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Limited 250 copies ! A grey 10'' for fucking noisers ! and breakcore extremerz. No white noise easy shit ! Only pure violence and extreme terror ! DEATHMETALBREAKCORE ! I fell So Harsh Harsh !

"Stop Violence Against Women" has been the life-long credo from Rico Puestel and "Make A Way (For Women)" is a stomping protest of 11 minutes and 11 seconds that proclaims the fortitude of women! Playing this one out there is more of an solidary act than just "a track being played"...

What Rico himself has to say about it: "With my 2022 Friebe-projects 'Jenni' and 'Jenni II', I started to make a public appearance on this topic of violence against women musically. Back in childhood days, I already felt an intensely unjust manner and imbalance regarding women in society and an almost predetermined non-equality. The violence always seemed so ever-present, even in the smallest details of behaviour and the associated self-understanding of men within their deeper planted attitude towards. I always felt an honourable glory and profound importance in women that seems impeccable and unreachable for men. It's clear that men would just be memories and ghosts without women... Musically speaking, while grewing up with Gabba and Trance i. a. in the 1990s, I simply feel no charm to nowadays reflection on these times with productions and releases that somehow just sound insincere and scheming. I'm missing the real attitude, feel and groove that doesn't even care if it's Techno, House or whatever and I'm also missing some of the stylistic approaches as well as the spirit from the "Minimal"-era. Based on all those thoughts, "Make A Way (For Women)" became this clenched fist - raised for good!"

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

Die remasterte Neuauflage von PRESTIGEs zweitem Album "Selling The Salvation" - erhältlich als limitierte Vinyl LP sowie als CD Digipak mit zwei Bonus Tracks (Bonus Tracks nur auf der CD).
Dieses Album zeugt von der rasanten Entwicklung der Band vom eher straighten Speed Metal zum technischen Thrash Metal.

Die remasterte Neuauflage von PRESTIGEs zweitem Album "Selling The Salvation" - erhältlich als limitierte Vinyl LP sowie als CD Digipak mit zwei Bonus Tracks (Bonus Tracks nur auf der CD).
Dieses Album zeugt von der rasanten Entwicklung der Band vom eher straighten Speed Metal zum technischen Thrash Metal.

Transverse is the second studio album release from Colorado based metal band Messiahvore. It draws its sound from the vibes of 90's iconic bands like Helmet and Prong whilst peppering in the essence of stoner metal, death metal and a little bit of doom. The album has gained positive reviews from those amongst the metal scene, both critics and fans alike, being described as the sophomore record that "shatters expectations"

BACK IN THE RACKS..BOMBER VINYL REPRESS Petrol Girls are a radical feminist hardcore band making waves across the European and UK punk scenes The band are constantly on tour across the UK and Europe and are gaining great press and interest along the way . Recently picked up by major booking agency ITB after one London show. Their previous two 7" singles sold out in record time For Fans Of: War On Women , Bikini Kill, Fugazi, Refused, White Lung, Pettybone, Propagandhi

Superb Violet and black splattered vinyl !!

Limited edition.

"You, Me, & The Violence" explodes out of the gates with "Pilori", a statement of personal independence among society's faults and fractures. Birds In Row continue down this road, expressing disdain in songs like "Cages", "Guillotine", and "Walter Freeman". All of them musically harboring a tangle of emotional vocals and rabid distortion. Just when it feels like the album is almost too overpowering, Birds In Row unfurl a moment of clarity in "Last Last Chance", a haunting guitar and vocal break. The control of their dynamics is masterful work. "You, Me, & The Violence" and "Grey Hair" are near perfect examples of this, shifting between searing and serene in tone. And if you weren't in awe of Birds In Row in the first eleven songs, the twelve minute closer "Lovers Have Their Say" will leave you floored.

"You, Me, & The Violence" explodes out of the gates with "Pilori", a statement of personal independence among society's faults and fractures. Birds In Row continue down this road, expressing disdain in songs like "Cages", "Guillotine", and "Walter Freeman". All of them musically harboring a tangle of emotional vocals and rabid distortion. Just when it feels like the album is almost too overpowering, Birds In Row unfurl a moment of clarity in "Last Last Chance", a haunting guitar and vocal break. The control of their dynamics is masterful work. "You, Me, & The Violence" and "Grey Hair" are near perfect examples of this, shifting between searing and serene in tone. And if you weren't in awe of Birds In Row in the first eleven songs, the twelve minute closer "Lovers Have Their Say" will leave you floored.

Dave Matthews Band’s first album in four years,
largely written throughout the pandemic, is as
much a reflection on the current times as an urge
to find common ground.
The twelve-track album was recorded with
producer Rob Evans in studios throughout Seattle,
Charlottesville, and Los Angeles.
‘Monsters’ was produced by longtime collaborator
John Alagia.
‘Walk Around The Moon’ touches on my children,
the futility of our struggles as a human race, gun
violence, love, modern political discourse,
gratitude.” - Dave Matthews
LP in gatefold sleeve

The Sunset Tree is the ninth studio album by Mountain Goats, released in 2005 by 4AD. The album"s songs revolve around the house John Darnielle grew up in and the people who lived there, including his mother, sister, stepfather, friends, and enemies. The Sunset Tree focuses on his childhood, and a recurring theme is domestic violence. Darnielle was backed by Peter Hughes, Franklin Bruno and Eric Friedlander & Alec Decarville. And the record was prodced by John Vanderslice.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Sure Thing presents Well of Sand, its second compilation. Six tracks from label friends and favorites, each new to the roster and offering bold, untempered explorations of tempo and weight, a concise yet expansive collection recalling the deliberate cadence of rippling sand and the sheen of shimmering oases.

Taking its name from the campaign of the same name launched to
prevent sexual assault in the UK, the material on forthcoming debut
album Ask For Angela variously reflects on the band's collective
experience growing up in the South Wales Valleys, and explores the
myriad lived experiences of young women
Exploring infighting within the feminist movement, the oppression of trans rights
in the UK, violence against women, and other weighty but hugely important topics,
the trio ultimately invite the listener to a place of safety and empowerment with
their inclusive music.

Death metal is the great undead of subgenres: rising, again and again, to take revenge on the living with maximum violence. Servants of the zombie code and masters of old school brutality, Germany’s ENDSEEKER have made their intent to kill again more than apparent over the last nine years. Formed in Hamburg in 2014, the quintet have swiftly built a reputation as one of European death metal’s most dynamic wrecking crews. From the aspirational evisceration of first full-length Flesh Hammer Prophecy, to Metal Blade debut The Harvest in 2019, and the widely acclaimed Mount Carcass two years later, Endseeker have cooked up such a formidable formula that their rise to glory seems almost inevitable. But like everyone else, they were stopped in their tracks by the Covid pandemic and its aftermath. As that global horrorshow fades in the rear-view, Endseeker are poised to return with their most crushing and charismatic album to date: Global Worming Death metal is a serious business and Global Worming is Endseeker’s most focused and sophisticated offering to date. Nonetheless, there is always room in the underground sewers for a brain-eating monster or two, and fans of zombie-centric death metal will be more than satisfied with the new album’s brilliant, bloody contents. Consumed in its belligerent entirety, Global Worming soon emits the acrid stench of a future classic. Endseeker have stayed true to their deathly roots, while also writing some of the most imaginative songs in their history. Supremely catchy but as brutal and ugly as the arcane gods demand, Global Worming promises to burrow under the world’s skin with maximum force.

From Northern Ireland and the South of England hail Jetplane Landing - which, for the last two decades has been variously composed of: Jamie Burchell (Bass/Vocals), Raife Burchell (Drums), Andrew Ferris (Vocals/Guitars), Cahir O’Doherty (Guitars/Vocals) and Craig McKean (Drums). Big Scary Monsters are releasing their debut album Zero For Conduct on vinyl this January as well as putting their entire back catalogue back on streaming services. Their debut album ‘Zero For Conduct’, was recorded on an 8-track tape machine in Jamie's parents' garage in Bognor Regis and mixed during engineer Sean Doherty’s downtime in a London studio owned by a diamond mining company. Hailed a 'masterpiece’ (5Ks - Kerrang!) upon its release in 2001 - it contains fan favourites ‘This Is Not Revolution Rock’ and ‘Summer Ends’ and perfectly encapsulates the vitality of the 00's post-hardcore DIY scene that inspired its creation. Deriving their name from the moment a blissed-out Burchell/Ferris witnessed At The Drive-In perform ‘One Armed Scissor’ on their debut British TV performance - “Fuck me Ferris, they sound like a jet plane landing!” - ZFC channels that riotous energy across its heart-felt eleven cuts. Delicate acoustic confessionals sit alongside full-throated math-rock experimentation; this is an album as varied as it is ambitious. Jamie: “We initially set out to track the record during a two-week period Andrew had off from work. At the end of those two weeks, we didn’t even have all the drums recorded let alone the overdubs. So the idea emerged that Ferris and I would drive down every weekend from London to my parents’ house and we would make the album that way. Cut to… one year later…” Andrew: “When I listen back now, I can physically feel the conversations we had on those long drives, all those micro-decisions - getting the songs to be… right. It was a long process, but truthfully I’d have been happy to let it go longer. Jamie gave me so much confidence and pushed me to places I didn’t know I had or even needed to be. It was a really special time.”. Jamie continues, “There was this weird fusion between us musically which seemed to just work.” Fans of Elliot Smith, Nick Drake, J Mascis, and Stephen Malkmus will feel right at home with this lovingly crafted set. Spoiler alert: heavier sounds and bigger rooms were to come for Jetplane but on Zero For Conduct their musical universe feels at once expansive and deeply personal.

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.