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"Frozen Aggressors" bringt die Hörer zurück in die goldene Ära des Thrash, wo jeder Song ein einzigartiges Erlebnis war!
"C.H.U.D. Invasion" und "Circus Of Deception" sind eine Reminiszenz an die "Forgotten Skeleton"-Zeiten, während "Song 666" mit seiner 'S.O.D. meets Pennywise'-Blasphemie ein echtes Crossover-Juwel ist.
"Holidays In Sodom" bietet einen Venom-esken Vibe, der an Sasquatchs Vorliebe für die frühen Venom-Platten erinnert.
"Crib Of Thorns" und "Queen Of The Damned" liefern hochqualitative Thrash-Momente, während das augenzwinkernde "Satanic Cult Gangbang" zeigt, dass die Band immer noch Spaß haben kann, ohne auf Kontroversen zu verzichten.
"Hyperspectral Winter Incursions" ist ein sentimentales Stück, da es der letzte Song ist, den AGGRESSION mit dem inzwischen verstorbenen ehemaligen Schlagzeuger Gaetan "Gate" Bourassa im Jahr 1987 geschrieben haben, und er wäre unheimlich stolz auf die finale Version gewesen.
Insgesamt wird dieses AGGRESSION Album die Band auf den ihnen gebührenden Platz unter den anderen kanadischen Thrash-Legenden katapultieren!
"This is a perfect crossover blend, delivered from our black hearts, influenced by ancient recordings of the past that changed our lives. Fast, furious, and straight through your face!" - Aggression

"Frozen Aggressors" bringt die Hörer zurück in die goldene Ära des Thrash, wo jeder Song ein einzigartiges Erlebnis war!
"C.H.U.D. Invasion" und "Circus Of Deception" sind eine Reminiszenz an die "Forgotten Skeleton"-Zeiten, während "Song 666" mit seiner 'S.O.D. meets Pennywise'-Blasphemie ein echtes Crossover-Juwel ist.
"Holidays In Sodom" bietet einen Venom-esken Vibe, der an Sasquatchs Vorliebe für die frühen Venom-Platten erinnert.
"Crib Of Thorns" und "Queen Of The Damned" liefern hochqualitative Thrash-Momente, während das augenzwinkernde "Satanic Cult Gangbang" zeigt, dass die Band immer noch Spaß haben kann, ohne auf Kontroversen zu verzichten.
"Hyperspectral Winter Incursions" ist ein sentimentales Stück, da es der letzte Song ist, den AGGRESSION mit dem inzwischen verstorbenen ehemaligen Schlagzeuger Gaetan "Gate" Bourassa im Jahr 1987 geschrieben haben, und er wäre unheimlich stolz auf die finale Version gewesen.
Insgesamt wird dieses AGGRESSION Album die Band auf den ihnen gebührenden Platz unter den anderen kanadischen Thrash-Legenden katapultieren!
"This is a perfect crossover blend, delivered from our black hearts, influenced by ancient recordings of the past that changed our lives. Fast, furious, and straight through your face!" - Aggression

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

The Solo MC’s kicks off with Harlem’s pioneering Spoonie Gee’s influential “Spoonin’ Rap” from 1979. “Catch The Beat” from T-Ski Valley captures the post-Disco Bronx era of Rap. The side closes with the underground personality Funkmaster Wizard Wiz whose “Knucklehead Rappers” came after he broke from The Undefeated Three. Brooklyn’s Jimmy Spicer delivers a 14+ minute marathon “Adventures of Super Rhyme (Rap).” Grandmaster Caz from Cold Crush is paired with the Fantastic’s Whipper Whip for “To All The Party People” Captain G Whiz from Freddy B’s Mighty Mic Masters closes with his solo 12” track “All The Way Live.” The bonus single features a Kool Keith solo from the Ultramagnetic MCs backed with Grandmaster Caz by himself doing “I’m What Is and You’re What Wants To Be.” Track Listing: A1 Spoonin' Rap-Spoonie Gee; A2 T-Ski Valley-Catch The Beat; A3 Funkmaster Wizard Wiz-Knucklehead Rappers; B1 Adventures of Super Rhymes-Jimmy Spicer; B2 Grandmaster Caz with Whipper Whip-To All The Party People; B3 All the Way Live-Captain G. Whiz; Single A: Ultramagnetic MC's-Kool Keith Wild; B: Grandmaster Caz-I'm What Is Your What Wants To Be

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet – and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz – the 1967 magnum opus mesmerizes with instrumental colours, subdued musings, and subtle details.

This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page

A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You" – a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

40 years after their last album ‘Secret’ was released in 1983, Classix Nouveaux are back with a brand new album entitled ‘Battle Cry’. Containing nine tracks including seven brand new compositions plus ‘Never Never Comes’ and ‘Interlude/Inside Outside’ which have been re-imagined for the 21st century. Featuring a very guitar-rock sound and also contains a couple of instrumentals which is something that the band used to do on their early albums. In the words of lead singer Sal Solo, this is how the album came about: “The reason this project came about after 40 years is really because of the fans. About 10 years ago, some of the Classix fans were making Facebook pages but it didn’t really come to our attention until a couple of years back. We realised these people are really dedicated and decided to give them a kind of birthday present. I said to the guys ‘Why don't we do a recording together and surprise the fans?’ Everybody said yes and so we did a quick remake of one of our old songs “Inside Outside” and to our surprise everyone's immediately talking about new material! We’d never thought about doing new Classix material - we thought it was over years ago. After a few weeks of agonising, we suddenly realised we could be as we are now. In the light of our increased experience and the fact that our fans are mature as well, we decided we would just make the music that we like today. It didn’t take a lot of persuasion to get everyone on board. It's the original line-up from the first two albums - what people consider the ‘classic’ line-up. We've all been in other bands, but somehow, we've all just seemed to gravitate back to Classix Nouveaux. It feels like a natural home. We hadn’t been in touch for many, many years and so this album is really what’s brought us back together.”

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

After 6 long-awaited years, DEVOURMENT return to form, embodying brutality with their ferocious new album, Obscene Majesty. Featuring drummer Brad Fincher and Ruben Rosas back on vocal duties - a lineup previously only heard on the band's 1999 landmark album Molesting the Decapitated, the pioneers of brutal death metal sharpen their blades once again, and unleash some of the most disgustingly heavy slam ever! Clubbing blows from tracks such as "Cognitive Sedation Butchery", "Narcissistic Paraphilia", and "Dysmorphic Autophagia" see the veterans as imposing and menacing as ever. Buzzsaw guitars shred through limbs against head-caving, hammering drums. Deathly, blood-soaked vocals personify pain and torture. Obscene Majesty is the epitome of uncontrollable destruction from beginning to end, as DEVOURMENT crush through break-neck speeds, deafening ears and melting faces along the way. Honing in on the very elements of gore, death, and mutilation that have crowned the band as kings of the scene for over 24 years, DEVOURMENT force you to bare witness to the Obscene Majesty!

Oddisee's breakthrough album: Imbued with love, honesty, and selflessness, The Good Fight is virtuosic in its musicality, direct in its language, and infinitely relatable In a landscape overrun with abstract indulgence and shallow trend-chasers, the Prince George's County, Maryland artist has created a record that reminds you that it's music before it's hip-hop. For Oddisee, "The Good Fight" is about living fully as a musician without succumbing to the traps of hedonism, avarice, and materialism. It's music that yields an intangible feeling: the sacral sound of an organ whine, brass horns, or a cymbal crash. It's a meditation on our capacity to love and the bonds binding us together. It's our ambition and greed warring with our sense of propriety - a list of paradoxes we all face when living and striving. Oddisee's production simmers in its own orchestral gumbo. You sense he's really a jazzman in different form, inhabiting the spirit of Roy Ayers and other past greats. The Fader's compared him to a musical MC Escher, calling hailing his "grandiose and symphonic sound" and "relevant relatable messages." Pitchfork praised his "eclectic soulful boom-bap.

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

ACIDEZ plays killer UK82 style punk from Guadalajara, Mexico that is a heavy take on classic Partisans or GBH In your face street punk that shreds the whole way through!! This is a CD re-issue of the sold out first full- length album originally released in 2011 on Bambam Records in Mexico.

Preston’s unholiest sons Evil Blizzard return with their most furious, compelling and diverse album to date, released on their own Crackedankles label, (which has recently branched out into releasing the likes of Hotwax, Thank, Bad Guys and TV Face.) Following the critical and commercial success of their last album ‘The Worst Show On Earth’ the band took a year off after that tour to recoup. And then got back together in March 2020, just in time for… another enforced year off. They did, however, release ‘The Very Best Of Evil Blizzard’ on vinyl, which was completely blank. And sold out in less than a day. The new album, their fifth, was written during and post lockdown and ‘reflects the claustrophobia, fear and paranoia of those days’ according to guitarist (not bassist!) Filthydirty. ‘The band has changed. One of our 4 bassists Kav left and we were joined by Fleshcrawl (aka Mr. Dibs, Hawkwind’s vocalist and bassist for over 12 years). Kav was inimitable as a musician, so it never crossed our minds to try and ‘replace’ him, so when Fleshcrawl scurried in he brought a whole new range of sounds and toys to the sandpit. Also, we’d run out of sonic space to play with, having just the basses, and everything had got a bit stale - so I switched to lead guitar which brought a whole new range of possibilities. 'The new album is much more representational of the band’s record collections: it retains the ‘Sabbath-meets PiL-meets Killing Joke’ sound found on the band’s earlier albums, but now encompasses dub, goth and electronica in its 8 tracks, with clear nods in the general direction of Sonic Youth, Jane’s Addiction, Leftfield and The Mission. As opposed to all previous albums which were recorded live in one or two takes, this album took over three months with the band meticulously de-structuring songs ‘that sounded too much like pop songs’ resulting in an album that is uncomfortable yet still accessible. Featuring cover art by the legendary Nick Blinko or Rudimentary Peni, the album is released in gatefold sleeve on black vinyl, compact disc and DL.

The new 12” series on Ballyhoo Records is dedicated to what label owner ‘Thee J Johanz’ describes as ‘Triptech Journeys’. The series takes the listener on a journey traversing old school house to mystical acid and everything in-between.

On volume 1, titled ‘There Is Power In Love’, side a gives us ‘Afrobot and Steven Pieters’ who deliver the perfect message of love. The artist ‘Strange’ then provides us with his stunning Indian style Charanjit Singh rag reworks. We then have raving madness from Goa’s finest ‘Deka’ whose track ‘Dance with me’ was a secret weapon played at a number of major festivals over the summer.

Flip it over to side b, we have ‘Thee J Johanz’ providing us with the perfect intro/outro tool for DJs (lets face it, there is simply not enough good ones on vinyl!) We then have ‘Sintaro Fujita,’ Ballyhoo’s best Japanese friend, delivering sharp and mystical vibes with his track ‘Are We Still Friends.’ Last but by no means least, snake charmer ‘Sid Ua’ slows it all down leaving us in a trance like state with his stunning track ‘Feels Familiar.’ Weird and wonderful music from a fabulous bunch of weird and wonderful talented outsiders, this cannot be missed!

DJ Crisps is starting to make some handy garage moves after a couple of various artists' appearances and a fine EP on Time Is Now Germany in July. Now they link up with Oldboy who appeared on Burnski's other label Vivid back in 2022.

As you should expect these are four hardcore and rudely garage cuts with plenty of swagger, naughty samples and bass-face potential. 'On My Way' is the standout with its shuffling one-two drum punch, distant police sirens and warped basslines underneath a timeless and irresistible female vocal full of soul. A summer scorcher for sure alongside three more very useful weapons.

Very limited vinyl pressing of the second edition, 500 copies, full colour single outer sleeve, newly designed full colour printed lyric inner sleeve. Transparent red vinyl with white splatter effect. Download included. CD in a 4-panel digipack with a 12-page lyric booklet. When the self-titled debut album from female Ukrainian punk trio Death Pill, came out on the 24th of February (a year to the day that Putin invaded Ukraine) the reaction was unanimous. ‘Death Pill have made one of the best crossover albums of the modern era’ - Metal Hammer // 'Death Pill are intensely furious. There is nothing on the Ukrainian trio's debut that isn't seething with anger or delivered with boiling vitriol.’ – Kerrang // 'A tirade of metalcore, thrash and hardcore, it’s a face-toasting listen’ - The Guardian // ‘This eponymous album is a real masterstroke and a sign not only that DEATH PILL are here to stay but that they are going to take a few scalps with them’ - Distorted Sound // Those lucky enough to witness Death Pill live on their recent Euro tour, would have also clocked something a bit special. Mariana Navrotska, vocals/guitar, Anastasiia Khomenko, drums and Natalya Syeryakova, bass are without doubt a ‘force majeure’. Thunderous thrash infused hardcore coupled with fantastic musicianship and attitude in spades. A truly thrilling live embodiment of their self-titled debut. So, with the vinyl and cd sold out, a repress of said debut was warranted. But this is not just a repress. This is that cracking debut … with a difference. The band explain …. “In the original first pressing of the Death Pill album, there were 2 Russian-language lyrics songs, which the band recorded before the full-scale invasion of Russia into the territory of Ukraine, and the band didn't have the opportunity to change these lyrics before the release of the album in 2023. From February 2022, the band performs its program only in English: - "We deleted from the story those lines that were written in Russian, and we no longer want to have them in our work. We wanted to change this even before the first release, but it was impossible due to a huge number of factors. During the Euro/UK tour in 2023, the girls had the opportunity to re-record the vocals for these 2 tracks in English. That is why in the second press of the first album we automatically have the release of two tracks.” So, not a repress, but a 2nd edition, with all the fire and vitriol still intact, now the official version of the album from this point on

Renowned for his effective ability to de-wrinkle even the stiffest of faces in a crowd, Pat Kalla is recognised as a natural propagator of potent and highly positive vibrations Alongside his faithful band The Super Mojo, they now reveal their new and unsuspecting powerhouse of an album 'Belle Terre'. * The return of PAT KALLA & LE SUPER MOJO, with an album that mixes AFROGROOVE & CHANSON FRANCAISE, PRODUCED BY GUTS ! * PAT KALLA, the successful voice of VOILAAA, a well-established name on the French groove and tropical scene * A true " SUPERVITAMINE" album, a real remedy to the ambient gloom! * Prestigious French Featuring: Bonbon Vodou (Heavenly Sweetness), Dowdelin (Underdog Records), Kolinga... * Deluxe packaging: Gatefold Double Vinyl (printed sleeves) and digipack CD

Experimental rock quintet from Los Angeles for fans of Unwound, Duster, Slint, and Lowercase. Mixed and engineered by Tim Green at Louder Studios (Unwound, Melvins, Jawbreaker). Live appearances with Flenser labelmates, Have a Nice Life, Chat Pile, Midwife, and tour dates planned throughout 2023. Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain's evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band's artistic and conceptual essences. The most extraordinary of art isn't created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album's fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line. Clocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent's dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody.

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

• Following on from the highly successful first two editions
of Dance Masters featuring the classics mixes from
maestros Shep Pettibone and Arthur Baker the spotlight
turns to another remix legend, John Luongo.
• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons
onto a promo and then passing them back the tape. This
resulted in him being flown to New York, and put in a
studio (of his choice) to mix and produce Melba Moore`s
“You Stepped Into My Life”. From this point everything he
touched was a hit. He went onto remix Disco classics by
Jackie Moore – “This Time Baby”, Dan Hartman “Vertigo
/ Relight My Fire” and Patti Labelle “Music Is My Way Of
Life”.

• John, however was not afraid of remixing artists that
didn’t fit into the disco genre and this attitude is borne out
by the tracklisting of this compilation on which Gladys
Knight and The Pips rub shoulders with ZZ Top and Billy
Idol, and Baltimora appears alongside Bill Nelson and ILevel.
• “…if you played this whole thing, just put it on and
didn’t tell anyone it was me, they’d say ‘boy, what a great
group of songs this is!’” - John Luongo
• The collection is housed in a beautiful lift-off-lid box, with
a 16 page booklet featuring foreword by Arthur Baker, an
in-depth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian) and complete with rare photos
from John’s personal collection plus a limited signed insert.

• All tracks remastered by Nick Robbins at Sound
Mastering.
• A 43-track 4CD edition is also available, along with a 2LP
vinyl edition featuring 16 highlights.

Im Jahr 1997 läutete "Solid" ein neues Kapitel in der Geschichte von U.D.O. ein. In den darauf folgenden Jahren sollte eine Vielzahl weiterer Heavy Metal-Meilensteine folgen. Nach nun über 25 Jahren werden diese Klassiker endlich neu aufgelegt. Am 24.11.2023 erscheinen die ersten vier Alben der Reihe - teilweise zum ersten Mal - auf Vinyl. "Solid" wird dabei als limitierte Silber-Vinyl erhältlich sein.

180 GRAM AUDIOPHILE VINYL

INCLUDES INSERT

THIRD STUDIO ALBUM BY FEETWOOD MAC-FOUNDER PETER GREEN LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON GOLD COLOURED VINYL

Exhausted from a 3 years in the making album called Lagarius released in 2023. Gary Martin had a plan to not work in the studio this summer until he realized his Facebook keyboard playing friend named Brian Mars was a.k.a. Javonntte the writer of an exceptional good song on The Mahogany compilation released that year.

Gary created the beat for The Infinite Time and Brian sent the bass line and the keys. Then, picking the exotic scale called Persian was how the creation of Zurvan started. Gary Made the beat and Brian sent the bass line and the keys and Lot’s of Teknotika studio wizardry followed to complete this concept Ep.

Communique Records U.S.A. re-issues on of the most wanted releases from the entire catalogue by Fuzz Face, originally released in 1996!!!
Re-mastered including new cut - highly recommended!

"Serenity / Rage" focuses on the contradictory human capacity to do both good and evil, where clarity and insight can turn to blind overwhelming rage and how we find ourselves moving back and forth across this vast expanse of human emotions. With hints of classic Death Industrial and a unique cover version of Brighter Death Now's classic track "Necroses Evangelicum", Johan Levin exposes a new facet of his expanding discography. Nothing is Black nor White, we all fade to Grey…

CD Edition of 300 copies in 4 panel Digipak. 6 Tracks. Running Time 36:41 EAN: 0679628554211
Vinyl Edition of 300 copies, 3mm sleeve, Matt Lamination with printed inner sleeve. 6 Tracks. Running Time 36:41

Celebrating her 60th birthday, Nikki Iles, one UK's most unsung jazz virtuoso, is set to release "Face to Face," collaboration with the illustrious NDR Bigband. This highly anticipated album stands as a resounding testament to the unmatched quality, meticulous artistry, and virtuosity of these extraordinary musicians. "Face to Face" marks a transformative turning point, propelling her artistry onto a grand stage where it rightfully belongs. Her piano compositions bear an unparalleled emotional depth, captivating listeners with each exquisite note.

Joined by the NDR Bigband, known for their impeccable performances and musical prowess, this album delves into the heart of contemporary jazz. Together, they craft a sonic tapestry that redefines the genre and transcends conventions. Beyond a mere celebration, "Face to Face" is a revelation of Nikki Iles' genius and a testament to her impact on the music world. It offers an intimate encounter with her raw talent and undeniable charisma. . With each listen, "Face to Face" unravels the layers of Nikki Iles' musical brilliance, perfectly complemented by the grandeur of the NDR Bigband. This album invites us into the magic of true artistry.

Bryan Ferrys neuntes Solo-Studioalbum "Mamouna" wird zum ersten Mal seit 1994 wiederveröffentlicht und erscheint in zwei Deluxe-Formaten. Es war das erste Studioalbum von Bryan Ferry seit sieben Jahren mit Originalaufnahmen, nachdem er sechs Jahre lang unter dem Arbeitstitel "Horoscope" an dem Album gearbeitet hatte.

Die bisher unveröffentlichten alternativen Aufnahmen zu den endgültigen "Mamouna"-Versionen sind zum ersten Mal auf diesen
Deluxe-Wiederveröffentlichungen als "Horoscope"-Album
zusammengestellt.

Das audiophile 2LP-Schwergewicht-Vinyl wurde in den Abbey Road Studios, London, von Master Engineer Miles Showell in halber Geschwindigkeit geschnitten. Die 3CD-Version enthält auch das "Horoscope"-Album sowie eine zusätzliche Disc mit bisher unveröffentlichten Demos oder "Sketches" von den beiden Alben "Mamouna" und "Horoscope". Das Artwork für die aktualisierte Neuauflage wurde von Bryan Ferry selbst gestaltet.

Das Album enthält eine hervorragende Besetzung von Begleitmusikern wie Nile Rodgers, Guy Pratt und Steve Ferrone sowie Beiträge von seinen Roxy Music-Bandkollegen Phil Manzanera, Andy Mackay und Brian Eno. Das Album erreichte Platz 11 der UK Official
Album Chart und enthält die Singles "Don't Want To Know", "Your Painted Smile" und den Titelsong "Mamouna

A national musical treasure" The Guardian // Steven Adams, formerly of The Broken Family Band releases new album DROPS on Fika Recordings in November 2023. Since calling time on TBFB at the height of their success, Adams has released half a dozen albums under various names (Singing Adams, Steven James Adams, Steven Adams & The French Drops), his witty, incisive lyrics and melodic sensibilities taking in DIY indie rock, folky introspection, and off-kilter pop hooks. Originally from South Wales, Adams now lives in East London. “Every record I’ve made has been in a hurry of some sort” says Adams of his new album, “and with this one I took my time”. DROPS is the first album to be credited to him as a solo artist since 2016’s Old Magick, his first new music since 2020, and his noisiest record to date. Armed with a new batch of material, he began by upping sticks to the Welsh countryside to experiment with drummer Daniel Fordham and bassist David Stewart - both formerly of psych oddballs The Drink. The trio then took the songs to Big Jelly, a converted chapel on the south coast, with co-producer Simon Trought (Comet Gain, Johnny Flynn, The Wave Pictures) to lay down the basic tracks for DROPS. Eschewing a full band set up (“I wanted to concentrate on one thing at a time”), recording sessions in East London followed with Laurie Earle (Absentee) on guitar and Michael Wood (Hayman Kupa Band, Michaelmas) on keyboards. Adams then took the recordings home and to the French countryside, to work alone. “I finally got my head around home recording in 2020, while things were a bit quiet. Once I worked out how to record things I realised I didn’t have to think about time. I could let the songs evolve and change once we had the basic tracks down. After a while I started to think of them as paintings; trying something one morning, painting over it in the afternoon and attempting something completely different… it was about enjoying the process, making some bangers, playing around... and giving Simon the producer a mess to sort out when it came to mixing the record". Whenever Tom from Fika Recordings checked in to see how the album was progressing Adams would reply, “it’s taking ages but it’ll sound like it was recorded in an afternoon”. The result is a dynamic and spirited collection of songs, with Adams's love of 90/00s US underground rock (Pavement's Bob Nastanovich is a fan) to the fore. DROPS is a sonically compelling piece of work: from bleak/exultant opener Out to Sea and the motorik Living in the Local Void to the weirdly funereal Fascists (where Adams imagines the “little skip in our steps” that we’ll have upon outliving some baddies), and Day Trip's psychedelia in miniature. There are also moments of tenderness: the avalanche of empathy on closing track Cheap Wine Sad Face, and I Tried to Keep it Light’s “worse things could happen… I don’t know how, but give me time”. Adams says: “I'm preoccupied by the passing of time and the way it affects how we feel. This record is about time and bewilderment and trying to make sense of things". “…astonishing tenderness in its simplicity … brilliant lyrics.” Q Magazine //“…the tunes are instant and uplifting, but the real wallop comes from the lyrical imagery.” The Guardian // “…barbed modern life chronicles.”

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

GER "Wir suchen nach Glitzer, nach dem hellsten Geröll und Blitzen. Wer sich heute Nacht verliert, wird sich nicht finden. Ihr sucht in uns die Perfektion der Generation Maximum.." An was noch glauben. Mit ihrem dritten Album Generation Maximum nehmen CULK den Druck von einer Generation, die den Horror der Gegenwart wie durch Magie doch noch zu etwas Positivem wandeln - und richten ihn bewusst auf diejenigen, die ihre Zukunft zerstört haben. "... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrigbleiben." Generation Maximum ist sicherlich kein Album, bei dem im SUV laut mitgegrölt wird, weil der Refrain so schön in die Sonnenuntergangsstimmung passt. Niemand klatscht vor Freude über den nächsten Waldbrand die Hände zusammen. Stattdessen beobachtet Sängerin Sophie Löw ihre Umwelt durch ein Brennglas und nimmt die Zuhörer:innen mit auf eine lyrische Rückblende der letzten zwanzig Jahre, in denen sie selbst vom Kind zur Zeugin wurde. Das selbstbetitelte CULK Debut (2019) erschien beim Wiener Label Siluh Records, einer der verlässlichsten Quellen für spannende Indie-Musik in all seinen Facetten. Vom Spiegel-Magazin gab es dazu das Attribut "Suchtsound". Mit ihrem zweiten Album "Zerstreuen über Euch" (2020) schuf die Gruppe ein famoses Konzept-Album. Es wurde von vielen Seiten als eine Kampfansage an tiefverwurzelte patriarchale Strukturen gedeutet und schaffte es u.a. in die TOP 5 der Jahresbestenliste des Spiegel-Magazins. Mit "Generation Maximum" übernimmt Jakob Herber die Rolle des Bassisten von Gründungsmitglied Benjamin Steiger. Herber ist von Anfang an ein wichtiger Wegbegleiter im engen Zirkelder Band, Sängerin/Gitarristin Sophie Löw hat im August 2022 als SOPHIA BLENDA ihr Solo-Debüt-Album "Die neue Heiterkeit" veröffentlicht. "Die neue Heiterkeit" ist eines der stärksten deutschsprachigen Pop-Statements der jüngeren Zeit" - Spiegel. Für ihr neues und nun drittes Album "Generation Maximum" hat sich die Band mit dem Produzenten Wolfgang Lehmann, vormals Wolfgang Möstl, zusammengetan, der unter anderem für seine Arbeit mit Voodoo Jürgens, Clara Luzia, Jungstötter, Dives uvm. bekannt ist. Und bringen es musikalisch nach draußen zu den Menschen, die vor lauter Existenzkämpfen fast vergessen hätten, die Revolution zu starten ("Generation Maximum"). Kein Ausbaden. Generation Maximum ist ein progressiv lauter werdendes "Nein" zur auferlegten Bürde, ein Appell an mehr Verletzlichkeit ("Eisenkleid") "Jede Rüstung erzählt von Verletzlichkeit. Stärke zeigt, wer Narben teilt." und weniger Elend im Privaten wie im Öffentlichen. Letztlich aber auch eine Suche nach einer neuen "Ode an die Freude" und Mut um uns. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. LP klassisch schwarzes Vinyl.


With their third album Generation Maximum, CULK take the pressure off a generation that magically transforms the horror of the present into something positive after all - and deliberately direct it at those who have destroyed their future."... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrig bleiben." Generation Maximum is certainly not an album to be bawled along to loudly in the SUV because the chorus fits so nicely into the sunset mood. No one claps their hands together in joy over the next forest fire. Instead, singer Sophie Löw observes her environment through a burning glass and takes the listeners on a lyrical flashback of the last twenty years, during which she herself went from child to witness. The self-titled CULK debut album (2019) was released on the Viennese label Siluh Records, one of the most reliable sources for exciting indie music in all its facets. Spiegel magazine gave it the attribute "addictive sound". With their second album "Zerstreuen über Euch" (2020), the group created a fabulous concept album. It was often viewed as a declaration of war against deeply rooted patriarchal structures and made it to the TOP 5 of the Spiegel magazine's best of the year list and gained the band a following in various scenes and audiences. With "Generation Maximum", Jakob Herber takes over the role of bass player from founding member Benjamin Steiger. Herber has been an important companion from the beginning. Singer/guitarist Sophie Löw released her solo debut album "Die neue Heiterkeit" as SOPHIA BLENDA in August 2022. "Die neue Heiterkeit" is one of the strongest German-language pop statements of recent times" - Spiegel. For their new and now third album "Generation Maximum", the band teamed up with producer Wolfgang Lehmann, formerly Wolfgang Möstl, who is known for his work with Voodoo Jürgens, Clara Luzia, Jungstötter, Dives and many more. And they take it musically outside to the people who almost forgot to start the revolution because of all the struggles for existence ("Generation Maximum"). No payback Generation Maximum is a progressively louder "no" to the burden imposed, an appeal for more vulnerability ("Eisenkleid") "Every armour tells of vulnerability. Strength shows who shares scars" and less misery in private as well as in public. But ultimately also a search for a new "Ode an die Freude" and courage around us. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. RIYL Nu Wave, Independent, Shoegaze

GER "Wir suchen nach Glitzer, nach dem hellsten Geröll und Blitzen. Wer sich heute Nacht verliert, wird sich nicht finden. Ihr sucht in uns die Perfektion der Generation Maximum.." An was noch glauben. Mit ihrem dritten Album Generation Maximum nehmen CULK den Druck von einer Generation, die den Horror der Gegenwart wie durch Magie doch noch zu etwas Positivem wandeln - und richten ihn bewusst auf diejenigen, die ihre Zukunft zerstört haben. "... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrigbleiben." Generation Maximum ist sicherlich kein Album, bei dem im SUV laut mitgegrölt wird, weil der Refrain so schön in die Sonnenuntergangsstimmung passt. Niemand klatscht vor Freude über den nächsten Waldbrand die Hände zusammen. Stattdessen beobachtet Sängerin Sophie Löw ihre Umwelt durch ein Brennglas und nimmt die Zuhörer:innen mit auf eine lyrische Rückblende der letzten zwanzig Jahre, in denen sie selbst vom Kind zur Zeugin wurde. Das selbstbetitelte CULK Debut (2019) erschien beim Wiener Label Siluh Records, einer der verlässlichsten Quellen für spannende Indie-Musik in all seinen Facetten. Vom Spiegel-Magazin gab es dazu das Attribut "Suchtsound". Mit ihrem zweiten Album "Zerstreuen über Euch" (2020) schuf die Gruppe ein famoses Konzept-Album. Es wurde von vielen Seiten als eine Kampfansage an tiefverwurzelte patriarchale Strukturen gedeutet und schaffte es u.a. in die TOP 5 der Jahresbestenliste des Spiegel-Magazins. Mit "Generation Maximum" übernimmt Jakob Herber die Rolle des Bassisten von Gründungsmitglied Benjamin Steiger. Herber ist von Anfang an ein wichtiger Wegbegleiter im engen Zirkelder Band, Sängerin/Gitarristin Sophie Löw hat im August 2022 als SOPHIA BLENDA ihr Solo-Debüt-Album "Die neue Heiterkeit" veröffentlicht. "Die neue Heiterkeit" ist eines der stärksten deutschsprachigen Pop-Statements der jüngeren Zeit" - Spiegel. Für ihr neues und nun drittes Album "Generation Maximum" hat sich die Band mit dem Produzenten Wolfgang Lehmann, vormals Wolfgang Möstl, zusammengetan, der unter anderem für seine Arbeit mit Voodoo Jürgens, Clara Luzia, Jungstötter, Dives uvm. bekannt ist. Und bringen es musikalisch nach draußen zu den Menschen, die vor lauter Existenzkämpfen fast vergessen hätten, die Revolution zu starten ("Generation Maximum"). Kein Ausbaden. Generation Maximum ist ein progressiv lauter werdendes "Nein" zur auferlegten Bürde, ein Appell an mehr Verletzlichkeit ("Eisenkleid") "Jede Rüstung erzählt von Verletzlichkeit. Stärke zeigt, wer Narben teilt." und weniger Elend im Privaten wie im Öffentlichen. Letztlich aber auch eine Suche nach einer neuen "Ode an die Freude" und Mut um uns. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. LP klassisch schwarzes Vinyl.


With their third album Generation Maximum, CULK take the pressure off a generation that magically transforms the horror of the present into something positive after all - and deliberately direct it at those who have destroyed their future."... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrig bleiben." Generation Maximum is certainly not an album to be bawled along to loudly in the SUV because the chorus fits so nicely into the sunset mood. No one claps their hands together in joy over the next forest fire. Instead, singer Sophie Löw observes her environment through a burning glass and takes the listeners on a lyrical flashback of the last twenty years, during which she herself went from child to witness. The self-titled CULK debut album (2019) was released on the Viennese label Siluh Records, one of the most reliable sources for exciting indie music in all its facets. Spiegel magazine gave it the attribute "addictive sound". With their second album "Zerstreuen über Euch" (2020), the group created a fabulous concept album. It was often viewed as a declaration of war against deeply rooted patriarchal structures and made it to the TOP 5 of the Spiegel magazine's best of the year list and gained the band a following in various scenes and audiences. With "Generation Maximum", Jakob Herber takes over the role of bass player from founding member Benjamin Steiger. Herber has been an important companion from the beginning. Singer/guitarist Sophie Löw released her solo debut album "Die neue Heiterkeit" as SOPHIA BLENDA in August 2022. "Die neue Heiterkeit" is one of the strongest German-language pop statements of recent times" - Spiegel. For their new and now third album "Generation Maximum", the band teamed up with producer Wolfgang Lehmann, formerly Wolfgang Möstl, who is known for his work with Voodoo Jürgens, Clara Luzia, Jungstötter, Dives and many more. And they take it musically outside to the people who almost forgot to start the revolution because of all the struggles for existence ("Generation Maximum"). No payback Generation Maximum is a progressively louder "no" to the burden imposed, an appeal for more vulnerability ("Eisenkleid") "Every armour tells of vulnerability. Strength shows who shares scars" and less misery in private as well as in public. But ultimately also a search for a new "Ode an die Freude" and courage around us. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. RIYL Nu Wave, Independent, Shoegaze

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Erlebe die zeitlose Anziehungskraft von The Kinks mit der Best Of "The Journey - Part 2". Eine aufregende Odyssee durch die ikonischen Hits der Band, darunter das elektrisierende "Till The End of The Day", das überschwängliche "David Watts", die sonnengetränkten Vibes von "Sunny Afternoon" und die rebellische Hymne "20th Century Man", sowie viele, viele mehr.

Diese Veröffentlichung enthält drei unveröffentlichte, neu abgemischte Live-Tracks von den legendären "New Victoria Suite"-Aufführungen, die euch in die erste Reihe bringen, um die rohe Energie und musikalische Brillanz der Band zu hören.

Um die Magie von "The Journey Part 2" noch zu verstärken, enthält diese Veröffentlichung wunderschön gestaltete Linernotes von der Band selbst. Sie beleuchten die bemerkenswerte Reise der Band, den kreativen Prozess, denkwürdige Anekdoten und das bleibende Vermächtnis der Kinks und geben einen Einblick in die Welt der Band und die Geschichten, die hinter diesen zeitlosen Klassikern stehen.

Für die ultimativen Kinks-Fans gibt es auch eine 2CD-Version mit einer erweiterten Tracklist. So wird sichergestellt, dass jeder Fan in den Genuss dieser geschätzten Klassiker und seltenen Live-Perlen kommt.

Lass dich von der Nostalgie anstecken und genieße die unvergleichliche Klangwelt der Kinks.

S A R R A M, the ambient and post-rock vessel of Sardinian solo artist Valerio Marras, announces the release of his fifth album "Pathei Mathos" on Subsound Records, and presents the captivating title track featuring revered multi-faceted artist Lili Refrain on vocals. S A R R A M is a dark ceremony inspired by the wild, ancient landscape of Sardinia A crushing but yet graceful composition where drone, electronica, doom, postrock blend to invite the listener to an intense sound journey. Dealing with learning through suffering as a central theme,"Pathei Mathos" -- which features appearances from renowned experimentalists Lili Refrain, Dalila Kayros, Tobias Vethake (Sicker Man) -- is a deep trip in the darkness surrounded by pulsating soundwaves, crushing droning layers, ethereal voices and floating cellos. About the album, S A R R A M says: "As every record, it describes a part of my living, my existence through sound and frequencies. It's something deep and authentic, something that can be felt, something real. The experience of my last two records "Silenzio" and "Albero" brought me to "Pathei Mathos": I needed to go further once again, pushing my borders even more and doing something I've never done before: composing. Nevertheless: sometimes it's just about floating together into huge waves of sound.

180 GRAM AUDIOPHILE VINYL

INCLUDES 8-PAGE BOOKLET WITH PHOTOS AND LYRICS
MULTIPLE PLATINUM CERTIFIED ALBUM FEATURING THE SINGLES “IN THIS LIFE”,

“BELIEVE AGAIN”, “YOU WILL ONLY BREAK MY HEART” AND “I CAN’T BREAK IT TO MY HEART”

PEAKED AT #1 ON THE AUSTRALIAN ALBUMS CHART AND US BILLBOARD TOP HEATSEEKERS CHART
FOR THE FIRST TIME AVAILABLE ON VINYL
LIMITED EDITION OF 2000 INDIVIDUALLY NUMBERED COPIES ON GOLD & BLACK MARBLED VINYL

Limitiertes white/black marble Vinyl. Terror ist eine amerikanische Hardcore-Band aus Los Angeles, Kalifornien, die 2002 gegründet wurde. Angeführt von dem unermüdlichen Enthusiasmus von Frontmann Scott Vogel, haben Sie sich seit ihrer Gründung um die Jahrtausendwende einen starken Ruf erspielt. Ihre Mischung aus schnörkellosem, brutalem Hardcore und New Generation Metal, schlägt eine Brücke zwischen Jung und Alt und sorgt für einen höllischen Pit. Scott Vogel ist eine Schlüsselfigur für das Überleben der Szene, da er sein normales Leben zu Hause aufgegeben hat, um trotz gebrochener Gliedmaßen und Bandscheibenvorfälle immer wieder auf der Bühne zu stehen.

Die Neuauflage des zweiten Albums für Prestige des John Wright Trios!

John Wright und sein Trio mit Wendell Marshall und J.C. Heard verkörpern den gefühlvollen Chicago-Sound der frühen 1960er Jahre. New Land fühlt sich geehrt, diese atemberaubende Platte zum ersten Mal seit ihrer Erstveröffentlichung weltweit präsentieren zu können. Direkt von den Originalbändern von Kevin Gray gemastert und in einer luxuriösen Reverse-Board-Verpackung mit einem Fotodruck mit einem bisher unbekannten Bild von Wright aus den South Side Story-Fotosessions von Esmond Edwards. Dies ist ein Muss für jede Sammlung. Wahrlich einer der am meisten unterschätzten Pianisten der frühen 1960er Jahre, dessen Alben im Laufe der Jahre bei Prestige an Bedeutung gewonnen haben. Diese Aufnahmen, die eine Mischung aus gefühlvollem Hard Bop mit einer swingenden Chicago-Kante vereinen, sind ein echter Schatz. Sein letztes Prestige-Album wurde 1965 veröffentlicht (die Aufnahmen stammen aus dem Jahr 61), bevor Wright in der Versenkung verschwand, in der Chicagoer Clubszene auftrat und von Mitte der 1980er Jahre bis 1999 als Bibliothekar im Cook County Jail in Chicago arbeitete. "Nice 'N' Tasty" war seine zweite Veröffentlichung für Prestige und eine großartige Sammlung von Songs. Das Set, das vier Originale enthält, wurde von dem großartigen Rudy Van Gelder produziert und von Esmond Edwards betreut.

"Sweet Justice" ist das zweite Album von Tkay Maidza, der ersten Rapperin, die bei 4AD unter Vertrag ist. Der Nachfolger des selbstbetitelten Debüts aus dem Jahr 2016 enthält Produktionen von Flume und Kaytranada und zeigt alle Facetten der in Los Angeles lebenden, in Simbabwe geborenen und in Australien aufgewachsenen Tkay. "Sweet Justice" ist kein Rachealbum, wie der Titel vermuten lässt, sondern das Ergebnis dunkler Nächte und der Erleuchtung am Tag danach. Das Album klingt nach innerer Befreiung und Spaß am Leben. Sie wechselt zwischen den Stilen und überwindet so mühelos Genregrenzen - Musik ohne Zwänge, Regeln und Vorgaben. Dazu trennte sie sich von ein paar alten Freunden, fand einige neue, die auf der gleichen kreativen Wellenlänge lagen: die kanadischen Produzenten Stint und Kaytranada sowie ihr australischer Kollege Flume, die alle zur Produktion beitragen haben. "Sweet Justice" ist ein Album, das die wunderbaren Widersprüche von Tkays Kunst verkörpert: Es ist eine Coming-of-Age-Platte von jemandem, der langsam versteht, wie das Spiel des Lebens läuft. Ein Album über Gerechtigkeit und Verantwortlichkeit, das hell, luftig und unglaublich lustig ist und diejenigen, die unehrlich und respektlos sind, mit bittersüßer Musik niederstreckt. Wie Tkay in "Love Again" singt, einem Song, der wie eine Meditationssitzung klingt: "Vorbei sind die Tage, an denen ich fiel und sah, dass es kein Entkommen gibt." Ein gutes Leben ist die beste Rache. Auf "Sweet Justice" lebt Tkay Maidza dieses Motto.

New one-off press limited edition silver coloured double vinyl edition of Soul Jazz Records long unavailable 'Jamaica Soul Shake' collection of tracks from The Sound Dimension, probably the funkiest reggae groups to ever to exist on the planet! Features classic tracks recorded at Studio One.

This is the first ever collection of the music of The Sound Dimension - a mixture of classic tracks alongside super-rare singles only ever released in Jamaica. Alongside The Skatalites, The Sound Dimension were perhaps the most important group in the history of reggae music. That they remain relatively unknown is explained by the fact that they mostly functioned as the in-house studio group at Studio One Records performing anonymously behind the stars of the day - the reggae equivalent of Motown’s Funk Brothers.

Dub-Stuy’s riddim series is a nod to tradition with a modern twist, with the label teaming up a producer with different vocalists to voice a single riddim.

The latest entry in the series comes from French producer Von D who crafted the Saga riddim exclusively for this occasion, a weighty steppers piece featuring guitar, keys, and horns. The riddim is paired with vocal turns from reggae singers Chukki Starr, Chezidek, and Jah Mason who each bring their own unique stylings to the riddim, riffing on uplifting messages of unity in the face of oppression.

As always the release includes the instrumental version, this time with a dub twist from Von D. Mastered by Bristol legend Joker.

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

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

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

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

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

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

LP SHIPPING ONLY / CD DELAYED “This is definitely the most honest and mature record Deathchant has ever made.” That’s Deathchant vocalist and guitarist T.J. Lemieux talking about the band’s third and latest album, Thrones. Think of it as not just the follow-up to 2021’s Waste, but the other side of the coin. “While Waste and our self-titled album touched on similar themes, they were sort of from a problem standpoint,” he explains. “Thrones is full of reflection, self-realization, and solutions for moving forward and conquering those problems.” Which isn’t to say that Deathchant have gone soft. Far from it, dude. In fact, Thrones just might be their heaviest record thus far. The band’s seamless swirl of classic rock guitar harmonies, syrupy sludge, blues boogie and psych bombast has reached a thrilling new apex as Lemieux spins high-powered tales of reckoning from beyond the wall of sanity. Thematically, Lemieux and his bandmates—bassist George Camacho, guitarist Doug Stuckey and drummer Joe Herzog—peel back the veneer of self-delusion to expose the fork in the road. “Thrones is meant to represent things that rule you, things you worship, things you rely on or think you need,” Lemieux says. “Sometimes those things make you feel in control, safe, on top of the world like you're in power—which over time often proves untrue.” Witness lead single “Mirror”: Kicking off with gleaming Lizzy-isms, the song rumbles into a thick groove overlaid with lysergic fireworks that conjure the shaggy European movers of decades past. “‘Mirror’ is the key to the whole Thrones theme,” Lemieux explains. “It’s about looking inward to realize what's ruling you, what's consuming you, and how delusional you've been about those things. Your sense of self is so damn important, and fully facing your truths is not an easy thing to do. It’s admitting that you’ve intentionally dulled and quieted your mind to distract, avoid and run from yourself, from memory, from loss and truth. At some point, you have to face that shit.” The languid and dreamy “Mother Mary” is also crucial to Thrones’ trajectory. “If the album was a book, ‘Mirror’ would be the first chapter and ‘Mother Mary’ would be the last chapter, though they’re not the first and last track for sonic reasons,” Lemieux explains. “‘Mirror’ is saying, ‘I’m looking inward because some things need to change,’ while ‘Mother Mary’ is saying, ‘Okay, things are fucked and have gone way too far but now we have this understanding—and acknowledging things is key to overcoming.’” Thrones was recorded live in a cabin in the remote mountain community of Frazier Park, CA, with trusty engineer Steve Schroeder (a.k.a. Schroeds). “We moved in for a week, rehearsed a bit and went for it,” Lemieux says. “Each tune got three or so takes, but we nailed ‘Mother Mary’ and ‘Canyon’ right away.” Overdubs were done at the cabin, Schroeder’s Studio 3, and Lemieux’s place. The album was produced by Lemieux and Schroeder. “Overall, it’s a pretty dark record,” Lemieux says. “It's serious and leans into heavy themes, sometimes using metaphor and imagery to soften those blows, but sometimes it hits direct. It’s positive, though—and cathartic. Forever riding on the line of total insanity and flirting with mental degradation. It’s our most realized and ambitious record to date.”

In his “Pulse Music” compositions of the mid-1970s, composer John McGuire forged a unique interpretation of European serialism. A student of Karlheinz Stockhausen, Krzysztof Penderecki and Gottfried Michael Koenig, McGuire moved to Cologne, Germany in 1970, where he become associated with the world-leading Studio for Electronic Music at Westdeutscher Rundfunk (WDR) in Cologne. Like Stockhausen, McGuire found his musical imagination both constrained and inspired by the technology that was available to him.

A conversation with sculptor Hans Karl Burgeff led McGuire to think beyond the horizon and into limitless space. For “Vanishing Points” (1985–1988), McGuire used an entirely digital set-up for the first time: a digital sequencer, eight Yamaha DX-7 synthesizers and a Studer 24-track digital tape recorder. The piece was conceived as a “sequel” to the Pulse Music series, but also a step forward from it. Whereas the Pulse Music pieces had employed steady streams of pulses, with Vanishing Points McGuire employed pulse layers that accelerate or decelerate against one another, vastly increasing the resulting rhythmic complexity.

McGuire's exploration of music technology continued in “A Cappella” (1990–1997), written for his wife, the soprano Beth Griffith, known for her recording of Morton Feldman’s “Three Voices” made in 1983. Using samples, he created a four-voice choir of voice samples and arranged them into interacting parts. The composition faced challenges due to the organic nature of the human voice compared to the precision of synthesized sounds. This process involved extensive editing and a negotiation between the "material" and the "original conception". This sort of negotiation applies as much to the composition of a single piece as it does to the work of two decades.

"Fast Rate" blends echoes of nostalgia with futuristic innovation, crafting a sonic landscape. In the relentless rush of life's high-speed journey, it invites introspection, courageously urging listeners to delve into the intricate web of contemporary life.
This EP is inspired by deep reflections on the meaning of life in a fast-paced world filled with thoughts and emotions. It symbolizes a futuristic journey, mirroring the human struggle to gain an external perspective in our busy lives. Random Alias prompts users to contemplate their existence, offering a musical experience that transcends mere dance rhythms.
The 5 tracker showcases a wide array of sounds, from aggressive tones to captivating and atmospheric elements unveiling a new face of the label that keeps exploring the interconnection between human and technology.
The A side roars with high bpm and furious rhythms."Keep me high" express the need of escaping ordinary life, seeking something that keeps us "high" and allows to escape and reset.
Following up "Fast Rate" spans a variety of influences, blending the allure of old-school Detroit electro with futuristic sounds achieved through bold experimentation and advanced wave modeling. This fusion results in a diverse and innovative sonic aesthetic, ranging from nostalgic '80s/'90s vibes to experimental dimensions where tones morph and evolve.
"Solo in Space" and "Restless" on the filp side deliver direct, pulsating sounds and rhythms, embracing an impactful electro-techno vision. These tracks merge both worlds, combining the energy and drive of electro with the power and tension typical of techno, resulting in a sonic journey that blurs genre boundaries.
Completing the collection is a digital bonus track, "Galactic Power," which serves as a soulful embodiment of the EP's essence. With its otherworldly alien-style pitched vocals,The track intricately crafts a cosmic palette of bright pulses and ethereal FM synthesis.
This release represents a bold and progressive vision of electro, confirming and solidifying the eclectic direction and the concept of inter genre flexibility. Music can be an ever-evolving form of art, blending elements that transport listeners to distant cosmic realms.
Time shapes people, people shape technology, technology shapes music, music shapes time.

In apartheid-era South Africa, gospel music provided solace and served as a tool for covert communication to circumvent the censorship of the settler regime. By the 2010s, South African gospel, deeply ingrained in the soul of Soweto, assumed a new role—as a heartfelt cry against persistent failures and shortcomings, a cry mourning a South Africa that never materialized.

A new South Africa needed a new gospel sound.

In 2016, nine young men from different parts of Diepkloof, a celebrated neighbourhood brimming with talent within Soweto's sprawling township, came together to form the sound of a new South Africa under the name Diepkloof United Voice.

Diepkloof United Voice's music has gone viral multiple times on TikTok, YouTube, and Facebook, garnering between 60,000 to 2 million views. The comments section displays flag emojis from Brazil to India, showcasing the global reach of their music.

This album was recorded on site in Soweto, in an abandoned classroom of Lebowa Elementary School in Diepkloof Zone 3, where the choir rehearsed for years. Amid rolling blackouts, Diepkloof United Voice poured their heart, soul, and vocal chords into their debut record, combining classic South Africa gospel, Soweto's own kasi soul, American blues, and Zulu flavor, to present the contemporary gospel sound of a changing South Africa.

The promise of a new South Africa might finally be realized, as Diepkloof United Voice guarantees the country's future is guided by the truth, uttered with each gasp of breath from their inimitable voices.

In apartheid-era South Africa, gospel music provided solace and served as a tool for covert communication to circumvent the censorship of the settler regime. By the 2010s, South African gospel, deeply ingrained in the soul of Soweto, assumed a new role—as a heartfelt cry against persistent failures and shortcomings, a cry mourning a South Africa that never materialized.

A new South Africa needed a new gospel sound.

In 2016, nine young men from different parts of Diepkloof, a celebrated neighbourhood brimming with talent within Soweto's sprawling township, came together to form the sound of a new South Africa under the name Diepkloof United Voice.

Diepkloof United Voice's music has gone viral multiple times on TikTok, YouTube, and Facebook, garnering between 60,000 to 2 million views. The comments section displays flag emojis from Brazil to India, showcasing the global reach of their music.

This album was recorded on site in Soweto, in an abandoned classroom of Lebowa Elementary School in Diepkloof Zone 3, where the choir rehearsed for years. Amid rolling blackouts, Diepkloof United Voice poured their heart, soul, and vocal chords into their debut record, combining classic South Africa gospel, Soweto's own kasi soul, American blues, and Zulu flavor, to present the contemporary gospel sound of a changing South Africa.

The promise of a new South Africa might finally be realized, as Diepkloof United Voice guarantees the country's future is guided by the truth, uttered with each gasp of breath from their inimitable voices.

The band is John Dwyer (synths, vocals), Heather Lockie (viola), Thomas Dolas (synths), Andres Renteria (hand percussion), Brad Caulkins (tenor saxophone), Kyp Malone (synths) and Archie Carey (bassoon). The singers are YoshimiO (Boredoms, OOIOO), Albert Wolski (EXEK), Gracie Jackson (GracieHorse), Ciriza (Artist Extraordinaire), Kyp Malone (Bent Arcana, TV On The Radio, Rain Machine etc.), Brigid Dawson (Thee Oh Sees, The Mothers Network), AZITA (Scissor Girls, Bride of NONO, AZITA). For fans of Steve Roach, Eno, Syrinx, Howard Shore, Current 93, Terry Riley, Tangerine Dream and a proper sage scrub. “An experiment in symphonic improvisation paired with synthesizerscapes. Strings, reeds, synths and hand percussion all blend sweetly into an odd landscape indeed. The final touch was to bring aboard some singers I have loved over the years. I’m so pleased they were all willing to participate and I’m very tickled by the plane we navigate. Once YoshimiO agreed to be on board I knew we were going to be OK. Recorded and mixed at my home studio (Stu-Stu-Studio in Los Angeles) and remotely, this one was a slow burn to see the light of day. And here it is in its final crystal form. Celebrating the spaces between ritual, habit and ceremony. And all the parallels between. The line is blurred. This is occult adjacent strain of sound. At home in daily ritual, contemplation and meditation.” - John Dwyer

Warehouse find :).

Our man Neil aka Lord of the Isles drops another face-melter for his recently birthed label Dfsant. Don't ask us what that means by the way, we have no idea. Here on the second 12". the laird treats to a further three tracks of sublime techno / house hybrids: the opener "Synth Plus" is a kosmiche throbber with a lick of motor city melodrama, whilst "To Here" comes on like a decidedly less shit-scary Black Merlin, and to close things out we have a slo-mo acid disco cut in the form of "Heyta Hota". Real nice stuff folks.

"Lost" album from Todd Snider, featuring previously unreleased songs, recordings, and versions. Sometimes an artist makes a record, then decides not to release it. Neil Young and Prince are two artists who famously did that multiple times. Todd Snider is another artist who has done it, putting three albums on the shelf in a career now spanning three decades. While Snider may not be as well known as Young or Prince, he is just as committed to his art, and his decisions to shelve those three records were artistic ones. But now Snider has decided to take one of those albums off the shelf. Sixteen years after it was recorded, Crank It, We’re Doomed will finally get its release via Aimless Records.

The Complete Full House Recordings wurde anlässlich des hundertjährigen Jubiläums des einflussreichen Jazzgitarristen Wes Montgomery veröffentlicht und vereint alle Aufnahmen der Full House Sessions mit zwei bisher unveröffentlichten Auftritten. Mit Johnny Griffn, Wynton Kelly, Paul Chambers und Jimmy Cobb enthält diese Sammlung neue Linernotes des Journalisten Bill Milkowski und ist auf 180-GrammVinyl gepresst, das von Joe Tarantino von den analogen Originalbändern gemastert und von Kevin Gray bei Cohearent Audio lackiert wurde.

2LP x black LP mit den mit 5 Bonus tracks, different Cover

RUSH! (ARE U COMING) ist die erweiterte Ausgabe des Albums RUSH! von Måneskin, das ursprünglich im Januar 2023 veröffentlicht wurde. Die neue Album-Version enthält 5 neue Songs, darunter die aktuelle Single der Band "Honey (Are U Coming?)", sowie "Valentine", "Off My Face", "The Driver" und "Trastevere". Mit einem brandneuen Cover, das das provokante Original umkehrt, wird das Album in verschiedenen Formaten erhältlich sein.

Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.

With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:

“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.

The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.

The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell

Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.

Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.

'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.

There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.

Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.

'Bruno & The Birds' is an album by Jullian Gomes that dives into the depths of the internal battles we face and the courage required to break free from our comfort zones. With forward thinking production and introspective messages in the music, the album takes listeners on a transformative journey of self-discovery. Throughout the album, Jullian Gomes skilfully weaves a narrative centred around the character, Bruno, who serves as a metaphor for the struggles and conflicts we encounter within ourselves. The songs delve into the inner demons that individuals face, representing the personal challenges and doubts that affect us all. The album is thought-provoking and emotive, resonating with the universal themes of self-doubt, fear, and the quest for personal growth.

With its dynamic soundscapes and diverse musical influences, 'Bruno & The Bird' invites listeners to embark on their own introspective voyage. Jullian Gomes combines elements of electronic soul and jazz, and pushes the ideas of traditional house music, creating a rich and immersive sonic experience.

The album features the likes of Jordan Arts, Sio, Kuniyuki Takahashi, Sabrina Chyld, Dwson, NLite, Robin Fassie & KJM Cornetist which all add their unique touch to this soul-stirring album.

Broc Recordz is proud to announce the album "Puzzled" by the legendary JJ Whitefield, you'll immerse yourself in the enigmatic universe of this master of funk and psychedelism.

Across 13 tracks, you will discover all facets of this musician hailing from Munich, ranging from raw funk to krautrock. JJ Whitefield is an iconic figure in the music scene, having played an essential role in diverse projects such as the mastermind behind Poets Of Rhythm, Karl Hector, The Whitefield Brothers and his essential role in the recent careers of Ebo Taylor, embryo and witch“. "Puzzled" is the perfect opportunity to delve into his unique musical world.

• Following on from the highly successful first two editions of
Dance Masters featuring the classics mixes from maestros
Shep Pettibone and Arthur Baker, the spotlight turns to
another remix legend, John Luongo.

• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons onto a
promo and then passing them back the tape. This resulted in
him being flown to New York, and put in a studio (of his
choice) to mix and produce Melba Moore`s “You Stepped
Into My Life”. From this point everything he touched was a
hit. He went onto remix Disco classics by Jackie Moore –
“This Time Baby”, Dan Hartman “Vertigo / Relight My Fire”
and Patti Labelle “Music Is My Way Of Life”.

• However, John was not afraid of remixing artists that didn’t
fit into the disco genre and this attitude is borne out by the
tracklisting of this compilation, on which Gladys Knight and
The Pips rub shoulders with Fine Young Cannibals and
Billy Idol, and Baltimora appears alongside Banararama
and Serge Ponsar.

• “…if you played this whole thing, just put it on and didn’t
tell anyone it was me, they’d say ‘boy, what a great group of
songs this is!’” - John Luongo

• This cut down 16 track essential edition in pressed on 140g
black vinyl and features foreword by Arthur Baker and an indepth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian).

• All tracks remastered by Nick Robbins at Sound
Mastering

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

"Spirit Power - The Best Of Johnny Marr" ist eine großartige Sammlung an Songs, die seine musikalische Bandbreite der ersten zehn Jahre von Johnny Marrs produktiver Solokarriere beleuchtet. Spirit Power enthält auch zwei brandneue Songs, die Johnny Marr zusammen mit seinem Co-Produzenten James Doviak produziert hat.

An Meilensteinen mangelt es Johnny Marr (The Smiths, Electronic, The The, Modest Mouse) in seinem bewegten Musikleben nicht - der Inspiration Award bei den Ivor Novellos, eine Oscar-Nominierung für seine Arbeit mit Hans Zimmer bei Inception, ein NME Godlike Genius Award zeugen von seinem Erfolg. Aber es ist das vergangene Jahrzehnt aufregender kreativer Begegnungen, die auf einen entscheidenden Moment für Johnny Marr im Jahr 2023 hinweisen - zehn Jahre inspiriertes Songwriting als Frontmann einer Band zu feiern.

Spirit Power wurde von Johnny Marr persönlich kuratiert und umfasst Songs aus vier britischen Top-Ten-Soloalben (The Messenger von 2013, Playland von 2014, Call The Comet von 2018, das Doppelalbum Fever Dreams Pts 1-4 von 2022), Non-Album-Single-Veröffentlichungen w, zwei brandneue Songs sowie eine Coverversion von Depeche Modes 'I Feel You', die zum Record Store Day 2015 veröffentlicht wurde. Die Deluxe-CD-Edition von Spirit Power wird fünf bisher ungehörte Demos und Raritäten enthalten: "Hi Hello" (Demo), "Somewhere" (Demo), "The Answer" (Crazy Face Version), "The Messenger" (Demo) und "Speak Out Reach Out" (Crazy Face Version).

"Spirit Power - The Best Of Johnny Marr" ist eine großartige Sammlung an Songs, die seine musikalische Bandbreite der ersten zehn Jahre von Johnny Marrs produktiver Solokarriere beleuchtet. Spirit Power enthält auch zwei brandneue Songs, die Johnny Marr zusammen mit seinem Co-Produzenten James Doviak produziert hat.

An Meilensteinen mangelt es Johnny Marr (The Smiths, Electronic, The The, Modest Mouse) in seinem bewegten Musikleben nicht - der Inspiration Award bei den Ivor Novellos, eine Oscar-Nominierung für seine Arbeit mit Hans Zimmer bei Inception, ein NME Godlike Genius Award zeugen von seinem Erfolg. Aber es ist das vergangene Jahrzehnt aufregender kreativer Begegnungen, die auf einen entscheidenden Moment für Johnny Marr im Jahr 2023 hinweisen - zehn Jahre inspiriertes Songwriting als Frontmann einer Band zu feiern.

Spirit Power wurde von Johnny Marr persönlich kuratiert und umfasst Songs aus vier britischen Top-Ten-Soloalben (The Messenger von 2013, Playland von 2014, Call The Comet von 2018, das Doppelalbum Fever Dreams Pts 1-4 von 2022), Non-Album-Single-Veröffentlichungen w, zwei brandneue Songs sowie eine Coverversion von Depeche Modes 'I Feel You', die zum Record Store Day 2015 veröffentlicht wurde. Die Deluxe-CD-Edition von Spirit Power wird fünf bisher ungehörte Demos und Raritäten enthalten: "Hi Hello" (Demo), "Somewhere" (Demo), "The Answer" (Crazy Face Version), "The Messenger" (Demo) und "Speak Out Reach Out" (Crazy Face Version).

Heading to a new millennium, people in the 80s and 90s were looking for brighter days to come and Techno was the music of this utopic future, themed by rushed beats made by electronic instruments that resembled a new era of technology, endless excess and possibilities.

40 years later the world is more complicated and dystopian than ever as we face crises everywhere. Mental issues are a natural consequence of the troubled environments we live in and more people around the world suffer from them. At the same time, we haven't lost the appeal for euphoric and fast dancing, either to leave our problems behind or face them head-on on the sweaty dance floor.

This EP is dedicated to some of the feelings associated with the tribulations of mental issues. What seems like a dark take still points out that we are not alone, as music unites us being the source for help and change. Mental States 777_31 offers four sick cuts perfect for insane clubs - fast and furious like an attack, rushed and energetic embracing positivity in the darkness.

Shrouded in darkness for over a decade, ever since the disturbing events that lead to the band's inception, B R I Q U E V I L L E have been bewitchingaudiences with a hypnotizing dirge that evokes the heaviest elements of doom metal and post-rock before mixing them with eerie field recordings, found sounds and haunting traditional instrumentation. On November 3rd, 2023, as winter takes back the night, B R I Q U E V I L L E will unveil `IV' - their latest exploration into the darkest depths of the soul. The Belgian collective's pulsating, repetitive rhythms and penetrating, guttural guitar work return alongside a more prominent vocal presence with ethereal melodies and brooding lyricism further exploring the deeper, richer sonic palette first heard on 2020's `Quelle.' Drawing from members of different local scenes, B R I Q U E V I L L E first assembled with the ambition of improvising around a single, droned note. Having latched onto something raw and powerful, the band suddenly found themselves confronted by a stranger telling tales of a hatred years in the making. Floored by such a fateful meeting, B R I Q U E V I L L E have anonymised themselves behind sweeping black robes and occult golden masks ever since; unifying the collective as one sound, a singular faceless force hellbent on converting audiences around the world. With `IV' however, B R I Q U E V I L L E are beginning to lift the veil. Alongside the aural despair that the band have been handcrafting ever since their eponymous debut full-length in 2014, `IV' is imbued with an intriguing duplicity. Within the mournful melancholy and grinding, icy orchestration is the faintest glimmer of hope as the collective explores the idea of creativity free from the confinement of morals, expectations and time. `IV' sees subtle, tonal shifts and brief periods of warmth and richness now intersperse the band's fearsome outbursts of unrivalled heaviness in a new, intoxicating transformation of their formidable sound. DO be careful though, B R I Q U E V I L L E may be stepping out of the shadows, but they can easily drag us back. FFO Sleep, Bong, ISIS, Pelican, Mogwai, Sunn O))), Godspeed You! Black Emperor, Amenra Ltd Single Coloured XX Edition Vinyl, sleeve w/ gold foil embossing!

If there’s anything that defines SUDS, it’s friendship. Meeting through their love of the DIY scene currently emerging in Norwich, the band quickly found themselves gravitating towards writing songs together, and by Autumn 2021, Jack Ames (drums/vocals) joined Maisie Cater (vocals/guitar) and Dan Godfrey (guitar/vocals) to form a line-up that felt inherently natural. Stepping in on bass duties came Harry Mitchell, and things seemed to click instantaneously. Driven to keep the spark going they all upped sticks from their far flung edges of the county, pooled together to get a touring van and set to work. Just like their 2022 debut EP, In The Undergrowth, SUDS ventured down to Kent to record with producer Ian Sadler (Roam, Anavae), ready to explore the next chapter of their story. Step forth debut album The Great Overgrowth, a record brimming with addictive melodies and gorgeous moments of optimism. Their evocative and sometimes literary approach to lyrics takes inspiration from midwest emo and the 1960s Greenwich Village folk scene - Cater and Ames would regularly distract themselves while writing, gazing between the pages of books by Woody Guthrie, Allen Ginsberg, Bob Dylan and Brontez Purnell - which appears across their songwriting and would quickly become the foundation for their sound. Finding a delicate balance of sensitive lyricism dripping in warmth and killer guitar hooks, The Great Overgrowth follows on from the EP, telling the next part of the tale, as a tight knit group of twenty-something year old friends struggling and floating through life, to becoming more confident in their everyday lives and friendships while embracing change. The band are already off to a flying start, conquering sets at 2000 Trees Festival, The Great Escape and Truck Festival, as well as sold out shows with Spanish Love Songs, Pool Kids and Martha. Their talent for achingly intelligent, relatable lyricism and a heft for devil-may-care creative output already puts them heads above the rest. SUDS might be fresh faced but have the maturity and drive to become one of the most exciting emerging artists of 2023.

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Women In Revolt! is an exhibition of work by over 100 women artists working in the UK during the 1970s and 80s. It explores how women used radical ideas and rebellious methods to change the face of British culture. With music, painting, sculpture, photography, film, and performance, they forged a path for women’s liberation in the UK. To underline this trailblazing exhibition, a compilation has been dutifully curated to further reveal the music, sound art, and prominent musicians creating during this artistic and societal paradigm shift. The music that defines and defied this era, not only soundtracked but spurred on increasingly impassioned creative output and representation for women. Bands included on the compilation like X-Ray Spex and The Slits remain front of mind for band’s espousing this robust stance both sonically and politically, with equally impactful artists included like Ludus, whose lead singer Linder Sterling also impacted the genre.

The second self-titled album from Will Miller"s Resavoir interweaves modern-day soul-jazz with bedroom beats, synth serenades and twilight sonatas - an endlessly listenable, subtly radiant symphony suitable for both the composition-minded musician"s musician and the hook-seeking playlist populist. This album follows Resavoir"s 2019 self-titled debut album, a breakout success that landed in "Best of 2019" lists by NPR Music and BBC"s Gilles Peterson. Through his movement further into an expanded palette of synths, pianos, live and programmed drums in addition to his MIDI-augmented trumpet, Miller has developed a signature cinematic soul-jazz sound rooted in hip-hop structures. No surprise, then, that his profile as a producer has raised significantly since the Resavoir debut, and that the years since have seen him operating the controls and guiding the ship on tracks for Eryn Allen Kane, Whitney, Knox Fortune, and SZA"s recently-released album SOS (which spent 10 weeks as the #1 spot on the Billboard 200 chart).

A Dream Team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco’s Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster!



Antes de presentarte esta novedad, hay que entender que en la segunda mitad de los años setenta, algo estaba cambiando en la escena musical. Los grupos musicales estaban en su auge hasta que llegó la llamada al servicio militar obligatorio. Entonces, todo el mundo volvía de él sin sus largas melenas y sin dinero. Los baladistas sin personalidad tomaban el control de la música, según lo dictado por las discográficas. Es entonces cuando las copleras, cantaoras y rumberas se convierten en la respuesta necesaria para combatir la insípida melosidad. A pesar de un contexto sociocultural desfavorable, arreglistas y productores invertían horas de sueño para revivir un sonido que estaba al borde de la extinción. A pesar de los cambios que haya podido haber desde entonces, el más significativo es que ahora la inmediatez digital dicta el rumbo.



Es por toda esta importancia que finalmente ha llegado un álbum que reúne a un elenco de folclóricas en una combinación única, fusionando el concepto del groovy funk; con canciones que abarcan todo el espectro afroamericano de la música de baile de los setenta, con toques de gritos y susurros aflamencados que le dan un giro impresionante. Podríamos considerarlo el álbum destacado de las Rosalias del siglo XX, una especie de viaje lisérgico en blanco y negro a la España de la posfranquista. Con su hiperrealismo revolucionario, este disco nos ofrece a una una estirpe de artistas sin igual.

En este encontrarás las joyas ocultas de artistas como Flores, Pantoja, Jurado, Polaca, entre otras. Aunque se mantuvieron fieles a sus estilos, todas ellas fueron famosas por otras facetas de sus extensas discografías, y muchas incluso aparecieron en la portada de Interviú en más del cincuenta por ciento de los casos, como las feministas de los años setenta según Francisco Umbral.

Crisix war vielleicht gezwungen, ihren Namen zu ändern, weil er zu sehr an ein klassisches Videospiel erinnerte. Aber die spanische Band hat nie eine Identitätskrise durchgemacht. Still Rising...Never Rest" wird ihrem langjährigen Ruf für mitreißenden Thrash Metal gerecht. Machen Sie sich darauf gefasst, dass Sie noch mehr mitreißende Riffs und Ganggesänge über Evil Dead und Dragon Ball Z ins Gesicht bekommen. Das ist kein Thrash, das ist Ultra Thrash! Neuaufnahme ihres 2013er 2. Albums "Rise...Then Rest"

Dub Shepherds are back with their 4th album, more accomplished than ever. Thanks to the experience they have accumulated in the BAT Records studio, they offer a multi-faceted album worthy of their talent.

Tkay Maidza, die erste Rapperin, die bei 4AD unter Vertrag steht, veröffentlicht ihr mit Spannung erwartetes neues Album "Sweet Justice". Der Nachfolger ihres selbstbetitelten Debüts aus dem Jahr 2016 enthält Produktionen von Flume und Kaytranada. Es ist ein flirrendes und zeitgeistiges Kaleidoskop des aktuellen Pops einer Künstlerin, die nach den Sternen greift, um selber einer zu werden. Das zweite Album der in Los Angeles lebenden, in Simbabwe geborenen und in Australien aufgewachsenen Tkay Maidza, ist strahlend, gefühlvoll und verführerisch und zeigt alle Facetten der unbändigen Tkay: ihren beißenden Witz und ihre Ansteckungskraft, ihren unerschütterlichen Glauben an sich selbst und ihre Weigerung, Kompromisse einzugehen. Maidza wechselt zwischen den Stilen und überwindet so mühelos Genregrenzen - Musik ohne Zwänge, Regeln und Vorgaben

Toupaz is a new name on our radar but he'll stay firmly on it after this release on forward-thinking London label, Well Street. The EP kick-starts with a fusion of techno, bass and club rhythms spliced with brilliantly bubbly toms & synths that fall down the face of broken beats. The flip side explores a new take on UK funky with whirring machines and fractured vocals, whilst the closer 'Maudlin Lakitu' features the most experimental and skeletal rhythms of the project.

Face Four is the comeback of Two Phase U in a full EP format, continuing the Face saga started in 2019.

This time the 4 track collection is a trip through different styles and moods, with music ranging from gentle, warm-uppers to main hour bangers. Dark dystopian statements alongside hopeful harmonies and invigorating vocal samples.

Full of golden-era stylistic sound references and the characteristic dynamic grooves of Two Phase U's rythmical approach.