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Behold the timeless, elegant, sophisticated man that is Donny Benet.

More than a decade since the world first fell for his charms, Donny Benet is taking charge of his destiny like never before. His new album, number six, is called Infinite Desires, and it’s his most complete musical statement yet.

Across eight tracks, Donny sets out a vision that embraces a diversity of experience, from elation to introspection, from disquiet to unbridled ecstasy. Take the brash slapped bass of the opening track, Multiply; or American Dream, his meditation on warped dreams and distractions; or the self-empowerment at the heart of So Long, an ode to stepping away from toxic relationships; or Wait Until it Rains Tomorrow, a moving, cathartic tale of acceptance folded within Donny’s trademark sound, a smooth wave of harmonies and rhythm that makes you feel like everything is going to be ok.

Part of The Optic Sevens 5.0 Reissue Series.
Limited to 500 copies worldwide. Pressed on Blue Vinyl. Includes poster.
Brand New Remastered Versions.
The June Brides debut single originally released in 1984 on The Pink Label.
Both tracks are from fresh transfers from the master tapes which were then remastered by Jason Mitchell at LOUD Mastering in Taunton in early 2021.
The June Brides are true innovators, hailing from the first wave of British indie, with fans that include Manic Street Preachers (who covered their song “The Instrumental” as a tribute) , Morrissey and Belle and Sebastian’s Stuart Murdoch.
They have always been regarded as pioneers, and one of the most beloved of the bands that formed the original UK independent music scene, which has since been tagged as C86.

Das Debütalbum der irischen Post-Punk Newcomer.
"Madra" (was auf Irisch "Hund" bedeutet) ist ein
gitarrenlastiges, instinktgeleitetes Album, auf dem sich die
irischen NewDad auf eine Reise der Selbsterkundung,
Selbstsabotage und Reflexion begeben. Durchtränkt von
Dysfunktion sucht "Madra" Trost im Schmerz und setzt
sich mit Themen wie Mobbing,
Selbstmedikation/Depression, Zerstörung, Co-Abhängigkeit
und Widerstand auseinander. Geschrieben in ihrer
Heimatstadt Galway, Irland, fanden die Aufnahmen des
Albums in den legendären Rockfield Studios (Black
Sabbath, Queen) in London statt, wo die Band inzwischen
auch wohnt. Julie Dawson, Cara Joshi und Fiachra
Parslow gründeten ihre Band, um bei der
Musik-Abschlussprüfung der Secondary School nicht solo
antreten zu müssen; kurz darauf stieß Sean O'Dowd
dazu, erst nur als Toningenieur, bald aber festes
Bandmitglied. Ihren Bandnamen NewDad ließen sie von
einem Zufallsgenerator erzeugen, und ein weiterer Zufall
kam ins Spiel, als kurz nach der Bandgründung Anfang
2020 die Welt plötzlich fast zum Stillstand kam. Trotzdem
schafften es die vier, im März 2021 ihre Debüt-EP
"Waves? zu veröffentlichen und im Januar 2022 den
Nachfolger "Banshee?. NewDad erinnern uns an die
Rastlosigkeit, all die Ängste und Beziehungsprobleme, mit
denen wir alle im Laufe unseres Lebens konfrontiert
werden. Sie verschmelzen Fantasie und Autobiografie mit
Einflüssen aus dem modernen Kino und Fernsehen - und
der ruhigen Küstenlandschaft von Galway, die den
Hintergrund ihrer prägenden Jahre bildet.

7” vinyl single w/ colour sleeve. For Fans Of Garage Punk, Power Pop, New Wave, Cheap Trick, Dollyrots, Pretenders, Go-Gos, Kate Bush, The Muffs, The Bangles, Larkin Poe. Josie Cotton’s Kitten Robot label issues their first 45 rpm 7”, and it’s a split between two of the label’s fave ladies: Josie her own bad self and Hayley and the Crushers. Josie’s song is the title track of her latest full-length, the Crushers issue a rowdy Iggy Pop cover that is also their latest digital single, releasing on Halloween of this year. Said Thoughts Words Actions of Day of the Gun, “The result is Josie Cotton’s signature sound, both timeless and contemporary, showcasing her ability to stay true to the roots while also pushing the envelope in new directions. Day Of The Gun is a masterclass in musical creativity and musicianship where Josie Cotton’s experience, talent, and ideas have come together to create an album that is both diverse and cohesive.” Meanwhile, Faster and Louder had this to say about Hayley’s recent LP. “Modern Adult Kicks makes it sound like Hayley and the Crushers have fast-forwarded ten years since 2020. This album doesn’t wallow in misery, but it confronts some heavy stuff...all the while reminding us to keep dancing no matter what happens

The oblique and annihilating transmissions emanating from the workshop of Polar Inertia have been issued intently and surely over the last decade and more. Environment Control grants access to the biggest consignment to date, with eight tracks of mesmeric play that are fraught with clinical impulsiveness and astringent rushes.

Opening with a didactic panegyric to transmutation, Polar Inertia swiftly counter our recoil with an ominous display of pressure on 'Smothering Dreams'. The intensity is sustained—as if to suggest that there's now no way back—until the menace relents on 'Artic Horizon', its shimmering gravitational pull amounting to an idealism after the unease that delivered us here.

Repress on Galaxy Blue Vinyl. Limited to 500 copies. On their second long player, FIRES IN THE DISTANCE further expand on their musical foundations of wistful melodicism, crushingly heavy guitar work and intricate atmospherics. Across Air Not Meant For Us' six tracks, FIRES IN THE DISTANCE tie together intensely personal ruminations on mental health and themes of existentialism in the form of mortality salience, without losing sight of the importance of perseverance. Teaming up with Salt Lake City producer Randy Slaugh (Devin Townsend, Tesseract, White Moth Black Butterfly), FIRES IN THE DISTANCE's chief songwriter Yegor Savonin (composition, guitars, programming, lyrics) sought to reach even greater dynamics within the band's core sound of melodic death and doom metal. With live orchestration in the form of violas, violins, cellos, as well as piano work, proving to be an incredibly fruitful collaborative process for both band and producer.

German Funk, Rare Groove and 1970s Disco music (e.g. the highly regarded Munich scene around Italian producer Giorgio Moroder) have been widely recognized and featured on numerous reissues and compilations. However, the Boogie-ish post-disco side of German music history until now has remained undiscovered. One of the reasons might be that a broader national scene in Germany (unlike the UK for example) never existed. Even though tracks by US bands such as Dazz or Midnight Star were popular in discotheks in Germany around that time, bigger labels showed little interest in promoting German groups playing this new style of Disco Funk, now primarily known as "Boogie", that brought in electronical instruments and often lacked the iconic "four-on-the-floor" beat. Additionally, the number of bands that continued to play funky and soulful music in the 1980s diminished as other styles like Synth Pop, Punk, New Wave and NDW (New German Wave) ascended in popularity. Still, though German Boogie may have never existed as a national movement, great things were happening rather locally and each group featured on our compilation brings with them a particularly unique style and story.

Now, finally, "Boogie on the Mainline" sheds some light on 11 little-known German Disco gems that were released on small or even private labels. The album contains tunes by Imagination, Squish, Upstairs, Bernie L., The Poptown Syndicate, Peter Patzer, Ca$h, Trust, Publicity as well as classic tracks by Ströer and John Davis. It was compiled by John Raincoatman aka DJ Scientist

Since 2015, Berlin’s Cuntroaches have defiled countless venues across Europe and the UK, playing festivals and touring relentlessly. The trio’s influences range widely from metal to punk to hardcore to experimental noise. They aim to create a hybrid sonic experience within a dense wall of sound (often combined with some form of performative mischief - if they’re in the mood). Audiences have been subjected to spewing beer bra harnesses, diaper outfits, empty pet food containers or witnessed band members performing from inside of a trash bag. They’ve thrown a lot of trash on a lot of people. "Cuntroaches - a name inexplicably unused throughout the history of bands, orchestras... any grouping of people really...

As it is, the mantle’s (finally) been taken up by two women and a bloke making ferociously warped hardcore-flecked no wave. Mutating waves of feedback intoxicate and induce hangovers all at once, while David Hantelius gets a frankly obscene sound out of his bass - and the vocals - reverbed to an absurd degree - approach black metal levels of demonic witchery. As with New York’s no wave OGs, what it is definitely not is inept pissing around, ‘noise for noise’s sake’ - no matter how blown-out and violent Cuntroaches get, their interplay is lithe, their arrangements measured." - The Quietus “I want to make something clear: at this very moment, I think that Germany’s CUNTROACHES are the most important and life-affirming band on the planet. Period. The first demo blew me away, but this one... FUCK ME. Somehow they have become more in control and more chaotic at the same time, and the intensity borders on bleak / black metal darknes. I simply do not understand how this music exists, and how it can be so good... eternal hails.” - Maximum Rocknroll

Farbige Vinylpressung für den Indiehandel mit Bonus 7" mit den digitalen Singles "Tag" und "Lucky" auf der A-Seite und dem bisher unveröffentlichten Song "Thanks" auf der B-Seite. Wiederveröffentlichung des selbstbetitelten Debütalbums der texanischen Band, Teethe, die zwischen Dallas und Austin lebt. Ihr gleichnamiges Debütalbum entstand im Laufe des Jahres 2020 und ist eine Sammlung von Songs, die im Laufe der Zeit zusammengefügt wurden - eine Klangcollage aus fragmentierten Aufnahmen und halbfertigen Tracks, die inmitten der Isolation zu einem Ganzen wurden. Das Album wurde im November 2020 zunächst ohne viel Aufsehen im Eigenverlag veröffentlicht und verbreitete sich mit seiner warmen Lo-Fi Ästhetik und den langsamen, beruhigenden Songs durch Mundpropaganda. Etwa ein Jahr später, Anfang 2022, meldete sich die Band mit dem Song "Tag" zurück, einer neuen Single, die die Aufmerksamkeit der Slowcore-Fans auf sich zog und von unwahrscheinlichen Berühmtheiten gelobt wurde. Bald folgten Tourneen mit Charlie Martin von Hovvdy, Momma, Milly, Waveform und They Are Gutting A Body Of Water. Die Band veröffentlichte eine weitere Single, "Lucky", im Herbst 2022, und kürzlich erst im Oktober 2023 die neueste Single "Moon" bei Saddle Creek im Rahmen derer 7-Inch-Serie.

Saeko Killy, Jamie Paton, Andrei Rusu and Anastasia Zems remix “Kraus is the Limit” by the Zurich electronic-wave duo Dâdalus & Bikarus and take the original to new dimensions.

“Kraus is the Limit (Remixes)” preserves the raw energy and emotion of Dâdalus & Bikarus’ live performances while introducing new textures. It is not merely a collection of remixes but an intimate experience that invites listeners to rediscover the original tracks through the lenses of Saeko Killy, Jamie Paton, Andrei Rusu and Anastasia Zems.

Saeko Killy translates Voran into a mesmerizingly timeless journey that is even more kraut-y and space-y. Jamie Paton brings his distinctive style to the table by adding laidback and dubby vibes to Gone and Youri Gagarine. Andrei Rusu strippes down Tous Tes Mensonges, creating a sonic whirlwind that takes the listener on an thrilling and hypnotic ride. Anastasia Zems’ take on Voran lets us wallow in the depths of an acid abyss. A tripped-out experience is guaranteed.

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

"Klez.e sind zurück! Im Jahr 2016 überraschten sie mit "Desintegration". Das war eine Überdosis The Cure, die ganz toll war. Nun sind sie mit ihrem neuen Album ,Erregung' wieder bei sich selbst angekommen. Der autobiographische Titeltrack ist ein bewegendes Zeugnis davon, wie Außenseitertum Menschen wie uns in die Liebe zur Musik treibt. In "Tortur" singt Tobias Siebert: ,Wir sind wie die Welt nicht mehr zu retten / Meine Lippen auf Deinen'. Der Blick von Klez.e auf die Welt ist romantisch, tieftraurig und politisch. In der Musik liegt Schmerz, aber auch Wut auf die Umstände, in denen wir gefangen sind. Ich empfehle euch, tief in ihren Songs zu versinken!" - Jan Müller (Tocotronic) "Anders gesagt, in stürmischen Zeiten braucht man manchmal irgendwen oder irgendwas zum Anlehnen. Zum Beispiel einen Sound, der einem vertraut ist. Aus der Kindheit oder Jugend. Der aber so zeitgemäß ist, dass nichts Verstaubtes an ihm haftet. In stürmischen Zeiten braucht man manchmal was zum Nachdenken, das über die Frage hinausgeht, wo man den nächsten Kaffee trinken, das nächste Konzert erleben oder den anstehenden Urlaub verbringen möchte. Für die, die gut zuhören können, auch Songtexte. Und die dürfen gerne das aktuelle Geschehen aufgreifen. Aber sie müssen einem nicht zwingend mit belehrendem Zeigefinger kommen, für den sich irgendwer eventuell nicht mal vom eigenen Schreibtisch oder Sofa wegbewegt hat, um der Welt da draußen zu erklären, was zu tun ist und was zu lassen, sobald irgendetwas passiert. Und es passiert ja immer irgendetwas, und deswegen kommt das neue Album der Band Klez.e genau richtig. Während viele andere Bands, die aktuell New Wave oder Post Punk spielen, gut aber bemüht klingen, wirkt die Musik bei Klez.e leichtfüßig gespielt und dennoch mit enormer Dringlichkeit aufgeladen. Sie klingt mächtig und selbstbewusst, dabei wärmend und umarmend - und sie erscheint nun auf einem neuen Album, das den ambivalenten Titel "Erregung" trägt." - Christiane Falk (RBB Radio Eins)

"Klez.e sind zurück! Im Jahr 2016 überraschten sie mit "Desintegration". Das war eine Überdosis The Cure, die ganz toll war. Nun sind sie mit ihrem neuen Album ,Erregung' wieder bei sich selbst angekommen. Der autobiographische Titeltrack ist ein bewegendes Zeugnis davon, wie Außenseitertum Menschen wie uns in die Liebe zur Musik treibt. In "Tortur" singt Tobias Siebert: ,Wir sind wie die Welt nicht mehr zu retten / Meine Lippen auf Deinen'. Der Blick von Klez.e auf die Welt ist romantisch, tieftraurig und politisch. In der Musik liegt Schmerz, aber auch Wut auf die Umstände, in denen wir gefangen sind. Ich empfehle euch, tief in ihren Songs zu versinken!" - Jan Müller (Tocotronic) "Anders gesagt, in stürmischen Zeiten braucht man manchmal irgendwen oder irgendwas zum Anlehnen. Zum Beispiel einen Sound, der einem vertraut ist. Aus der Kindheit oder Jugend. Der aber so zeitgemäß ist, dass nichts Verstaubtes an ihm haftet. In stürmischen Zeiten braucht man manchmal was zum Nachdenken, das über die Frage hinausgeht, wo man den nächsten Kaffee trinken, das nächste Konzert erleben oder den anstehenden Urlaub verbringen möchte. Für die, die gut zuhören können, auch Songtexte. Und die dürfen gerne das aktuelle Geschehen aufgreifen. Aber sie müssen einem nicht zwingend mit belehrendem Zeigefinger kommen, für den sich irgendwer eventuell nicht mal vom eigenen Schreibtisch oder Sofa wegbewegt hat, um der Welt da draußen zu erklären, was zu tun ist und was zu lassen, sobald irgendetwas passiert. Und es passiert ja immer irgendetwas, und deswegen kommt das neue Album der Band Klez.e genau richtig. Während viele andere Bands, die aktuell New Wave oder Post Punk spielen, gut aber bemüht klingen, wirkt die Musik bei Klez.e leichtfüßig gespielt und dennoch mit enormer Dringlichkeit aufgeladen. Sie klingt mächtig und selbstbewusst, dabei wärmend und umarmend - und sie erscheint nun auf einem neuen Album, das den ambivalenten Titel "Erregung" trägt." - Christiane Falk (RBB Radio Eins)

His Lordship ist eine Band mit einer Mission. Das hat auch die britische Mojo erkannt: “This band absolutely has a mission and that’s to rip people’s heads off with blistering rock’n’roll. It’s something we haven’t seen for way too long.”
Der 2021 in London gegründeten Band eilt der Ruf einer der aufregendsten Livebands voraus, die Großbritannien in den letzten 20 Jahren hervorgebracht hat.
Lorbeeren die sich das 2021 gegründete Duo aus James Walbourne (Gitarre/Gesang) und Kristoffer Sonne (Schlagzeug/Gesang) redlich erspielt hat.
Live wird die Band um Bassist Dave Page (von den Pretenders) ergänzt.
Co-produziert von David Wrench (XX, Hot Chip, Courtney Barnett etc.) und abgemischt von Wrench und Tchad Blake (The Black Keys, Arctic Monkeys etc.), kommt auf dem knapp über 30 Minuten langen Debütalbum der Band keine Langeweile auf.
Ein wilder Ritt aus 50er-Jahre-Rockabilly, New Wave, Surf-Instrumentalmusik, Post-Punk und glühendem Garagenrock der Jahrtausendwende.

Als Kind der Punk/Metal/Hardcore-Bewegung Mitte der 90er Jahre verbinden DARKEST HOUR aus Washington, DC, die Leidenschaft, Energie und
Seele des Punk/Hardcore mit dem Stil, der Geschwindigkeit, der Rache und der Wut des melodischen Speed/Thrash/Death Metal. DARKEST HOUR
haben als einer der Pioniere des modernen Metal/Core den gesamten New Wave of American Metal Sound mitdefiniert. Ein Sound, der der Metalund Hardcore/Punk-Welt die Wiederbelebung gab, die sie sicherlich brauchte. Dieser Stil mischte den rohen Hardcore-Punk der 80er Jahre mit dem
skandinavischen Death Metal der 90er Jahre und schmiedete einen Sound, der später zur Vorlage für den modernen Metal wurde. Seit ihrer
Gründung vor 21 Jahren haben Darkest Hour 9 Studioalben (bei 11 verschiedenen Plattenfirmen) veröffentlicht, sind in großen Kinofilmen und
US-Fernsehshows aufgetreten, haben Videospiele gespielt und sind weltweit auf 6 der 7 Kontinente getourt.

Als Kind der Punk/Metal/Hardcore-Bewegung Mitte der 90er Jahre verbinden DARKEST HOUR aus Washington, DC, die Leidenschaft, Energie und
Seele des Punk/Hardcore mit dem Stil, der Geschwindigkeit, der Rache und der Wut des melodischen Speed/Thrash/Death Metal. DARKEST HOUR
haben als einer der Pioniere des modernen Metal/Core den gesamten New Wave of American Metal Sound mitdefiniert. Ein Sound, der der Metalund Hardcore/Punk-Welt die Wiederbelebung gab, die sie sicherlich brauchte. Dieser Stil mischte den rohen Hardcore-Punk der 80er Jahre mit dem
skandinavischen Death Metal der 90er Jahre und schmiedete einen Sound, der später zur Vorlage für den modernen Metal wurde. Seit ihrer
Gründung vor 21 Jahren haben Darkest Hour 9 Studioalben (bei 11 verschiedenen Plattenfirmen) veröffentlicht, sind in großen Kinofilmen und
US-Fernsehshows aufgetreten, haben Videospiele gespielt und sind weltweit auf 6 der 7 Kontinente getourt.

Girl With No Face: Das vierte Album von Allie X, Girl With No Face, ist eine gewagte Ausgrabung ihrer Identität. Eine wahnsinnige Reise in den Kopf
einer Künstlerin, die gerade drei Jahre in der Isolation verbracht hat und jeden Input verweigert hat, während sie zum ersten Mal in ihrer Karriere die
alleinige Produzentin, Autorin und kreative Stimme wurde. Inspiriert von der Technologie und dem Hedonismus der New-Wave-Szene der frühen
80er Jahre, sind die analog angehauchten Songs des Albums eine Reihe von krassen Widersprüchen - retro im Gefühl, aber ultramodern in der
Thematik, pointiert, unvorhersehbar und doch tanzbar, zugänglich und doch herrlich bedrohlich. Kurz gesagt, Girl with No Face ist völlig untypisch fü
die hypergetunten, automatisierten Formen, die den heutigen Alt-Pop dominieren.
Durchdrungen vom britischen Experimentalismus der frühen 80er Jahre, mit Anklängen an The Human League und New Order, ist das Album ein
deutlicher Schritt weg vom 2020er introspektivem und sparsamen "Cape God" - so viel schneller und bedrohlicher.

Neben ihrer Zusammenarbeit mit Modern Cosmology, dem unglaublichen What Will You Grow Now? aus dem letzten Jahr und ihren fortgesetzten Tourneen mit den neu formierten Stereolab ist Laetitia mit Rooting For Love solo plus The Choir zurück in der Welt und ruft uns erneut dazu auf, uns auf unsere innere Ausrichtung und unsere Herzenskraft zu besinnen, um besser gerüstet zu sein für das, was kommen wird. Das regelmäßige Auftauchen von The Choir während Rooting For Love erinnert daran, dass diese Musik von einem Volk in der kritischen Masse stammt, zusätzlich zu einer Entwicklung, die die reichen harmonischen Felder, in denen Laetitia spielt, weiter vertieft. Die diversen musikalischen Arrangements tragen dazu bei - Orgel, Synthesizern, Gitarre, Bass, Posaune, Schlagzeugprogrammierung, Vibraphon und Zither, die alle auf verschlungenen Pfaden von Akkord- und Tempowechseln arbeiten. Der melodische Funk des Bassisten Xavi Muñoz führt zu gelegentlichen Dancefloor-Vibes und No-Wave-Rockouts, während Hannes Plattemier und Emma Mario abwechselnd die Tracks abmischen und das Material mit Vibes, zusätzlichem Drum-Programming und Synthesizern zusammen mit einer talentierten Besetzung von Spielern und Sängern aus Laetitas Source Ensemble und darüber hinaus bereichern. Ob sie sich Laetitia Sadier nun von der eigenen Zen-Shiastu-Ausbildung oder von den Texten von Véronique Vincent (Texterin und Sängerin von Aksak Maboul und einst Leadsängerin der Honeymoon Killers) inspirieren lässt, immer stellt sie sich der Wahrheit, ohne mit der Wimper zu zucken. Die Schatten, aus welchem Stoff sie auch immer bestehen - individuelle und kollektive, gegenwärtige und uralte - müssen erkannt und anerkannt werden, denn je mehr wir in uns selbst heilen, desto ungeteilter werden wir angesichts der drohenden neofaschistischen/neoliberalen Narrative, die die inneren und äußeren Landschaften verschmutzen. Wie das Titelbild des Winterbaums, das sich in den Wortmustern von Rooting For Love widerspiegelt, behauptet Laetitia, dass die Art und Weise, wie wir die kommende Welt heilen, und was wir daraus machen, eine Ko-Kreation sein wird. Die Qualität unserer Vorstellungskraft, die Ausrichtung, die wir unseren Gedanken geben, und die Fähigkeit, uns selbst und der Welt Liebe zu bringen, sind ein erster Schritt.

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Speak to most musicians about their motivations, inspirations and processes and you will, generally, get variations on a similar, broadly consensual, theme. Natasha Pirard is genuinely different. Her interest in sound goes way beyond the superficial and the ephemeral. She is fascinated by how and why sound makes us feel, the political implications of sound, noise pollution and the everyday sounds embedded in our immediate environment.

Contextually, this makes a lot of sense when confronted with her debut release for DEEWEE, Dream Cycles. A 120-minute exploration of sounds, loops, frequencies and waves, it’s an eight- part musical cycle split into 15-minute sections across four cassettes, she believes, reflects on this notion of cyclical, rather than linear, time. The eight song cycles are repetitive. They start off basic and functional and build over time. They begin with one sound but soon you hear other sounds. From there you get taken to another point, where you hear something else and so on and so forth. The circle is never-ending.

Natasha Pirard is a musicologist and composer from Ghent. She will be releasing her album Dream Cycles in February 2024, as a limited edition four cassette box set, marking her debut on the Ghent-based label DEEWEE.

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognizable worlds of sound all their own that defy any traditional categorizations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou. Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

Orchards of a Futile Heaven’s walls of sputtering texture and tectonic booms are soaked in the reverence and melancholy of sacred spaces brought to life by palpable intensity by Chen’s voice. Crafted during a time of personal fragility, the album’s devastating force lies beyond any of the expected noise and abrasive textures typically associated with both The Body & Dis Fig. Suffused with a raw vulnerability and a longing for catharsis, Chen’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. “Eternal Hours” patiently unfurls waves of surprising sounds, whispered undulations that are punctuated by sudden crashes, all beneath Chen’s haunting harmonies. “Dissent, Shame” evokes grief and shame with a minimalist drone dirge that gradually builds to an enchanting choral passage. King’s guitar on “Holy Lance” matches the uncanny drone of Chen’s accordion in an all-consuming blast, Chen’s voice transforming the moment from anguish to defiance and empowerment. The album’s arc finishes with “Coils of Kaa” acting as a kind of propulsive exorcism, breaking through a suffocating air before the funeral procession of “Back to the Water” lays the album to rest.

While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.” Chen counters, “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human's voice.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. Together, the two have harnessed their expansive artistry to make music that is profoundly emotional, and staggering in its beauty.

grey & green splatter vinyl

A1 - Spacewaves
Opening the EP in thunderous style, Aural Imbalance chops impeccable, clean amen breaks, rolling sublimely into a chorus of fluid, delicate keys. The track whisks the listener atop the crest of wavy edits before a quietly turbulent assortment of blips and notes punctuate a bass-heavy breakdown. The latter half combines the elements in surreal harmony for a triump hant crescendo, buoyed by the truly vibrant breaks.
A2 - Tranquil Sea
A masterclass in subsurface ambience introduces Tranquil Sea, glistening melodies cascade into punchy breakbeats, setting the pace. Brimming with sunken off-key 808 bass resonating unpredictably with the spirit of the ocean, Aural Imbalance gently builds the vibe with soothing waves of mesmerising soundscapes as the beats rumble on, inviting you to dance amidst the swirling currents of his inimitable sound.
AA1 - Concordia
Old school analogue breaks take center stage as Aural Imbalance rewinds the clock for a great dancefloor-friendly slice of history with a modern Spatial twist. Quiet plinky keys bubble underneath long, whooshing ripples of the sea, echoed hi hats and a distinctive classic bassline intertwine perfectly, carrying you to uncharted sonic territories that will linger in the recesses of your mind long after the needle is lifted.
AA2 - Fading Fields
Delicate cymbal work and stirring pads combine deliciously before the listener is lifted to blissful serenity with a sumptuous tapestry of synths and micro melodies set to an immense, head nodding break pattern. The noteworthy kickdrum delivers a classic analogue stomp while the drums joyously encircle them
in their droves, showcasing further the variety and density Aural Imbalance offers.

marbled green vinyl

A1 - The Cartographer
JLM Productions opens the EP with an inspiring, uplifting intro leading wonderfully towards an intricate old school atmospheric drum loop, laden with sprightly deep bass tones with crisp, clear hats and cymbals. Luscious, long swaying strings weave their magic on the ears as catchy keys sneak around the movements of a cartographer far from silent, to create a composition which will rightly sit atop your playlist for some time to come.
A2 - Fata Morgana
Showcasing his diversity in the genre and an immense ability to seamlessly mix old school jungle sensibilities with a modern atmospheric twist, Fata Morgana sees JLM Productions fuse a medley of swirling, enveloping atmospheric pads and a tight two-step breaks to form a collage of inspired vibes which will fit perfectly within a synth wave-style dancefloor set - or a good old throwback jungle mix.
AA1 - The Navigator
Breaks are on the agenda immediately with The Navigator, bringing forth a myriad of fluid drum samples, filtered and chopped with old school sensibilities shining through. Tense pad work builds the vibe with washes of synths before the breaks switch up, throwing in more surprises to the mix alongside along early 90's jungle inspired melody. We are continually treated with layers of detail and intricacies with FX as the breaks reach their final form. A real treat.
AA2 - Aleya
Closing out the EP, we see JLM Productions deftly toying with the legendary Apache break, which features heavily in the varied cluster of classic jungle breaks on display. A diverse selection of pads and keys tint the engulfing atmospheric soundscape with a quiet Sci-Fi intensity, developing and
evolving towards a stunning breakdown before the breaks
return, eventually exhaling towards a fittingly epic outro.

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

Mit "Sanctuary Rat", dem siebten Studioalbum melden sich
The Arch eindrucksvoll zurück! Ihr einzigartiger NewWave/Dark-Romance-Sound paart Gitarrenparts,
elektronische Elemente und treibende Beats mit einem Hauch
bittersüßer Melancholie.
Die belgische New-Wave Band The Arch wurde im Sommer
1986 in Breendonk, Belgien, gegründet. Unter der Leitung von
Ludo Camberlin, dem bekannten Produzenten von The Neon
Judgement und The Weathermen, wurde 1987 das erste
Album "As Quiet As" mit dem Underground-Hit "Babsi ist Tot"
veröffentlicht, der noch heute die Tanzflächen füllt. Mit dem
Song "Ribdancer", der drei Jahre später veröffentlicht wurde,
erlangte The Arch weltweite Bekanntheit, ausgedehnte
Konzertreisen führten sie daraufhin durch ganz Europa.
Mit „Sanctuary Rat“ gelingt es The Arch auch im Jahr 2023
nochmals eindrucksvoll, die eigene Bandhistorie mit zehn
neuen energetischen Songs zu bereichern.

Ploho offers up their most exciting and best-produced album to date: ????? ???? ???? (When the soul sleeps). Out on Artoffact, the new album promises to be one of this year's high-lights and is sure to stand out on many end of year lists. Ploho's music combines early post-punk, new wave and Russian rock, drawing inspiration from the aesthetic and sounds of the late 1980s and early 1990s. The current album from dark Russian post-punk trio Ploho, pressed on vinyl.

Dean McPhee’s fifth full length album 'Astral Gold' sees the Yorkshire-based electric guitarist's music continue to evolve beyond the spacious folk-inspired fingerpicking that typified his earlier releases into a heavier sound combining deep bass, textured reverbs and waves of saturated delay. 'Astral Gold' brings together several now out-of-print tracks that were originally released on the Reverb Worship and Folklore Tapes labels, along with two brand new pieces – all recorded live in single takes. There is a cosmic theme throughout, including a track based on the local lore of The Ilkley Alien (The Second Message), a trance-inducing drone piece inspired by the orbit of the 'doomed moon' Triton (Neptune) and a meditation on lunar volcanism combining baroque melodies, EBow bass and found recordings of a crackling fire played through guitar pickups (Lunar Fire). Throughout this intricately layered and beautifully crafted album McPhee draws on a wide range of influences from Kosmische Muzik and Dub to Stoner/Doom Rock, British Folk and underground electronic music, and the result is both intoxicatingly atmospheric and sonically inventive. ‘Astral Gold’ was mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin and is pressed on 180g heavyweight vinyl. ‘Astral Gold’ follows Dean McPhee’s recent appearances this year on several well received compilation albums ‘I Thought I Told You: A Yorkshire Tribute to Michael Chapman’ on the Tompkins Square label, ‘Ballads of Seduction, Fertility & Ritual Slaughter’ released by Wasistdas, and Folklore Tapes’ limited edition cassette ‘A Web of Braided Willow (The Folklore of the Wickerman)’. "His take on the late folk guitarist’s ‘Caddo Lake’ could have you believing the pinch of callous on string was birdsong – a meditative gem" (Noel Gardner, The Quietus) "Magpahi's synth-drizzled Maypole, Dean McPhee's Sunset and Meg Baird's Willow's Song are particularly gorgeous" (Jude Rogers. The Guardian) "An excellent new single from UK guitarist Dean McPhee...the A-side is an echo-laden slice of smoldering instrumental guitar, pulling at the mind like taffy and living up to its cosmic title" (Raven Sings the Blues) "Absolutely lovely stuff; shimmering, gorgeous, delicate electric guitar playing of the very highest quality

Art School Girlfriend, Aka Polly Mackey, will release second album Soft Landing via Fiction Records on August 4, 2023. The album is self-described as a series of “small euphorias”; it is an album that finds Mackey shifting her sound towards tactile electronics whilst retaining the floating melodies of her debut.

Hot Creations recruits Italian duo ItaloBros as the pair deliver three vibrant tracks across their latest EP, ‘Gosadera’

Hailing from Scalea, Italy, ItaloBros have been riding the wave of success, captivating dancefloors worldwide at venues like Ushuaia Ibiza, Motion Bristol, and PM Open Air in Buenos Aires and boasting releases on Circus, Material and Knee Deep In Sound, amongst others. With 2022 seeing the pair team up with Jerëmie for the release of their single 'Attention' on Hot Creations sister label' Hottrax, February now sees the duo step into the limelight as they drop their solo debut EP on the renowned Hot Creations with a trio of blazing tracks across 'Gosadera’.

Already becoming a mainstay in Marco Carola’s sets, ‘Gosadera’ kicks off with an orchestra of vibrant
trumpets and lively bongos layered on top of a relentless, grooving bassline. Next, ‘Story’ takes on their old-school roots, teasing lush piano chords complete with vibrant, punchy drums. Closing out the EP, ‘Amira’ showcases a deeper, sultry vibe with alluring male vocals at the core.

Multi-instrumentalist, producer, and composer Yussef Dayes releases The Yussef Dayes Experience (Live from Malibu), featuring music from his critically acclaimed debut solo album, Black Classical Music. Dayes is joined by his longtime collaborators Rocco Palladino, Venna, Elijah Fox, and Alexander Bourt on the new release, which was originally shared as a live-performance video filmed in the Malibu mountains last year and is available on YouTube.

The brand new EP "Wellental" by Extrawelt on Traum is herewith reveled to the fans. Their new 3 track vinyl 12" gives a nod to the mayhem and urgency of techno all finely tuned. Straightforward in its brilliance and simplicity, yet carefully measured with a maturity that speaks the language of Extrawelt´s minimalism.

We attest: a unique techno track for the dance-floor on the a side, a trippy track on b1 and a very musical one as B2.

What happens within these 3 tracks is nothing short of alchemy, traversing all sorts of grounds without ever losing the plot. It’s due to the duo’s keen grasp of sound design—they always exchange ideas, on an expansive set of hardware, so no matter what tunnel they’re traveling down head-first, the sounds are always pristine, filled with unexpected details.

The EP opens with the title track "Wellental" which translates as "wave trough". Wave trough valley refers in particular to the points of maximum negative deflection in a traveling wave. In contrast, the points of maximum positive deflection are called wave crests. Musically this converts in a way that, although the title track "Wellental" has a lot of forceful steady forward motion and zig zag sequences cutting into it, it also has that "hanging time" feeling that adds unpredictability and tension to the track. You can defiantly sense that Detroit theme in a post Detroit interpretation here.

The flip-side starts with "Unter Wasser" which is illustrated by urgent uptempo beats that can push it on the dance floor and dreamy, surreal soundscapes on the other hand that account for that great under water feel. The track sounds a bit like the "Deep End" film soundtrack from CAN in that respect.

The B2 track is called "Samtstrand" and there is a reason for this since the track is very gentle and brushes over a surface with velvet hands but in contrast to that, the Extrawelt beats are kicking out the jams here! So this song has a twin drive going!

Der britische Superstar Paloma Faith schlägt ein neues Kapitel in der Karriere auf und meldet sich mit einem neuen Song "How You Leave A Man" zurück. Mit der ersten Singleauskopplung "How You Leave A Man", die von Selbstermächtigung und dem Finde seines eigenen Glücks handelt, kündet die Sängerin gleichzeitig die Veröffentlichung ihres sechsten Studioalbums "The Glorification of Sadness" für den 16. Februar 2023 an. Für das kommende Werk arbeitete Paloma Faith mit dem preisgekrönten Produzenten und Komponisten Martin Wave und den Co-Autoren JKash, Andrew Wells, Ellie King und Charlie Puth zusammen.

Die musikalische Liebesgeschichte des Duos begann im Sommercamp, wo die beiden in der Schweiz geborenen Musiker ihre Playlists miteinander teilten. Das Teilen von Playlists führte zum Teilen von Träumen, und so wurde Psycho Weazel geboren. Ihre Musik ist ein retro-futuristisches Elektronik-Spektakel, das Indie-Dance, Cold Wave und EBM miteinander verbindet. In ihrem Studio am Ufer des Neuenburgersees haben sie einen beeindruckenden genreübergreifenden Katalog geschaffen. Diese ansteckenden Tracks bringen die Tanzflächen rund um den Globus zum Glühen - "Mains d'argile" wird da keine Ausnahme sein.

"We Started Nothing is the debut studio album by English indie pop duo The Ting Tings. Jules & Katie's combination of dance, indie pop and new wave proved to be one of the hottest things in 2008. The result being the album peaking at #1 in the UK Albums Chart. We Started Nothing spawned no less than six hit singles, including ""That's Not My Name"", which reached #1 on the UK Singles Chart. Eventually, the band, the album and several singles and videos were nominated for a variety of NME, MTV, Grammy Award and Brit Awards. The Ting Tings won the MTV Award for Best UK Act and ""Shut Up and Let Me Go"" won the award for Best UK Video. We Started Nothing is available on black vinyl and contains an insert."

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.