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180g virgin vinyl pressing, limited edition of 750 copies only - the complete album + 4 bonus tracks A husky-voiced singer, Jane Fielding (1935-2000) only recorded two albums, her career ending after getting married and retiring from the music scene. 'Embers Glow', her second and last LP, finds Fielding (who was just twenty-one at the time) accompanied by pianist Kenny Drew and his quintet of all- star musicians, including saxophonist Joe Maini and bassist Paul Chambers

repressed !

To celebrate 25 years of the label, Tearin Vinyl’s debut release ‘Brok Out/London Talk’ has been repressed on krome (silver!) 180 gram vinyl. Originally crowdfunded on Kickstarter in 2019, meeting it target in less than 24 hours!

DJ Krome & Mr Time take you back to 1994 with two heavy hitters that were heavily rotated back in the day. This is Jungle Music as it should be heard, written by two of the genres finest purveyors. It’s now 2020 and the Jungle scene paved the way for Drum and Bass, which has since spawned numerous other genres which built the foundations that have supported many of todays EDM producers.

Everything clicks on Safe to Run, the fourth album from singer, songwriter Esther Rose. It’s the quiet culmination of years spent fully immersed in a developing artistry, and presents Rose’s always vividly detailed emotional scenes with new levels of clarity and control. As with previous work, her songwriting transfigures the chaos and uncertainty of a life in progress, but here she introduces a newfound pop element that attaches unshakably catchy hooks to even the darkest stretches of the journey. Rose takes an unblinking look at her own vulnerabilities as well as more universal concerns, somehow never taking herself too seriously in the process. This manifests as a critique of the insidious sexism of the music industry on “Dream Girl,” but quickly melts into a hazy memoryscape of the dive bar drama and suspended hovering of her early 20s on “Chet Baker.” The song “Safe to Run” (a gorgeous duet with Hurray for the Riff Raff’s Alynda Segarra) directly merges the personal with the global, superimposing feelings of spiritual displacement onto the larger, looming dread of climate grief. Rose breathes in the ecstasy of the natural world in one line and makes fun of herself a few bars later. There are ghosts in the room for most of her songs, but she’s invited them in and is cracking jokes with them over a drink or two. Ultimately all of these new advancements become twinkles of light in the background as they fold into the big picture impact of the songs themselves. Esther Rose translates her world into eleven curious and captivating scenes. While the songs are stunning one by one, absorbing Safe to Run as a whole feels like witnessing something taking shape, experiencing the headspins of the elevation and the slow return to equilibrium as the clouds start clearing.

The drums of fire scorch the age. With his young and talented Sound Limited, Takeshi Inomata heralds the arrival of the golden age of jazz rock in high spirits. Drummer Takeshi Inomata, who led the Japanese jazz scene with his precise stick work and musicality with an eye on the times, formed Sound Limited at the end of the 1960s, influenced by the brass rock music that was flourishing at the time. He said, “I wanted to fuse jazz and rock and bring together young musicians to play music with vitality. I want this group to be a group with a large scale that is not confined to the small frame of modern jazz,” he said, launching a new axis. Their first album, “The Sound of Sound Limited” (1970), became their masterpiece. It is a masterpiece that is full of energy and enthusiasm throughout the album, starting with “Theme~Mustache,” which has become one of the most beloved and iconic songs of the band.

Drums, Music Director – Takeshi Inomata

Electric Bass – Jun Suzuki

Electric Guitar – Ryo Kawasaki, Shigenori Kamiya

Flute – Toshiaki Yokota

Mixed By – Eiji Uemura

Organ – Yusuke Hoguchi

Tenor Saxophone – Takao Uematsu

Trombone – Shigemichi Domoto, Takashi Imai

Trumpet – Shunzo Ohno, Takashi Kumagai

Reissue

''Early" brought together a series of formative recordings from the late 70s and early 80s, for an America-only vinyl release in 2005. The collection, accompanied by sleeve notes from Green Gartside, included the band"s debut single "Skank Bloc Bologna", along with seminal tracks including The "Sweetest Girl", "27/8/78" and "Lions After Slumber", and offered a stunning chance to enjoy the long-overlooked musical foundations of Scritti Politti again. Emerging from the scene around Leeds Art School, with fellow travellers The Mekons and The Gang Of Four, and recorded while the band were residing in a Camden squat organised along Marxist principles, these post-punk rallying cries which prefigured Green and co"s pop-leaning rebirth several years later, were the songs that grabbed the attention of John Peel, Rough Trade founder Geoff Travis and a generation of music fans who helped bring the indie music scene - and the labels that accompanied it - into existence. A musical community in which Scritti Politti played an influential and formative role.

Get On Down is proud to announce a vinyl reissue of one of the West Coast's most revered, yet underrated, hip-hop classics and quite possibly one of the best hip-hop albums of all time: The D.O.C.'s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for several years, this limited edition colored LP features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, The D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle - his most important role in the early days of the group was writing many of Eazy-E's rhymes, including his hit 1988 single “We Want Eazy.” He would go on to write for Efli4zaggin, The Chronic and Doggystyle. But The D.O.C. wasn’t in N.W.A. and never wanted to be - he was his own man, with his own vision. And after Compton proceeded to blow up the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. Boasting four singles - “The D.O.C. & The Doctor,” “Mind Blowin’,” the smash “It's Funky Enough” and “The Formula” - the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. The D.O.C. showed on this amazing record that he was one of hip-hops most talented MCs. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989 which damaged his vocal cords, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day. More recently a documentary covering D.O.C.'s life titled The DOC debuted at the Tribeca Film Festival with fans eagerly awaiting a wider release. This album is a must have for any Hip-Hop fan

2023 Repress

On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recentsignees to Capitol Records, a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "MKVI" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz release a remastered edition on Carpark Records.

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!

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of

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

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz will release a remastered edition, on Carpark Records.

On their debut full-length, Western Massachusetts' Speedy Ortiz manages a bit of magic by conjuring the spirits of classic American indie rock, while twisting those ghosts into new shapes. It's easy to hear the influences of Helium, Jawbox, and Chavez on this album, as well as nods to their contemporaries including Grass is Green, Pile, and Roomrunner. Sweet vocal harmonies run up against gnarly distortion, aided by basic, chunky bass parts and heavy, fill-laden drums.

The album was recorded in a few days in November at Justin Pizzoferrato's (Dinosaur Jr., Chelsea Light Moving) studio, Sonelab, a huge space in an old factory in Easthampton, Mass. The sessions went from very early in the day until very late at night, with the band taking its time to experiment. Pizzoferrato's collection of old distortion pedals were utilized on both the record's guitars and vocals.

The theme of the occult and the supernatural runs deep through Major Arcana, inspired by singer-guitarist Sadie Dupuis' reading on black magic. Dupuis' sometimes knotty and abstract lyrics bring to mind fellow wordsmith Stephen Malkmus, while referencing horror film tropes, chemistry, and neuroscience. Major Arcana's literal translation is 'major mysteries,' a phrase from tarot cards. 'I don't write in a narrative way and am more concerned with use of language than meaning,' Dupuis says, 'so I like the open-endedness of the title and the way it invites interpretation.'

After too much time freelance writing and watching re-runs in a windowless Brooklyn basement, guitarist and songwriter Sadie Dupuis left New York City for the wilds of Northampton, MA in order to pursue a master's degree in poetry. In doing so, she began Speedy Ortiz, a self-recorded lo-fi project named after a minor character from the Love and Rockets comic series. Speedy Ortiz soon became something else entirely as bassist Darl Ferm, guitarist Matt Robidoux, and drummer Mike Falcone teamed up to form a full band, balancing abrasive noise with infectious earworms. The newly minted Speedy Ortiz quickly found an audience in the Boston DIY scene, playing frequently with their friends Pile, Grass is Green, Fat History Month, Sneeze, Krill, and Arvid Noe.

Almost immediately, the band recorded a two-song single, 'Taylor Swift' and 'Swim Fan,' with Paul Q. Kolderie (Pixies, Hole) and Justin Pizzoferrato (Chelsea Light Moving, Dinosaur Jr.), and self-released it in March of 2012. Shortly thereafter they spent a few weekends at the dingy yet atmospheric Sex Dungeon Studios in Philadelphia recording the Sports EP, a five-track, loosely conceptual 10' released that June on Exploding in Sound Records.

The creation of Major Arcana, their full-length debut, marks the evolution of Speedy Ortiz into a wholly collaborative effort. Darl leans toward basic, chunky parts, while Mike, a talented songwriter in his own right, helped arrange while also providing aggressive, boisterous drums. And Matt is a classically trained guitarist, but his experience in noise and experimental music comes through in his anti-melodic guitar solos, which counterbalance Sadie's angular, scalar guitar riffs and poppy vocals.

The end result is a band able to distill their influences and creative impulses into something at once dissonant and melodic, noisy yet undeniably pop.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

Orange vinyl. Time is supposed to mellow us, but for Petrol Girls it has distilled their feminist politics into an ever more potent cocktail. Fitting, given that their logo from day one has been a flaming molotov. Since their formation in 2012, the band has been known for playing fast-paced, chaotic punk that takes aim at everything from sexual violence to immigration policy, but over the last few years their sound has evolved in a more nuanced direction. Their 2016 debut album Talk of Violence was a blast of pure political rage, while 2019's Cut & Stitch saw vocalist Ren Aldridge exploring familiar themes from a more personal perspective. Now their latest offering, Baby - to be released through the London-based independent label Hassle on June 24th - sees the band turn another new corner. This time, by embracing irreverence. "We wanted this album to be less epic and less preachy from day one," Aldridge says. "I hate sanctimoniousness. Like, really fucking hate it. But I also know that I have been mega preachy, and felt very pressured to be sanctimonious, because we've always played in a very political punk scene. I lost my fun side, and I really needed to come back to that." Recorded with Pete Miles at Middle Farm Studios in Devon, Baby embraces a more playful sound. A focus on groove and repetition - driven by guitarist Joe York, drummer Zock and bassist Robin Gatt - give the songs a Talking Heads feel, while retaining the band's formative post-punk energy. The lyrics, too, are a departure for Aldridge. While she continues to address heavy topics like burn out, femicide and police violence, the lyrics balance directed anger with tongue-in-cheek humour where appropriate. Angular opener "Preachers" puts the self-aggrandising nature of call-out culture on blast with lyrics like "feeling dead important in the comments", while lead single "Baby, I Had An Abortion" is intentionally puerile from title to finish. On the flip side, tracks like "Violent By Design" see the band kicking back against carceral feminism in the wake of a news cycle dominated by Black Lives Matter protests and PC Wayne Cousins' brutal murder of Sarah Everard. Similarly, "Fight For Our Lives" - a harsh, borderline industrial song - was lyrically co-written by activist and vocalist Janey Starling. Aldridge deliberately wrote the verses to sound like a manifesto, and the lyrics reference Starling's Dignity For Dead Women Campaign with Level Up, which successfully called for the UK media to change the way it reports on fatal incidents of domestic violence. Baby saw Petrol Girls working in new ways - scrapping entire songs rather than trying to force things that didn't feel right, recording to tape for the first time, and deliberately leaving in imperfections. It was a more carefree process, which Aldridge - having gone through a particularly bad period of mental ill-health at the start of 2021 - welcomed. "Our whole thing for a long time, and a big focus of the last record, was making political struggle sustainable," Aldridge says. "And I think having a good time where possible, and things being not totally serious all the time, is really essential."

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

The Blips self titled debut, 'The Blips', struck lightning when Little Steven's Underground Garage declared "Inside Out" The Coolest Song In The World in the spring of 2021. And here we are with The Blips, 'Again'. Back with more boogie, beast and beauty

This band swaggers like The Stones, Haggards like Merle, and snots like Mike Ness. 'Again' carries you on a not-too-long trip through a varied landscape of far out, well made and dusty rock songs that stick to your black boots and go with you when you go. While there are four different lead singers and writers throughout this album, it is apparent 'Again' is executed by a band, rather than disparate musicians playing along on a track in a cold studio. A band that sweats. The Blips haven't "grown" or "matured" with their "sophomore effort" --These ideas don't apply to the Blips. The band is wholly made up of veteran front men of some of the most revered bands of the Birmingham rock scene. Making records is what all of these guys do on the regular. Once upon a time, The Blips came together, rose above, braved the elements, forced the issue, carried the weight and dealt with the demons that require the making of a record. And now they have done it . . . 'Again'.

Electric, their third album, came out in 1987 and really caused the band to explode to new levels of fame. It contains the massive hits "Love Removal Machine", Wild Flower" and "Lil" Devil" and was produced by Rick Rubin. Electric is a seminal work, featuring some of the band"s most iconic songs. It is a departure from the band"s previous work, with a raw, agressive and stripped-down sound. The album"s opening track, "Wild Flower," sets the tone with its pounding drums, blistering guitar riffs, and Ian Astbury"s wailing vocals. Electric was a commercial and critical success, propelling The Cult to the forefront of the hard rock scene and cementing their status as one of the most influential bands of the era. The album remains a touchstone for hard rock and heavy metal fans, a classic work that captures the spirit of rebellion and the power of rock and roll. The Cult has remained an important and enduring force in the rock music world. The band has sold millions of records worldwide and has earned critical acclaim for its powerful live performances. The Cult continues to tour and record new music, and their influence on rock music shows no sign of diminishing.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).