Search:the plan

Die in Antwerpen ansässige Progressive-Hardcore-Band BEAR meldet sich mit ihrem mit Spannung erwarteten neuen Album "VANTA" triumphal zurück. Entstanden aus dem Schmelztiegel persönlicher Prüfungen - Krebs, eine globale Pandemie, zerbrochene Beziehungen und tiefgreifender Verlust - haben BEAR ein Album geschaffen, das den Schmerz, die Qualen und die Angst widerspiegelt, die unsere menschliche Erfahrung ausmachen."VANTA", benannt nach der dunkelsten bekannten Substanz, repräsentiert die Reise der Band durch ihre schwierigsten Zeiten. Es ist ein Zeugnis ihrer Unverwüstlichkeit, eine unapologetische und unerbittliche akustische Reise, die furchtlos durch den Sturm der Widrigkeiten navigiert. Doch hinter der wilden Fassade des Albums verbirgt sich auch die Schönheit, die im Leiden liegt, und es unterstreicht die tiefe Wahrheit, dass es kein Licht ohne Dunkelheit gibt. Mit seinen elf Tracks ist "VANTA" ein Leuchtfeuer der Beharrlichkeit und Stärke im Angesicht der Turbulenzen des Lebens. Das Album beginnt mit "Atone" und endet mit "Andram" und führt den Hörer durch eine Achterbahn der Gefühle, wobei jeder Track ein Kapitel in seiner persönlichen Saga darstellt. Tracks wie "Cisplatin" und "Defeatist" verdeutlichen den Kampf mit dem Krebs, während "Earthgrinder" und "Cells" den mentalen Kampf offenlegen, der durch die Isolation in der Pandemie hervorgerufen wird. "VANTA" ist nicht nur ein Album. Es ist die Verkörperung von BEARs Reise durch persönliche und globale Umwälzungen, ihre Verwandlung von Opfern der Umstände zu Vorboten der Hoffnung. Es ist ein klarer Ruf an alle, die es hören: Im Angesicht der größten Finsternis kann es immer noch Licht geben.Während BEAR sich weiterentwickeln und ihren Weg formen, bleibt eine Sache sicher: Fear The BEAR! Für Fans von The Dillinger Escape Plan, Botch, Converge, Meshuggah, Frontierer, Lo! Ltd Single Colour LP (Transparentes Vinyl, Transparent Blood Edition) in Gatefold-Cover w/ copper foil embossing

FFF joins Straight Up Breakbeat with two slabs of hybrid hardcore! Connecting the dots between original jungle, footwork, rave, and then some, FFF taps into his multi-faceted musical history with two tracks aimed straight at the floor. Modern day Dance Mania !!
Dead Man's Chest - 5/5 “Sick, always got time for some rolling bongo jungle!”

Sherelle - “Sounding Big!”
Settle Down - "These are silly good"
Jay Cunning - 5/5 “LOVE IT! Full support from me!”
Louise Plus One & Simon Hughesee (Distant Planet) - 5/5 “A great release, both great tracks!”
Further support from Gremlinz, Mister Shifter, Yorobi, Jaise, Esc, Glowkid & more.

2023 Repress

One of Larry Heard's most under-rated albums finally remastered and available as full vinyl release for the first time! Known for his classic early house releases Larry Heard's productions always hinted at deepest outer space, but his 1996 Alien album was his first actual science-fiction record. It's almost as polished as the most mainstream dance production, but just as sublime as any Detroit producer. Heard's house roots often show themselves, while the chords and shimmering production make this an album almost on par with Heard's mid-'80s peak. The project was a recording & sound-development experiment that was mostly constructed around a Korg O1/W workstation keyboard that was left at Larry's studio to check out by Victor 'melodious myles' Houston along with some of the staples of his studio, including the Roland d550 and Oberheim Matrix 1000. Mr Fingers magic touch can be heard all over the album, and this showcases the incredible musical talents of the man, who's name by now cant be left out from any hall of fame when you're talking music innovators from the last century! Recommended!

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'

Plant43 wrote a trio of EPs over the winter season at the end of 2022 and the start of 23 and has been putting them out on his own Plant43 Recordings label.

This third part from the man born Emile Facey is another emotional rollercoaster that conveys the wintry scenes in which they were written while also taking you on to the more warm and optimistic light of spring.

Lithe electro rhythms and icy synths open up on 'Tidal Flexing' while 'Reflective Waves' gets a little darker and more intense. 'System's Edge' is a celestial cruise with quick, slick drums and masterful leads then 'Mind Drift' channels Drexcyian cyborg funk to close. The final part of the story comes on coloured vinyl but only in limited quantities.

At the 1973 Cannes Film Festival, a feature-length animated film caused a sensation and won the Special Jury Prize: La Planète Sauvage by René Laloux, with phantasmagorical drawings by Roland Topor. For this philosophical tale of anticipation, where men are used as domestic toys by blue giants, the Draags, the celebrated composer Alain Goraguer unleashes his inspiration with a haunting main theme of great melodic clarity, soaring and hypnotic atmospheres, but also pursues funky rhythms with wah-wah on guitar, as if reaching out to Isaac Hayes from Shaft. Over the decades, the acclaim of La Planète Sauvage has been growing in crescendo, both the film and its score, revered by new generations as a psychedelic summit, an Everest of French pop. Artists from the new world, from rap and hip-hop cultures, such as A$ap Mob, Madlib, Mac Miller and many others, have dipped into it for samples or remixes. As La Planète Sauvage celebrates its half-century, Cam Sugar presents a new deluxe edition of the soundtrack, mixed from the recently discovered multi-track tapes, including 7 previously unreleased tracks and 3 alternate mixes. Produced under the expert supervision of Patrick Goraguer, Alain's son, this is released as Deluxe gatefold 2LP (including a special illustrated zine) and CD digipack. Listening to this complete album will confirm the spellbinding power of La Planète Sauvage is intact.

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

Remastered Re-Release des 1979er Debütalbums des belgischen Synth-Pop-Trios, inkl. Cover-Versionen von Plastic Bertrands 'Ça Plane Pour Moi' und Bill Haleys 'Rock Around The Clock'.

It is with great fanfare that we proudly announce the return of the esteemed improvisational chainsaw blues trio Young James Long. Young James Long formed in Dallas in 2003 with a weekly residency at a local (and appropriately named) dive bar called Muddy Waters. PW Long (guitar, vocals) and Kirkland James (guitar) had known each other socially since the 90s when Long was fronting Quarterstick Records’ Mule, and James was playing with Tenderloin. Long would go onto make a series of incredible solo records under his own name and that of PW Long’s Reelfoot and James would play with Alejandro Escovedo (among many others) before their paths finally crossed again. They recruited Taylor Young (Hi-Fi Drowning, Young Heart Attack, The Polyphonic Spree) on drums and a raw, blues-punk-rock-and-roll band emerged fully formed, songs flying out of them with enthusiasm and ease. They recorded the You Ain’t Know The Man EP with their friend (and eventual Grammy winner) Stuart Sikes not long after. The EP came out via Southern Records in 2007, and thanks to the tasteful ears of the people this side of the pond, a European tour followed. If you saw that tour, you’ll agree that it felt like the band were really hitting their stride. However, here we are in 2023, so what happened? Answer: geography - the age-old enemy of creativity. One member left Texas and the others (being the extremely able and skilled musicians that they are) were perpetually wooed away to play in other bands. Everyone’s got bills to pay, right? And with that, things just kind of fizzled out. Long even insists he quit playing music around 2010. One of the most recognisable voices in underground music: out of the game. Incredible. Inconceivable.
Then, last year we at Wrong Speed got an email asking if we’d be interested in some new music Young James Long had been working on. We thought it might be a joke. They sent some mixes through, and it became very quickly apparent that it was anything but. Turns out the trio had started chatting about music again in 2020 (before the world had other plans) and had finally made their first full-length album Orogeny in the summer of 2021. Orogeny sounds live and thrillingly immediate, as though all obstacles between their delivery and your ears have been removed and discarded as irrelevant. There is no filler, no treading of water at any point. Amps buzz, songs teeter on the edge of collapse, you feel like you’re sitting in the middle of the band as they play and it’s a pretty sweet place to be. The album contains a whopping 17 songs, most under 2 minutes long. They don’t want to waste your time, or most importantly (after sixteen years away), theirs. If you’re familiar with Long’s previous bands, you’ll know he has a rare gift for pairing extreme volume with extreme tenderness and it’s thrilling to find that gift present and correct after over a decade away. And that voice – holy shit, that voice. He can go from a Beefheart howl to the sweetest country baritone in the space of a single line. In James and Young he’s found the perfect foils, a power trio of instinctive and soulful musicians able to conjure shining gems of magic out of the grit and the dirt. Young James Long is risen from the ashes – it’s a miracle!

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

The 1990 debut album from Pale Saints, The Comforts of Madness, is an outstanding record that owed as much to post-punk and L.A."s Paisley Underground scene than it did to shoegaze. The Sunday Times called it "an unintended indie manifesto: music that is at once wayward and concise, dissonant and beautiful." Shortly after its release and in need of a second live guitarist, Lush founding member Meriel Barham joined the Leeds trio of Ian Masters, Graeme Naysmith and Chris Cooper, bringing a new dynamic to the band. Having previously worked well with producer Hugh Jones (Echo & The Bunnyman, Modern English, The Sound), he did a brilliant job recording their second album, In Ribbons (1992), despite some studio tensions. Brooklyn Vegan said in a recent celebration of the album that it was the "push and pull between Masters" outsider tendencies and (the rest"s) commercial interests that makes In Ribbons so good. If some of the wild, ragged edges of Comforts of Madness have been smoothed off, the album makes up for it with scope and beauty. And there"s still no shortage of weird." Missing its original release date last year due to Covid delays and a production plant in meltdown, In Ribbons is finally getting the 30th Anniversary celebration it deserves with a special double LP / CD release - the first disc being the UK version of the album, the second a bonus disc of never before heard demos (including their first attempt at Slapp Happy"s "Blue Flower" and Ian"s 4 track recording of "Kinky Love") and two brass band versions by The Tintwistle Band.

The 1990 debut album from Pale Saints, The Comforts of Madness, is an outstanding record that owed as much to post-punk and L.A."s Paisley Underground scene than it did to shoegaze. The Sunday Times called it "an unintended indie manifesto: music that is at once wayward and concise, dissonant and beautiful." Shortly after its release and in need of a second live guitarist, Lush founding member Meriel Barham joined the Leeds trio of Ian Masters, Graeme Naysmith and Chris Cooper, bringing a new dynamic to the band. Having previously worked well with producer Hugh Jones (Echo & The Bunnyman, Modern English, The Sound), he did a brilliant job recording their second album, In Ribbons (1992), despite some studio tensions. Brooklyn Vegan said in a recent celebration of the album that it was the "push and pull between Masters" outsider tendencies and (the rest"s) commercial interests that makes In Ribbons so good. If some of the wild, ragged edges of Comforts of Madness have been smoothed off, the album makes up for it with scope and beauty. And there"s still no shortage of weird." Missing its original release date last year due to Covid delays and a production plant in meltdown, In Ribbons is finally getting the 30th Anniversary celebration it deserves with a special double LP / CD release - the first disc being the UK version of the album, the second a bonus disc of never before heard demos (including their first attempt at Slapp Happy"s "Blue Flower" and Ian"s 4 track recording of "Kinky Love") and two brass band versions by The Tintwistle Band.

The group"s second LP for Epitaph finds HUNNY playing in a brand-new musical sandbox, balancing the haze of hindsight with a sun-soaked SoCal summer. From the meditative track "my own age" and breakbeat-backed, late "90s-leaning "all my luck" to the lo-fi punk standout "ring in your ear" (featuring Motion City Soundtrack"s Justin Courtney Pierre) and made-for-dashboard-drumming "89cc" (complete with a searing sax solo) the album is a testament to the band"s musical fluency and dedication to their craft. HUNNY was born out of the tight-knit North LA indie-rock scene of the mid-2010s, sharing stages and even band members with acts like The Neighbourhood and Bad Suns from an early age. The band is well established in the digital space, having racked up over 300+ Million streams to date on their catalog. By the time the band had secured a record deal with legendary Epitaph Records and released their 2019 debut full-length, Yes. Yes. Yes. Yes. Yes., outlets like Alternative Press were hailing HUNNY - vocalist/guitarist Jason Yarger, guitarist Jake Goldstein, bassist Kevin Grimmett and drummer Joey Anderson - for their spin on "perfunctory electronic and new-wave pop, teeming with love, heartbreak, neuroses and impeccably sweet dancing shoes." Now, on the verge of entering their second decade together, it"s clear HUNNY"s greatest asset is their disinterest in doing anything besides what moves them. It"s afforded them great range as a band, the ability to naturally shapeshift on their own albums as well as win over audiences across the entire rock spectrum. Most importantly, it"s propelled them to be unapologetically themselves and trust what"s gotten them this far.

The Darkness announce Permission To Land… Again; a special 20th Anniversary reissue collection, to be released on October 6th 2023 via Warner Music. Britain’s beloved rock band celebrate this landmark with a special 5LP release including the full original album, rare B-sides, bonus unreleased demos, as well as live albums from their iconic shows at London’s Astoria (2003), Knebworth (in support of Robbie Williams in 2003) and Wembley Arena (2004).

Permission To Land was originally released in 2003 via Atlantic Records and stormed to the top of the UK Albums chart, where it remained for four weeks, and spent 53 weeks in the Top 100. It achieved the band three BRIT Awards, including British Album Of The Year, British Group and British Rock Act, where they fended off competition from the likes of Blur, Radiohead, Sugababes, Muse, Primal Scream and more. The record has sold over 1.4 million copies to date.

The release will be supported by a promo campaign with interviews featuring lead singer Justin Hawkins. TV, Radio, and Press opportunities are being discussed. For announcement Justin will be interviewed on Planet Rock and Kerrang! Radio. Heavyweight digital marketing campaign across socials and banner advertising.

Zwei Millionen Umsatz mit einer einfachen Idee – das war der Plan beim Debüt der Kölner Rockband The Screenshots. Die Bilanz Chartplatz 45, Pandemie und Plus-Minus-Null. Zeit für ein neues Kapitel, das sich nicht mit Umsätzen, sondern dem Menschen beschäftigt. Mit viel Spielfreude, Leichtigkeit und einer neuen Direktheit: Herzlich willkommen im Wunderwerk Mensch!

Und so macht die latente Dauerironie der ersten Jahre Platz für eine andere Form von Wahrhaftigkeit. Von reinen Akustiksongs wie dem Opener “Wunderwerk Mensch” oder dem Closer “Großeltern” über Pop-Nummern im engeren Sinne, von “Wie es vorher war” bis zum licht- und chorusdurchfluteten “Die Sonne scheint”. Der energetische Screenshots-Sound, der mit der ersten EP “Ein starkes Team” etabliert wurde, wird in “DIN A8” wieder aufgegriffen; ein Song, in dem mehr oder weniger alles aufgezählt wird, worauf es im Leben ankommt.

Gottwax is back with its seventh instalment, and this time, the reins are in the hands of the Beeyou co-founder and FUSE regular, Laidlaw. Laidlaw showcases his unparalleled talent and versatility as a producer in the 'Prophecy' EP, solidifying his status as one of the rising stars in the scene. This four-track EP takes listeners on a journey through deep house, stripped-back grooves, and breakbeat, making it an absolute essential for every discerning DJ's collection.

The EP kicks off with 'Wait Till The End,' a deep house gem with a playful bass line, moody chords, and sparkling top notes. Each element is thoughtfully crafted, blending harmoniously to create an atmosphere that subtly builds throughout the track. 'Wait Till The End' is a flawlessly realised tune, serving as an incredibly strong start to this EP.

Next up is 'Planet 727,’ is a minimal groover with deep, subby bass and hints of tribal drums, infusing the rhythm with captivating movement. This track is one for late-night, ensuring the dance floor keeps moving till the early hours.

As the title track of the EP, 'Prophecy' does not disappoint. This groove-laden breakbeat track is brimming with deep sub bass and intricate textures, leading into an infectious melody. A must-have in every DJ's bag, 'Prophecy' will undoubtedly be the soundtrack for countless future parties.

Closing out the EP is 'That Was Well Quick,' a high-energy composition adorned with mesmerising melodic textures. With its hypnotising baseline groove and captivating top lines, this track creates an infectious atmosphere, injecting an electrifying energy into the dance floor. 'That Was Well Quick' is an absolute essential for all devoted electronic music lovers.

We are beyond excited to welcome Laidlaw to the Gottwax family and share this incredible release you. Prepare to be taken on an unforgettable sonic journey with the ‘Prophecy EP’.