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Comprehensive box of 6 LPs / EPs and the band's first rare 7inch.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986) contributing to the music.

Box Set includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

First-time reissue of Aroma Di Amore's debut album, originally released in 1984.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 2nd album, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd album, originally released in 1987.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd EP, originally released in 1985.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music

First-time reissue of Aroma Di Amore's 4th EP, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

Tape



By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see.

»Pin down the dust« is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.”

The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces.

Maurice’s varied instrumentation litters the background with distant and oneiric miscellanies, from groaned saxophone phrases and heavenly organ drones to glissandi guitars. Carter’s voice sits in the centre, embodying and channelling (mostly) wordless human ecstasy - and at times unease - amidst the allotment of blossoming sounds. Maurice & Carter’s clairvoyant connection notwithstanding, music always offers a portal back to our buried intuitions. “Pin Down The Dust” is both a tribute and a guide to this spontaneity and instinct, putting aside thought in favour of feeling.

Cosmoba is a brand new Manchester based imprint from Kalcagni. Fresh from releasing his ‘Manners’ EP on Distrito 91, Kalcagni dishes up 4 slices of funk fuelled electro for this label debut.

Lead track ‘Lost In The System’ features retro stylings and gritty electro bass hooks. This is swiftly followed up by ‘Multislacking’, the result of a weekend spent twisting up a modular rig, with wonky bass squelches and 80s pads underpinned by slamming beats.On the flip side, ‘Culture Vulture’ introduces some heavy 303 workouts, before 'After The Fact’ rounds off the EP nicely, taking the acid vibe in a slightly darker direction with wonky reese synth fills and jacked up breaks.

The liminal space between storytelling and dreaming is full of noise. Like whispers, flickering lines of static travel to the rhythm of tension, moving through moments of stillness and chaos. The sharp details of the hyper-personal become shared memories.

Dreams can be stories, their fabric transient and their logic malleable - like folk songs carrying ancient knowledge or clairvoyant wisdom.

White Dove Dream tells a story that only sound can. One that defies language and closed narrative; a story that is both a personal rumination and collective conversation.

There are layers of healing synthesis and dream logic improvisation; captured recordings coalesce somewhere beneath the scramble like deja vu. Like a diary entry, or a manifesto - noise is folk music and Icebear is noisy.

Icebear is Eilis Mahon, a sound artist from Kildare, Ireland.

White Dove Dream is her debut release on Weeding - an independent label and collective of friends based primarily in Dublin, Ireland, who love to make and share noise.

Recent play of “Funny Games / Garfield” on Pure Soil - NTS.

Multi-Platinum recording artist Shayne Ward rose to fame as winner of the second series of the UK talent show The X Factor. His debut single ‘That’s My Goal’ was the 2005 Christmas No. 1, spending four weeks at the top of the chart and selling 2 million copies - still one of the all-time twenty biggest best-selling debut singles. The debut album entered the chart at No. 1 in April with first week sales 200,000 copies. Shayne has since had three further Top 40 hits and three more hit albums. Shayne's platinum selling self-titled album is available on vinyl for the very first time, and features the hit singles 'That's My Goal', 'No Promises' and 'Stand By Me'.

Thirty-five years since the release of their landmark debut album This Is The Story, and 34 since the release of Sunshine On Leith, the second album that made them international stars, The Proclaimers are back with their 12th studio album. And, at the ripe young age of 60, the fire and ire of Craig and Charlie Reid remain righteously undimmed. Dentures Out is a record of the times, for the times, the twins at their political, observational, satirical and fist-punchingly tuneful best.
Dentures Out is 13 songs clocking in at a lean, tight, focused 34 minutes. Only one number, the closing What The Audience Knew, busts the 180-second mark. The rest are sub-three-minute miniatures of polemical pop perfection, recorded at Rockfield in Wales in three quick weeks in spring 2022, lent six-string wings by guest guitarist James Dean Bradfield and produced by Dave Eringa (Manic Street Preachers), his third consecutive album with the Scotsmen.

After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

To Move is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends.

We´re carried into a time and place not afraid to embrace a sense of optimism - even if it comes wrapped in a certain distorted shape. Transporting, blissful tones emanate free of concerns from the unifying keys; at least until the melodies are pulled and dragged from purity to become something wholly else – their own lived life; fitted with obstructions and unpredictability. The intertwining pianos linger like lovers in unison, full of drift, rhythm and life; all while analogue electronics and tape manipulations degrade and move them from their original form and closer towards earth itself.

The album came to light while Anna and Ed were temporarily residing in the English countryside between 2016 and 2019. Musical weekend visits from Alex turned into the fruitful collaboration presented here. 'To Move' is a compelling musical storyboard with a name that captures the essence of their music better than any written essay could do. This is music to resonate to, music to dance to, music to engulf your being. As for fans of the Sonic Pieces sound – if there is one – this record hits as close to home as it could do.

After the relative success of The Bitter Springs' last album, The Odd Shower, Simon Rivers promptly disbanded the long-running group and began recording his first solo album, Like Yer Wounds Too, under the name Poor Performer. As Jim Wirth wrote of a recent Bitter Springs reissue, "Weaving the messy threads of suburban life into dense tapestries, he has something of the Go-Betweens' gift for melody, something of Mark E Smith’s ear for language, something of Vic Godard’s common touch, and almost none of the acclaim that should have been his due." This holds true for Poor Performer's debut album, though the songs seem based around a loose concept of issues dealing with middle-age self-reflection . . . though nothing nearly as navel-gazing as that statement might imply! Rivers: "For as long as I can remember, I've been either making records or planning to make them. But for once, this is a record I didn't really plan to make. The strange circumstances of the Covid lockdown led to its coming together. I'd lost my Dad to a demential-related death, retired from work due to mental stress, and was shielded for seven months . . . I took my banjo, my Dad's Yamaha keyboard and a few of my guitars, and booked a month of studio days at One Cat with the brilliant Jon Clayton at the controls . . . after a week or so of recording backing tracks, Jon said, "I think 57 songs is a bit ambitious, Si", so together made the decisions that shaped this record and its accompanying EP." With 7" 45s now nearly as expensive to make as a full vinyl LP, a decision was made to include likely contenders on a bonus CD EP, which certainly rivals the album in quality and perhaps generally exceeds it in immediacy, but Like Yer Wounds Too is more of a grower than anything yet released by Tiny Global Productions, and one of the releases we're most proud to present to the public. Humour, insight and brilliance abound. Album tracks: Golden London Leaves / Kempton Park / Life U Chose / Hard To Be Happy / Lil' Bro / Sleepy Little Town / No Escape From Me And You / Right As Rain / The Point / Our Souls / The Frog's Tale / Can You Whistle? / Something's Gonna Kill Ya ep tracks: The World Has Had Enough / 2 Hard 2B Happy / For A While / Get Up Them Stairs / Daylight Robbery

“El Ten Eleven have cemented their place in the annals of instrumental music.” OC Weekly // El Ten Eleven’s 2007 album Every Direction is North is back in print on Green Glass Vinyl. - Brimming with breezy melodies, breakneck percussion, & electronic flourishes. Back in print, on Green Glass Vinyl. 181.8 k Spotify Listeners, 1.12 Million Streams. Recommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive/uplifting instrumental loopage ‘n riffage. Track Listing: 3 Plus 4 / Every Direction Is North / Hot Cakes / Estrella / Music for Staring at Ceilings / Keep Dax Pierson / Living on Credit Blues / The 49th Day Bye Annie, Bye Joe, Bye Michael, Bye Jake

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

Limited Clear Vinyl edition, 300 copies! Recorded in 1961 and released on Blue Note in 1964, “It May As Well Be Spring” is often considered as an ideal companion to Quebec’s famous “Heavy Soul” . Here the saxophone player displays a relaxed set of standards, including classic songs from the American repertoire such as “Willow weep for me”, “Lover Man” and “Ol Man River”. Perfect material to express his warm, lyrical tenor sax voice while Freddie Roach on organ, Milt Hinton on bass, and Al Harewood on drums perform with their usual high sense of interaction .

EERIE WANDA ist das Projekt der niederländisch-kroatischen Musikerin Marina Tadic, die mit ,Internal Radio" ihr drittes Album veröffentlicht. Die bildende Künstlerin und Musikerin wird auf dem neuen Album von ihrem Partner Adam Harding (DUMB NUMBERS, KIDBUG) und der Produzenten-Legende Kramer (GALAXIE 500, UNREST, WEEN, DANIEL JOHNSTON) unterstützt. Auf diesen elf Songs wird deutlich, dass Tadic zu der Künstlerin wird, die sie gerne sein möchte und nebenbei noch einige Dämonen austreibt: ,This album is different than anything else I've made. I think I have entered a new chapter. Hope you enjoy." Während ihre früheren Alben eher auf beschwingten, gitarrenbetonten Indie-Pop ausgerichtet waren, klingt ,Internal Radio" wie eine experimentellere, jenseitige, ernsthafte, erwachsene Angelegenheit, die sich in sensibles, emotionales Terrain wagt. Die intimen, persönlichen Songs spiegeln die Einsamkeit wider, die viele von uns in den letzten Jahren empfunden haben, und erinnern an Künstler wie LIDA HUSIK und EDITH FROST.

LAVENDER Coloured Vinyl. Recommended If You Like: Cocteau Twins, Julee Cruise, Antena, Young Marble Giants, The Pastels, Mazzy Star, Norma Tanega. A cinematic ocean of sound. EERIE WANDA's Marina Tadic draws you into her inner worlds on these 11 new songs produced by Kramer (Galaxie 500, Unrest, Ween, Daniel Johnston.). On Internal Radio, the new album by Eerie Wanda, visual artist and musician Marina Tadic welcomes you to her inner world. Guided by intuition, Tadic's songs use haunting, ethereal space, growing whole universes from the seeds of ideas. Internal Radio documents Tadic becoming the artist she wants to be, working through some things, and even exorcizing a few demons. The result is the most realized Eerie Wanda album yet, building on the project's guitar pop past for a more experimental, other worldly, serious grown-up affair that ventures into sensitive, motional territory. "Pet Town is delightfully airy; a set of songs that have drifted in on a breeze from some strange and foreign landscape you won't find on any map.” Gold Flake Paint // “Tadic’s melody here is part of that Brian Wilson lineage … she sets those notes adrift with a casually graceful minimalism… It evokes a pleasant stroll through a city at the moment when night begins to fall on a daydream.” Stereogum // Tracks: 1 Sail To The Silver Sun 2 NOWx1000 3 Long Time 4 On Heaven 5 Confess 6 Nightwalk 7 Someone's In My House 8 Sister Take My Hand 9 Birds Aren't Real 10 Puzzled 11 Bon Voyage

The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe. This brought the band to the attention of the wider music industry, and after multiple offers (including one from a major label) the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch,sold out several runs. Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful, widescreen reimagining of the band’s sound - Dawn of the Dead to its predecessor’s Night of the Living. Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail.

"Ramblin' Soul was inspired by the new appreciation I had for the freedom to travel around the country and perform," explains lifelong wanderer Melissa Carper of her forthcoming album. Carper was relieved and energized to be back on the road, on a familiar pilgrimage from Texas to Arkansas and back to meet and collaborate with musician friends. "I had taken for granted the ability to interact with audiences and friends and how much it feeds my soul and my creative process," she adds. Feeling inspired by time on the road and time with other creative minds, she penned the title track on the way back home, and the Ramblin' Soul seeds were planted. From its conception and throughout the recording process, Ramblin' Soul seemed to take on a life of its own. "It wasn't what I had first planned," Carper recalls. "A couple of the songs we recorded I'm now saving for a future album, and there are some brand new songs I decided to add, including one that was written during the week of recording. Thematically, I had a handful of songs about rambling around and living a free life that I wanted to weave through the album. I also knew I wanted Ramblin' Soul to have a different feel than my previous release, Daddy's Country Gold, with more upbeat and diverse styles and grooves," she says. Ramblin' Soul features a co-write with friend Gina Gallina, a song penned by friend and frequent collaborator Brennen Leigh, a reimagined classic from folk pioneer Odetta and 10 Carper originals--venturing into her blues, early rock 'n roll, and soul influences, blended with her signature flavors of country, western swing, and jazz. There is something for everyone on Ramblin' Soul.

2020 and 2021 will probably go down in history as two of the most challenging years for musicians in modern times. But despite it all, Orions Belte have managed to stay extremely busy. Ever since the release of the single “Bean” in April of 2020, the releases have been coming in a seemingly constant stream. Singles, EP’s, collaborations… Their sophomore album Villa Amorini was released in April of 2021, to rave reviews and widespread playlisting. A few weeks later, they followed the album with a Lagniappe Session EP in collaboration with the credible LA blog Aquarium Drunkard. And in June, they released their first live album Scenic Route, featuring recordings from their spectacular tour of outdoors streamed shows during the summer of 2020. And they’re far from finished! The concept of “taking a break” is not in these guys’ vocabulary. In September 2021, Chris Holm, Orions Belte’s inimitable bass player, released the first single from his album Orions Belte – Chris Holm. The album was released November ’21, and it was the first album in a series of solo albums by the members of Orions Belte. Next up is guitarist Øyvind Blomstrøm’s record, and finally drummer Kim Åge Furuhaug will release his. Just like KISS did in 1978, every member will make their own album under the Orions Belte moniker.

There are only a few figures in music whose work influences and
shapes a genre as a whole. This is undoubtedly true of the Swede
Esbjörn Svensson. With his trio e.s.t., the pianist and composer
wowed audiences beyond age and genre affiliations. And his
influence on jazz as a whole reverberates to this day and already
within the second and third generation of musicians worldwide.
‘HOME.S.’ is Esbjörn Svensson’s only solo album and the sheer
existence of such a recording and its completely unexpected
discovery over a decade after its creation are nothing less than a
sensation: Since the early 1990s, Svensson focused almost his entire
creative energy and recording activities on his work with e.s.t.. Thus,
these new recordings are not only the first, but practically the only
ones that show Svensson in a setting other than that of the trio:
Intimate, concentrated and completely one with himself. The
recordings for ‘HOME.S.’ were made only a few weeks before
Esbjörn Svensson’s sudden death on June 14, 2008. Svensson
recorded the music in his Swedish home.
For almost ten years afterwards, the album rested untouched in his
wife Eva Svensson’s personal archive. Here, she tells the story
behind the discovery of the album and the music: “After Esbjörn’s
passing, I made sure all the contents of his computer were saved to
backup hard drives. And then I basically left them untouched for the
next ten years. At the point where I eventually felt ready to look into
the material, I soon realised that there was something I wanted to
look into.
“I took the hard drive and went to Gothenburg to meet with Åke
Linton, the sound engineer who had worked on all e.s.t. albums as
well as on their live shows. He was also the one who had helped me
to save the material from Esbjörn’s computer in the first place. So he
probably already knew that there was something hidden in there. But
nobody had listened to it.
“We went to his studio. And we pressed the start button. Then there
was a total silence and we couldn't speak for the entire time the music
was playing. After it finished, at first we were not able to say anything,
because we were both so touched and surprised that it was all there,
and that it was so beautiful. The tracks seemed to follow one another
like pearls on a string. After we just had sat there for a while we
agreed: This is really good. Musically, but also from a sound
perspective.”

Originally released in 1994 on Calypso Records / Irma Records in a triple vinyl promo white label version, Don Carlos's album Aqua is the
second album by the Varese-based DJ producer, already then known for his first two singles Alone and Mediterraneo, then both included in
his first album entitled Mediterraneo and released only in Compact Disc format in 1992 for the American market printed and distributed by
IRMA U.S.A., the American subsidiary of IRMA Records Italy.
The same fate will also have the Compact Disc format of the Aqua album, again printed only on the American market.
But the triple vinyl, printed in a limited edition of 500 copies in a white generic envelope, was never reissued and has become a rare record
over the years.
After almost thirty years, after countless requests for reissues, especially in the last few years in which the name and music of Don Carlos
has made a comeback, Irma Records has decided to reissue the vinyl in exactly the same original triple version.
DJ Don Carlos (born Carlo Troja) with his productions in the 90s has become one of the cult producers for DJs around the world.
His track Alone released in 1991 for Calypso was and still is one of the classics of House Music, played by all the major American and British
DJs.
At the time of its publication it was considered an underground song and therefore did not sell very much, but over the years its myth has grown
thanks to its subsequent productions as for example his second single, the EP entitled Mediterraneo, title which it will then inspired his first CD
album printed in the USA with the same title.
Several other singles followed, another album, always printed only in the USA, entitled Aqua, from which a triple promo vinyl was extracted which
today is one of the artist's most requested rarities.
In Italy his third album was released in 2002 entitled The Music In My Mind where Kim Mazelle, Michelle Weeks, Taka Boom and Kevin Bryant
were present as vocal guests. In 2009 a collection of the first two albums released in the USA titled Mediterraneo-Club Favourite Collection '90-
98 and in 2010 his fourth album entitled The Cool Deep which reproduced the sounds closest to his first productions.
Also active as a remixer for Italian and international labels, one of his most important works is the remix of Byron Stingily of the song You Make
Me Feel of which he made a worldwide hit. As a producer he also used other pseudonyms such as Montego Bay, Aquanuts, Sotterranea and
Love 2 Love Orchestra. He has played and plays in different countries such as London, New York, Miami and at various festivals, such as the
Robot and the Stickermule Festival in an evening with Apparat, Derrick May, DJ Koze, Lil 'Louis, Young Marco and Ellen Allien, LTJ Xperience

Limited Clear Vinyl edition, 500 copies! Originally released on Impulse in 1962 “Soul Trombone and the Jazz Clan” was a major statement from one of the great trombone players in American jazz. Here Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos.In one word: an outstanding record!

Super deep n’ rolling ambient junglist mutations from hyped cloakroom attendent Florian T M Zeisig and mysterious XPQ? operator PVAS, uniting under the NUG moniker for a highly atmospheric session beamed directly from that short-lived, elusive sweetspot in the mid 90’s when Omni Trio and DJ Crystl collided with Mo Wax’s Some Scientific Abstract Type Shit! and Gescom’s Disengage, all red lights dappling thru a dense fog of smoke.

Rinsed out under the timeless influence of “bong & sterni” - who sound like a legendary Berlin ambient duo, but are just weed and beer - Zeisig and PVAS collide in midair for a stereo-swirled recollection taking us back to 1995 - that Autechre radio show on Kiss FM, peak Mo Wax, Kodwo Eshun’s ‘club trax’ column, just before everything went fully tasteful. Throwing links to more contemporary refractions found on various J. Albert workouts as much as Skee Mask’s most vapourised breaks, the NUG sound keeps toes and heads off the ‘floor with a rugged but lush suite of rave suspension systems making critical use of negative space and recoiling dub dynamics.

One for the early hours of the club, ‘Not Many People Here yet’ gives acres of room to bounce off the walls, while the ruder ‘Filthy Club’ sounds like the backroom heard from ceramic tiled bogs, and you’re already healthily zonked for the zombie float of ‘Is Under The Blanket.’ The radiant pads and swingeing breaks of ‘Morpheus’ dial up Skee Mask’s most pendulous rave visions, and ‘Napping Under God’ rolls out on 9 minutes of webbed breakbeat for the locked-in steppers, with Florian’s ambient texturing fully coming into effect on the blurry-eyed flex of ‘Lite.’

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

New Orleans songwriter Steph Green's debut album, 'Thanks For That',
draws from a wide array of influences to create songs that are
unpredictable, harsh, sentimental, vulnerable, and funny
The album is a kaleidoscope of loud, distorted guitars, moody and romantic
country- noir, sunny beach- pop and shuffling folk- rock that will make you both
laugh and feel the good kind of crappy. In Green's strange and illuminated world,
weeping steel guitars meet atmospheric synths, and velvet harmonies croon
beneath the wry humor and heartbreak of a voice positioned as both winking
jester and eternal outsider. Green is equally as versatile a singer as she is a
songwriter; alternately tender, gritty, sweet, stoic, and emotive. The album was
recorded to tape in New Orleans with Green producing in collaboration with
engineer/ co- producer Duff Thompson. It features a rotating cast of fellow
musician/songwriters, including Thompson, Sam Doores (The Deslondes, Hurray
for the Riff Raff), and Nick Shoulders.

1988 debut from these US ska legends, finally reissued.

new pressing on red & black swirl vinyl. RIYL: New Order, Drab Majesty, The KVB, Black Marble, The Soft Moon. Layering synths, guitars, electronic percussion and live drums, Houses of Heaven fuses early industrial and techno rhythms with the melodicism of shoegaze and a heavy dose of dub-influenced effects on their first full-length album titled 'Silent Places.' Written against the backdrop of the Northern California wildfires, ever-growing tent cities and the continued rise of empty luxury housing in the Bay Area, the album explores the intimate experiences that transpire within the chaotic confines of modern living. Opener "Sleep" basks in the tension surrounding the album's inception with blown-out kick drums, claustrophobic verses, and deteriorating vocal effects. Sharp arpeggiated synths and woozy strings neutralize the track's subterranean anxiety with texture and sensuality. Produced by Matia Simovich (Inhalt) and with engineering credits that include Monte Vallier (Weekend) and John McEntire (Tortoise), it's a potent introduction to the muscular sound design underpinning the album. Booming taiko drums sound the beginning of "Dissolve the Floor," the album's most club-ready track. A pulsing arpeggio gives the song its industrial heartbeat while disintegrating tape delay throws menace into the hazy atmosphere. The undulating techno beat breaks and repairs itself with seductive and satisfying timing. "In Soft Confusion" doesn't stray from the album's obsidian narrative as it envisions and ponders the aftermath of human extinction. Sonically speaking, though, it's the album's most uptempo offering with Tecon's supremely infectious chorus vocal hook and Beck's dizzying guitar riffs. The intricate electronic drum programming is elevated by Ott's live drumming, which lends a refreshingly human touch to the potentially icy, and often mechanical, sonic territory of synthdriven music. Adding density to the album's shadowy allure are the unusual sounds and vintage outboard effects that Tecon and Simovich impressively maneuver into the album's tonal palette. Great care has been taken to finesse familiar pop structures with an inventive edge. It's this mindfulness of past and present that is sure to secure Silent Places as a standout album in the new decade. Also Available From Houses Of Heaven: Remnant 12" EP

If you need to know anything about Australian-American pop trailblazer Betty Who, it’s that she is a survivor and an LGBTQ+ icon due to her infectious, always-inclusive artistry. Moving from the rigid major-label machinery to rediscovering her power as an independent artist, Betty Who is primed to kick off her latest, most triumphant chapter on her fourth studio album BIG!

Betty sings with as much pop exuberance as ever on the most open-hearted and personal work she’s ever produced. BIG explores many topics including self-love and acceptance, as well as career perseverance.