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"Flood" ist eine Platte und eine Wiedergeburt, für die die Band aus Minnesota fünf Jahre Arbeit aufgegeben hat, um schließlich 13 Tracks in nur 10 Tagen an der texanischen Grenze aufzunehmen. Während die aufschlussreichen Sessions im letzten Jahr auf der Sonic Ranch mit den langjährigen Produzenten Caleb Wright (Charly Bliss, Samia) und Brad Cook (Bon Iver, Waxahatchee) stattfanden, begann der Entstehungsprozess des Albums vor gefühlt einer Ewigkeit. In derselben Nacht, in der Hippo Campus ihre letzte Platte "LP3" feierten, erfuhren sie, dass jemand, den sie liebten, unerwartet verstorben war. Die Peitschenhiebe des Erwachsenwerdens wurden durch die Auswirkungen von Tod, Niedergeschlagenheit, Sucht und Angst noch verstärkt, so dass sie sich dem überwältigenden Ziel verschrieben, etwas Tiefgreifendes und Lebensveränderndes zu schaffen. Sie wurden gemeinsam nüchtern, nahmen regelmäßig an Gruppentherapien teil, schrieben mehr als 100 Songs, traten einen Schritt zurück und stellten plötzlich fest, dass ihnen das, was sie machten, eigentlich keinen Spaß brachte. Für eine Band, die eine Milliarde Streams überschritten hat, historische Veranstaltungsorte wie Red Rocks ausverkauft hat, auf Festivalbühnen auf der ganzen Welt aufgetreten ist - und das alles dank des unwiderstehlichen, frühlingshaften Songwritings, das ihre Reihe von experimentellen Pop- und emphatischen Rockalben füllt - wussten sie, dass das, was sie dieses Mal machten, einfach nicht gut genug war. Gemeinsam mit Wright und Cook räumten sie auf und warfen alle Vorurteile darüber über Bord, wie sie zu klingen gedachten. Sie versuchten nicht mehr, ein sogenanntes Meisterwerk zu erzwingen, und verpflichteten sich gegenseitig, das zu schneiden, was ihnen am besten gefiel: kein Hinterfragen oder Zurückhören, nur ein Mantra des Vorwärtsdrangs. Weniger als zwei Wochen später hatten Sänger Jake Luppen, Gitarrist Nathan Stocker, Schlagzeuger Whistler Allen und Bassist Zach Sutton "Flood" fertig. Auf "Flood" liefern Hippo Campus dicht gedrängte Thesen über Selbstkritik und Selbstvergebung, Ermächtigung und das Zurückbleiben hinter den Erwartungen, gescheiterte Beziehungen und das Finden eines Weges nach vorne. Die Gefühle sind roh, echt und ungeschützt, unterstützt von subtilen Tonartwechseln und Tempowechseln und der angeborenen Raffinesse, die sie so mühelos präsentieren können.

Mind Lines, the second record from Silver Scrolls, is the follow-up to 2020's Music for Walks. Dave Brylawski (Polvo, Idyll Swords) and Brian Quast (Polvo, the BQ's) once again team up with producer and de facto third Scroll Greg Elkins, to make an album that plants you firmly in your rock feelings. All of them. Classic rock, psych rock, indie rock, post rock, pre rock. Rock as hell.

Mind Lines. Follow them. Inspiration, spotted in the wild, lured out of dusty record bins and chased down scum alleys and garden paths, sounds stalked and collected, wrestled and arranged, until everything is in its proper place and the final LP is as it should be. Or shouldn't be. Nine minute and seventeen second radio hits. Indie rock drum solos. Whatever. Whatever dumped from the butterfly net of their collective unconscious. Whatever stumbled through the door of their open minds. Whatever works.

At this point in their collective music careers, the Scrolls are free to emulate, ignore, or destroy convention, as they see fit. Dave and Brian have seen enough, the Mind Lines have been drawn, traced... The songs are as classic as they are brand new. Yesterday chasing tomorrow. Noon is the verse, midnight the chorus. and right now is the bridge. The Scrolls chug deep from the fountain of spooky tooth, shooting sparks through their teeth. Let's go.

On Mind Lines, the Silver Scrolls are still walking, shredding, open to whatever comes next. The music came down from the mountain. Please stay a while.

Poet's Tooth - the band's second album for Kill Rock Stars - steers the duo's whimsical western- tinted quality into fascinating new directions: cinematic- pop balladry on the autoharp- tinged opener "Young & Free," gently clip- clopping Americana-folk on "Hard Hearted Way," and bass-driven funk on the wry "Eggs In One Basket." With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

2024 Repress

You remember that kung fu kid movie, where he had to wash the motorcycles for years and then...whatever, constant dripping wears away the stone. Dublin-Manchester-NYC'S finest Krystal Klear (Cold Tonic, All City, Tooth Pick) has been honing his skills as a dress man for years and also made a name for himself as an expert in all things (electronic) boogie. 'The Division' is his dapper debut EP for Running Back. Custom-made club studies shifting between sound factories, hot haciendas, heavenly lagoons and chrome-plated dance floors: fast, slow, hard and soft. A love letter to dance music written with pink ink. Oh, and there is 'Neutron Dance' on it as well...yes, the euphoric fun one. once again: dance!

As Tele Novella, Chronis (who performs in the beloved and rekindled indie pop band Voxtrot) and Ribbons (who previously performed in the long-running “Victorian punk” project Agent Ribbons) have spent their past two albums creating "Medieval outsider country" on 2016’s House Of Souls and 2021’s Merlynn Belle. Poet’s Tooth – the band’s second album for Kill Rock Stars – steers the duo’s whimsical western-tinted quality into fascinating new directions: cinematic-pop balladry on the autoharp-tinged opener “Young & Free,” gently clip-clopping Americana-folk on “Hard-Hearted Way,” and bass-driven funk on the wry “Eggs In One Basket.” With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

In the night, the cadenced orientation of the strobe lights sketches geometric trajectories in the dark room. The icy condensation from the cocktail glass drips onto her fingers, caresses her nail polish, grazes the side slit of her evening dress, and evaporates before it touches the floor, the dance floor.

Her body, that of a femme fatale, stands between the clenched bodies of the dance floor. A beam of light pierces the darkness. It illuminates a Mediterranean chest – stronger than the bridle imposed by the buttons of his shirt – adorned with golden necklaces: symbols of faith turned into instruments of seduction. Sin is the antechamber to holiness.

She turns around, that’s him: Marcelo. She had long heard about him. Their gazes, perfect diagonals, get locked in the crowd. A cheeky smile reveals a golden tooth, the lights a shrouded sex bursting forth. His wink is a magnet. Often, words are a mere formality. Let’s make out.

Que rico.
Que lindo.
Te quiero.

Originally released in 1990, Royal Trux's 'Twin Infinitives' is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart's 'Trout Mask Replica', the Velvets' at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore's Neil "Michael" Hagerty and Jennifer Herrema recorded 'Twin Infinitives' while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with moog's, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before "genre mashups" even existed. Arguably, the term "mashup" was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album's chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock 'n' roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. "Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now." Pitchfork Ltd Double Silver Vinyl, Monochrome edition artwork, DL card.

Folly Group become the first band on Ninja Tune imprint Technicolour
(Elkka, Sofia Kourtesis, VTSS) with their new EP ‘Human and Kind’.

The four-piece of Sean Harper, Louis Milburn, Kai Akinde-Hummel and Tom Doherty formed in the tumultuous melting-pot of the London musical circuit. They released their debut EP ‘Awake and Hungry’ last year, receiving wide acclaim for their electronic infused post-punk sound and furiously brilliant live shows, landing coveted slots at Pitchfork Music Festival, in NME’s 100 Artists On The Rise and a co-sign from IDLES’ singer Joe Talbot.

Speaking about the EP, Folly Group said: “Where ‘Awake and Hungry’
doubled as a diary of the band’s formative months and encapsulation of our live show, ‘Human and Kind’ is a projection of our ambition, and our desire to push ourselves through what we might previously have
perceived as the ceiling of possibility for four players.”

For fans of Black Country, New Road, Squid, Yard Act, Black Midi, Dry Cleaning, Shame, Do Nothing.
140g crystal clear vinyl in 12” sleeve with spine and printed inner, plus
digital download code. Pressed sustainably within a 99% circular
environment at Deepgrooves.

“Every track is so good. They haven’t released anything that isn’t
amazing.” - Joe Talbot (IDLES, speaking on BBC 6 Music)
“thriving in well-crafted chaos.” - NME
“brilliant, experimental jungle rock” - i
“Give me that post-punk syncopation any day of the week” - Lauren
Laverne, who has made the band’s last three singles (including ‘I Raise You…’) her While You Were Sleeping Track Of The Day.
Headline UK Tour starting 31 March, taking in London, Bristol,
Manchester, Leeds, Birmingham, Nottingham, Margate, Newcastle,
Southampton, Milton Keynes and more.

Sect have a lot on their minds. With the release of their brand new single, New Low and the promise of Plagues Upon Plagues, the follow up full-length to 2019’s Blood of the Beasts, Sect explore the intersection of issues which have cascaded over us for the last five years, the “plagues” of the title referring to the literal pandemic, and the metaphorical plague of the political state and the rise of fascism.

Comprised of an international cast of stellar musicians, who cut their teeth in a formative moment of political, cynical, antagonistic extremes, Sect unites Scott Crouse (Earth Crisis, Tooth & Claw) & Jimmy Chang (Undying, Catharsis) - guitars, Steve Hart (Day of Suffering, Mania For Conquest) - bass, Andy Hurley (Fall Out Boy, Racetraitor) - drums and Chris Colohan (Cursed, Unwell) - vocals. They released No Cure For Death in 2017 and Blood of the Beasts in 2019.

Plagues Upon Plagues opens with the bereft waves of “No Uncertain Terms”, a side of the band we haven’t seen before. Vocalist Chris Colohan describes this album as “a funeral rather than a trial”, the activism of previous releases fading to sorrow and grief.

Lead single New Low follows with the advent of marching drums, a funereal procession for the world we hoped to build. There’s frantic horror on the album too, with the track “Drowning in Sorrows” taking a look at the ways in which we numb ourselves as a society. “#ForeverHome” is a bitterly angry track about how people used animals for both narcissistic virtue signalling and one-way comfort in the pandemic, and abandoned them en masse just as selfishly when social life came back. Speaking to their straight-edge principles and how that continues to feed into their songwriting, Chris says, “the only kind of straight edge songs I’m interested in writing are dynamic ones that address human realities that you don’t have to be straight edge to engage with.”

On Plagues Upon Plagues, Sect pierce through the veil of complacency, forcing listeners to confront uncomfortable truths about the fragility of our world. The band wields their sonic arsenal like a prophetic warning and with raw vocals and uncompromising lyrics, they confront the harsh realities of existence in these tumultuous times. As society teeters on the brink of chaos, Sect's cold hard statement resonates with an urgency that cannot be ignored.

Dr. Dog ist definitiv keine HipHop Band, Dr. Dog kommen aus Philadelphia und sie spielen eine sehr abwechslungsreiche Mischung aus 60er Jahre-Pop und Psychedelic Rock. Bevor Ihre Fanbase im Jahre 2004 richtig groß geworden ist, nachdem sie zusammen mit My Morning Jacket auf U.S.Tour gegangen sind, haben sie auf ihren eigenen Label 2 schöne Alben veröffentlicht - Psychedelic Swamp (2001) und Toothbrush (2002). Es folgte ein Deal mit Rough Trade Recs., 2 weitere, sehr gelungene Alben (Easy Beat und We All Belong, das es gar in die US Charts auf Platz 30 geschafft hat!) und Tourneen mit Clap Your Hands Say Yeah, Strokes, Raconteurs und auch mit The Black Keys. Nun bringen Dr. Dog auf Park The Van ihr neues Album mit dem Titel FATE heraus. Und dem Quintett ist es tatsächlich gelungen, auf diesem neuen Album eine Quintessenz der amerikanischen Popmusik heraus zu filtern: Songs wie Hang On oder Uncovering The Old tauchen tief in die amerikanische Seele und Mysterien des Lebens und der Liebe und bieten darüber musikalisch vielschichtige, bittersüße Reflexionen an. Dabei bewegt sich Dr. Dog auf den verschlungenen Wegen irgendwo zwischen The Band, Beach Boys und aktuellen Bands wie Spoon oder Guided By Voices.

2024 reissue

Toothpick aka Swirl People step out with their newly entitled label Lost In The Swirls, which they have distilled to the more simple name L.I.T.S. Records. The Belgium-based project is an alias of Dimitri & Raoul and they bring fresh house sounds here even though this is a reissue of some classic 90s material. The title track has lush and bright summer pads over driving, tight kick drums. The opener 'May The Funk Be With You' has a classic UK flavour to it with woodpecker-like hits and dusty drum loops under some smart chord work. Last but not least is 'Naked Speedway' which has a warm bassline meandering below expansive chords that bring an early morning vibe. Good stuff.

Snakes of Russia ist das von Joseph Holiday - Ektronischer Musik mit zeitlosem Appeal. Seine Reise begann mit der EP 'At Home Alone With Lions', was zu Remixen, Filmkollaborationen und Auftritten für Ableton und Spitfire Audio führte. Nun steht sein Debüt-LP 'True Surrender' im Mittelpunkt, eine Zusammenarbeit mit dem Metal-Produzenten Kurt Ballou. Aufgenommen im God City Studio in Salem, MA, erforscht es einen schwereren, texturierten Sound, der Synthesizer mit Gitarrenverstärkern und Drum-Maschinen verbindet. Während der kreative Prozess im God City begann, spielte Josephs Heimstudio in LA eine entscheidende Rolle bei der Verfeinerung und Fertigstellung der Produktionsphasen. Der letzte Schliff kam von Justin Weis bei Trakworx Mastering in San Francisco, um die makellose Erhaltung jeder klanglichen Kontur und emotionalen Essenz zu gewährleisten.

Auf ihrem Debütalbum 'What We Grow' schafft es die Wiener Band oh alien dem Unbekannten eine vertraute Note zu verleihen. Cineastischer Indie-Pop, der, wie der Bandname vermuten lässt, sich nicht scheut dem Außergewöhnlichen in die Augen zu blicken. Ein facettenreiches Erstlingswerk mit einem klaren gemeinsamen Nenner. Aus all den Liedern sprudelt eine aus allen Nähten platzende Hoffnung und ein tiefes Begehren, wieder so richtig intensiv und durchdringend das Leben zu spüren.

Fievel Is Glauque ist eine von der Kritik gefeierte genreübergreifende Indie-Jazz-Rock-Band unter der Leitung von Zack Phillips (NYC) und Ma Clement (Brüssel), deren Sound von The Fader als "cosmic randomness" (kosmische Zufälligkeit) beschrieben wird. FIG unterschrieben 2023 bei Fat Possum Records und beeindrucken ihre wachsende Fangemeinde weiterhin mit seltsam-schönen Songs. Ihr 2021er Debütalbum "God’s Trashmen Sent To Right The Mess" verwebt Aufnahmen von rund 30 Musikern in fünf verschiedenen Bands zu über 20 Songs, die Jazz-Fusion, Pop, Lounge und Soul zu einer einzigen freudigen Vision vermischen.

"Baby Chaos are a Scottish rock band from Glasgow. Kerrang! magazine featured the band as one of their ""Klass of '94"" feature, comparing them to Therapy? and the Smashing Pumpkins. Their debut album Safe Sex Designer Drugs & The Death Of Rock 'N Roll is one of the prime examples of mid-nineties Brit rock. Heavy riffing, pop sensibilities and all-out punk attitude. Safe Sex Designer Drugs & The Death Of Rock 'N Roll is available as a limited edition of 500 individually numbered copies on red coloured vinyl. "

Safe Sex Designer Drugs & The Death Of Rock 'N Roll by Baby Chaos, released 12 April 2024, includes the following tracks: "Go To Hell ", "Hello Victim ", "A Bullet For The End", "Golden Tooth " and more.

This version of Safe Sex Designer Drugs & The Death Of Rock 'N Roll comes as a 1xLP.

The vinyl is pressed as a red disc.

Morgan Harper-Jones surft gerade auf einer kleinen Erfolgswelle. Erst Ende September erschien der Netflix #1 Hit “Love At First Sight”, bei dem Morgans Musik eine gewichtige Rolle spielt und sie sogleich in die Top10 der globalen Shazam Charts katapultierte. Nun kündigt die Singer-Songwriterin aus Rochdale (England) ihr Debütalbum über Play It Again Sam an: “Up To The Glass” erscheint am 12. April als Coloured Eco Vinyl. Ihr Debütalbum ist eine zarte Erkundung der Selbstfindung in den Zwanzigern vor dem Hintergrund von Liebe, Selbstakzeptanz und Verlust. Es dokumentiert diese allgemein prägenden Momente des jungen Erwachsenseins durch das Prisma von Morgans eigener Perspektive und erforscht zutiefst persönliche Themen wie das Ableben ihrer Großeltern, das ängstliche Nachdenken über jeden kleinen Fehler und die Sehnsucht nach einer Liebe, die unerwidert bleiben wird.

Der OST zu Paul Kings Film 'Wonka' (2023), einem Prequel zu dem bereits mehrfach verfilmten Kinderbuch 'Charlie und die Schokoladenfabrik' von Roald Dahl. Die Partitur enthält sowohl köstliche Originalmusik, vorgetragen von Protagonist Timothée Chalamet und der phänomenalen Ensemblebesetzung mit Hugh Grant, Calah Lane und Keegan-Michael Key, sowie neue Musik des gefeierten Komponisten Joby Talbot und des Songwriters Neil Hannon. Braunes und cremefarbenes Doppelvinyl in Nagaoka-Stil-Innenhüllen samt Einleger im Hochglanz-Gatefold mit Obi-Strip.

The duo's third album of instrumental guitar recordings pushes their sinuous compositions into labyrinthine new shapes, interlocking and interlocutory, supported by a cast of stellar collaborators. Interwoven among the dazzling original pieces is a fascinating array of covers, ranging from traditional Breton dance tunes to a deconstruction of Neneh Cherry's "Buffalo Stance." Their melody-first sensibilities are perfectly suited to each other _ playfully complex guitar work that sounds as if it was tossed off in an afternoon of whiskey and laughs. - NPR An intoxicating, intricate web _ Wherever Salsburg and Elkington go, it's always a pleasure. - Aquarium Drunkard Sounds like winter has always been approaching, like Indian summer never quite fades, like fall isn't built around loss. - Stereogum

Toothpaste Records präsentiert das LP-Format des 2022 erschienenen CD-Samplers "As If It Had Always Been Determined Since This Day Was Born" der japanischen Hardcore-Noise-Punk-Legenden The Gerogerigegege mit von den Original-Masterbändern remasterten Versionen diverser Gero-Klassiker. Darunter befinden sich die Debütsingle "Sexual Behavior In The Human Male" (1988, Trans Records), das exzellente Leather Nun-Cover "Ensam I Natt" und ein ultrarares Cover der taiwanesischen Sängerin Teresa Teng. Die LP enthält ferner 5500 Wörter umfassende Linernotes von Gero 55 auf Japanisch und Englisch, übersetzt von Kato David Hopkins.

2024 Repress

Since their first release as Extrawelt 'Soopertrack' dropped on Border Community in 2005 Arne Schaffhausen and Wayan Raabe have had a remarkable run. They relentlessly toured the world with their highly esteemed live show and released plenty of killer releases on labels like Traum or Cocoon. Naturally, our ears were wide open when the Hamburg-based couple sent over a bunch of new productions to the KOMPAKT HQ. Announced as what they call a new, alternative path of production for them, more precisely "less computer, more hands on" we were directly intrigued by the power and rawness of their new sound.

In particular, two cuts stood out: 'PINK PANZER' is pure analog funk. A sluggish beat is paired with a highly effective synth riff. The idea is as simple as it gets but it's executed in such a masterful way. You can drop this track anywhere and anytime - it'll certainly set things on fire right away. 'ARGONAUT' follows an equally simple recipe but ups the tempo and energy levels by 100%. Heavy prime time saw tooth techno for the new generation that recall vintage Thomas P. Heckmann – perhaps if he were to wake up in a funky mood.

Seit „Soopertrack“, das erste Release von Extrawelt, 2005 auf Border Community veröffentlicht wurde, haben Arne Schaffhausen und Wayan Raabe einen guten Run. Ausgiebig betourten sie die Welt mit ihrer vielgelobten Live-Show und veröffentlichen zahlreiche Hit-Releases auf Traum oder Cocoon. Natürlich haben wir die Ohren gespitzt, als das Hamburger Duo uns einige neue Tracks ins Büro geschickt hat. Angesagt war ein neuer, alternativer Produktionsprozess, genauer, „weniger Computer- und mehr Handarbeit“ – von der rohen Kraft ihres neuen Sounds waren wir sofort fasziniert.

Besonders zwei Cuts stechen heraus: „PINK PANZER“ ist der reinste Analog-Funk. Ein schleppender Beat gekoppelt mit einem eindrucksvollen Synth-Riff. Die Idee ist so einfach wie genial und ausgearbeitet auf meisterlicher Art und Weise. Überall wo man den spielt –die Hütte brennt garantiert. „ARGONAUT“ folgt einem ähnlichen Prinzip, beschleunigt ist nur das Tempo und Energielevel. Schwerer Sägezahn-Techno für die Peak-Time und eine neue Generation, die sich noch an den alten Thomas P. Heckmann erinnern können – vielleicht, wenn er mal in einem funky Mood aufgewacht wäre.

"Humble Pie was formed by ex- band member of the Small Faces' Steve Marriott, former Spooky Tooth's Greg Ridley, Peter Frampton, and Jerry Shirley. The supergroup recorded eleven studio albums in total, including the 1970 self-titled album. They recorded it with producer Glyn Johns, who worked with many of the most famous rock artists including the Rolling Stones, the Beatles, Led Zeppelin, the Who and many more. The material was darker than their previous two albums and includes Peter Frampton's gentle ""Earth and Water Song"", a cover of ""I'm Ready"" originally by Willie Dixon, and ""One Eyed Trouser-Snake Rumba"". The front cover features artwork by English illustrator-author Aubrey Beardsley, who is known for his Japanese woodblock influenced grotesque and erotic illustrations. Humble Pie is available in its original gatefold sleeve. "

Humble Pie by Humble Pie, released 29 March 2024, includes the following tracks: "One Eyed Trouser-Snake Rumba", "I'm Ready", "Red Light Mamma, Red Hot!" and more.

This version of Humble Pie comes as a 1xLP in a(n) Gatefold Sleeve packaging.

This freakbeat jelly belly delight showcases the Bandits’ vaudeville humor, garage rock & catchy psychedelic pop! Considered a cult classic, this mixed bag of candy-coated fuzz is sure to satisfy your sweet tooth! Our favored stereo mix, pressed on yellow vinyl! Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Originally known as “The Mirror,” the band regularly packed area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog.

In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records – however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material to flesh out a full-length LP in the course of a week. Amazingly, their eponymous 1967 debut is excellent, a freakbeat cult classic distinguished by emotive guitar and some innovative production techniques – all the more impressive, the album was recorded in a single 12-hour stretch. Mainstream hated the end result, however, and dropped the Jelly Bean Bandits just as they were commencing work on the follow-up – only one song was completed before the sessions were aborted, leaving just one ‘60s studio album from these confectionary con-artists. – Jason Ankeny

"The Jelly Bean Bandits" includes the following tracks: "Poor Precious Dreams", "Going Nowhere", "Goodtime Feeling", "Neon River" and more.

This version of the album comes as a 1xLP pressed on yellow vinyl.

“Recorded over just three days, with little more than two takes making up each tune, the album is an exercise in the immediate, capturing both Kilbey and his accompanying musicians performing tracks while they’re still fresh. The result is one of the most pure records you’ll find anywhere. From the opening notes of “Poppy Byron”, it’s apparent that Kilbey has delivered something transcendental; something that only someone with a musical dexterity and vision like he can provide. Serving as a musical kaleidoscope of sorts, the album switches genres frequently, shifting between the mandolin-driven sweetness of “Josephine”, the ’60s-inspired psychedelia of “Woman Number Nine”, and the hazy, dream-like nature of “Lillian in Cerulean Blue”. Meanwhile, the lyrics stay true to the concept of the title, with each track focusing on a feminine subject, whether it be via lyrics about Mary Shelley watching SBS in Mandarin on “Poppy Byron”, the story of evil witch “Doris McAllister”, or “Birdeen”, which, a press release notes, focuses on a greedy lorikeet with a sweet tooth. As Kilbey himself notes, Eleven Women is far from perfect record by any means, but in much the same way that even iconic renaissance painting have notable flaws, therein lies the beauty of this.” Tyler Jenke, Rolling Stone Australia A 01 Poppy Byron 02 Woman Number 9 03 Josephine 04 Sheba Chiba 05 Birdeen 06 Lillian In Cerulean Blue B 07 Queen Of Spades 08 Baby Poe 09 Doris McAllister 10 Where Gloria Meets Rachel 11 Think Of You (for Jessie Bellette)

Foreigner's debut spawned massive FM hits "Feels Like the First Time," and "Cold as Ice"
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Arena rock heroes Foreigner crushed with their 1977 self-titled album debut, spawning some of the biggest FM hits of that year, including the anthemic "Feels Like the First Time" and "Cold as Ice," both of which were anchored — like most of Foreigner's songs — by the muscular but traditional riffing of guitarist Mick Jones, the soaring vocals of Lou Gramm, and the state-of-the-art rock production values of the day, which AllMusic reviewer Andy Hinds says allowed the band to sound hard but polished.

The architect behind Foreigner's extraordinary catalog, Mick Jones has crafted some of rock music's most enduring songs. Grammy and Golden Globe-nominated songwriter, performer and producer and winner of the prestigious Ivor Novello songwriter award in 1998, Jones first began playing guitar in his early teens.

After starting his own rock band and opening for the Rolling Stones in pubs across South London, Mick's first big break came in 1964 when he moved to Paris and was hired to play with French singer Sylvie Vartan.

After a brief stint in England to reform the band Spooky Tooth, Jones moved to New York City and formed Foreigner with Ian McDonald and Dennis Elliott and Americans Lou Gram, Alan Greenwood and Ed Gagliardi.

Foreigner defined a generation of rock music to people across the globe. From its iconic debut album, the band moved on to record-breaking hits including "I Want To Know What Love Is," "Waiting for a Girl Like You," "Double Vision," "Hot Blooded," "Juke Box Hero" and many more.

Now on 180-gram 45 RPM double LP you'll hear Foreigner in all its phenomenal glory. Mastered from the original tape by Ryan K. Smith at Sterling Sound, this reissue rocks. Double LP cut at 45 RPM, pressed at Quality Record Pressings and RTI, and housed in a Stoughton Printing tip-on old style gatefold jacket. That's how you upgrade a classic.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

The American singer-songwriter tradition has always been tethered to a rustic austerity, the sort of front-porch authenticity that suggests an age where home electronics are still considered luxury items. But there's also the ongoing influence of Bob Dylan and The Band's Basement Tapes-that strange and beloved document of the magic that happens when private experiments with the folk template flourish into layered and lush songs-and its genesis through informal recording sessions. In our modern age, these kinds of casual DIY constructions are perhaps the more honest contribution to the Americana lineage-the true homespun artform. When Michael Nau and Whitney McGraw struck out on their own in the wake of the dissolution of their beloved indie-folk outfit Page France, they continued their songwriting practice with a new project called Cotton Jones Basket Ride. As legend has it, Nau and McGraw were working on the material for their debut full-length Paranoid Cocoon (2009) when they realized they had an entire album's worth of odds-and-ends from various recording sessions. The resultant album - The River Strumming - was released in 2008 on St. Ives in a batch of 300 unique hand-packaged LPs. As the label advertised it back in the day, the band "initially set out to make a cohesive record, and made just the opposite." Like The Basement Tapes, The River Strumming is a document of a band exploring possibilities without the weight of expectation. The band would eventually condense their name to Cotton Jones and make a name for themselves in the indie world for their fusion of dreamy folk and psychedelic baroque pop. But in the beginning, there was this weird and wonderful collection of songs made by musicians who were enjoying the private process of finding their path. Suicide Squeeze is proud to present a 15th-anniversary vinyl reissue of this long out-of-print classic with updated artwork by Kayleigh Montgomery-Morris.

Contemporary techno legend Marcel Dettmann delivers four(!) remixes for Dutch avant-pop artist Mathilde Nobel's Founds on Land. Nobel's LP for Nous'klaer has been one of the label's most adventurous releases, adding a much needed breath of experimental twisted air to the Dutch pop scene. Dettmann transforms opening track "Bliss" from a guitar heavy walloper into a noise wash, floor-filled techno tool driven by a hypnotic staccato saw tooth arpeggio.

Nobel's album single "I Eat Air" which was dominated by chopped voices and a lullaby-esque bell melody becomes a mesmerizing crescendo in Dettmann's hands, retaining the haunting bells and Mathilde's signature vocal processing. Third track "Nehalennia" goes from the album's heaviest offering to a cinematic, minimal techno, bit-crushed, avant-pop song. While remix closer is a spaced out version of "I Eat Air" omitting all drums in-lieu of more bells and chimes and chops off Nobel's haunting voice.

The 4 remixes from Dutch up and comer in the hands of techno maestro Dettmann is a meaningful pairing illustrating Nobel's adept musical prowess and Dettmann's never ending pulse taking of what the new school are bringing to the table. Text by Gregory Markus.

In the early 21st century on the bustling streets of New York City, Jennifer Vanilla is a container, a portal, a joy delivery system, a self help regimen, a social mirror, a Times Square celebrity, a shark-toothed advertiser, a kicky talk show host and an ebullient mascot. Collaboratively crafted with co-writer/co-producer Brian Abelson , Jennifer Vanilla's debut full length Castle in the Sky is a deft and mercurial "jennifreaky" journey, traversing 90s dance music, no wave, post-punk, art pop, new age and experimental R&B. "Consider this an invitation, I'll be your guide," Vanilla beckons on the album's "Take Me For A Ride," which, like much of the album, is driven by their nimble and virtuosic vocal delivery. Variously steely, theatrical, sensuous and authoritative, Vanilla's vocals harken the sparkling precision of Ann Steel, the growling tenacity of Laurie Anderson and the wispy tenderness of Shelley Duvall in Faerie Tale Theatre. Jennifer Vanilla performances often are exercises in the transformation of reality through fantasy, testing the limits thereof, while the songs of Castle in the Sky are an artifact of that laboratory. Many of these songs took on numerous incarnations over the course of years before arriving at their album form, mutated in direct response to audience reaction. A year after the initial release of Castle in the Sky via Sinderlyn Records, a vinyl edition of the record arrives on December 1, 2023, featuring bonus remixes and reworks from Jerry Paper and musclecars.

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.

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter. A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture - and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with." Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "SolutionismÖs careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability - and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonometry," that "white dove is a pigeon - you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.



A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture—and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."



Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonome- try," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."






[f] Kyanite Toothpick [feat. Hanni El Khatib]




[k] Bermuda [feat. Lealani Teano]


[n] Forward Compatibility Engine [feat. Rob Sonic]



[r] Black Snow [feat. Nikki Jean]

Das Quartett aus Iowa bringt das Publikum mit einem Doppelschlag aus treibenden Metal-Grooves und beeindruckenden Melodien zusammen. Mit mehreren Millionen Streams und positiver Resonanz von Revolver, Guitar World, Loudwire und vielen anderen, festigt die Gruppe auf ihrem zweiten Album "This Is It… The End Of Everything" via Spinefarm eine unzerbrechliche Bindung zu ihren Hörern. Für dieses Album arbeitete die Band mit dem Produzenten Kile Odell (Motionless In White, Nita Strauss) zusammen.

Saul kamen 2017 aus dem Mittleren Westen und bahnten sich unermüdlich einen Weg an die Spitze des modernen Rock. Sie traten an der Seite von Motionless In White, Atreyu, August Burns Red, Crown The Empire, Bush, 10 Years, HELLYEAH und Nonpoint auf und zierten die Bühnen von Festivals wie Rebel Rock, Rock Fest, Rock USA, Inkcarceration und Blue Ridge Rock Fest mit Rob Zombie, Mudvayne und Slipknot. Mit Brother", einer Hommage an den verstorbenen Bruder Caleb der Mitbegründer, landete die Gruppe einen echten Hit. Es war ihr erster Nummer-1-Hit auf Sirius/XM Octane und erreichte über 9 Millionen Spotify-Streams und ebnete den Weg für ihr Debütalbum Rise As Equals, das 2020 erscheint.