Buscar:the judge

The Carpi-Chicago connection is back to work. Sometimes it just takes a simple riff of a funk guitar to wreak havoc in Soul People minds and that's exactly what happened here. A riff you hear your mate playing one night while having the very last drink and the next day a project is born. Deep vocals, strings stabs, subtle motherf... Fender Rhodes and driving basslines. A Philly inspired dancer you'll can't wait to throw on your decks.

As many of you will probably know, on the flip side of our releases we are use to place the plain instrumental version of the main side. This time it's different. We have worked on "Open Up" with a different approach. Synths, special effects, a pinch of electro claps all marching on a groovy breakbeat inspired by the great James Gadson and backed by an 808 kick. Listen from the Youtube link below and judge by yourself.

Some things take time to happen, some things perhaps take a bit longer than they should but, finally, we are delighted to present an issue of the iconic, and sought-after, Brazilian album 'Alucinolândia' by Zito Righi e Seu Conjunto from 1969.

The trippy, surrealist 60s cover design with hands holding eyeballs is somewhat confusing. Rather than the stoner acid rock record that the art may suggest, 'Alucinolândia' is actually a quintessential 60s gem, mixing samba, MPB, bossa nova, quirky organ-led mod-jazz groovers and easy-listening crooners with a relaxed cool swagger.

Zito Righi aka Isidoro Righi, the Brazilian saxophonist, instrumentalist, conductor and composer brought together an illustrious cast for this masterpiece, including the much-loved vocalist Sônia Santos. Sônia delivers a masterclass on the album's opener, and maybe its crown-jewel 'Poema Ritmico Do Malandro’. The song is fierce and driving with an enticing funk intro that bursts into a Samba / Batucada workout. A real monster that works magic on the dancefloor. Sônia would later re-visit this track in 1971 on a recording for Copacabana Records, which Mr Bongo released as part of the Brazil45 series. The Brazilian songwriter Roberval penned three tracks on the record, including another highlight and the far too short 'Birimbau'; a catchy Brazilian jazzy-samba dancer at its finest. Other musicians include the drummer Fernando who also recorded with the greats Dila & Guilherme Coutinho.

The fact the record was released in 1969 meant it was probably a bit out of step with its contemporaries in comparison to the works of artists such as Os Mutantes, Gilberto Gil et al. The core of 'Alucinolândia' is that of a more optimistic early to mid-sixties party feelgood vibe rather than the angsty, psychedelia, and rebellion of the Tropicália movement. Over 50 years since its release, the work can finally be judged on its own merit; and what a beauty it is.

With the world in chaos, exhilarating new music has become more
important than ever before.

As a re-sult, the emergence of French tech-metal mavericks Stengah could hardly be better timed. One of the most exciting new bands on the planet, the French quintet have spent the last few years in a state of per-petual evolution, armed with some of the most visceral and forward- thinking riffs and refrains in recent memory. Now, the band are ready to introduce themselves to the world. Founded by drummer Eliott Williame in 2013, Stengah have the sound, the smarts and the
ambition to push heavy music ever further into the future. After years of steady evolution and meticulous attention to detail, the band – completed by bassist Benoit Creteur, lead guitarist Maxime Delassus, rhythm guitarist Alex Orta and powerhouse frontman Nicolas Queste - have honed their sound to a state of cutting- edge perfection, as showcased on their formidable, forthcoming debut album SOMA SEMA."The music is about (re)connecting with yourself," says Eliott.
"It's about people, their fears, their faiths and their philosophies. How sometimes those things can guide them, and how sometimes they can blind them. It asks, with no judgement, about how odd and how strange the social and emotional behaviors of human beings are. It's all about the power to believe, in creativity, and in consciousness. Our music is technical but fun to play," adds Eliott. "People often become surprisingly transfixed by our energy, espe-cially when they haven't
seen us before. We love being on stage, we are truly passionate and that is what you see and feel during our live performances, from the first to the last song."

The history of metal is littered with the burnt-out shells of bands that lacked the vision and the vivacity to make things happen. For Stengah, the sheer power and fury of their music drives them forward. Mean- while, the sheer quality and ingenuity of Soma/ Sema looks certain to propel the band swiftly up the heavy music ladder and into the spotlight. Newly signed to Mascot Label Group, they're just getting start-ed and the sky's the limit!

The latest release from this iconic country catalog brings together 40 of Hank’s greatest gospel songs from the Mother’s Best recordings.

From the GRAMMY award-winning team, this collection is produced by Cheryl Pawelski with restoration by Michael Graves and new liner notes by Colin Escott.

Includes the classics “I Saw The Light”, “Farther Along”, “I’ll Have A New Life” & “When The Saints Go Marching in”

nothing,nowhere. commented on the new album detailing, “TRAUMA FACTORY is an accumulation of songs written during a confusing time. it is about accepting the present and following your true north through the pain and suffering of human life. I wanted to make an album that was truly genreless and inspire others to challenge themselves artistically. I believe the most inspiring art is unpredictable and unrestrictive. to me that’s what TRAUMA FACTORY is.”

Over the course of 15 tracks, TRAUMA FACTORY cuts deep and finds nothing,nowhere. once again emerging from darkness, shedding external expectation, and moving forward into the glow of pure creation. Whether it be the anesthetized beats and intoxicating lull of “love or chemistry,” the cold piano-laden longing of “crave,” or the emotional immediacy of “upside down,” nothing,nowhere. paints from a wide palette of pain.

nothing,nowhere. is the musical endeavor of Vermont songwriter, singer and guitarist Joe Mulherin. For Mulherin, nothing,nowhere. is about a connection. It’s one he finds with fans around the world, who gather to see him play on tour and to listen to his songs online. It’s that connection that urges the singer to place his fears aside and step onstage each night to share his art. He sees the potential to help, to make a change, however small it may be and that is why he brings his music out of the Vermont wildness.

Vinyl Only

Marshall Applewhite has returned from the red planet with a new discovery in tow, his Lowercase EP! As a musical pioneer he needs little introduction but a few lauds include: the creation of an entire genre of electronic music, starting legendary label YoSucka! featuring his hit release "Go Home", now running a fantastic and creative label project called Junted sharing experimental and strange sounds. For all those in the Detroit techno community, his music has been an inspiration and his devil may care attitude is a welcome refreshment from the often overly serious and judgemental air of the industry. These tracks once again change up his style, leaning a bit more toward a house groove, but with plenty of his signature freakish basslines and trippy vocal samples to ride along. Released via PITS, a Detroit-based electronic music label run by cohort John Joe XO. The project is entering its fifth year of life this summer of 2021, so in celebration this special edition release will also be shared on 12" vinyl. The label has seen support from many artists over the years including Exos, Blazej Malinkowski, Justin Carter, Laurent Garnier, John FM, and more.

Tougher Than Tough – Trojan Rude Boy Sounds is an exclusive release from Music On Vinyl’s Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of the artists featured on this compilation include Stranger Cole, The Pioneers and Alton Ellis. 2000 individually numbered copies on orange vinyl. The package also includes exclusive Trojan Records and Music On Vinyl coaster.

Logics siebtes Album “Bobby Tarantino III” ist nun endlich auch auf Vinyl erhältlich! Logic hat sich spätestens 2017 mit seiner erfolgreichen Single „1-800-273-8255“ einen festen Platz in der Hip-Hop-Welt gesichert. Für sein neues Album hat er sich nennenswerte Unterstützung rangeholt – wie den Producer 6ix, der auch schon für Dizzy Wright und Sylvan LaCue produziert hat. Oder auch Keanu Beats, der für seine Mitarbeit an Pop Smokes Album „Shoot For The Stars Aim For The Moon“ und Lil Babys „My Turn”
bekannt ist.

'Anon 1' was originally released as a very limited Anonymous 12" on Past Inside the Present in 2020, featuring 36 and Isaac Helsen. The idea was to let people hear the music and judge it not on the names behind it, but purely on the quality of the music itself. When it sold out, the label revealed who wrote it. Obviously quite a few 36 & Isaac Helsen fans missed out, so Past Inside the Present repressed the record, but this time with the knowledge of who made the tunes now public.

The new album by B.Visible is a distinctive studio work, which captures the state of mind of searching for something, without actually knowing what. The only thing you can make sense of is that you aren't currently satisfied, and you want a change in your life, even though you aren't exactly sure of where you belong. This music is a quest, a search for a greater range of self-expression. B.Visible captured this very thought-provoking concept by focusing on what really matters, musically, and conceptually alike. He stayed true to his feelings, regardless of judge-ment or other people's thoughts and opinions. In the end, it's all about fulfilling creativity and exploring feelings without boundaries.

"In Between Places", demonstrates his remarkable talent for extending varied elements across the whole spectrum, allowing a wide range of influences to inspire, entertain and captivate the audience in a very spe-cial way. What makes "In Between Places" stand out is the fact that it shows the artist's chops, without seeming to try to hard to do so. It's or-ganic and dynamic; technically accomplished, but also incredibly spon-taneous and one-of-a-kind in its execution. The instrumental is perfectly balanced, allowing B.Visible's expertly interwoven patterns of melody and rhythm to soar through the mix and come alive with raw and thrilling performance.

Ultimately, "In Between Places" is a truly special album, which is rich in terms of sound design and textures, tipping the hat off to artists such as Four Tet, Flying Lotus or Apparat, only to mention a few. This record is a musical journey with a unique twist.


Viennese producer B.Visible is always pushing his craft forward with each concept being an evolution. His music is mutating organically as each project brings novelty but always while blending sharp electronic components with dusty acoustic layers. That duality exists in every aspect of his creative journey with DJ sets revolving around second-hand records and modern-day productions but also his live project offering a whole new dimension and generosity to the audience. B.Visible melts the barrier between analog and digital in a such distinctive and elegant way that it feels natural.

Master are an old school death metal band from
Chicago. Originally formed in 1983 as Death Strike
after the demise of the band War Cry, they were
heavily influenced by the rough brutal assaults of
Venom, Slayer and Motorhead.
 In 1985 vocalist / bassist and bandleader Paul
Speckmann renamed the band Master and obtained
a record deal with Combat Records. An album was
recorded but then shelved by the label (later to be
released as the ‘Unreleased 1985 Album’). The
band were then signed by German metal
powerhouse Nuclear Blast and the debut album
‘Master’ was finally released in 1990.
 Two more albums appeared on the label but Master
went on hiatus while Speckmann focused on several
other projects like Abomination and Krabathor (and
relocated to the Czech Republic). Since then Master
have been releasing new albums with various
different labels and embarking on several European
tours.
 This live release is a recording of the 2014 show
Master performed in Athens, released by Doc
Records on CD and double vinyl - a full show of
Paul and his crew with all the highlights from his
career.
 For fans of Obituary, Autopsy, Possessed, Vader,
Benediction, Massacre, Death, Bolt Thrower.

Led by the unique lyrical and vocal talents of Larissa Stupar, VENOM PRISON’s rise to prominence has been swift and exhilarating. Both 2016 debut album “Animus” and its 2019 follow-up “Samsara” received widespread praise from media and fans alike, while the band’s ferocious live shows notched up acres of wide-eyed acclaim. As a result, the release of VENOM PRISON’s third full-length, “Erebos”, is destined to be one of /the/ metal events of 2022. A wildly inventive but utterly destructive onslaught of genre-defying extremity, “Erebos” is a giant leap forward and deafening confirmation that VENOM PRISON are the real, ground-breaking deal. “Everything needed to be bigger, better, catchier,” says guitarist Ash Gray. “We have said many times in the past that this band will not write the same record over and over again. It wasn’t about showing how heavy we can be. We know we’re a heavy band. We just wanted to be more creative, and this time we had the luxury of having time on our side. Larissa’s distinctive style comes through even stronger. It’s even more poetic, while still critical of the issues we face in Western society.” A thrilling explosion of artful savagery, warped melodies and tumultuous atmospherics, “Erebos” is a powerful, defining statement from one of the most exciting bands of the modern era. From humble origins to undisputed heavyweight status, VENOM PRISON are now an unstoppable force. “’Erebos’ has really opened our horizons as a band, making us want to be more creative as a whole. For us, it has always been about evolving musically and progress with every single step we take, and that will never change. We have a lot more to explore and we are confident that we’re capable of doing so. The grind must continue.”

Cloakroom celebrate their tenth anniversary as a band with their new album, Dissolution Wave. Dissolution Wave is a concept - a space western in which an act of theoretical physics—the dissolution wave—wipes out all of humanity’s existing art and abstract thought. In order to keep the world spinning on its axis, songsmiths must fill the ether with their compositions. Meanwhile, the Spire and Ward of Song act as a filter for human imagination: Only the best material can pass through the filter and keep the world turning. This is the universe that Cloakroom guitarist/vocalist Doyle Martin conceived as a way of processing the last few years. “We lost a couple of close friends over the course of writing this record,” he says. “Dreaming up another world felt easier to digest than the real nitty-gritty we’re immersed in every day.” With lyrics based on an imagined cosmology, Dissolution Wave also marks a grand expansion of Cloakroom’s dreamy space-rock palette. Written from the perspective of the album’s protagonist—an asteroid miner who writes songs by night—”A Force at Play” has an airy, pastoral feel. Meanwhile, the melancholy title track captures the miner’s regret as they lament that they signed up for such a long stint on the job, while closer “Dissembler” describes their anxiety about the revelator who will judge their work. “If you don’t write a good enough song in this universe, you run the risk of being forgotten and lose the opportunity to return as a meaningful form of life,” Martin explains. The stakes have never been higher!

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

The career defining 5th album from South African Slam juggernauts VULVODYNIA. Featuring a slew of guest performances and production from Christian Donaldson. Looking in a medical textbook will tell you the following: Vulvodynia is a chronic, severe vaginal pain with no identifiable cause. While the severe part is dead on, what a medical textbook won’t tell you is that Vulvodynia is also the pioneer in what is rapidly becoming South Africa’s most eviscerating export: Technical Slamming Brutal Deathcore. With lobotomizing, lurid riffs, skin-shredding blast beats and slams gruesome and filthy enough to induce septic shock, Vulvodynia are a lethal plague, spreading throughout the flesh of today’s heavy music scene—infecting one set of ears at a time, and leaving no survivors. Vulvodynia have toured Europe, USA, Australia, New Zealand, and played numerous festivals worldwide.

The career defining 5th album from South African Slam juggernauts VULVODYNIA. Featuring a slew of guest performances and production from Christian Donaldson. Looking in a medical textbook will tell you the following: Vulvodynia is a chronic, severe vaginal pain with no identifiable cause. While the severe part is dead on, what a medical textbook won’t tell you is that Vulvodynia is also the pioneer in what is rapidly becoming South Africa’s most eviscerating export: Technical Slamming Brutal Deathcore. With lobotomizing, lurid riffs, skin-shredding blast beats and slams gruesome and filthy enough to induce septic shock, Vulvodynia are a lethal plague, spreading throughout the flesh of today’s heavy music scene—infecting one set of ears at a time, and leaving no survivors. Vulvodynia have toured Europe, USA, Australia, New Zealand, and played numerous festivals worldwide.

The career defining 5th album from South African Slam juggernauts VULVODYNIA. Featuring a slew of guest performances and production from Christian Donaldson. Looking in a medical textbook will tell you the following: Vulvodynia is a chronic, severe vaginal pain with no identifiable cause. While the severe part is dead on, what a medical textbook won’t tell you is that Vulvodynia is also the pioneer in what is rapidly becoming South Africa’s most eviscerating export: Technical Slamming Brutal Deathcore. With lobotomizing, lurid riffs, skin-shredding blast beats and slams gruesome and filthy enough to induce septic shock, Vulvodynia are a lethal plague, spreading throughout the flesh of today’s heavy music scene—infecting one set of ears at a time, and leaving no survivors. Vulvodynia have toured Europe, USA, Australia, New Zealand, and played numerous festivals worldwide.

When he left Bronski Beat, , Jimmy Somerville formed Communards with Richard Coles (who formerly came play saxophone on Bronski Beat’ s classic track “It Ain’t Necessarily So”).
The Duet’s cult debut album from 1986 now is remastered for the very first time.

Double Vinyle edition : 2 x Black 140 G Vinyl. Gatefold Sleeve with spot matt & gloss UV. 2 x Printed inner sleeve. The album remastered from original tapes .
Vinyl package also features a selection of B - Sides from the 7” singles of 1985 & 1986 .

- repress / comes without the inserts of the first pressing -

"The Unfinished Fight Against Humanity" is SNTS' third full-length album following "The Rustling Of The Leaves" in 2015 and "Losing Sight" in 2016.

Ten tracks that are born from the combination of historical, mystical and current references, which lead to a reflection of how the human being can complicate its existence due to behaviour and the consequences that derive from such actions. The dark, hard and energetic rhythms of the album narrate the coexistence of diverse human values throughout history, from peace to war, from love to hate, from empathy to ego.

In words of the artist SNTS, "the human being has been created to live in society, the problem arises when society fails to coexist or compete to survive".

Bryan Ponce's delicate, plaintive vocal, this time accompanied by the sweet, rich timbre of Adriana Flores make for two earnest duets that exude palpable chemistry.
On "Tangled Up" the pair sing of a love affair that has run its course but (against their better judgement) lingers in the form of late night entanglements and dream-induced longing - imprisoning the lovers on a carousel of heartache and despair. "Soon Enough" is a gorgeously sparse ballad rife with melancholic guitar, percolating percussion and a groove that will have you swaying side to side with the one you love.