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Arriving at a time of considerable uncertainty in the world, Son Lux's multi-album 'Tomorrows' is ambitious in scope and intent. Born of an active, intentional approach to shaping sound, the music reminds us of the necessity of questioning assumptions, and of sitting with the tension.

Ryan Lott, Rafiq Bhatia, and Ian Chang train their sights on volatile principles: imbalance, disruption, collision, redefinition. But for all of its instability, Tomorrows’ exploration of breaking points and sustained frictional places is ultimately in service of something rewarding and necessary: the act of questioning, challenging, tearing down and actively rebuilding one’s own identity.

The band remains audibly indebted to iconoclastic artists in soul, hip-hop, and experimental improvisation who themselves carved new paths forward. Distilling these varied influences, Son Lux searches for equilibrium of raw emotional intimacy and meticulous electronic constructions.

- Tomorrows I-III, triple physical album, released previously digitally only
- Featuring the singles “Plans We Made”, Only, Prophecy, Live Another Life and A Different Kind Of Love
- More than 90 minutes music on 3CD and 3LP

Music has always played an important role in TV shows. It can create a vibe, tension, a romantic atmosphere or a certain setting in time. With the wide range of shows currently being offered by the growing number of streaming services, their audiences are discovering bands and artists, old and new, more than ever before.

Song Education brings together some of the pivotal songs from these series, with background info on each of these artists for educational purposes. But mostly, for you to enjoy these often re-discovered songs in the most romantic way to experience music: on a beautiful vinyl record.

Song Education is a new compilation that serves to familiarise youth and young adults with popular music from the 60’s through the 90’s. Some of the artists included on this record are Roxy Music, Duran Duran, The Cutting Crew, Elton John, Salt-N-Pepa and Frankie Goes to Hollywood. The album is available on solid red coloured vinyl. The package contains an insert with more information about the featured artists.

This album is released through Vinyl Base, a brand new sublabel by Music On Vinyl that is specifically targeted at youth and young adults.

Aufgenommen im Herbst 2020 in den Middle Farm Studios in Großbritannien, markiert "Thirstier" eine Wende zu einem größeren, bombastischeren Sound für TORRES. Die ängstliche Stille, die sich über einen Großteil von Scotts früherer Musik legte, wird in Songs, die für die Feier nach der Seuche zugeschnitten sind, auf den Kopf gestellt. Scott hat das Album zusammen mit Rob Ellis und Peter Miles produziert und dabei auf ihre Erfahrungen mit der Eigenproduktion von "Silver Tongue" zurückgegriffen, um ihre Musik auf eine noch breitere Basis zu stellen. Gitarrengetriebene Soundwände, die an die Arbeit von Produzent Butch Vig mit Garbage und Nirvana erinnern, wogt und zerstreut sich wie die Brandung bei starkem Wind und trägt Scotts souveräne Stimme in den Vordergrund. "Thirstier", der Nachfolger von "Silver Tongue" aus dem Jahr 2020, ist Scotts bisher überschwänglichste und gewagteste Platte, die sie im aufregenden freien Fall zeigt. Das Album revoltiert gegen den grauen Luftzug der Zeit, eine sengende und lebensbejahende Eruption eines Albums, das sich fragt, was passieren könnte, wenn wir einen Weg fänden, unsere Fantasien unerschöpflich zu machen. "Thirstier" sprengt die Grenzen der imaginativen Möglichkeiten.

In Your Mind Bryan Ferry’s fourth solo outing and his first of all original songs. Critically applauded In Your Mind “remains the secret highlight of Ferry’s musical career, an energetic album that would have received far more attention had it been a full Roxy release. In Your Mind was peaked at No’5 in the UK album charts certified Gold selling more than 100,000 units. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “In Your Mind” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

Aufgenommen im Herbst 2020 in den Middle Farm Studios in Großbritannien, markiert "Thirstier" eine Wende zu einem größeren, bombastischeren Sound für TORRES. Die ängstliche Stille, die sich über einen Großteil von Scotts früherer Musik legte, wird in Songs, die für die Feier nach der Seuche zugeschnitten sind, auf den Kopf gestellt. Scott hat das Album zusammen mit Rob Ellis und Peter Miles produziert und dabei auf ihre Erfahrungen mit der Eigenproduktion von "Silver Tongue" zurückgegriffen, um ihre Musik auf eine noch breitere Basis zu stellen. Gitarrengetriebene Soundwände, die an die Arbeit von Produzent Butch Vig mit Garbage und Nirvana erinnern, wogt und zerstreut sich wie die Brandung bei starkem Wind und trägt Scotts souveräne Stimme in den Vordergrund. "Thirstier", der Nachfolger von "Silver Tongue" aus dem Jahr 2020, ist Scotts bisher überschwänglichste und gewagteste Platte, die sie im aufregenden freien Fall zeigt. Das Album revoltiert gegen den grauen Luftzug der Zeit, eine sengende und lebensbejahende Eruption eines Albums, das sich fragt, was passieren könnte, wenn wir einen Weg fänden, unsere Fantasien unerschöpflich zu machen. "Thirstier" sprengt die Grenzen der imaginativen Möglichkeiten.

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

Five-time ARIA award-winning producer, songwriter and artist, Nick Murphy announces the highly anticipated new album from his Chet Faker project, Hotel Surrender. In a return to making music that simply felt good, Nick Murphy revived his acclaimed billion streaming Chet Faker project in October 2020 after a six-year hiatus. The culminating result is Hotel Surrender: a self-produced, self-written 10-track LP that reintroduces the swaggering bass lines and electrifying melodies that made fans fall in love with Chet Faker the world over

Melodic Motion sees Martin Matiske use his machines in a new way. Across four tracks, the German musician inspires. “Digital Emotion” is built on crisp drum patterns, patterns from which Matiske arcs rich analogue notes. Vocals, employed almost like samples, give a human quality to this future-world vision. Technology is a central theme of the EP. Human qualities melt in robotic currents in “Computer Dance,” colder electro tones merging with warm and cheer-filled videogame echoes. “Information Product” maintains some of the electro character of its predecessor. Yet this is far from a dark piece, its uplifting piano keys surging with optimism. The icier tones of “Transmission” closes. Warm arpeggios rise against a front of crystalline chords in this final foray into this ever-so-close world of tomorrow.

Wavy grave rave for better tomorrow.

written by Maria Rossi
mastering by Enrico Mercaldi at Time Tools Mastering
picture and sleeve by Percy

Strut presents one of the most in-demand and significant albums from the archives of Jimmy Gray's Black Fire Records, 'Bow To The People' (1976 )by theatre collective Theatre West, based out of Dayton, Ohio. Recorded at Arrest studios in Washington in '76, 'Bow To The People' brought together songs from several of Theatre West's best known plays including Bow To The People, The System and Black Love and unflinchingly explored serious issues around drug addiction, mental health and cultural awareness. "The whole idea of Bow To The People was to honour our black forefathers," explains Dillard. "It was important to do that for the kids that didn't know." Shelved following the original recording, the Bow To The People album eventually surfaced on a limited CD on Black Fire in 1993. Now receivingits first full international release, the album features the previously unreleased tracks 'Man Of Many Means' and 'I Don't Know Much About Love'

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List.
Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next ‘Strain Crack & Break’ edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen years old.
From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe
(namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt.
Including lesser-known artists like the late Wolfgang Dauner, whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting them whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who
was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a stuff about the Fab Four’s Hamburg roots.
Elsewhere we have a plethora of German bands made for German audiences as they try and shed secondhand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1
newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm handshakes for the camera.
‘Strain Crack & Break: Volume Two’ is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of our kind of music back to the disused elevator shaft towards ground zero. Arriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous erds have faltered (or simply, got the wrong end of the stick).
After ‘Strain Crack & Break: Volume One’ merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, this second lavish metallic gatefold double vinyl compendium drives a much deeper groove which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl wantlist in the early 1970s, comprised of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats.

Madness’ fourth studio record “The Rise & Fall” has often been cited as the band’s best record and is home to one of their biggest tracks in “Our House” UK #5. Originally released in 1982 and reaching #10 in the UK album charts, it is now subject to a brand new re-release on 180g black vinyl in a gatefold sleeve as part of an ongoing reissue campaign.

Featuring exclusive liner notes by journalist Stevie Chick (MOJO, The Guardian & NME) and interviews with band members Lee ‘Kix’ Thompson, Mike Barson, Suggs McPherson, Woody Woodgate and Chrissyboy Foreman. Also featuring the hit single “Tomorrow’s (Just Another Day)” [UK #8].

The Monkees, one of the most recognizable names in the annals of pop music history, are an American rock and pop band originally active between 1966 and 1971, with reunion albums and tours in the decades that followed. The original line up was Micky Dolenz, Michael Nesmith, Peter Tork and Davy Jones. The group was conceived in 1965 by TV producers Bob Rafelson and Bert Schneider specifically for the sitcom series The Monkees, which aired from 1966 to 1968. The music was originally supervised by record producer Don Kirschner, backed by the songwriting duo of Tommy Boyce and Bobby Hart.

The Monkees self-titled debut and second albums were meant to be a soundtrack to the first season of the TV show, to cash in on the audience.Their first single, “Last Train To Clarksville” b/w “Take A Giant Step,” was released in August 1966, just weeks prior to the TV broadcast debut. In conjunction with the first broadcast of the TV show on September 12, 1966, NBC and Columbia had a major hit. The first long-playing album, The Monkees, was released a month later; it spent 13 weeks at #1 and stayed on the Billboard charts for 78 weeks.

The Monkees have sold more than 75 million records worldwide making them one of the biggest selling groups of all time with international hits, including “Last Train to Clarksville,” “Pleasant Valley Sunday,” “Daydream Believer,” and “I’m A Believer.” ROG is reissuing their iconic debut album as a deluxe 2LP set with bonus tracks (several of which are unreleased mixes) and are having lacquers cut from the analog tapes for the first time since 1966—creating THE DEFINITIVE version of this album since original release!















[n] c3. This Just Doesn’t Seem to Be My Day (TV Version) [Mono]

[p] c5. I Wanna Be Free (Fast Version) [Mono TV Mix]
[q] c6. You Just May Be The One [Mono TV Version]






[x] d6. (I Prithee) Do Not Ask For Love [2020 Remix]

With voor het verdwijnt, en daarna, the Belgian multi-instrumentalist Abel Ghekiere introduces his unique sound, which stems from merging modern jazz, traditional folk and field recordings.Through classical arrangements and a cinematic approach to composition, Ghekiere tells a story of grief and the search for solace in 8 songs.

The final album in Pastor T.L. Barrett’s 1970s four-part suite of gospel funk LPs, Do Not Pass Me By finds the fiery preacher getting spaced out on God’s love. Accompanied by his Youth For Christ Choir, the eight-song record is buoyed by the seven- minute opus “Father Stretch My Hands,” later sampled by Kanye West on 2016’s The Life of Pablo.

- The complete film music available for the first time on vinyl - 180 Gram "Satanic Rite" Colored Vinyl - Exclusive liner notes by Rob Zombie - 16 Page Booklet featuring unreleased photography - Bonus Black Metal live album by Count Corgan pressed to 180 gram black vinyl with B-Side etching // Waxwork Records is proud to present Rob Zombie's THE LORDS OF SALEM Original Motion Picture Soundtrack. Available for the very first time on vinyl and pressed to 180 gram "Satanic Rite" colored vinyl, the music of THE LORDS OF SALEM features The Velvet Underground, Rick James, Rush, Leviathan the Fleeing Serpent, John 5, and more. THE LORDS OF SALEM is a 2012 American supernatural horror film written, produced, and directed by Rob Zombie. The film stars Sheri Moon Zombie (The Firefly Trilogy), Meg Foster (They Live), Bruce Davison (X-Men), Dee Wallace (E.T., The Hills Have Eyes), and Patricia Quinn (The Rocky Horror Picture Show). The plot focuses on a troubled female disc jockey, Heidi (Sheri Moon Zombie), who is a recovering drug addict living in Salem, Massachusetts. Her life becomes entangled with a coven of ancient Satan-worshipping women after receiving a strange wooden box and listening to the album inside it by a band named "The Lords". The soundtrack features classic songs by The Velvet Underground, Lou Reed, Manfred Mann's Earth Band, and several more. The score features original cues by John 5 and Griffin Boice. In line with other Zombie soundtracks, the album features intermittent dialogue tracks from the movie. Waxwork is thrilled to present the debut vinyl release of THE LORDS OF SALEM as a deluxe album package featuring 180 gram "Satan Rite" colored vinyl (Blood Red and Blue Butterfly effect with White Splatter), exclusive liner notes by Rob Zombie, new and original art by Robert Sammelin, a 12"x12" 16-page booklet including unreleased set photography from Zombie's personal archive, a heavyweight art print, printed inner sleeves, and old-style tip-on gatefold jackets with satin coating. Also included is a bonus black metal album by Count Gorgann entitled Corpse Eater: Satanic Misery Live for the Dead. This bonus album features a 2015 live recording at Black Forest Discothek and is pressed to 180-gram black vinyl with an etched B-Side.