelle erscheint hier erstmals in einer komplett restaurierten Version, ohne Nadelhüpfen und mit relativ wenigen lästigen Nebengeräuschen ("Garbage Man"). Von den lediglich 10 angefertigten Exemplaren der einzigen Platte der Austrian Brothers ("Brother") konnte die einzige Kopie ohne Pressfehler aufgetrieben werden. Und um endlich der 7" von The Cop Stigh habhaft zu werden, musste sogar jemand sein letztes Hemd verkaufen und die Hose bis zu den Knöcheln runterlassen. Aber "All right", um es mit den Worten der steirischen Acid-Rocker Generation 2000 zu sagen: es hat sich ausgezahlt. Schnitzelbeat Vol. 3 fügt der vergessenen Frühgeschichte der österreichischen Rockmusik wieder zahlreiche faszinierende Kapitel hinzu. Begeben Sie sich mit Al Bird Sputnik und den Labels Konkord und Digatone auf eine weitere Reise in die Tiefen wohlsortierter Plattenkisten und pilgern Sie vor einem Himmel voller Schwedenbomben und Mannerschnitten über Gebirge verzerrter Gitarren in die entlegensten Regionen der österreichischen Popkultur. NOVAK

Emotion Hospice is the debut LP by New York-based sound artist and writer Chaperone on Bedouin Records. Combining layers of doom electronics, dystopian ambient, and manipulated tape loops, Emotion Hospice reflects both the artist's suffering and recovery from addiction, as well as Philadelphia's history of socio-economic decay and misanthropy.

Emotion Hospice was recorded from 2016 to 2019, when Chaperone's David Coccagna lived and worked in his hometown of Philadelphia, a city notoriously known for its poverty, redlined city divisions, and fascist policing tactics. While exploring the sound of the city and the effects of its political and social climate, Coccagna also struggled with and managed to overcome a severe addiction to alcohol, tying further the misaligned nature of the self to the maladjusted world he grew up in that is reflected in the record itself.

Sonic thrills and their destruction is present throughout the record, as Coccagna experiments with the brutal manipulation of bossa nova, varying styles of jazz, hip hop, and rap, using 4-Track tape loops, shortwave radio frequencies, various apps on his iPad, and open source audio editing software. With Emotion Hospice, Chaperone liberates the inherent darkness of the cheerful and poppy music that he samples and transforms it into an extensive, doomy sound of a future that is dystopian, maladroit, suffering, but hopeful about human beings. The album was written and recorded entirely by Coccagna aside from the track featuring New York rapper and producer Andre Altrez, whose establishment of Girard Hall in Philadelphia was a beacon of DIY ethos that became legendary in the city in its own right.

Chaperone's Emotion Hospice is his first release on Bedouin Records. His cassette release Dead Pitbulls Slung On Tired Shoulders was his first outing for Bedouin's now defunct sub-label Bastakiya Tapes in 2017. This initial tape was the catalyst to a working relationship between Coccagna and label operator Salem Rashid as collaborators and colleagues.

The roots of JuJu started in San Francisco after Plunky had met his musical mentor, Zulu musician Ndikho Xaba, helping to form his band Ndikho and The Natives. Three members of The Natives (Plunky, bassist Ken Shabala and vibes / flute player Lon Moshe) then joined Marvin X’s theatrical production The Resurrection Of The Dead, joining local musicians Al-Hammel Rasul (keyboards), Babatunde Lea (percussion) and Jalango Ngoma (timbales).

When the production ended, the six musicians formed Juju. “We had high-energy rehearsals that lasted for hours and, as a band, we became powerful and began gigging around the Bay Area,” remembers Plunky. Although orientated towards Black Nationalism, the

band fed off the Bay Area’s culturally diverse communities as Plunky shaped an inclusive worldview based on collective political, social and artistic activities. During this time, the Soledad Brothers case and Angela Davis were prominent and the band supported Professor Davis and the cause. Juju’s music matched the fire of their activism. “As a band, we blew, pounded and stroked our instruments like there was no tomorrow, like our life’s work was wrapped up in each session. We approached our performances like religious rites and the music mesmerised, informed and awakened people.” The band’s first album, a Message from Mozambique, was intentionally political. While the anti-war movement focused on Vietnam, Juju looked towards wars being waged in South Africa, Angola and Mozambique over issues of white supremacy and control of natural resources. A second album, ‘Chapter Two: Nia’ would follow before the birth of Oneness Of Juju during the mid-‘70s. This definitive reissue is fully remastered by The Carvery from the original tapes and features original artwork and a new interview with Juju bandleader James “Plunky” Branch.

The live album From Wishes To Eternity offers a a glimpse into an early point in the long career of Finland's symphonic metal masters Nightwish when, three albums under their belts and already a household name in their native Finland, the world was just about to be laid before their feet. Recorded at Christmas in 2000 in Tampere, Finland in front of a packed house, Nightwish released this a year after the smash hit record Wishmaster. Unlike some CD pressings in circulation, this version contains the entire 80-minute uncut show. Never before available on vinyl, Lipposen Levy ja Kasetti presents this missing piece in the Nightwish puzzle on CD and gatefold double vinyl, remastered at Finnvox by Mika Jussila, who also mastered the original release in 2001.

The Legendary album ‘From Mars to Sirius’ put GOJIRA on the path to Worldwide stardom. Almost 18 years , 72 seasons later, this classic album is still a massively Heavy Monster !. It is a concept album addressing environmental issues and the rebirth of a dead planet through a space travel storyline, with the underlying theme of a transition from war to peace. From Mars to Sirius was released in 2005 to critical acclaim. It has since been ranked amongst the Rolling Stone's 100 Greatest Metal Albums of All Time. (wikipedia) A first run of 2000 copies of this double pic disc are being made .

To celebrate the 10th Anniversary of Frightened Rabbit’s critically acclaimed Pedestrian Verse album, this special edition double vinyl release contains the original 12 track album with an additional 11 bonus tracks.
Disc 1 is pressed on clear vinyl and disc 2 is pressed on black vinyl.
The records are housed in a gatefold outer sleeve with a gold foiled motif on the front cover and printed inner sleeves containing album lyrics.

Now, number two practiced the Snake style.
He was known as the Snake's spirit.
He had the speed of a Snake.
Snake style is known for its incredible agility.
Agility and speed.

Auf ihrem 15. Studioalbum "We Are Motörhead" ist eine Coverversion des Sex Pistols-Songs "God Save The Queen" zu hören, für die die Band ein Video auf einem offenen Londoner Routemaster-Bus aufnahm.

Das Album ist bezeichnend für die grimmige Einstellung der Band
und ist dicht, blitzschnell und typisch für ihren lang etablierten Sound.

Das Album erscheint erstmals auf transparentem, grünem Vinyl und neu als Digipak.

"Snake Bite Love" ist das 14. Studioalbum von Motörhead und wurde am 10. März 1998 veröffentlicht. Studioalbum von Motörhead.

Das Album zeigt die weniger harte Seite der Band, mit mehreren Tracks, die langsamer sind als man es von Motörhead erwarten würde.
Dennoch hat "Snake Bite Love" immer noch die klassische Mischung aus echtem Heavy Metal und Rock n'Roll, die Motörhead so gut beherrschen.

Das Album erscheint erstmals auf transparentem, rotem Vinyl und neu als Digipak.

Acidcore and acidtreibe dancefloor weapon.

We have opened the vault to bring to you for the first time on a 2CD set Roadrunner United ‘The Concert (Live at the Nokia Theatre, New York, NY, 12/15/2005)’, featuring members of Slipknot, Anthrax, Trivium, Machine Head, Fear Factory, Sepultura & more. Roadrunner United was a project organized by the heavy metal record label Roadrunner Records to celebrate its 25th anniversary. On December 15th, 2005, in New York City, the label produced the Metal Concert to end all Metal Concerts: 39 musicians, representing 25 different Roadrunner bands, performed 25 songs from 19 different bands’ repertoire. This unique and unprecedented aggregation of musicians was no jam session. Each song was studiously rehearsed and arranged, coming together with exuberant perfection, to produce a concert that can only be called “Legend.”

Conceived as a follow-up to the Roadrunner United All-Star recording sessions, the label recruited the core team of musicians (Dino Cazares, Adam Duce, Paul Gray, Joey Jordison, Andreas Kisser and Roy Mayorga) as the backbone of the performance. Sure enough, as they fine-tuned the songs and rehearsed them tirelessly, dozens of other musicians came on board.

This 3LP set represents the gathering of a community of musicians that spans the heavy metal history of the first 25 years of Roadrunner Records: from King Diamond to Slipknot and beyond. Those who were lucky enough to be there experienced a night they will never forget. For the first time as a live concert album, this 3LP set on red, white and black coloured vinyl is a chance to relive that special night again and again.