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PPU and FLICKK back with this highly anticipated reissue featuring both of his sought after 7"s on one PPU platter. This second round finds Flickk assuming his Sherlock Holmes alter ego as a private investigator on "Prime Suspect", and an attentive human body mechanic on "Body Shop". Both were previously self-released in the mid 80s on Flickk's on West Coast label.

There is never any doubt that soul is in the house, when you hear the poetic guitar and organ licks from Cold Diamond & Mink starting to twirl together, and out of nowhere Carlton Jumel Smith steps effortlessly inside the groove. "Heaven In My Arms" is the second in line of Carlton's new trio of singles on Timmion, and what a treat it is: deep as Mississippi mud, light as a feather.

This time our trans-Atlantic tag team delivers a melodic beat ballad of the highest order, which should sweep fans of lowrider soul off their wheels. Spanish Harlem-bred Carlton has been steadily churning out gems since meeting the Timmion folks some years back and shows no signs of stopping yet. This is a love song with plenty of heart to give everybody. Just take it all in, and enjoy the instrumental on the flipside while you're at it.

PBS Nights (Star Hustler) b/w Turn. It. Up. by Strictly Butters | GSC45-34 Galaxy Sound Co. | Even better, I love it when the always on-point @galaxy_sound_company takes a surprising turn from the edit game to drop another sure shot by Michigan beat maestro @strictlybutters. It’s the second release on GSC by the Owosso, MI skateboarder, cyclist & sneaker-head. He is a deep digging vinyl head, dad, & brilliant bedroom beat maker & now gifts us with another super sweet pair of hip-hop instrumentals. Side A’s “P.B.S.” recalls a 70s Public Broadcast Service afternoon with my babysitter aka the TV. Rolling piano & warpy keyboards over a tight drum break was a perfect soundtrack for me while walking my Detroit streets on a sunny afternoon. The vibe comes correct. Side B “Turn It Up“ bounces effortlessly and simply to do what Strictly Butters says, the sweet soul guitar riff will force you to turn the knob up to 11. So whatcha waitin’ for son?

Mr. K transports us to the golden era of the Loft with two disparate, but equally heavyweight classics from the Mancuso oeuvre mastered and cut loud, deep, and clear for club play.

First up is an edit of a track that embodies the spirit of early ’80s downtown New York City. Released in 1982, “Konk Party” was the band’s calling card and first hit, and represented their multicultural, no wave, hip-hop/disco hybrid perfectly, the opening sax riff itself a sly nod to Wild Sugar’s breakbeat classic “Bring It Here” that the Beastie Boys would later sample. A Loft staple — the video was even filmed there — “Konk Party” was also played widely across the influential clubs of the day, becoming an instant staple at Danceteria, Mudd Club, and other hot spots. The easy-going groove, heavy on the percussion and low-slung bass, complimented by bilingual lyrics from Angel Quiñones, has dated well, and sounds especially ready for action in this new edit from Mr. K, largely inspired by the original 12-inch’s choice Uptown Breakdown Mix. This is the first time “Konk Party” has been available on 7-inch.

The heavy percussion backing is perhaps the only similar element that links our A-side to its flip, but that only goes to show the breadth of styles that coexisted in the audio landscape of the Loft. “Hold On To Your Mind,” first released in 1970 by Northern Irish rock group Andwella, is a heavy, psychedelic tour de force that more than lives up to its cautionary, heady title. Mr. K has outdone himself with his new mix, a supercharged blend of extended percussion breaks — absent on previous 7-inch mixes — driving vocals, and fuzz guitar. For those who have never been able to track down the original single, an expensive proposition, and even for those who have, this new edit is certainly the definitive version.

Demented Soul returns to AKO150 arcade and it’s been a while but we’re glad to finally put out this track. full of energy, breaks into a rare groove classic halfway through, and then returned with a high-energy amen. real jungle and one for the gunfinger crew. this is one of the few lined up from this talented producer and we hope you enjoy it.

Next, we welcome Hoodz from LA we’ve been friends for a while and we’re glad to have this little red groove roller on the label. expect more from Hoodz on the AKO imprint in the future but right now slap this on the vinyl turn up the bass and enjoy this riddim!

"Left Hand Black" aus Göteburg präsentieren ihr zweites Album "Lower than Satan" - Ein ziemlich blutiger Cocktail voller rough´n tough und dennoch sehr melodisch-hymnenhaften Horrorpunk-Abnormitäten. Melodisch schnell mit knarzigen Gitarren direkt aus der tiefsten Gruft untermalt mit unbarmherzigen Drums, passen die morbiden straigh forward-Songs perfekt zum Gesang von Shouter Hans und Berserker Johann . 14 morbide Liebeslieder, mit rabenschwarzem Humor versetzte Sicko´s und jede Menge Splatter-Fantasien für alle Gestalten der Nacht! Für Fans von Horrorpunk und Bands wie Misfits, Nim Vind bis hin zu Volbeat. Ein schaurig-rockiges Highlight! Ltd. LP mit Gatefolder, eingeklebtem Booklet und bloodred-marbled Vinyl

In the Beginning (Vol. 2) continues the treasure trove of the early works of Declaime & Madlib, the longtime collaborators who helped usher in a new sound and style from the city of Oxnard, Calif. This collection is brimming with previously unheard tracks from this beyond-creative duo that blends hip-hop with funk, jazz, soul, and psychedelia to lay the groundwork for so many other emcees and producers.

For Declaime (a/k/a Dudley Perkins), this series serves as a way to honor his friends and the city that raised them. He shouts out names like The Almighty Metaphor (aka MED), Oh No the Disrupt, DJ Romes, Kazi, and more, who he says “created a lane for the city of Oxnard to get the recognition it deserves.” Some of them make an appearance in one form or another on this collection, too—Romes, for example, mastered the project—that compiles 10 previously lost tracks that were recorded from 1993 to ‘96.

In The Beginning (Vol. 2) is entirely produced by Madlib, who provided all the cuts as well. His instrumentals are on that raw and dusty vibe as they move freely through genres and sounds, like on standout cuts “Bandwagon,”WLIX,” and “Signs (feat. Wildchild).” Those are all highlights for Declaime, too, and they demonstrate his ability to blend his observations of the world with bravado and third-eye insights. Even as young kids just getting their feet wet in the studio, these two were firmly on their path.

Tossing down straight acoustic shots with electric guitar back, Hello, Hi rides through the valley of yer ol' Canyon legends, finding an isolated place to unspool Ty's copious reserves of nervous energy beneath an open sky. Swarms of harmony vocals caper among the clouds, but there's a rider on the horizon behind, with crossbow trained on his very own heart - the engine driving all the relationships of life, whether down Broadway or over the cliffs at night! Whatever doesn't get killed is getting stronger all the time. A lean, mean deal, baked in saltwater and sunlight, compassion pouring out it's beautiful blue eyes.

Mit ,Kalt" veröffentlichen Nick Mitdemkopf und AK420 nach diversen Singlereleases endlich ihr Kollabo-Album. Ein düsteres Vergnügen voller verzwicktem Storytelling und Loops in B-Movie Atmosphäre. Alles aufgenommen im Homestudio erwartet euch hier eine Sammlung von authentischem Untergrund-Rap als Kommentar zu schwierigen Zeiten. Features kommen von Terfak und Lord Folter.

Aside from being one of Anamanaguchi’s most streamed songs, “Miku,” featuring the vocaloid pop star Hatsune Miku, is an anthem for a new type of musical icon, one that doesn’t need to be attached to a physical human body. Miku, which was officially released in 2013, is a Vocaloid software voicebank developed by Crypton Future Media. Her voice is based around Japanese actress Saki Fujita and uses Yamaha Corporation's Vocaloid 2, Vocaloid 3, and Vocaloid 4 singing synthesizing technologies. Anamanaguchi wrote “Miku” with the virtual musician and were the first band to perform live alongside the Hatsune Miku hologram on the Miku Expo tour in 2016. Since then, the song has been streamed tens of millions of times around the globe and given way to several viral TikTok moments with 20K+ unique videos, signature dance moves, and millions of views.

Consistently engaging their audience in both the real world and the virtual internet-sphere, Anamanaguchi has had TV performances on Late Night with Jimmy Fallon and Adult Swim’s Fish Center, multiple appearances at Porter Robinson’s Secret Sky Fest, and co-curated one of the first major live stream events for indie musicians with the Nether Meant Festival, which was featured in the New

York Times and The Washington Post. The band has also continued to stay true to a uniquely cohesive collaborative spirit, sharing tracks with artists such as HANA, Planet 1999, Flux Pavilion, Porter Robinson, Dorian Electra, Pussy Riot, Village People, and POCHI.

For 2022, Polyvinyl is proud to announce the release of Miku on vinyl for the first time. The release will feature the original composition as well as 8 bonus versions of the song including remixes from LLLL, Carpainter, Ben Aqua, Mino Mino, Lazerdisk, as well as an NES version, a Japanese version, and an instrumental version.

Wewantsounds is delighted to present the first retrospective on vinyl of Saravah Records, one of the most influential French labels founded in Paris by singer, songwriter and producer Pierre Barouh in 1966. Featuring Brigitte Fontaine, Jacques Higelin, Alfred Panou, and many rare tracks reissued on vinyl for the first time, the set gives a glimpse of the free-form, groovy sound of the label between 1965 and 1976. Supervised by Pierre Barouh's son and Saravah historian, Benjamin Barouh, The 2-LP Gatefold set comes with a 4p insert featuring liner notes (Eng/Fr) by Benjamin plus an exclusive interview of Barouh's partner Fernand Boruso by Jacques Denis telling fascinating anecdotes around the label.

Available on color vinyl for the first time on limited edition opaque blue packaged with download code. Isotope 217 is made up of Dan Bitney, John Herndon, and Jeff Parker from Tortoise along with Rob Mazurek (Chicago Underground, Exploding Star Orchestra), and Matt Lux (Iron & Wine). The music of Isotope 217 is as complex and varied as the influences of it's members. Isotope 217 on Isotope 217: "It is hard to state exactly what this band is because of the diverse influences of the participants. One might say an eclectic avant funk ensemble dedicated to the Phonometric * system of universal thought. One might also say a freewheeling trans-moleculer unit dedicated to the betterment of all worlds." *Note phonometrics are, as described by Satie, the Science of measuring sound.

Musically, Hackney-based female trio deep tan draw on the brooding, melodic indie of early FOALS and Warpaint, their sound is always seductive, but also underpinned with an edge of darkness. An undercurrent of post-punk in the vein of contemporaries Dry Cleaning, Drahla and black midi – in addition to multiple comparisons with post-punk pioneers Television – mean their sets never stray far from the shadows. In the past year and a half deep tan have been the darlings of indie tastemaker press such as So Young, DIY, NOTION, Dork, CLASH, had a 3 page spread in Loud & Quiet December 2019 issue and have been selected as NME 100 and for the Green Man Rising competition. Their tracks have had plays on BBC Radio 6, BBC Whales, Apples Beats 1 and Radio X, as well as Apple Music’s ‘Breaking alternative' in the US.

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.” Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5. The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.” That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.” Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”

I can remember sitting in the booth after a botched take, so many years ago during the original Nation of Heat sessions, and being astounded at how much I had to learn. I could barely make it through a full song without fumbling the fingerpicking pattern, or breaking a string, or cracking my voice. In that moment, it felt like I was standing on the shore of a vast ocean over which I had every need but no ability to cross. Thankfully the songs themselves struck a chord with many listeners which gave me the chance to embark on that long journey. There followed a serious education on the stages of the Tractor Tavern in Seattle and the Turf Club in Minneapolis and the Hideout in Chicago and the Mercury Lounge in New York City and the Tricky Falls Theater in El Paso and the Bottleneck in Lawrence KS. I spent over a decade in tiny clubs across the United States putting one foot in front of the other, musically speaking. And so here I am again with this original set of songs, recorded now as I had always wished they could have been. -Joe Pug Greenbelt, MD 12/21

Mikael Åkerfeldt, mastermind of Swedish band Opeth, has recorded the original score for the new Netflix series Clark, directed by renowned film-maker Jonas Åkerlund. Clark is the incredible story behind Sweden’s most notorious gangster Clark Olofsson, whose infamous crimes gave rise to the term “Stockholm syndrome.” The score for this 6-part series will be released as a Standard CD Jewelcase & Gatefold 180g 2LP vinyl via InsideOutMusic/Milan Records.

Forgiveness is the brand new full-length Girlpool album, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curiosity that has always made their music so absorbing. Just like they did for What Chaos Is Imaginary, Harmony and Avery each wrote their Forgiveness songs separately, then came together to decide how to present them in a style that felt representative of what excites and inspires them now. This time, the process resulted in their slickest and most ambitious music to date, filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of "indie rock," challenging any preconceived notions of what a Girlpool album can or should be. "Faultline" the albums first single, is an effective introduction to the world of Forgiveness; the notion of straddling a fault line feels somewhat indicative of Forgiveness on the whole. These songs investigate the always-shifting boundaries between a number of elementally human concepts: pain and pleasure, sex and love, reality and delusion, insecurity and confidence, grief and growth.To support their vision of a sound at the intersection of Hollywood futurism and post-grunge sincerity, Girlpool enlisted help from producer Yves Rothman (Yves Tumor, Miya Folick).

Forgiveness is the brand new full-length Girlpool album, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curiosity that has always made their music so absorbing. Just like they did for What Chaos Is Imaginary, Harmony and Avery each wrote their Forgiveness songs separately, then came together to decide how to present them in a style that felt representative of what excites and inspires them now. This time, the process resulted in their slickest and most ambitious music to date, filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of "indie rock," challenging any preconceived notions of what a Girlpool album can or should be. "Faultline" the albums first single, is an effective introduction to the world of Forgiveness; the notion of straddling a fault line feels somewhat indicative of Forgiveness on the whole. These songs investigate the always-shifting boundaries between a number of elementally human concepts: pain and pleasure, sex and love, reality and delusion, insecurity and confidence, grief and growth.To support their vision of a sound at the intersection of Hollywood futurism and post-grunge sincerity, Girlpool enlisted help from producer Yves Rothman (Yves Tumor, Miya Folick).

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

The subterranean slumber of Nile mastermind Karl Sanders’ Eastern-ambient Saurian series finally ceases with the third chapter of his darkly hypnotizing saga, Saurian Apocalypse! The album’s musical and lyrical themes detail the vexing fictional journey of Dr. Eduardo Lucciani, one of very few survivors of mankind’s self-destruction, who descends into madness after discovering the violent horrors occurring at the hands of the Saurian Masters. Emphasized by unique instruments like the baglama saz (Turkish lute), Ancient Egyptian Anubis Sistrum, Dumbek (Middle Eastern goblet drum), glissentar and gongs, the album’s score weaves cinematic auras and deep grooves, accented by the tribal percussive stylings of original Nile drummer Pete Hammoura and returning Saurian vocalist Mike Breazeale. Whispering atop the ominous sands of opener “The Sun Has Set on the Age of Man” are resonant flutes, forewarning percussion, and an exquisitely tasteful and contextual acoustic guest solo by guitar virtuoso Rusty Cooley – kicking in the massive doors of Saurian Apocalypse. Immediately, the album’s impactful production and crystal clarity versus its predecessors is apparent

Nearly 20 years ago, Karl Sanders – the founder, principal songwriter, and driving creative force behind the exotic, devastatingly heavy stylings of American extreme death metal icons Nile – forayed from his metallic leanings to serve listeners with a transfixing dose of the cinematic, meditative, world music-driven Saurian Meditation (2004). The album explores highly original compositions of hypnotizing, primarily Middle Eastern inspired music, featuring the unique inclusion of instruments such as the balagma saz (Turkish lute) and Glissentar, often blended with dark electronic ambience and deft electric guitar work. Saurian Meditation marked the beginning of Sanders’ Saurian journey, being the first of now three Saurian releases. From the haunting first notes of “Awaiting the Vultures”, which dreamily conjures images of traversing through the dark, mysterious halls of an abandoned ancient temple, to the slithering, percussion-driven pulses and searing electric solos on the ominous album closer “Beckon the Sick Winds of Pestilence” – Saurian Meditation provides a diverse escape for both fans of Nile and the outer realms beyond. Thematically centered around its acoustically-driven, spellbinding seventh track, “Dreaming Through the Eyes of Serpents”, the album ebbs and flows from a higher, rhythmic consciousness to a darker, hypnotic inner balance, achieving a Reptilian Theta State of deep meditation. Saurian Meditation launches the multi-dimensional Saurian universe – witness the very first, transcendental solo output by Karl Sanders, available for the very first time on vinyl, as well as in CD and digital formats, via Napalm Records!

Australia’s Nicolas Cage Fighter are coming out swinging. Combining ruthless hardcore, late 90s metal and death metal influences, the band deftly weave a sound that is as burly as it is brutal, pummeling all those that get in their way. Formed in Ballarat, Victoria in 2011, the band have worked slowly and steadily to build their profile, dropping singles and EPs and sharing stages with the likes of Attila, Thy Art Is Murder, Thick As Blood and Deez Nuts, building a devoted fan base. With The Bones That Grew From Pain now primed to be unleashed they are hoping for the opportunity to tour it internationally, bringing their merciless performances to stages around the world and engaging with the new army of fans that are sure to connect with their no-bullshit stance and killer material.

Canada’s WAKE have never been a band interested in repeating themselves, this abundantly apparent from their discography, having evolved with every release. 2020’s Devouring Ruin made this more clear than ever, hammering the point home with the Confluence EP in the same year, and now they return with Thought Form Descent, their most dynamic, diverse and emotional release to date. “I’d describe the record as a place to reconsider what ‘extreme’ means. The words ‘brutal’, ‘crushing’, ‘devastating’ are overused adjectives for extreme music. We wanted to force people to confront the idea that ‘brutal’ or ‘extreme’ ideas aren’t just blastbeats or angular tritones, or, more importantly, ‘brutal’ elements alongside pointedly passive elements can create their own experience that can channel both and neither.” The result is eight nuanced tracks that run the gamut from relentlessly heavy to exquisitely beautiful, often simultaneously, and instantly grab hold of the listener, demanding their full attention. However, at the same time, they are lushly textured and densely layered, and offer more with every subsequent exposure, unfurling to show hidden depths, and taking WAKE to a whole new level.

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

”Im Frühjahr 2020 haben wir eine Liste mit unseren Lieblingssongs von Brian erstellt - eine sehr lange Liste. Wir haben die Songs ohne Rücksicht auf ihre Chart-Performance ausgewählt. Die obskuren treffen uns genauso hart wie die populäreren Songs - und alle sind reif für eine Neuinterpretation, eine Neugestaltung, eine Neuerfindung. Brian schreibt Lieder über Schönheit, Einsamkeit und Verletzlichkeit besser als jeder andere - und indem er sie neben populären Liedern über Zuversicht, Liebe und Spaß aneinanderreiht, entsteht ein vollständigeres Bild des Lebens auf der Erde.”


- Zooey Deschanel und M. Ward
She & Him - das gefeierte Duo M. Ward und Zooey Deschanel - sind bekannt für ihre stilvollen Arrangements, raffinierten Interpretationen und scharf gezeichneten Originalkompositionen, die sie in ihrer
14-jährigen Zusammenarbeit über sechs Alben hinweg perfektioniert haben. Jetzt, mit „Melt Away: A Tribute to Brian Wilson“, ihrem siebten Album, hat das Duo einen Liebesbrief an den südkalifornischen
Pop der 60er Jahre verfasst. Produziert von M. Ward und abgemischt von Tom Schick (Wilco, Norah Jones, Iron and Wine), ist „Melt Away: A Tribute to Brian Wilson“ das erste Album des Paares seit sechs
Jahren und enthält eine Fülle von klug ausgewählten Wilson/Beach Boys-Kompositionen - Ward und Deschanel bringen ihr unheimliches gemeinsames musikalisches Gespür in diese Pop-Noir-Kostbarkeiten ein und interpretieren sie für die heutige Zeit neu.

”Im Frühjahr 2020 haben wir eine Liste mit unseren Lieblingssongs von Brian erstellt - eine sehr lange Liste. Wir haben die Songs ohne Rücksicht auf ihre Chart-Performance ausgewählt. Die obskuren treffen uns genauso hart wie die populäreren Songs - und alle sind reif für eine Neuinterpretation, eine Neugestaltung, eine Neuerfindung. Brian schreibt Lieder über Schönheit, Einsamkeit und Verletzlichkeit besser als jeder andere - und indem er sie neben populären Liedern über Zuversicht, Liebe und Spaß aneinanderreiht, entsteht ein vollständigeres Bild des Lebens auf der Erde.”


- Zooey Deschanel und M. Ward
She & Him - das gefeierte Duo M. Ward und Zooey Deschanel - sind bekannt für ihre stilvollen Arrangements, raffinierten Interpretationen und scharf gezeichneten Originalkompositionen, die sie in ihrer
14-jährigen Zusammenarbeit über sechs Alben hinweg perfektioniert haben. Jetzt, mit „Melt Away: A Tribute to Brian Wilson“, ihrem siebten Album, hat das Duo einen Liebesbrief an den südkalifornischen
Pop der 60er Jahre verfasst. Produziert von M. Ward und abgemischt von Tom Schick (Wilco, Norah Jones, Iron and Wine), ist „Melt Away: A Tribute to Brian Wilson“ das erste Album des Paares seit sechs
Jahren und enthält eine Fülle von klug ausgewählten Wilson/Beach Boys-Kompositionen - Ward und Deschanel bringen ihr unheimliches gemeinsames musikalisches Gespür in diese Pop-Noir-Kostbarkeiten ein und interpretieren sie für die heutige Zeit neu.

Rusty- The Resurrection of Rust (Elvis Costello)
Elvis Costello kehrt mit einem besonderen Projekt mit seinem lebenslangen Freund Allan Mayes zurück.

Vor 50 Jahren schloss sich Elvis Allans Band ”Rusty” an, und anlässlich dieses Jubiläums werden sie eine
6-Track-EP herausbringen.

Costello beschreibt die Platte so: ”Lasst uns eine Platte machen, wie wir sie mit 18 gemacht hätten, wenn
uns jemand gelassen hätte”.

Die EP enthält neue Interpretationen von Songs aus ihrem Club-Repertoire von 1972, ihre Duette auf zwei Nick Lowe-Songs von 1972, ”Surrender To The Rhythm” und ”Don’t Lose Your Grip On Love”. Sie
schließt mit einem Arrangement von Neil Youngs ”Everybody Knows This Is Nowhere” und ”Dance, Dance, Dance”, mit dem Elvis sein Aufnahmedebüt auf der elektrischen Violine gibt.
Die EP ist in CD Format und nun auch auf Vinyl erhältlich.

2021 erschien die Wiederveröffentlichung des ikonischen Mixtapes „Beam Me Up Scotty” von Nicki Minaj.

Das Mixtape erschien ursprünglich 2009 und verhalf der Rapperin zu ihrem internationalen Durchbruch. Neben den unvergesslichen Solo-Tracks wie „Itty Bitty Piggy“ und „I Get Crazy“ enthielt es auch zahlreiche namhafte Feature-Gäste wie Lil Wayne, Gucci Mane, Busta Rhymes, Bobby Valentino und Drake.

Das letzte Studioalbum der Rapperin, „Queen“ (2018), landete auf Platz 2 der amerikanischen Billboard Charts und sorgte auch international für große Begeisterung. Dank der Neuveröffentlichung von „Beam Me Up Scotty“ schlagen die Herzen von HipHop-Fans nun wieder höher, denn die Queen is back! Nach dem das Album letztes Jahr als CD erschien, wird es nun auch als 2LP veröffentlicht.

Am 22. Juli veröffentlicht Paul Weller ”22 Dreams”, sein 9. Studioalbum, zum ersten Mal auf Vinyl!

Auf dem Album sind die Oasis-Stars Noel Gallagher und Gem Archer sowie Steve Cradock (Ocean Colour Scene) und Blur-Gitarrist Graham Coxon zu hören. Erstmals veröffentlicht im Jahr 2008 stieg das Album
direkt auf Platz 1 der britischen Albumcharts ein.

”22 Dreams” erscheint als 2LP Gatefold Sleeve und enthält ein 12ff x 36ff s/w-Poster mit gedruckten Lyrics, Tracklist und Credits auf der Rückseite, sowie ein 8-seitiges Booklet mit dem Titel ”The Missing Dream AKA Dream # 22” von Simon Armitage.

MISADVENTURES OF DOOMSCROLLER wurde von Jonathan Wilson (Billy Strings, Father John Misty, Angel Olsen) produziert und stellt eine neue, abenteuerliche Richtung für Dawes dar, die einen ehrgeizigeren und experimentelleren Ansatz bei den Aufnahmen zeigt als je zuvor.

”Wir waren schon immer stolz darauf, Minimalisten zu sein. Mit dieser Platte haben wir uns vorgenommen, MAXIMALISTEN zu sein”, sagt Goldsmith. ”Immer noch ein Quartett. Die Songs sollen sich nicht
hinter irgendwelchen Tricks oder Effekten verstecken. Aber wir lassen die Songs wirklich atmen und sich ausdehnen und leben, wie sie es wollen. Wir haben beschlossen, keine Rücksicht mehr auf kurze Aufmerksamkeitsspannen zu nehmen. Unsere Ambitionen gehen dabei über das Musikalische hinaus. ”Wir wollten auch die traditionelle Länge einer Schallplatte - 40-45 Minuten - respektieren, aber keine Rücksicht auf die Anzahl der Tracks nehmen. So wie es Miles oder Herbie oft getan haben. Die Songs zu dokumentieren ist nur die eine Hälfte des Bildes. Für diese Platte sind sie auch die Plattform, von der aus wir abspringen und uns darin verlieren können. Ich glaube, ich kann es am besten so ausdrücken: Wir wollten, dass diese Platte weniger eine Sammlung von Songs als vielmehr eine Sammlung von Musik ist.”

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

*Originally a Rough Trade Exclusive release to go with their end of year top ten charts.., we have made a further 300 pressing of this limited EP, that celebrates and indeed, accompanies one of 2021’s standout releases, Cassandra is in the UK in late August for GreenMan and the End of the Road.*

Cassandra Jenkins takes the opportunity to expand on a track from her An Overview On Phenomenal Nature LP and presents two side-long ambient pieces as an exclusive for Rough Trade. "The Ramble (Morning, May 2021)" and “The Ramble (Night, May 2021)” both prominently feature field recordings made in her native New York’s Central Park, and in the woods of upstate New York. Improvised piano, saxophone, and guitar interconnect and break apart over the sounds of birdsong, crickets, and a distant metropolis. There will be no further pressings of this.

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

The following quote from Placebo frontman Brian Molko will surely endure: "if the song serves to irritate the squares and the uptight, so gleefully be it." Such a statement pairs neatly with its originator's new album; 'Never Let Me Go' is a folky and alternative indie tirade against political tyranny, climate catastrophe and overhyped new tech. With Molko making the album after discovering that his "neighbours were spying on me on behalf of parties with a nefarious agenda", we can be sure this one'll feel a little more transgressive than the band's former dreamier output, 'Sleeping With Ghosts' springing to mind.