Cerca:trap 10

Diffuse Reality presents TOBAS, its new collectible series with a sound directly aimed at the dance-floor. Timeless Techno five-tracker from Los Angeles-based artist Stephen Disario will take you through hypnotic rhythms that will trap you from the first beat, leading you into a loop of constant energy. Welcome TOBAS series!

Zur Feier des 40-jährigen Jubiläums wurde die Studioversion von ”The Lexicon of Love” von ABC in den Abbey Road Studios als Half Speed-Version neu gemastert! Das Album enthält einige seltene Tracks und Konzertauftritte, die noch nie zuvor auf Vinyl veröffentlicht wurden! Diese Neuauflage von ”The Lexicon Of Love” wird als 4LP+BluRay und auf schwarzen Vinyl (Half Speed Master) am 04.08 veröffentlicht.

Oscar Peterson's Frank Sinatra tribute features his trio with bassist Ray Brown and drummer Ed Thigpen. The renditions are all under four minutes and are highlighted by "Come Dance with Me," "Just in Time," "I Get a Kick Out of You," and "How About You?" This is one of OscarPeterson's most essential dates — swinging and enjoyable. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

After a relative rest for the two Liège heads, it is time to get back to business. And this business requires four hands to play, very rapidly, and two ears, to be listened to very loudly. Trapped in a frantic chase on a Belgian highway, finally on a slope, this time, we are missing the brakes... and avoiding the famous ruts is imperative for survival. So here we are, grazing the slide in a shower of magnificent sparks, while being hit by these ten punchy pieces releasing a crazy energy. Even if the forays towards EBM become more and more pop (if we can use that word here), Punk becomes always more synthetic, Kraut is percussive and martial, but with PRINCE HARRY, it's a long time that the Indus has been moving very fast: at 140bpm on the emergency lane. "A Long Way Down" is the fourth LP from the Belgian duo to find asylum on the Parisian label. After 5 years of discretion - almost absence - this curious pink album propels us to the unthinkable frontiers of electronic punk, lo-fi EBM and garage new-beat.

Sheffield's hugely talented producer Hedge Maze lands on Selvamancer. Years in the making after a long search to decipher an unreleased tune from an unknown alter ego found online (title track Riding The Wave), we're excited to finally bring it to the masses. Morphed industrial violence, tearjerking post-dubstep-trap and the ruthless title track bounce off the walls. Let's commence! Face to the glass. "You use a mirror to see your face, you use a work of art to see your soul." G.B.Shaw... but if you stood with your breath appearing on the canvas what would you say to a Mane or a Rothko three inches away from it. As you push your nose up to the mirror of your soul, what to say to it in response. To listen to one's soul is to hear its depth, for it has many voices, but which voice to listen to. Fear be a man's best friend, he will accompany you should you wish. Forever on your coattails, a whisperer of half unseen truths: distorting perceptions. grief, illness, disappointment, pain, struggle, poverty, loss, terror, heartache, All to be feared. Yet, all features of a life lived! Courage then is simply to live and to live well, choose the voice that gives light. Throw the house out of the window so some say, throw yourself too, say I. Mark Warren. - written whilst listening to Strukku's Beat on Hedge Maze EP

After exiting Buster Summers Express, Leeds-based songwriter/multi-instrumentalist Derek Noy formed Jan Dukes De Grey with woodwinds player, Michael Bairstow, soon opening for Pink Floyd and the Who, though LPs Sorcerer and acid folk masterpiece Mice And Rats In The Loft sold poorly. After line-up changes, in 1977, Noy assembled a new crew for Strange Terrain, cut at Brittania Row with Roger Waters co-producing, but the album’s curious mix of post-prog, acid rock and punk was deemed unsuitable for release until 2010! This edition comprises the complete original LP, just as delivered at its time of recording. Essential!

“Joe McPhee’s first international release, Black Magic Man, was issued on the newly formed Hat Hut imprint in 1975. It was a watershed moment for the 35-year-old musician. Based in Poughkeepsie, New York, he was too far away from Manhattan to have participated extensively in the Loft Jazz happenings of the decade. European exposure, however, would give McPhee an alternative circuit, something of an escape route from the trappings of American cultural myopia. “In support of the new record for this Swiss label, McPhee invited John Snyder on a European tour in October 1975. Snyder was a synthesizer player with whom McPhee had made the duet LP Pieces Of Light, released a year earlier on CjR. The two musicians developed an extensive repertoire, playing diverse spaces in the Hudson Valley. Geographically close gigs were a plus, since it took extra energy to hoist Snyder’s ARP 2600. “McPhee and Snyder were invited to play at the Willisau Jazz Festival in Switzerland. If you compare this live record with Pieces Of Light, a studio effort, it’s considerably more open. South African drummer Makaya Ntshoko is rolling thunder on the choral ‘Voices,’ shuffling under Snyder’s bubbly beat on ‘Bahamian Folksong.’ It is quite a special combination, enough so that Hat Hut chose to release it as their next LP, Hat Hut B in their alphabetical series. The Willisau Concert represents the sound of Joe McPhee opening up, opening out, expanding his field of operations to include new figures, fresh experiences, new continents of sound.” —John Corbett (excerpt from the liner notes)

Step into the unknown with URN's latest masterpiece, 'Surprise Me.' In this kaleidoscope of sound, genres intertwine like threads in a tapestry of boundless creativity. Led by the enigmatic Jakub Volovar, each track is a journey into the depths of emotion and imagination.


From haunting melodies to pulsating rhythms, 'Surprise Me' defies classification, inviting listeners on a sonic adventure through uncharted territory. Like a meticulously crafted collage, it weaves together elements of jazz, trap, and beyond with effortless grace.

While a sense of doom lingers in the shadows, it never overwhelms; instead, it adds depth and texture to an already mesmerizing landscape. With 'Surprise Me,' URN proves once again that true art knows no boundaries.

D3 unveils a collection of unreleased tracks from the British duo Synchrojack, who have previously released material on Ferox, Mosaic, 4th Wave and Vibes And Pepper Records. The compilation, entitled "Sugarhouse", is divided into two EPs. The first part features 3 original tracks entitled "Trap & Move, Unlock & Power of Eight", accompanied by remixes from Russ Gabriel, the mastermind behind the Ferox label, and Tom Churchill, a respected figure in deep house from Cardiff. Expect high quality deep house tracks characterised by dynamic drums, enchanting basslines and lush synths, all coming together to create an irresistible and seamless groove.

On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures. upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolving vignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Population of Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped in amber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in many ways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholy synths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass cracking underfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph into each other, demolishing what came before and building on top of the ornamental wreckage. On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstracting expectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops and disrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track, they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works like a bridge between these realms, snaking between stark, whimsical melodies on 'Patterning', arching from AutoTuned detachment into cooing, dreamy intimacy. By considering the harmonies between each location she's visited, upsammy has been able to build a unique topology that's an uncanny digital amalgam of her lived experience. It's a thoughtful alternative in an era more concerned with flatting the landscape than crumpling it and examining its peaks and troughs.

Four Flies is thrilled to announce a reissue of Piero Umiliani's soundtrack to the 1969 giallo thriller  "Orgasmo" (called "Paranoia" in English speaking countries), the first of three erotically charged films directed by Umberto Lenzi and starring cult siren (and Oscar nominee) Carroll Baker. Back in 2020, we unveiled the first-ever release of this iconic soundtrack, whose master tapes were thought lost for decades. After some serious detective work in the composer's archives, our team managed to salvage and restore the original tapes, bringing Umiliani's score back to life for all to enjoy. Due to popular demand, this reissue, unlike the 2020 release, bears the film's original Italian title.   Recorded shortly after "Sweden: Heaven and Hell" in late 1968, Orgasmo is undoubtedly one of Umiliani's finest works. The score perfectly captures the stylish and sleazy vibe of Lenzi's film, its acid-drenched visuals, ...



a 01. Fate Had Planned It So (film version) [feat. Lydia MacDonald]
[b] 02. M5 (jet-set) [feat. Giulia De Mutiis]



[f] 06. M27 (psychedelic trap) [feat. Alessandro Alessandroni & Giulia De Mutiis]


[i] 09. M46 (hammond valzer) [feat. Lydia MacDonald]


[l] 12. Seq. 6 (psychedelic suspense) [feat. Giulia De Mutiis]

Moon Diagrams – the solo project of Deerhunter co-founder and drummer Moses Archuleta – returns with a second album, Cemetery Classics, on June 21. The 12-track album is a co-release between Sonic Cathedral (in the UK and Europe) and Angus Andrew from Liars’ new label No Gold (in the US and the ROW) and was mixed by James Ford. It features guests including Anastasia Coope, Patrick Flegel (Cindy Lee) and Josh Diamond (Gang Gang Dance). It’s Moses’ first new music since 2019’s Trappy Bats mini-album and the follow-up to 2017’s acclaimed debut Lifetime of Love and everything seems a bit more extreme – from the Basinski-esque degradation of ‘Neptune’ to the Faustian industrial noise of ‘Listen To Me’ via Art of Noise-style postmodern pop (the first single ‘Very Much My Promise to You’), Daft Punk bangers (‘Fifteen Shows at One Time’), trip-hop, shoegaze, Jan Hammer, Depeche Mode, late Leonard Cohen and more. “It’s about finding out your arms are too short to box with god,” says Moses of the emotional force that courses through Cemetery Classics. “It’s the inverse of a desert island disc – a graveyard disc. Songs to take into the afterlife.”

"2024 marks the 40th anniversary of Bruce Springsteen's 'Born In The U.S.A.' Although it would become his biggest selling album with seven top 10 singles on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars says ""any of those songs could be played with acoustic guitar alone and still be great."" Taking this idea as its premise, 'Dead Man's Town: A Tribute to Born in the U.S.A' strips the album's twelve indelible originals to the core, with contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced cover of ""Born I n The U.S.A,"" saying these artists are ""reimagining 'Born in the U.S.A. with a reduced approach more influenced by that of the acoustic, ""Nebraska.""

Isbell says of his cover, """"Born In The U.S.A."" is one of my favorites because so many people have seemingly misunderstood the lyrical content and the song's overall tone. When you listen to the demo, the dark, minor key arrangement makes it clear that this is not strictly a song of celebration. We wanted to stay true to that version."" Amanda Shires adds, ""I love that the song paints a picture of struggle in the face of the American dream, and the irony in the chorus is delivered with such force that it nearly transcends irony altogether."""

Black Country Communion is a powerhouse supergroup fusing the incredible talents of Glenn Hughes (Deep Purple, Black Sabbath, Trapeze), Joe Bonamassa (Blues Rock Legend), Jason Bonham (Led Zeppelin, Sammy Hagar and the Circle, Foreigner) and Derek Sherinian (Dream Theater, Sons of Apollo). Their brand of
earth-shattering rock is heavily influenced by both British and American classic hard-rock and blues-rock music. The reputation they've cultivated after 15 years since their inception, not only as amazing songwriters, but as a powerful live act, is only exceeded by their dedication to their craft and willingness to challenge each other to make the best music imaginable.

Planetary Assault Systems is one of UK techno innovator Luke Slater's most enduring aliases, a project focused on forward-thinking techno with maximum cerebral impact. Each Planetary Assault System release is closely related to the live shows, joining the dots between studio and stage.

For his first new music as Planetary Assault Systems in several years, and the 70th release on his own Mote-Evolver label, he heads full throttle into the deep dark recesses of the club. 'Deep Heet Vol 5' EP follows 2017's 4th volume which included the ever popular 'Desert Races'.

Originalmusik von den Chiptune-Rockern Anamanaguchi (Künstlerveröffentlichungen, Scott Pilgrim Videospiel, Capsule Silence XXIV) und Joseph Trapanese (Oblivion, Straight Outta Compton, No One Will Save You, The Greatest Showman, Skull Island, The Witcher, The Machine, Star Wars: Tales from the Galaxy's Edge, Stuber), mit Originalsongs von Anamanaguchi.

Scott Pilgrim Takes Off ist eine Anime-Streaming-Fernsehserie, die von Bryan Lee O'Malley und BenDavid Grabinski für Netflix entwickelt wurde. Die Serie basiert auf den Scott Pilgrim-Grafikromanen, die von O'Malley geschrieben und gezeichnet wurden, wobei die gesamte Hauptbesetzung aus der Verfilmung von 2010, Scott Pilgrim vs. the World, ihre Rollen für die englische Sprachbesetzung wieder aufnimmt, und dient sowohl als Fortsetzung als auch als Neuinterpretation des Grafikromans und des Films. Die Serie wurde am 17. November 2023 veröffentlicht und von der Öffentlichkeit
begeistert aufgenommen. Im Gegensatz zur Verfilmung, die weitgehend die gleiche Geschichte wie die Comics erzählte, weist "Takes Off" eine völlig eigenständige Handlung auf: Der titelgebende Scott Pilgrim verschwindet in der ersten Folge, und Ramona Flowers, sein Liebesinteresse, steht im Mittelpunkt, während sie versucht, herauszufinden, wer von den Darstellern für sein Verschwinden verantwortlich ist, während andere Figuren in der Geschichte an einer fiktiven Adaption von Scotts Leben arbeiten.

First time released on Vinyl. Unheard since 2007. Artwork by Maliq Griffin aka DJ Porno (Tame’s long-time collaborator and friend.)
An unreleased Stretch Armstrong HOT 97 freestyle ft. Redman and Rah Digga. Remastered production by Shape, Mishap, and others.
We’re honoured to reissue an album by a truly unique voice in hip hop and dearly missed friend, Tame One. The year is 2007, Fresh off collaborations with the likes of El-P, Cage, and The Weathermen, Tame One - one half of the Newark duo The Artifacts, was approached by a Montclair skateboard shop Division East, as he personified their East Coast new school culture of skating, graffiti, and MCing. This relationship gave way to Division East Records and their first full length release entitled "The Grudge." Despite its merits and the efforts of those involved, the album went largely unheard outside of NJ hip-hop circles. Call it a casualty of the post-CD/pre-streaming musical landscape of the early 00’s. Now, 17 years later and almost 2 years after his heartbreaking transition, issued for the time on purple vinyl, Tame One’s The Grudge

Zum ersten Mal veröffentlichen No Doubt ihr Greatest Hits Album ”The Singles 1992-2003” auf Vinyl. Pünktlich zu ihrem Reunion Auftritt im April auf dem Coachella Festival wird die Best Of Sammlung neuem Gewand erscheinen. Von ”Just A Girl” über ”Don’t Speak” bis hin zu ”Hella Good” - diese und viele weitere Hits der legendäre Band gibt es drauf zu hören!

“There goes my TARDIS!” Demon Records celebrates David Tennant and Catherine Tate’s partnership as the Doctor and Donna with two audio-exclusive stories, read by the actors themselves. In Pest Control, read by David Tennant, the Doctor and Donna face monstrous insects and a ruthless robot exterminator when the TARDIS is lost in battle on a distant planet. The Doctor sets off in pursuit of his craft, while Donna finds herself accepting a commission in the Pioneer Corps. Something is transforming soldiers into monstrous beetles - and she could be the next victim. In The Forever Trap, read by Catherine Tate, the duo find themselves imprisoned in a complex of luxury apartments in space, and neighbours to a terrifying assortment of aliens. Deadly mobs wage battle in the corridors and on the stairwells, and the travellers must cross their paths as they search for the ultimate authority. Who, or what, lies at the heart of the Edifice? This stunning box set, with an illustrated lift-off lid, features 6 x 140g vinyl LPs - three in Transparent Red and three in Transparent Yellow - each housed in a unique inner sleeve. A four page booklet features sleeve notes by authors Peter Anghelides and Dan Abnett, who reflect on the process of writing for the Tenth Doctor and Donna, and how they regard the stories 17 years later. Now for the first time on vinyl, accompanied by original sound design and Murray Gold’s Series 4 arrangement of the familiar theme music, these two high-octane adventures are a reminder of the excitement, humour and magical wonder of Doctor Who

Listening to The Softies has always felt like peeking into a diary, with no personal detail spared. Lyrically the band documents a lovelorn heart in every manifestation, and hope is the bright silver lining adorning each song. As the third Softies album, Holiday in Rhode Island KLP119 presents a more accessible view to the humble honesty of their emotive universe. When Holiday in Rhode Island was originally released in Sept. 2000, it had been three and a half years since The Softies previous album Winter Pageant [KLP061]. In that time Jen and Rose's introspective musings are reborn, sparkling with renewed vision, both musically and spiritually. The trademark harmonies between Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze) simply shimmer, brighter than ever before, benefiting from strong yet simple arrangements and excellent production (at a house on Galiano Island near Victoria, British Columbia) by Dave Carswell and John Collins. The beautiful surroundings and supportive production crew inspired The Softies to extend their minimalist blueprint of two delicately jangling guitars and two crystalline voices to include acoustic guitar embellishment on "Just a Day," "You and Only You;" piano and sparse drums on "Me and the Bees;" a xylophone makes subtle appearances here and there. Holiday in Rhode Island is a stunning artistic accomplishment from these two much heralded pop icons.

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

The Samosa label gets its Re-Funk Head on once again with Part 2 of the exciting sonic laboratory project.

Opening this outrageously good EP are Samosa alumni Dirty Elements & Drunk Drivers feat E.M.E and their all-powerful and energy blasting ‘Disco Ball’ – a track that never even attempts to hide its sassiness. The brass ensemble fanfare (which is truly one of the best disco riffs in the known universe) acts as a victory parade through Samosa City – all tickertape and confetti raining down on smiling faces. A serious, serious groove which has featured in sets by Art of Tones on his Ultimate Mix Show for Glitterbox Ibiza and by Folamour in his Amsterdam gigs in March 2024.

Track 2 is respected Italian Maestro, Moplen and the wonderful ‘Ain’t No Doubt About It’. There’s an immediate dance floor lure to the disco beats and bongo rhythms here. Take a good helping of ‘pew-pew’ laser bolts, cow bells and hand claps; add a masterful bassline and you have some serious, serious disco business. You could be sipping evening cocktails in Club Coco Bongo or taking in a beach at sunrise - this track would make you want to dance regardless.

On the B-side the disco theme continues with the most aptly titled ‘Sexy Thing’ by Jazzyfunk. At 122bpm, this heads quickly into soaring, heavenly strings and punchy bassline territory, enveloping your ears like a warm duvet. The melody is a dance floor dream – it demands that you join the hands-in-the-air crowd and there really is no point in resisting. ‘Sexy Thing’ is one of those rare ‘moment in time’ tunes that could either kick a night off or act as the grandest of grand finales. Pure, unadulterated disco pleasure.

Closing the EP with Track 4 is DeGama himself and ‘Feel The Groove’. Make no mistake, this is a powerful, brooding beast of a tune that bursts out of the traps in no time at all. At a very deceptive 120bpm, ‘Feel The Groove’ starts with a warm, housey vibe that quickly breaks into a jumping, blues inspirerd guitar battle. The solid beat bounces gorgeously in tandem with the filthy rhythm guitar riffs and sultry saxophone in a knee-slapping, somersaulting, backsliding explosion. A seriously filthy tune from DeGama.

Re-Funk Head Part 2 acts as a perfect companion to its predecessor – featuring an all-star cast of some of the best talents to grace Samosa. A must for all serious record collectors.

With Folksong Distortions, Pauwels and Van der Aa create a journey of lament through the soul of times gone by. Their radical renditions of works by Larry Polansky and Christopher Trapanido not distort the more upbeat rhythm and tradition of folk songs, but rather reveal and highlight the essence of hard lives, imposed choices - choices that were illusions in the first place - and the difficult times and conditions they have always depicted.

Christopher Trapani arranged two classics from the U.S. South, effects. The work, developed in collaboration with Tom Pauwels and Liesa Van der Aa, was originally made and featured on ICTUS' American Lament programme. The duo was given considerable room for improvisation and interpretation in the process. The first song, 'Wayfaring Stranger', is a well-known folk/gospel melody in A minor. The lyrics contrast an aimless journey through a harsh, hostile world, with the Christian promise of heaven as a 'home' and reunion with lost loved ones. The second song, 'Freight Train', was written by Elizabeth Cotten, a left-handed guitarist who held her guitar upside down, resulting in a very recognisable strumming style.

Sweet Betsy from Pike and Eskimo Lullaby are taken from Larry Polansky's 2005 'Songs and Toads', a five-section piece that computer-composed pieces. The work was originally written for guitar, more specifically for the national steel guitar, refretted in a specific intonation designed by Lou Harrison. Each piece explores a different guitar tuning. A significant intervention to the original work is made to accommodate Liesa Van der Aa's violin with effect pedals, opening to an epic re-reading of the work as conceived by the American composer Larry Polansky. What this set-up enables is a melancholy, slow-paced approach that quite radically opposes the more upbeat and joyful nature of the folk songs.

Das Chaos ist zurück: Hier kommt das Vinyl zum vierten Teil von Lloyd Banks' Halloween-Havoc-Mixtape-Serie. Auf "Halloween Havoc IV: The 72nd Hr" droppt der Rapper aus Southside Jamaica Queens 15 neue Tracks samt Features von Vado und Sy Ari Da Kid. Die erste "Halloween Havoc" erschien 2008 und wurde 2015/16 mit den Teilen zwei und drei fortgesetzt.

Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks. “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker. “I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie In collaboration with Rob Zombie, Waxwork Records is thrilled to release Rob Zombie Presents HOUSE ON HAUNTED HILL Original Motion Picture Soundtrack by Von Dexter. Starring Vincent Price, HOUSE ON HAUNTED HILL is a 1959 American Horror film produced and directed by William Castle. Vincent Price plays an eccentric millionaire, Frederick Loren, who, along with his wife Annabelle, has invited five people to a house for a ""haunted house"" party. Whoever stays in the house for one night will earn $10,000. As the night progresses, the guests are trapped within the house with an assortment of terrors. The film uses many props used in carnival haunted houses to generate fear and terror. The film is also known for its promotional gimmick, Emergo, which included a ""flying skeleton"" that would appear over the audience as they enjoyed the film in a movie theater. Waxwork worked with the rights holders of the original film elements which have been restored, allowing for the best source material of this never-before-released soundtrack album. In addition to the original music by composer Von Dexter, this release features segments of the film's dialogue and sound effects appealingly included and sourced from the restored original soundtrack. Included in this very special release is the first part of an exclusive two-part interview conducted by Rob Zombie with Vincent Price's daughter, Victoria Price. Part two will be included with Waxwork's upcoming release of Rob Zombie Presents The Last Man On Earth! Von Dexter (1912-1996) was an American composer born in Aurora, Illinois. He later moved to Chicago where his professional music career began playing in bars and nightclubs. After gaining a music degree at USC, he moved to California where he became the West Coast MD for NBC. In addition to House On Haunted Hill, Dexter composed the scores for other William Castle films including 13 Ghosts and The Tingler."

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances. Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity. The album definitely is about how we feel and experience the world around us in our 30s and 40s. The Baby Seals have grown up? Does not mean sonically lame for sure. The album definitely has themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously. Title track, Chaos is one of the songs on the album written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community. Further stand-outs are the funny "ID'd At Aldi" and the just classy "Vibrator" The cover artwork sums us up and hopefully gives you a feeling of what the album sounds like.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

100's of 1000's, Millions of Billions by Blitzen Trapper, released 17 May 2024, includes the following tracks: "Cosmic Backseat Education", "Cheap Fantastical Takedown", "Planetarium", "Long Game" and more.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

100's of 1000's, Millions of Billions by Blitzen Trapper, released 17 May 2024, includes the following tracks: "Cosmic Backseat Education", "Cheap Fantastical Takedown", "Planetarium", "Long Game" and more.

You may ask yourself what lies beyond the cumbia? What psychedelic permeations reveal themselves in the breaks of the modern day tropical wave? La Banda Chuska's debut single on Names You Can Trust provides a glimpse into the broad benchmarks of this new noise and language, channeling and surfing through a barrel of rip-roaring guitar licks to create something decidedly distinct and du jour at the same time. Just imagine if the B-52s got trapped in some sort of demented Pacific-Peruvian time warp and were forced to shred their way back into existence, bongos in tow. Come along for this excellent adventure and experience for yourself, the tropical waviness of La Banda Chuska's colorful crush.

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances. Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. Working with engineer Joe in a secluded outhouse surrounded by fields, the band laid down the tracks live over a day, capturing the unfiltered essence of their sound. Joe's extensive collection of homemade pedals added a unique touch to the recording, while Benny T's mixing expertise brought the album to its final form. The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity. On Chaos Kerry says: “Chaos is the next phase in life for us lasses in the band - babies and mid-life responsibilities. The album definitely is about how we feel and experience the world around us in our 30s and 40s. Someone who heard the album recently said it's like the The Baby Seals have grown up and I liked that because that's what I feel likes happened to me in the last two years… The album definitely has Themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously. Title track, Chaos is one of the songs on the album which I'd written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community. The cover photo by Jeff Pitcher sums us up and hopefully gives you a feeling of what the album sounds like. Album design was created by Igor Prato Luna, he just seemed to understand what we are about. He referenced loads of wonderful album cover, poster and flyer artwork from the 60s - 90s, and even some fabulous sci-fi artwork from the 1920s and those incredible 1950s sci-fi pulp book covers. Nothing was referenced too heavily, though, and Igor definitely made it his own

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

Falling somewhere between Soulside, Ignition, and The Chocolate Watchband, Vile Cherubs were a short-lived and puzzling band that for a brief window in 1986-88 managed to captivate, confuse, and annoy the D.C. punk scene. Consisting of high school classmates Tim Green, Jesse Quitlsund, and Ben Wides—along with Green’s childhood friend Seth Lorinczi—the Vile Cherubs were more focused on the then-forgotten sounds of ‘60s garage rock and psychedelia than on Minor Threat. Being minors themselves, they likely would’ve remained trapped in the school-dance circuit were it not for Geoff Turner (Gray Matter / 3), who took an interest in the band and recorded their two demos. That first tape caught the ear of d.c. space booker Cynthia Connolly, who despite her initial skepticism paired them with Didjits, Cynics, and other noteworthy bands. Rumors of a potential Dischord album built all through 1987, ending with mysterious suddenness after label co-owner Jeff Nelson dropped in on a rehearsal to find a miasma of LSD, alcohol, feedback, and vomit. Though the band released a posthumous LP in 1988, the original Geoff Turner demos explain why the D.C. scene briefly lost its shit over these teen ne’er-do-wells. Lovingly and exhaustively resuscitated by audio maestro Tim Green from the original multitrack tapes, “Lysergic Lamentations” is the Vile Cherubs at the height of their brief existence.

Following her successful debut album After Dark, new ideas have led Whiting to create Lost in Abstraction.
More than the expected ethereal washes of sound, the album playfully embraces her many influences into a
soundscape of modernity

Nadyne Rush is a Italian-Haitian singer who begin her artistic career
very earlier in jazz musical range, it boasts multiple experiences
abroad and Italy and collaborations with the most important Italian
musicians.

She was the backing vocals of the Italian Funky Group Dirotta on Cuba and the Italian trapper Ghali and collaborate with many artist as Mario Biondi, Gegè Telesforo, Neri Per Caso, Bengi and Fabrizio Bosso.

Now on FullTime Production her new album 'RUN!' with seven tracks, this album was conceived following the great love for the '70-'80 music sounds, for played live music, for horns sections, for disco music, for funky and house, expertly mixed by the producer Alex Barattini.

An album full of strong emotions, passion, motivation, unconditional
love, is a collection designed to dance but to dream, to redeem and
reflect also, in a world that moves quickly and detaches itself more and more from the ability to perceive values as essentials for our
existence.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

repress!

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere

E – MELODROM – percolates with Latin percussion and shuffling snares, which commingle with an array of voices and whispers that come from every corner of the song. From toolish to melodic, itʼs the diversity that creates the magic.

F – SING AND RUN – is one of those tracks that gives you nostalgia and reminds us of early mornings at the end of the party when the sun would be coming in through the windows and the dancefloor was in total harmony. Could easily cast a spell with the right audience.

G –RUMBLING DREAM – is a ritualistic-sounding slice, crossing towards the kind of slow-burning, atmospheric cuts that doubtless inspire his intricate studio productions. The vocals are unusually illustrative and make a lasting impression.

H – KLAUS DID IT – is an intriguing interplay between dark functionality and high velocity grooves — the type of deep, trippy, IDM-tipped tunes. Its warped tones are forming dank, lurching rhythms that trap you like a spiderweb, venturing into a bizarre, rewarding territory. The conclusion? You can spend a decade honing a very particular personal vision and not run short of inspiration. Mihigh is a world-builder: everything he does is about further extending and reinforcing that world.

ARCHIELONG LP is capturing the beauty at the intersection of
experiment and perpetual learning

Poly Dance Theatre presents its new show: Warning: killer track! Let's start with side A: an international adventure. Backstage, we meet up with rico OBF, who has recorded MC Waraba, the Malian singer and pioneer of the "Balani show" for his forthcoming album on Blanc Manioc Records, at the dubquake studio. Still backstage, we come across androo, the little pictureditor hanging around, who offers to do a re-interpretation by re-creating a riddim from the vocal.

So here's poet rapper MC Waraba, singing in Bambara and French, telling us a story about a girl's difficult choices over a riddim made in androo.
The result is a strange, solid, bewitching and melancholy blend of dub, wave and drill trap music. The references are many and scattered, as always with androo (just take a look at his bedroom). After the pop-epic poem, dub mix versions unfold, from dub vocal, with reminiscence of the delay-cut poem, to deep, robust instrumental straight.

B side: Warning: killer track again! Warning: another kind of Wave-dub-trap. Warning: Identity is theft. Warning: Sound system style: 4 parts! Here, starting with a badly cut sample (against American transparency! long live Brecht!), we wander through a heavy chorus-stepper-weird-club-dub, ranging from the most pop to the most ruff, via the most experimental to the deepest. 4 episodes. One season. To see again and again. To play again and again (if need be).
4 episodes (Warning again: Sound system style: 4 parts!)
A series of versions in which the dub mix experiments and pushes the track to its limits.

Translated with deepl