Search:the u n

Die in Montréal lebende schwedische Sängerin und Komponistin hat in den letzten 20 Jahren sechzehn unabhängig produzierte Alben vorzuweisen und ist zahllose Kollaborationen eingegangen. Sie ist eine poetische und kühne Kraft in der Musik, die sich dem Genre entzieht. Ihre Stimme wurde als "eine führende Präsenz" (Exclaim) beschrieben, die "den Unterschied zwischen dem Göttlichen und dem Dämonischen aufspaltet, gekonnt aus den Angeln hebt" (Under The Radar) und "neben den größten Indie-Künstlerinnen steht, die vor nichts Angst haben" (Le Devoir). Aufgewachsen auf einer Insel an der schwedischen Westküste, begann ihre musikalische Laufbahn, als sie 2004 nach Stockholm zog und Mitglied des renommierten Kollektiv-Labels und Veranstaltungsortes Fylkingen wurde (die älteste Organisation in Europa für experimentelle Musik und Kunst, gegründet 1933). Seit ihrem Umzug nach Montréal im Jahr 2012 erstreckt sich ihre Karriere über zwei Jahrzehnte und ist geprägt von einem unerschrockenen Streben nach Originalität, einem unerschöpflichen Wunsch, Genres zu überschreiten, und einem Engagement für künstlerische Zusammenarbeit. Angell verschmilzt musikalische Bereiche von Klassik, Folk, Rock und Pop bis hin zu Jazz, Elektronik, freier Improvisation und Avantgarde. Bekannt ist sie vor allem für ihr unkonventionelles künstlerisches Schaffen mit der gefeierten und für den Polaris nominierten Avant-Rock-Band Thus Owls, die sie seit 2007 gemeinsam mit ihrem Mann Simon Angell leitet. Zu ihren früheren Ensembles gehören das schwedische Vokal-Bass-Duo Josef & Erika und die elektronische Noise-Gruppe The Moth. Zur Unterstützung dieser und anderer Projekte unternahm sie ausgedehnte Welttourneen, bei denen Daníel Bjarnason (Ben Frost, Sigur Rós), Liam O'Neill (SUUNS), Karl Lemieux (Godspeed You! Black Emperor), Lisen Rylander Löve (Midaircondo) und Anders Jormin (ECM) zu ihren zahlreichen Partnern zählten. Ihre unverwechselbare und virtuose Stimme hat Aufnahmen und Live-Auftritte mit einem breiten Spektrum von Künstlern geziert, darunter Loney Dear, Patrick Watson, Leonard Cohen, Kim Myhr, Arve Henriksen, Land Of Kush, Wildbirds and Peacedrums, La Force und The Besnard Lakes, um nur einige zu nennen. Kürzlich gründete Angell zusammen mit Róisín Adams und Peggy Lee das Neue-Musik-Trio Beatings Are In The Body und vollendete ein Solo-Debütalbum mit uneingeschränkter stimmlicher Erkundung und expressionistischen avant-elektronischen Kompositionen, das Anfang 2024 auf Constellation erscheinen soll.

Australischer Rock-Glanz trifft auf 80s Sunset Strip! The Neptune Power Federation kehren mit ihrem sechsten Album zurück, einer Sammlung fieberhafter Night Stories, untermauert mit purem Rock! Die vertonten Kindergeschichten mit einem ausgesprochen US-Rock-Sound der frühen 1980er Jahre sind inspiriert vom unbeschwerten und rücksichtslosen Sunset Strip in LA. Und hier wendet sich die Band bei 'Goodnight My Children' auch dem Radiorock der späten 1970er Jahre zu. Die acht Tracks feuern mit purer Rock-Inbrunst, inkl. dröhnender Gitarrensoli und dem stets markant verlockendem und hypnotisierenden Gesang von Front-Lady Screamin' Loz Sutch. Dieses Album dürfte die bisher beste Vocal-Performance der Sängerin mit dem beeindruckenden Kopfschmuck sein.
Die Sessions waren organisch und intuitiv, ermöglichten es Sutch so, die klassischen Pop-Strukturen der Tracks zu erweitern. Perfekt zum Album-Thema, das eine Sammlung nächtlicher Geschichten symbolisiert, die, so schrecklich sie auch sein mögen, den Zuhörer in der fürsorglichen Umarmung von Sutch, der kaiserlichen Priesterin, zurücklassen. Und als zusätzlichen Bonus erhalten die Fans ein illustriertes Märchenbuch, das die Veröffentlichung begleiten wird.
Die Band wird Ende Februar / Anfang März auch Deutschland-Konzerte spielen und dabei u.a. in Hamburg das 'Hell Over Hammaburg'-Festival beehren.

Rock Hard (10/10 Pkt.)
"Wie starb Sid Vicious? Wo ist Richie Edwards? Wann kommt ein neues Guns-N´-Roses-Album? Was ist die wahre Identität von Jens Peters? In die Reihe der großen Mysterien des Rock fügt sich das Rätsel, warum THE NEPTUNE POWER FEDERATION in gottverdammten kleinen Clubs spielen, während die konzeptionell ähnlich gelagerten Ghost Arenen füllen. Mangelnde Vielfalt ist nicht die Ursache: Die Aussies packen rustikalen Rock´n´Roll, Düster-Doom und Schrägo-Psych ebenso in ihre knallbunte Wundertüte wie überlebensgroßes Musiktheater mit viel Pomp, Musical-Flair und Pop-Appeal. Die Songs stehen dem Durchbruch auch nicht im Wege. Sie sind entweder ziemlich gut, verdammt gut oder schlicht großartig. Manche tänzeln leichtfüßig im glamourösen Power-Pop-Gewand einher (´Let Us Begin´, ´Twas A Lie´), andere klingen, als würden Heart Black-Sabbath-Stücke interpretieren (´Lock & Key´). Wieder andere lassen New-Age-bewegte Queen auf die synthetisierten ZZ Top der Achtziger treffen (´Woe Be Father´s Troubled Mind´, ´Hariette Mae´). Viele lassen sich auf Anhieb mitpfeifen, wobei die Eingängigkeit nie auf Kosten der Tiefe geht. Vielmehr sind die Arrangements so detailverliebt und wendungsreich, dass es fast zu Tränen rührt. Doch kommen wir zum "unique selling point" der wahnwitzigen Truppe: dem intergalaktischen, Brautkleid tragenden Christbaum mit Hirschgeweih namens Screamin Loz Sutch. Dass sich die "Imperial Priestress" in den hochherrschaftlichen Gesangskreisen von Farida Lemouchi, Chrissie Hynde oder gar Ann Wilson bewegt, war bereits erwiesen. Der hochdramatische Titeltrack zeigt jetzt, dass sie nicht von dieser Welt ist. Kurz: Es gibt keinen Grund, warum TNPF nicht längst Megastars sind - außer einer großen kosmischen Ungerechtigkeit. Es ist an euch, diese zu korrigieren!"

Legacy (12/15 Pkt.)
"Die australische Ausnahmekapelle um Screaming Loz Sutch, ihres Zeichens Exzentrikerin und Frontfrau mit großartiger Stimme, legt das sechste Album auf den Tisch, und bereits nach dem ersten Hören ist klar: Das Ding könnte verdammt groß werden! Full Energy Rock'n'Roll spielst du nicht, ohne, wenn du es gut machst, an die Großen zu erinnern. Aber auch wenn die Dinos im Sound der Band präsent sind, wirken die Songs easy und frisch von der Leber weg gerockt ('Let Us Begin' und 'Lock & Key'). Manche Parts lassen einen fast unverschämten Pop-Appeal in den Rock'n'Roll tropfen und begeben sich auf Ausschweifungen in die psychedelisch poppige Ecke ('Woe Be Father's Troubled Mind'). Ein Stück, in dem die Musik mit einer überlebensgroßen Attitüde flirtet, was die Gitarrensoli vor dem beschwörenden Part schön ins Rampenlicht setzt. Danach die klassische Mitklatsch-Nummer, ab da mutiert die Platte langsam zum Überflieger ('Betrothed To The Serpent'). Am Ende strecken sich Musik und Songwriting und wachsen aus dem bisherigen, schon vielschichtigen Können der Band nochmals hinaus. Da trifft der Pop-Appeal auf gefühlvollen Blues-Sound und wird zu wuchtigem Siebziger-Rock. Das funktioniert bestens. Nicht zuletzt, weil die Instrumentalfraktion auf dem Album fast blind miteinander zu harmonieren scheint und Screaming Loz Sutch die Kunst vollbringt, die nötige Theatralik, das gewisse Quäntchen an Exzess und die genau dosierte Übertreibung in ihr Organ zu legen. Der Titeltrack legt davon erstaunliches Zeugnis ab! It ain't a long way to the top … anymore."

Big Bill Broonzy, the dean of Country-Blues singers, puts it this
way “It’s real. Muddy’s real. See the way he plays guitar?
Mississippi style, not the city way. He don’t play chords, he don’t
follow what’s written down in the book. He plays notes, all blue
notes. Making what he’s thinking.” This album contains a dozen of
Muddy’s most successful recordings, notably Hoochie Coochie
Man, I Just Wanna Make Love To You, Louisiana Blues, Rollin’
Stone and I Can’t Be Satisfied.

Tauchen Sie ein in eine harmonische Mischung aus rauen Emotionen und musikalischer Brillanz. 'The Color Purple (Music From and Inspired By)' verspricht ein Hörerlebnis, das zutiefst nostalgisch und erfrischend neu zugleich ist. So trumpft das Album mit einem Ensemble auf, das seinesgleichen sucht - der für den Golden Globe nominierten Fantasia mit ihren gefühlvollen Melodien, Taraji B. Henson mit ihrer emotionalen Tiefe, Colman Domingo mit seiner fesselnden Energie, der für den Golden Globe nominierten Danielle Brooks mit ihrer kraftvollen Resonanz, H.E.R. mit ihrer zeitgenössischen Kunst und Hallie Bailey mit ihrem strahlenden Gesang. Und Musik von den Grammy-prämierten Songwritern des Musicals - Brenda Russell, Allee Willis und Stephen Bray. Doch hört die Magie nicht bei den zeitlosen Klassikern auf. Tauchen Sie noch tiefer ein und lassen Sie sich verzaubern von einem neuen Kapitel und neuer Musik von Alicia Keys, Jennifer Hudson, Mary J. Blige, Keyshia Cole, Coco Jones, Jorja Smith, Celeste, Mary Mary und October London sowie einer atemberaubenden Kollaboration von Usher & H.E.R. Von Liebe und Schmerz bis hin zu Widerstandskraft und Erlösung - diese Songs fangen die Essenz von 'The Color Purple' ein und ebnen gleichzeitig den Weg für eine neue musikalische Ära. Und für diejenigen, die einen modernen Twist suchen, gibt es Remixe von Missy Elliot featuring Megan Thee Stallion und Timbaland featuring Black Thought. So schlägt 'The Color Purple' auch eine Brücke zwischen Generationen von Musikliebhabern.

1965 bewiesen die Stones mit Out Of Our Heads, dass sie in der Lage waren, klassische Rock-Singles zu schreiben, die ihre R&B- und Blues-Wurzeln aufgriffen, sie aber in einen gitarrenlastigeren, durch und durch zeitgenössischen Kontext stellten. Die amerikanische Version dieser Kollektion hatte ein anderes Coverdesign und eine andere Tracklist, um zwei der großen Stones-Singles zu präsentieren - The Last Time (und die bedrohliche, folkige B-Seite Play With Fire) und das klassische, riff-orientierte Satisfaction - einer der Schlüsselmomente der Rock- und Popgeschichte! I’m All Right (basierend auf einem Riff im Stil von Bo Diddley) zeigt den Sound von 1965 von seiner rauesten Seite, während The Spider And The Fly eine schöne, rollende Version des Blues ist.

Kill The Lights, die aus ehemaligen Mitgliedern von Bullet for My Valentine, Throw the Fight, Threat Signal und Still Remains bestehen, veröffentlichen über Fearless/Concord ihr neues Album Death Melody am 08.03.2024 Ihre songs sind einzigartig- Sie stürmen förmlich von der ersten Note an aus den Toren, supported von galoppierenden Riffs, wobei die Texte in einem wilden, höllischen Stil vorgetragen werden. Das markerschütternde Gebrüll geht nahtlos in einen hübschen, sauberen und melodischen Stil über, der effektiv zeigt, wie brutal und doch soft Kill The Lights sind!

The Tapeworm celebrates its 15th anniversary in 2024. Its first tape was 2009's "Spool" by the much-missed Philip Jeck. To honour his memory, Jay Glass Dubs unwinds "Spool" in a new hour-long composition using Jeck's tape as his primary sound source. This tape was commissioned for "The Worm Rose Of Athens", two evenings of performances curated by Stellage, 1-2 March 2024, Athens. Written, recorded, produced and mixed by Dimitris Papadatos, Athens, 2024. With special thanks to Mary Prestidge.

Nach der mit Begeisterung aufgenommenen Ankündigung einer Reunion-Arena-Tour in UK im Jahr 2024 folgt nun der R-Release ihres zweiten Albums What Will The Neighbours Say? What Will The Neighbours Say? wird erstmals auf Vinyl erscheinen, und zwar als himmelblaue 140-GrammLP.

The Rolling Stones - Get Yer Ya-Yas Out gilt als eines der besten Live-Rockalben aller Zeiten und erscheint nun auf Vinyl. Ein außergewöhnliches musikalisches Dokument zweier Novembernächte im Madison Square Gardens im Jahr 1969 - die rohe Energie von Sympathy For The Devil, Jumpin’ Jack Flash und Honky Tonk Women bestätigt ihren Ruf als größte Live-Attraktion jener Zeit, vielleicht sogar ALLER Zeiten! Lester Bangs, der das Originalalbum in der Novemberausgabe 1970 des Rolling Stone besprach, schrieb: ”Es ist noch zu früh, um es zu sagen, aber ich beginne zu glauben, dass Ya-Ya’s das beste Album sein könnte, das sie je gemacht haben. Ich habe keinen Zweifel daran, dass es das beste Rockkonzert ist, das je aufgenommen wurde.

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

First Word Records is proud to bring you 'The Essance' - the classic debut album by Essa (formerly known as Yungun), originally released in 2004, now released on vinyl & digital for the first time, 20 years on!

A lyricist, lawyer and a Londoner, legendary MC Essa has earned praise over the years from artists such as Nas and Mark Ronson, as well as performing and recording with legends like De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch.

This 15-track album is considered one of the greats to emerge during UK Hip Hop's "golden era"; a vibrant time for the genre when artists such as Ty, Jehst, Roots Manuva, Klashnekoff, Skinnyman, Task Force, Doc Brown and Foreign Beggars were garnering huge fanbases, and an eco-system of shops like Deal Real, club nights like Kung Fu, labels like Lowlife, and stations like Itch FM were prevalent, while BBC 1Xtra was a mere infant.

'The Essance' includes production and features from luminaries such as Harry Love, Mr Thing, Lewis Parker, Kyza, Devise & Ben Grymm, to name a few.

Esteemed author Musa Okwonga says on the reissue liner notes "the most startling thing about 'The Essance' was its range. Yungun (Essa) was one of the few MCs who could perfectly walk the paths of hope and melancholy with equal ease, whose artist name belied the wisdom of his lyrics. Beyond that, his delivery was supremely self-assured, filled with a swagger he could always justify.

Yungun's gifts also extended to the stage, where he was one of the best young actors that many of his contemporaries had seen, and to languages, which saw him writing and rhyming in Spanish with a notable flourish. He was also someone who constantly walked between two worlds, excelling in one of the country's most competitive academic environments during the day and then delivering a soaring radio set by night. Raised in a vibrant vein of North London, endlessly curious about the world around him, Yungun's fine ear for music and passion for the variety of life made him someone who could reach all audiences.

'The Essance' is a beautifully-woven meditation on the human condition, one which takes you from the dancefloor to the summer afternoon barbecue to the bathroom mirror; yet it is also the opening statement of a unique career."

In the words of Essa himself "my key goal for this album was to span so many moods and styles that I couldn't be categorised, leaving me free to then go in whatever direction I chose. I was almost too successful with this – I would later struggle to pin down my own identity, both on and off the mic, as a rapper slash lawyer, of mixed-heritage, blessed to be able to enter many circles but feeling truly at home in none. As I write this, twenty years (plus a marriage and several children) on, I finally feel more at peace with being undefinable, and am getting better at bringing my full, authentic self into as many aspects of life as I can. I am grateful to be able to look both back and forward, with equal passion."

'The Essance' was followed with a collaborative album with DJ Mr Thing ('Grown Man Business'), then some years later on First Word with 'The Misadventures of a Middle Man' in 2014. There's also a forthcoming project in the works, due for release Summer 2024 with all-new material produced by Pitch 92. Both these releases also coincide with the 20th anniversary of the First Word label (named "label of the year" at the 2019 Worldwide Awards).

A timeless piece of work, 'The Essance' is true-skool boom bap through and through that stands up two full decades later, from the ethereal anthem 'Liquid Love', to the uptempo bounce of 'Dancing Shoes', to the grit of 'The Big Idea', to the thought provoking 'What Eye See Pt.2', to bangers like 'Push' or 'Spit Fire', this is an essential addition to the collection of any discerning hip hop head.

'The Essance' is due to be released on vinyl & digital worldwide on February 23rd 2024.

“But into my miserable brain, always concerned with looking for noon at two o’clock" - Charles Baudelaire (1869)

The Foreign Department is the second album by Astrel K, the solo project helmed by Stockholm-based British ex-pat, Rhys Edwards. Those already familiar with Edwards’ work will likely know him for fronting the cultishly great Ulrika Spacek, and given he operates as the principal songwriter in both projects, much of the same hallmarks of his cathartic, elliptical songwriting are present in Astrel K. Nonetheless, The Foreign Department feels like a rubicon moment of sorts, and the album that Edwards has unconsciously been working towards his entire creative life.

As a title, The Foreign Department offers an instructive guide for the listener, framing a life-in-transition/artist-in-exile document that maps two impromptu moves in twelve months for its songwriter: the first from London in pursuit of a relationship, the second between homes in Stockholm as that decade long relationship then suddenly dissolved. Indeed, diffusion, dissolution and reconstitution feel like appropriate touchstones for its recurring themes. Written amidst the flux of two states, at once isolated from home and then any established emotional anchor, the resulting eleven tracks came to represent a precognitive search for shifting identity and with it forming an unwittingly biographical record. It's commendable and somewhat telling that during this shake up, Edwards somehow landed upon his most realised and original work.

With a former life stripped away, there emerged an opportunity to reinvent a sense of self through art, now not just as a writer, but a composer also. Developing the confidence to arrange songs in ways he'd previously considered off-limits, while also taking cues from the opulent string and brass arrangements of records like Mercury Rev's Deserters' Songs and Death of A Ladies Man by Leonard Cohen, Edwards enlisted a range of performers to bring to life the mini-symphonies forming in his head. Perhaps it's inevitable that an album written while facing the consequences of being alone would eventually ossify around the process of bringing people together.

For all its troubled origins, The Foreign Department is a remarkably warm sounding collection. Edwards' lyrics are typically knotty and neurotic, dancing around the poetry of quarter-life anxiety, but the music itself is often joyous and even uplifting, the combination expressing that neat duality of melancholic euphoria. Edwards sings variously of crises, "torrid pieces of art", of "houses on fire" and not "having the guts for it", yet these troubling sentiments are framed by seemingly incongruous swelling strings, chirping horns or motorik percussion, creating that sense of pushing forward or floating above, of wrapping your troubles in dreams, a salve for the moments when you get a bit too much for yourself.

Lead single, 'Darkness At Noon', likely captures this all best. Named for the French idiom "midi a quatorze heures", the maddening idea of attempting the impossible for the sake of some greater possibly pointless cause, it directly grapples with the opposing notions of wanting and not wanting, of being here and being there at the same time. The conflicting and impossible self. It’s something Edwards addresses in the song at perhaps his most open, opining, “I know I want to be seen, but I hate most of what comes out of me”. And yet here is, putting it all out in the open and on the line, the dialectics of his enlightenment up on show.

Standard black vinyl is limited to 500 copies. Digipack CD. It’s two years since CONNECTIVITY (2021) smashed into the top 40 and debuted at #1 in the UK download chart, propelling the fiercely independent voice of GRACE PETRIE from critics’ choice to the main stages of major festivals across The UK and Ireland, Australia and Canada. For a seasoned road dog who spent almost 15 years clocking up tours with the likes of Billy Bragg, Frank Turner and Hannah Gadsby, the COVID lockdowns were like a cage for Petrie and when restrictions lifted, she hit the road harder than ever, armed with her most searing and successful record to date, and determined to make up for lost time. Sell-out headline tours across the UK, Australia, Canada and New Zealand followed, with audiences from Melbourne to Toronto mesmerised by the ferocity of her socially urgent lyricism and the barnstorming power of her live show. But travelling the globe hasn’t diminished her laser focus on the political issues plaguing the UK, with two more Prime Ministers, endless blunders and evermore division seen since she last swapped microphone for pen and paper. Now the songwriter is back - stronger, older and a whole lot angrier than ever before. As right wing ideologues trade in suspicion and cynicism, tearing communities apart against a backdrop of crumbling public services, the ordinary folk of Britain continue to suffer the consequences of corruption and individualism. From within this maelstrom of despair comes BUILD SOMETHING BETTER - the new, uncontainable album from Grace Petrie. Recorded raw and unflinchingly with folk-punk legend Frank Turner in the producer’s seat, BUILD SOMETHING BETTER is a return to blistering protest form for Britain’s most relevant political songwriter, a decade after being hailed as “a powerful new voice”, (The Guardian) and “a millennial’s Billy Bragg” (Huffington Post). In a world that seems to make less sense than ever, these are songs made to both holler along to from the crowd barrier and to tear up with on a lonely late night train. A record for everyone whose broken heart beats for, and whose boots stomp in time with, the hope a brighter tomorrow. “An effervescent charm-bomb of a performer” - The New Yorker. Headline Tour: 21st Feb Belfast - Oh Yeah Centre 22nd Dublin - Whelan’s, 24th Manchester - Academy 2, 28th Kendal - Brewery Arts 29th Edinburgh – Summerhall 1st March Gateshead – Glasshouse 6th Birmingham - Glee Club 7th Leeds - Brudenell Social Club 8th Nottingham - Rescue Rooms 9th Liverpool – Philharmonic 13th Oxford - The Bullingdon 14th London - Islington Assembly Hall 15th Brighton - Concorde 2 16th Norwich - Norwich Arts Centre 20th Cambridge - The Junction 21st Portsmouth - Wedgewood Rooms 22nd Exeter – Phoenix 23rd Bristol - Trinity Centre

Standard black vinyl is limited to 500 copies. Digipack CD. It’s two years since CONNECTIVITY (2021) smashed into the top 40 and debuted at #1 in the UK download chart, propelling the fiercely independent voice of GRACE PETRIE from critics’ choice to the main stages of major festivals across The UK and Ireland, Australia and Canada. For a seasoned road dog who spent almost 15 years clocking up tours with the likes of Billy Bragg, Frank Turner and Hannah Gadsby, the COVID lockdowns were like a cage for Petrie and when restrictions lifted, she hit the road harder than ever, armed with her most searing and successful record to date, and determined to make up for lost time. Sell-out headline tours across the UK, Australia, Canada and New Zealand followed, with audiences from Melbourne to Toronto mesmerised by the ferocity of her socially urgent lyricism and the barnstorming power of her live show. But travelling the globe hasn’t diminished her laser focus on the political issues plaguing the UK, with two more Prime Ministers, endless blunders and evermore division seen since she last swapped microphone for pen and paper. Now the songwriter is back - stronger, older and a whole lot angrier than ever before. As right wing ideologues trade in suspicion and cynicism, tearing communities apart against a backdrop of crumbling public services, the ordinary folk of Britain continue to suffer the consequences of corruption and individualism. From within this maelstrom of despair comes BUILD SOMETHING BETTER - the new, uncontainable album from Grace Petrie. Recorded raw and unflinchingly with folk-punk legend Frank Turner in the producer’s seat, BUILD SOMETHING BETTER is a return to blistering protest form for Britain’s most relevant political songwriter, a decade after being hailed as “a powerful new voice”, (The Guardian) and “a millennial’s Billy Bragg” (Huffington Post). In a world that seems to make less sense than ever, these are songs made to both holler along to from the crowd barrier and to tear up with on a lonely late night train. A record for everyone whose broken heart beats for, and whose boots stomp in time with, the hope a brighter tomorrow. “An effervescent charm-bomb of a performer” - The New Yorker. Headline Tour: 21st Feb Belfast - Oh Yeah Centre 22nd Dublin - Whelan’s, 24th Manchester - Academy 2, 28th Kendal - Brewery Arts 29th Edinburgh – Summerhall 1st March Gateshead – Glasshouse 6th Birmingham - Glee Club 7th Leeds - Brudenell Social Club 8th Nottingham - Rescue Rooms 9th Liverpool – Philharmonic 13th Oxford - The Bullingdon 14th London - Islington Assembly Hall 15th Brighton - Concorde 2 16th Norwich - Norwich Arts Centre 20th Cambridge - The Junction 21st Portsmouth - Wedgewood Rooms 22nd Exeter – Phoenix 23rd Bristol - Trinity Centre

"Two Steps from the Move is the fifth studio album by the Finnish rock band Hanoi Rocks, released in 198This is their last album to feature the late drummer Razzle. Before this album, all of Hanoi Rocks' albums were released on Lick Records and Johanna Kustannus, but this was the band's first album on a major label. Originally the album was supposed to be called Silver Missiles and Nightingales, but the name was changed at the last minute. The album's producer, Bob Ezrin had previously worked with big-name artists like Pink Floyd, Kiss and Alice Cooper, which was one of the main reasons Hanoi Rocks wanted him to produce the album. Ezrin wanted the album to have a heavier atmosphere and darker guitar playing than the band's previous efforts, while still keeping it melodic and punky, and he also worked on the writing of almost every song on the album. Two Steps from the Move was Hanoi Rocks' biggest hit when it was released, reaching #28 on the UK Album Charts, along with the singles ""Up Around the Bend"" and ""Don't You Ever Leave Me"". The album also gave Hanoi Rocks their first gold record in Finland, but not until 1986 after the group had already disbanded. Two Steps from the Move is often considered as a glam rock/hard rock classic. The album is available on black vinyl and includes an insert."

Two Steps From The Move by Hanoi Rocks, released 8 March 2024, includes the following tracks: "Underwater World", "Million Miles Away", "Boiler (Me Boiler 'N' Me)", "Cutting Corners" and more.

This version of Two Steps From The Move comes as a 1xLP. This release comes with (a) Insert(s).

The ever poignant yet exceedingly elusive Chorg Dorgon speaks on the new album by Charles Moothart, entitled Black Holes Don’t Choke: “For the sake of clarity, and its clarity that we seek, Charles has been a pillar of our musical experience since he began playing eons ago in the various projects and countless albums he has contributed to. Charles is a musician who has been constantly on the road for years playing in Ty Segall’s Freedom Band and Fuzz. When there has been a rare time away from those engagements especially in the post-pandemic scramble to catch up world of gigs and tours, he has been spending all of his time in his laboratory figuring out how to synthesize all of the info he has collected and musical ideas he has developed in the past few years since the last CFM record and subsequent shows for this new solo work. Just before the pandemic started, he was out playing solo shows in a project that revolved around an MPC sampler, just to give an example as to the wideness of his explorations. His result is Black Holes Don’t Choke. Love songs for the apocalypse. A prayer toward optimism amid chaos. A plea toward nature. The themes on this album are the themes of today. Charles appeals for us to visualize evolution. And with a signature, the music sounds exactly as you want it to. It sounds like Charles Moothart’s music only more evolved and with greater focus and direction. With greater textural dynamic and more sonic variation and realization, but never sacrificing the insane riff that he is clearly the master of. He gets to the point on this record. He is presenting a voice you can understand and rely on as you make your own journey into it. Create your own meanings. The record now belongs to the world. Because we all start a thought as that which is beginning-less and endless and at some certain point it becomes its own thought, takes it owns shape and becomes itself, separate from the thinker, separate from the observer. alive in the ether!”

"All Quiet on the Western Front (Im Westen nichts Neues) is a 2022 German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material's anti-war message. Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war. All Quiet on the Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score. The score of All Quiet on the Western Front is available as a limited edition of 1000 individually numbered copies on flaming coloured vinyl. The package includes a 4-page booklet with movie stills."

All Quiet On The Western Front by Volker Bertelmann, released 8 March 2024, includes the following tracks: "Rain & Night ", "Burried & Found", "Ludwig ", "Search Party" and more.

This version of All Quiet On The Western Front comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a flame red disc.

In the UK ‘Garage’ is most commonly used to refer to Rock music –
mostly of the kind that’s a bit rough (and ready) round the edges. Most
of the Punks were Garage bands, and before them were Psychedelic
Rockers, and before them Surfers and Beat bands. All the groups on
this compilation hail from the late 1950s and very early 1960s. Featured genres are Surfer instrumentals, Doo-Wop, ‘Trash’ Doo-Wop, Frat-Rock and Beat music.

**Ltd First Pressing on Black/Red Splatter Vinyl** Introducing Observers “The Age of the Machine Entities” an instrumental heavy metal reimaginin of Stanley Kubrick and Arthur C Clarke's 2001 A Space Odyssey. Observers is a new project fronted by Martin Kennedy whose ambient rock band All India Radio has seen music used in CSI, One Tree Hill and many more. Canadian metal titan Devin Townsend even covered an All India Radio song that he fell in love with while on holiday. Kennedy has also released over fifteen albums with Steve Kilbey of psychedelic rock legends The Church. Kennedy says “I’ve been fascinated by 2001 A Space Odyssey ever since my mum took me to see it in the 1970s. It blew my mind. I started making my own 2001 inspired super 8 movies, I collected everything I could afford and I’m still obsessed with it into my adult years.” “The Age of the Machine Entities” is entirely instrumental and takes us on a cosmic journey through melodic metal, atmospheric riffs and psychedelic ambient sequences with echoes of Gojira, Black Sabbath and Tangerine Dream and the early 70’s work of Pink Floyd. Indeed treats us to a searing metal version of the obscure but fan favourite “The Narrow Way Part 2” from the Floyd’s Umma Gumma. The album was mixed by Joe Haley from Tasmania’s legendary Psycroptic and the line up is Rich Gray (Annihilator) on bass, Chris Bohm on drums, and guest soloists including Joe Haley and Jake Weber. The all important visual aspect is brought to life by Ryan T Hancock (known for work with King Buffalo, ᴀɢɴᴏxɪᴀ, Robot God), who created the mesmerizing album artwork. Observers' "The Era of Machine Entities" is a fusion of artistic brilliance that pays homage to the timeless mystery of "2001: A Space Odyssey.”

Navy blue vinyl. For fans of Triumph, Rik Emmett, and Classic Rock! Rik Emmett is best known as the guitarist/vocalist for the legendary Canadian hard rock band Triumph. Between its 16 albums and DVDs, they have received 18 gold and nine platinum awards in Canada and the United States. They were nominated for multiple Juno Awards, including the 'Group of the Year Award' in 1979, 1985, 1986, and 1987. It was inducted into the Canadian Music Industry Hall of Fame in 2007, into the Canadian Music Hall of Fame in 2008, and into Canada's Walk of Fame in 2019. Their classic Allied Forces sold over a million copies in the US, while attaining the highest chart positions any Triumph album would attain: No. 23 in the US and No. 13 in Canada. It included the songs "Fight the Good Fight" and "Magic Power". "Magic Power" reached #8 on the Billboard Mainstream Top Rock Tracks chart and #51 on the Hot 100, while "Fight the Good Fight" went to #18 on the Top Rock Tracks chart. "Diamonds" is a brand-new compilation featuring Rik's favorite rock tracks from his Duke Street years. Newly remastered in 2023 at Iguana Studios in Toronto ON with the most up-to-date technology, every track brims with a new crisp presence. Tracks from Absolutely, Ipso Facto and The Spiral Notebook never sounded so good!

Today's club culture all started with Northern Soul and its roots in the Mod all-nighter scene of London clubs. All the ingredients were there: DJs privy to the latest imports and advance promos, dancers fuelled by illegal uppers, venues which had scarcely opened when the pubs were all but deserted. The records, drugs and clubs have all changed, true, but the lifestyle is identical. Featuring classics from the Northern Soul Scene including Tom Jones, Ronnie Jones, Brotherhood of Man, Sonny Childe, Billie Davis, Tony Newman, Bats and more. Presented for the first time on orange colour vinyl and CD, this is essential for any funk and soul lovers.

Meatbodies’ latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It’s a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more. By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an everevolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly—in search of meaning and a reset—he escaped into that world, ignoring his own well being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape—a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich’s mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to ’80s LA punk and the rise of indie / alternative music in the U.K., it plays like a radio station broadcasting from the void.

PRESSED ON BLUE SWIRL AND ORANGE SWIRL COLORED VINYL PACKAGED IN A GATEFOLD JACKET WITH PRINTED FOLD OUT LYRICS SHEET

Originally released in the fall of 1993 Return of the Boom Bap is KRS-One's first official solo album. The album is pure 90's Hip-Hop filled with KRS-One's trademark conscious raps and storytelling with boom bap beats from the man himself, DJ Premier, Showbiz, and Kid Capri. The album kicks off with a Preemo trademark intro leading into "Outta Here", a tale about coming up in the 80s with a message to emcees not staying true to their roots. Throughout the album KRS-One tackles corrupt police, fake emcees, religion and provides some comical relief on "I Can't Wake Up" where he dreams about being a blunt passed around by a who's who of 90s emcees and Bill Clinton! The album was selected as one of The Source's 100 Best Rap Albums and received a 4 four mics rating in The Source in 1993. Get On Down is proud to present a limited edition pressing of Return of The Boom Bap to commemorate the 30th Anniversary of the blast master's classic debut solo album. Includes the bonus freestyle track "Hip-Hop vs Rap" that was on the original "Sound of Da Police" 12-inch.

Steve Wynn and Kendra Smith founded The Dream Syndicate in 1981 and the band was a mainstay of the Paisley Underground movement. Reformed in 2012 by Steve Wynn, the band is still touring and recording.

The LA Times says the Dream Syndicate “rocked with the highest degree of unbridled passion and conviction”.

“The Dream Syndicate’s How Did We Find Ourselves Here?” documentary and companion soundtrack, “Live Through the Past, Darkly” will be available on CD or LP and includes a DVD of the recent documentary How Did We Find Ourselves Here

The documentary includes Chris Robinson, Stephen McCarthy, Ryan Adams, Chris Cacavas, Chris D., David Fricke, Russ Tolman, Tim Devine, Tom Gracyk, Pat Thomas, Karen Schoemer, Kari Pearson, Scott McCaughey, Sandy Pearlman, Dan Stuart and Howe Gelb.

Tony West was raised in the Bronx on New York Dolls, Ramones, Bad Brains, and NYHC. Hearing the call of the wild west, Tony made his way to Los Angeles at 19 years old. He initially collaborated with guitarist Todd Youth (Murphy’s Law/Danzig) in Malfunkshun, which was kept active by Andy Wood’s brother Kevin Wood. Tony took a break from L.A. to try out Memphis in 1998. While he was there, he attended the first Saliva gig with Paul Crosby on drums. This historic event marked the beginning of a lifelong friendship between Paul and Tony, ultimately leading to a management collaboration and Paul joining Blacklist Union. In addition, Tony recorded with Saliva and Jon E. Love (Love/Hate) in 2014. Tony decided to go in his own direction in 2006. With a shamanistic blend of Stone Temple Pilots, G N’ R, Malfunkshun, and New York Dolls… Blacklist Union was born. Blacklist Union have released four albums to date and are putting the finishing touches on their upcoming release ‘Letters from the Psych Ward.’ The first two singles and videos for “The Queen of Everything” and “Letters from the Psych Ward” are out now. The next single and video, “Dirty Halo” will be out next, with an album release in September

Using his royalties made through his Vinyl Fanatiks and Amen Brother releases, Lee X-Plode bought some new studio equipment and took time out to learn how to use it. When he reappeared some months later he sent me a zip of some insane acid breakbeat tracks, telling me this was the sound he always wanted to create. I was blown away by the quality of the tracks, the energy, the way the music took the listener back to the raves of old. It had everything, and more.

They couldn’t be left on his hard drive, the world needed to hear these tunes, so I set myself a challenge to create a new label that would accommodate this kind of music and to share it with likeminded souls across the planet. So Acid Boom was created, a label that deals with the raw acid vibes!

Acid Boom is a sister label to the Vinyl Fanatiks family. A vehicle to release that early 90’s acid sound that would later morph into rave. High energy 303’s, 808 and 909 drum machines, synced up to rolling breakbeats. Whether music from back in the day or new music that’s been created to emulate that early warehouse sound, Acid Boom is here to take you on a rush.

Sydney rock outfit The Blamers are a modern band—two modern men, two modern women—with a revolutionary bent. Utilizing the latest cutting-edge stereophonic technology, the group—fuelled by an obsession with early garage greats—are at the fore of a sonic campaign to simplify rock back to its basic proto-punk form. With hooky riffs and a healthy dose of tambourine, the group are preparing to release their debut album early-2024 after a string of singles. The Blamers have shared the stage with Aussie heavy hitters The Chats, Bad Dreems, Pist idiots and blistered clubs around Australia with their no bullshit, beer-soaked sound. It’s a wonder that a band like The Blamers hasn’t come earlier! If you like the hard ass style of 60s punk with the wit of The B52’s, here it is.

In their long career The Grateful Dead have been inspired by a stunning variety of American musical artists and traditions from blues to country to rock to folk - some of the most exciting and moving music ever recorded. Here are the original versions of The Dead's best loved cover tunes that surprise and delight with their musical depth, originality, and feeling. This collection has been lovingly compiled by a group of Dead insiders including Henry Kaiser, David Gans, and others with the enthusiastic support of The Dead itself. There are extensive notes included that give an overview detailing how the band came to cover each of these tunes and when they first played them in concert. The distinctive Robert Crumb cover artwork is an instant attraction and add to the collectability of this release.

Repress

A third and final volume of Jamaican doo wop & R&B records taken from the late 50s and early 60s.

These records represent a period in which sound-systems were beginning to dominate the island, with Duke Reid and Sir Coxsone Dodd stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Alton Ellis, Derrick Morgan, Derrick Harriott and more, and provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably prolific and unparalleled for an island of it's size.

The Rolling Stones embarked on the Licks World Tour in 2002 & 2003 to celebrate their 40th anniversary, featuring the band performing in arenas and stadiums, in addition to the occasional theater. In November 2002, the Stones arrived in Los Angeles to perform at a packed Wiltern Theatre, treating fans to a set heavy on rarities which feel right at home in such an intimate setting. While some of the hits are performed, this night at the Wiltern is for the rarely played classics, including “Stray Cat Blues”, “No Expectations” and a cover of “Everybody Needs Somebody To Love” featuring a guest spot by the legendary Solomon Burke, who opened the show that night.

The Rolling Stones embarked on the Licks World Tour in 2002 & 2003 to celebrate their 40th anniversary, featuring the band performing in arenas and stadiums, in addition to the occasional theater. In November 2002, the Stones arrived in Los Angeles to perform at a packed Wiltern Theatre, treating fans to a set heavy on rarities which feel right at home in such an intimate setting. While some of the hits are performed, this night at the Wiltern is for the rarely played classics, including “Stray Cat Blues”, “No Expectations” and a cover of “Everybody Needs Somebody To Love” featuring a guest spot by the legendary Solomon Burke, who opened the show that night.

This collection assembles the range of sources that Robert Johnson heard and learned from including songs from his mentor Son House and from other Delta performers and from sources that show aspects of the musical world in which he lived. His tastes ranged far and wide and he had a gift for absorbing sounds of all kinds, including from tin pan alley to hillbilly songs. He was a brilliant creative musician who managed a stunningly effective fusion of his Delta roots and the smoother approach of the then prominent contemporary blues artists. As with any genius in any field he was able to produce great work only because he was standing on the shoulders of previous great artists. This collection provides an introduction to a number of them and gives a sense of how Johnson adapted and combined their styles. It presents music that can still excite and inspire us today just as it did to Robert Johnson back in the first golden age of the blues.

DELUXE CLEAR VINYL EDITION

Marking 40 years of The Jesus And Mary Chain, "Glasgow Eyes" was recorded at Mogwai"s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017"s "Damage and Joy", becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK"s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz. "Glasgow Eyes" not only extends The Jesus and Mary Chain"s story, but feels simultaneously like a return to roots. From the incendiary "Psychocandy" debut and its classic "Just Like Honey" onwards, the Reid brothers steadily became the misfits who made good without compromise.

RED VINYL EDITION

Marking 40 years of The Jesus And Mary Chain, "Glasgow Eyes" was recorded at Mogwai"s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017"s "Damage and Joy", becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK"s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz. "Glasgow Eyes" not only extends The Jesus and Mary Chain"s story, but feels simultaneously like a return to roots. From the incendiary "Psychocandy" debut and its classic "Just Like Honey" onwards, the Reid brothers steadily became the misfits who made good without compromise.

Los Angeles emcee Pawz One announces the 10th year anniversary release of his "Face The Facts" album on vinyl. The album is Pawz One's first solo album and was originally released in 2014 on vinyl, CD and digital formats. The first edition vinyl was sold out quickly back in 2014. Now the special edition vinyl is available on red and black vinyl, and new artwork.

Featuring a combination of gritty and smooth production from Los Angeles producers Default & Breeze that embody the genuine golden-era style. Heavyweight guests such as Rakaa Iriscience of Dilated Peoples, Ras Kass, Termanology, 2Mex and Masta Ace all make solid appearances throughout the album.














[n] 14: The Luv (Remix) [feat. Masta Ace & Ariano]

Los Angeles emcee Pawz One announces the 10th year anniversary release of his "Face The Facts" album on vinyl. The album is Pawz One's first solo album and was originally released in 2014 on vinyl, CD and digital formats. The first edition vinyl was sold out quickly back in 2014. Now the special edition vinyl is available on red and black vinyl, and new artwork.

Featuring a combination of gritty and smooth production from Los Angeles producers Default & Breeze that embody the genuine golden-era style. Heavyweight guests such as Rakaa Iriscience of Dilated Peoples, Ras Kass, Termanology, 2Mex and Masta Ace all make solid appearances throughout the album.














[n] 14: The Luv (Remix) [feat. Masta Ace & Ariano]

This is an absolute mythical hardcore legend of a release. Originally put out in 1993 on Dance Force Records, a record label run out of Norfolk by Les Howlett, a former bouncer for many London raves. But it was his son, Danny, who made the tracks in the backroom of the record shop – at the young age of just 15!

The tracks were never mastered and when doing a deal with Vinyl Fanatiks Danny wanted the tracks remade and finally mixed down – so we put him in touch with Ellis Dee and between them and us, we sourced all the original samples and the EP was remade, with the mixdown that he always wanted!

Originally released on yellow vinyl on Vinyl Fanatiks in 2019 it quickly sold out on the website and no copies ever made it to distribution – until now!

Only 140 have been pressed on 180g pink marbled vinyl.

Crypt of the Wizard is proud to present Dipygus - Dipygus on vinyl and digital formats. Breaking bones, sucking the marrow dry and concocting its own mind-bending blend of cryptid death metal mutilations for over a decade now, Dipygus are a North American quartet powerhouse of crushing caveman gore grooves and monstrous neanderthal percussive slaughter. With already a blood hungry host of extended plays, splits and full-lengths under their gut string loincloths, Dipygus burst forth into 2024 with their self-titled third album—pushing the primitive psychosis of their sonic assault into new arenas of hallucinogenic cannibal combat. Rife with the foetid stench of mouldering mammoth corpses, Dipygus have spared no prisoners for their latest album; amping up their jungle fever dead dreams with skull smashing drumwork, monolithic bass brutality, captivating death hooks, venomous hypnotic leads, guttural flesh growls, ancient cryptid thematics and a truly diseased atmosphere, one that is as equally oppressive, as it is ferociously ominous. Freak induced fatalism from the backward fringes of time, Dipygus have once again laid morbid massacre to the audio waves and created their most potent slab of infectious caveman styled death metal to date, one that any cannibalistic monster marauder would be thrilled to sharpen their gnarled bone axes upon.

F.K.Ü. melden sich mit ihrem bisher prägendsten und schlagkräftigsten Album zurück. 'The Horror And The Metal' ist ein Leitbild der beiden Grundpfeiler der Schweden: HORROR (die Filme der 80er als wichtigste lyrische und visuelle Inspiration) und METAL sind das, was den Jungs durch die Adern fließt. Mit einem Fuß im Bay Area Thrash Metal und einem im Ostküsten-Crossover Metal haben sie - produziert von Sänger Lawrence Mackrory (Bloodbath, Loodbath, Katatonia, Vomitory) - ein Meisterwerk voller Thrash-Horror-Metal-Hymnen geschaffen, das jeden Moshpit zum Funken bringen wird. Obwohl sie nie gegangen sind, ist es an der Zeit, dass alle wissen, dass F.K.Ü zurück sind.