quête:80

Ein Vierteljahrhundert Bandgeschichte muss gebürtig gefeiert werden! Deswegen gibt es von der Release Serie „Reforged“, der Power Metal-Helden IRON SAVIOR, ab August nun endlich den zweiten Teil auf die Ohren. Die besten Tracks und Fan Favoriten aus mehr als 25 Jahren, um den hanseatischen Power Metal zu huldigen, wie er es verdient. Die 23 Tracks des neuen Doppel-Albums „Reforged - Ironbound“ stellen sowohl quantitativ als auch qualitativ ein echtes Bollwerk dar: zwei weniger bekannte, bzw. neue Songs fanden ihren Weg auf den Langspieler. Unter anderem enthält die Compilation den bisher nur in Japan veröffentlichte „Living On A Fault Line“, sowie ein Cover des Eurythmics-Hits „Sweet Dreams“. Natürlich wurde „Reforged - Ironbound“ auch wieder von Sänger Piet Sielck persönlich in seinem Powerhouse Studio produziert.

Ein Vierteljahrhundert Bandgeschichte muss gebürtig gefeiert werden! Deswegen gibt es von der Release Serie „Reforged“, der Power Metal-Helden IRON SAVIOR, ab August nun endlich den zweiten Teil auf die Ohren. Die besten Tracks und Fan Favoriten aus mehr als 25 Jahren, um den hanseatischen Power Metal zu huldigen, wie er es verdient. Die 23 Tracks des neuen Doppel-Albums „Reforged - Ironbound“ stellen sowohl quantitativ als auch qualitativ ein echtes Bollwerk dar: zwei weniger bekannte, bzw. neue Songs fanden ihren Weg auf den Langspieler. Unter anderem enthält die Compilation den bisher nur in Japan veröffentlichte „Living On A Fault Line“, sowie ein Cover des Eurythmics-Hits „Sweet Dreams“. Natürlich wurde „Reforged - Ironbound“ auch wieder von Sänger Piet Sielck persönlich in seinem Powerhouse Studio produziert.

Das Debütalbum von Grandamme ist eine Mischung aus filmischer, dystopischer Retromanie und einer verzerrten, aber romantischen Ästhetik des verblassenden Glamours. Das britische Duo besteht aus Claudia Kanes zeitlosem Songwriting und ihrer gefühlvoller Stimmen, die von Bastien Kebs traumhafter Produktion mit schwermütig orchestrierter Instrumentierung, die sich mit 80er-SciFi-Synths und LoFi-Beats warm reibt, perfekt ergänzt wird. Ihre gemeinsame Vision von eindringlichem Dream-Pop vermischt Vintage- und Zukunftsaspekte wie ein klassischer Schwarz-Weiß-Film, der in einer Welt der virtuellen Realität neu erlebt wird.

Das Debütalbum von Grandamme ist eine Mischung aus filmischer, dystopischer Retromanie und einer verzerrten, aber romantischen Ästhetik des verblassenden Glamours. Das britische Duo besteht aus Claudia Kanes zeitlosem Songwriting und ihrer gefühlvoller Stimmen, die von Bastien Kebs traumhafter Produktion mit schwermütig orchestrierter Instrumentierung, die sich mit 80er-SciFi-Synths und LoFi-Beats warm reibt, perfekt ergänzt wird. Ihre gemeinsame Vision von eindringlichem Dream-Pop vermischt Vintage- und Zukunftsaspekte wie ein klassischer Schwarz-Weiß-Film, der in einer Welt der virtuellen Realität neu erlebt wird.

LAUNCH EVENTS Sept 2nd - Film premier at the David Lean Cinema in Croydon with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. An 18 track compilation featuring the best of Croydon's punk and post punk scene! Are They Hostile? Is a new documentary film about the Punk, New Wave and Indie scene in Croydon in the late ‘70s and early ‘80s. It takes its name from the first single by Croydon band Bad Actors. To coincide with the film’s release Damaged Goods Records are releasing a compilation vinyl LP and CD featuring bands from in the film including Johnny Moped, The Marines, The Daleks, Case, Fanatics and also bands such as The Straps who played Croydon many times usually at The Star Pub in West Croydon. The CD version also features a specially recorded introduction by the legendary ex-Croydon Greyhound DJ Peter Fox. It’s been argued that Croydon was the birthplace of Punk in the UK, largely due to The Damned and Johnny Moped. But there was a group of other, less well-known bands who were part of that scene, or who came just after, but who didn’t achieve the same success or recognition. The film and album attempt to set the record straight by shining a light on bands such as Bad Actors, Case, The Daleks, The Heroes and Fanatics. the music still fizzes with the energy and enthusiasm of youth and the punk ethos of just doing it. And the participants, if a bit older and slightly less slim than forty years ago, come alive in the current interviews as if connected to the mains. As the saying goes, “old punks don’t die”, but they do remember. The documentary film takes us through the history of these bands, the people in them, the places they played and, through current interviews with “a bunch of old punks”, what they did next, and how formative and important being in a band was for them growing up. The film is the brainchild of Bad Actor Griff Griffiths and Mark Williams and will premier at the David Lean Cinema in Croydon on 2nd September with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. Griff explains: “It’s also a film about being young, being passionate, being part of something.” TRACKLISTING 1 – Bad Actors – Are the Hostile? 2 – Johnny Moped – Groovy Ruby (Live at the Roxy) 3 – The Marines – Step This Way 4 – Slime – Controversial 5 – Case – Smiling My Life Away 6 – The Daleks – Tiny Town 7 – Fanatics – Total Confusion 8 – The Straps - New Age 9 – The Heroes – Tarzan 10 – Bad Actors – One Of Us 11 – Johnny Moped – Incendiary Device (Live at the Roxy) 12 -The Marines – Pleasure Business 13 – Slime – Loony 14 – Case – I Don't Wanna Kill The Whales 15 - The Daleks - Rejected16 – Fanatics – When The Sun Goes Down 17 – The Straps – Brixton 18 – The Heroes - Russia

Criminal, The Soft Moon's fourth studio album, is a confessional work. Through the stark lens of shame and guilt that has followed Luis Vasquez since a violent childhood growing up within the humming ambient sprawl of '80s Mojave Desert, here he documents the gut-wrenching sound of going to war with himself. Criminal marks a striking and important chapter in his self-exploration, both artistically and emotionally. As a young musician living in Oakland, Vasquez began to try and process the narrative of his difficult upbringing veiled through musical exploration. Working with producer Maurizio Baggio at La Distilleria in Bassano Del Grappa, Italy, Criminal sees Vasquez further explore putting his lyrics at the forefront and letting his raw emotions flow. Sacred Bones is now repressing this favourably received record in a bunch of new colors in celebration of the label's 15th year anniversary.

LP on 180g white vinyl, standard sleeve, printed inner sleeve. 8 minimal is maximal salvos in 23 minutes that coalesce into a stun-blast soundtrack for today's shattered society. New York City's artistic skyline may have changed immeasurably since the last century, yet the minimalist post-punk/synth-pop duo vividly gouge into the city's immortal outsider spirit and underground cultural tropes, set against a pulsating backdrop of modern apocalypse. Laced with evocatively concise and lacerating lyrics delivered detached and deadpan, 'Closure's spine-chilling onslaught of towering guitar shrapnel, ethereal metallic synth melodies and cold electronic turbulence comes infused with shades of New Order and Jesus And Mary Chain; the kind of modern disco and post-punk grooves that pillaged New York clubs in the 80s. Inevitably, the penetrating spirit of New York electronic trailblazers Suicide haunts the new record with its subterranean gravitational pull, having previously manifested physically when the two-piece befriended the late Alan Vega - leading to collaborations, support spots and Artaud now co-curating the 'Vega Vault' of unreleased material and co-producing and mixing the 2021 lost 'Mutator'

The Independent - 5 star Glastonbury set review “Making their Glastonbury review, IOW collective Plastic Mermaids are a joy to behold at the Croissant-Neuf stage.” New single 'Girl Boy Girl' Girl Boy Girl is an uncomfortable place, an unspoken awkwardness and tension. Always convoluting, never resolving. Just like this perpetual frustration when a relationship isn’t right but none has the language or understanding to fix it. And then thinking that adding a 3rd party to the mix is going to solve the problems…oh dear. We took some inspiration from the song ‘Night Call’ on the Drive soundtrack and also some of the slower Daft Punk tunes. Kinda wanted it to feel like something you’d stick on cruising in your car after dark in the 80’s. It has been two years since Plastic Mermaids released their critically acclaimed debut ‘Suddenly Everyone Explodes’, and now they return to spread some eagerly awaited blissed out joy with new single Disco Wings & b side Environmental with their second album due next year. The band have been working hard in the studio teaming up with producer Ant Whiting, who has worked with the likes of MIA, John Newman and Lana De Ray, in what proved to be an exciting mix of creative ideas.

The vinyl artwork for Metric’s new album, Formentera, includes a motto that sums up the past few years: This Is What Happened. It’s an understatement that manages to say everything. Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape. Metric’s sound is both genre-defying and genre-defining. Emily Haines, Jimmy Shaw, bassist Joshua Winstead and drummer Joules Scott Key started playing together in NYC in 2001. They are just getting started.

Forged in Hell’s Fire, November 2018 Singapore, by SHYAITHAN – Guitars (also from IMPIETY). The band at present consists of long time komrades HADES - Vocals (also from and founder of BATTLESTORM), ASURA – Guitars (also from and founder of DEUS EX MACHINA), CRYPTOR – Bass (ex-founding member of DEMISOR) and lastly DIZAZTER on Drums (also from IMPIETY/ DEPRAVITY). XUL ANTICHRISTO from INFERNAL EXECRATOR held Vocal duties at the very beginning, but had to leave after the first EP recording due to his tight schedule (work commitment). DEVOUROR defines it’s sonic wrath arrogantly as ‘Bestial Deathcult Warfare’ with late 80s/early 90s influence from Possessed, Sarcofago, Necrovore, Blasphemy, Death, Sodom. With this being said, DEVOUROR is Not a project of sorts, but a brutal 5 Beast Blackened Metal of Death Squadron that scoffs, hacks and slays the rest of mediocre rubbish that currently saturates the underground. All members are Veteran Diehards with filthy back-grounds of over 25 long years of dedication and commitment raising the old glorious flag of unholy Black Death!

One of the most violent thrash metal albums ever! Raging riffs, outraging drums, screaming solos and totally pissed vocals. Total aggression! Death metal wouldn’t sound like it does without that album. Then the 10 tracks on this legendary album... Let’s start with Side A: The opener “Malleus Maleficarum/Anthropomorphia” sets the tone and remains a classic to this day, with a switch after 50 seconds and then a full on thrash attack only comparable to the best and most intense moments on “Pleasure to Kill”. The mid-tempo part and the solo’s/leads are haunting still and hint at more melodies to come in the future. “Parricide” is brutal Thrash, surely echoing a bit of Slayer/Infernal Majesty as well, but just very intense and brutal. Next up is “Subordinate to the Domination”, another bulldozer song, that simply pounds you into ashes, very thrashy, but also brutal. As a short intermezzo we get “Extreme Unction”, which with it’s one and a half minute echoes a bit the crossover/thrash metal attitude of the late 80’s, and it is in its intensity and compactness a strange, yet fitting track that leads us to the closing song on Side A of the LP (yep, bands did think on closers on album sides when vinyl was the standard)... “Commandments” that is, starting with its acoustic intro, fully bursting out after 35 seconds into one of the standout songs of this album, to some possibly the best song on the album (who am I to disagree) because it is one of those brutal thrash songs that is among the best ever recorded, and a song that everyone knew back then, because of the “Stars on Thrash” compilation.

Das erfolgreichste Duo der Musikgeschichte, Daryl Hall &
John Oates, veröffentlicht sein sechzehntes Studioalbum
"Do It For Love", das erstmals 2003 erschien, nach einer
sechsjährigen Veröffentlichungspause neu. Das Album
wird zum ersten Mal als Doppel-LP und in einem
erweiterten CD-Format mit Bonustracks, die auf dem
Originalalbum nicht enthalten waren, veröffentlicht.

"Do It For Love" gilt als eines der besten Hall &
Oates-Alben, auf dem das Duo seinen
unverwechselbaren, anspruchsvollen und mühelos
unterhaltsamen Blue-Eyed-Soul serviert, der sowohl
langjährige Fans als auch Liebhaber der 80er Jahre
anspricht. Das Album enthält die Singles "Do It For Love",
"Man on a Mission" und "Getaway Car".

Full Circle is the sixth album by long time Ghost Box roster member, The Advisory Circle. Self-avowed synaesthesiac, Cate Brooks conjures a very visual fantasy in four acts (the vinyl version across four sides of a luxurious gatefold double 10”). Her tracks evoke human dramas played out against the timeless backdrop of a utopian built environment, where leisure, luxury, elegance and romance are always in fashion.

Brooks' music is by turns ambient, dramatic, upbeat and melancholic. It's instrumental electronica of the very highest calibre, an expert and masterly manipulation of electronic equipment both old and new. Light touches of acoustic and electric instrumentation and flourishes of both tape and digital sound manipulation add colour throughout.

This long running solo project is saturated in 70s and 80s TV and library music influences, and in some ways Full Circle is a call back to the 2005 debut EP Mind How You Go. However, the music and production have evolved over the yers, into a distinctively rich and three dimensional soundworld. The album wears its influences and sonic components proudly, but feels contemporary, cool, and fresh. Brooks' music career predates and now transcends the world of hauntological electronica that it inspired.

Saxophone player Jakob "Dino" Dinesen and bass player Anders "AC" Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around the Park. Here they are joining up with drummer Laust Sonne. Sonne is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He has also played drums in the avant jazz rock outfit, Bugpowder, and has made a career for himself with his own rock band, Dear. He has also recorded two solo albums and in 2007 he received the prestigious Danish music award, Ken Gudman Prisen. Anders "AC" Christensen has been a member of Paul Motian's ensemble and has played in Polish jazz legend Tomasz Sta?ko's band. In Denmark, he has played with the Hess brothers in Spacelab, for over 25 years. In 2009 he made his only solo album so far, 'Dear Someone', featuring Aaron Parks and Paul Motian. "AC" is highly in demand among Danish jazz musicians and he has even played in a lot of rock bands, like Sort Sol and The Raveonettes. Jakob Dinesen has made a long string of albums in his own name and has received several prizes. He has played with loads of internationally acclaimed jazz musicians, such as Paul Motian, Kurt Rosenwinkel, Eddie Gomez, Ben Street, Tony Allen, Nasheet Waits and Steve Swallow. He has also been a member of the acclaimed Danish jazz groups Hugo Rasmussen Allstarz and Beautiful Day and has played with Danish musicians as distinct as Thomas Blachman, Thomas Helmig and Lars H.U.G.. The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. The corona outbreak in the first half of 2020 finally brought the three musicians together again, as most of their other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

• First ever vinyl LP of Gunfire Dance • Remastered for vinyl • Tracks produced by The Damned’s Brian James & Rat Scabies • Limited pressing 450 copies with printed inner sleeves • Reviews & Advertising in Vive le Rock, Record Collector & Classic Rock. Gunfire Dance we're born sometime in the mid 80's. Playing every sweaty rock'n'roll dive from Birmingham's Barrel Organ to regularly selling out London's Marquee to New York City's infamous C.B.G.B's and back again along the way being produced by Brian James and Rat Scabies and sharing bills with the likes of Jayne County...Thee Hypnotics...Dogs D'Amour...D Generation...And various alumni of The Heartbreakers, Hanoi Rocks and Lords of the New Church.....The bands mixture of Dolls'y R'n'B swagger and Raw Power era Stooges venom was out of step with both the 'Hair Metal' and 'Grunge' era's they straddled.... They imploded in New York City in 94... R.I.P. Ant..Side 1. 1. Blue 2. Bliss Street 3. Bird Doggin' 4. Easy Come (You've Just Gone) 5. Break It up 6. Pretty As Sin Side 2.1. Suit And Tie 2. Make You Cry 3. It Hurts 4. Burnin’ Ambition 5. Gimme Back My Heart 6. Archway Of Thorns.

Limited Blue Sky Colour Vinyl LP Pressing. This release is strictly for Indie Stores Only. First reissue of Love Battery’s 1992 Debut Sub Pop Album. Remastered by Jack Endino from the Original Masters. Includes Liner Notes with photos, lyrics and more. Jackpot Records is proud to announce the upcoming vinyl reissue of the classic 1992 Sub Pop album: LOVE BATTERY “Dayglo”. In the middle of the wonderful sludge that was coming out of Seattle in the late 80s/early 90’s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more...dare we say...British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, ‘Dayglo’. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On 'Dayglo', inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through 10 songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves, ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout.

Reviews: “4 ½ stars out of 5 - Dayglo is imbued with a highly energetic style and creative force”. All Music Guide // “Two years later, Oasis made the same record and were called geniuses” SPIN Magazine // Track listing: 1 Out Of Focus 2 Foot 3 Damaged 4 See Your Mind 5 Side (With You) 6 Cool School (Trane Of Thought) 7 Sometimes 8 Blonde 9 Dayglo 10 23 Modern Stories

Aurora Records is proud to present asamisimasa's latest album with two
pieces by composer Trond Reinholdtsen – Unsichtbare Musik (Invisible
Music) and SPASTIL (Late Style)
After nearly twenty years of collaboration, this is their first collaborative release.
Reinholdtsen is among Norway's most prominent composers of his generation
and has a significant international position with a long list of commissions on his
resume. asamisimasa has premiered seven works by Reinholdtsen at festivals
such as Donaueschingen, Ultima, Huddersfield, and Darmstadt. Being a prolific
voice within the experimental opera and music theatre scene, Reinholdtsen has
previously only released two works on CD. With this release asamisimasa wishes
to shed a light on his instrumental chamber music. This is the ensemble's fifth
portrait album, their second on Aurora Records. "Unsichtbare Musik" was
commissioned for a concert at the Berliner Philharmonie in 2009, and explores
the relationship between language and music, between words and sonorous
representation. The piece challenges both the act of listening, our perception of
musical sounds, and the attempt to conceptualize musical impressions and
experiences. Composed ten years later,"Spatstil" is based on the semantic
analysis of "Unsichtbare Musik" and the ensemble's performance history with this
work. "SPATSTIL" marks a clear, yet ironic distance from the previous piece
through a dystopian self- criticism. The pieces have a unique sonorous
sophistication and aims to inspire philosophical reflection as well as aesthetic
pleasure. The aim is that the album can contribute to a reflection on music's
conditions today by focusing on the solitary and secluded listening one does at
home.
asamisimasa was founded in 2001 by musicians who shared an interest for
experimental music. Since then the ensemble has won two Spellemann Awards
(2012, 2015) and premiered more than 80 new pieces and toured all over Europe,
USA and Asia.

THE LONG-AWAITED FULL-LENGTH RETURN OF THE US DEATH METAL PIONEERS FOR A NEW BOUT OF SUPREME SICKNESS
Since first bursting onto the death metal scene with the now genre classic Severed Survival' back in 1989 & following up with the equally revered 'Mental Funeral' album, the influential US quartet has carved an unwavering legacy over three decades as masters & purveyors of the vile sides of the extreme metal spectrum. And now, Autopsy marks its reinvigorated return, presenting the first new full-length studio opus since 2014's 'Tourniquets, Hacksaws & Graves' with Morbidity Triumphant'; a savage offering of brutal death, showing the US legends still have an unbridled hunger for the sadistic, never reluctant to step beyond the threshold of decency.'Morbidity Triumphant', the band's eighth album, is truly a dark delight for seasoned & new listeners alike, with a raw organic sound perfectly encapsulating what makes Autopsy so distinguishable among its peers, for what could easily be considered one of its strongest offerings to date.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Supported by a full-length film, The First Days Of Spring, which appeared a year
after the group's debut, is frequently cited as their crowning achievement.
Exploring the break-up between Fink and Marling, the album has none of the first
album's female voices, and is presented as a narrative of a split. NME said, "They
have done a hell of a lot of growing up. An immense album."
This re-issue is pressed onto high quality 180g vinyl.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Containing the Top 10 single L.I.F.E.G.O.E.S.O.N., Last Night On Earth was partially
recorded in LA with producer Jason Lader. On its release in 2011, Fink spoke of
capturing "that excitement of being young and being in the night," and being
influenced by Bruce Springsteen. That can be heard on Wild Thing, which blends
Springsteen and Lou Reed into something that is unmistakeably the group's own.
The Telegraph called it "Heartfelt, spirited, lyrical, moody and mostly magnificent
pop rock."
This re- issue faithfully recreates the original 2011 Mercury Records UK release
and is pressed onto high quality 180g vinyl. Also includes the original's bonus 7"
single featuring demo versions of Tonight's The Kind Of Night and Wild Thing.
...

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Inspired by sojourns at islands off the Essex coastline and in the South Of France,
Heart Of Nowhere was the group's final album, released in May 2013. The
Observer stated it was "a satisfying blend of youth and experience, at its best
when raw feelings and twenty20- something anxieties chafe against its smooth,
midtempo rock." Its ruminations of the passage of time suggested that the giddy
optimism of Peaceful,The World Lays Me Down was long in the past.
This re-issue faithfully recreates the original 2013 Mercury Records UK release,
including full colour lyric ineer sleeve and double sided map insert, and is pressed
onto high quality 180g vinyl.

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, ''it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" MLDE seeks to break this connection.

Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition.

Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel.

The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music.

Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor.

Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.

Produced by Prince, this is one of the best albums that came out of the Purple One's Minneapolis funk-rock empire in the 1980s. Featuring the hit title track and “The Belle of St. Mark” (two Prince penned classics), this is another opportunity to celebrate the deeper fabrics within the purple quilt Prince laid across the 80’s pop scene.

These mint late 90's early 2000's Italian deadstocks come straight from Afro / Cosmic and Tribal Italia headquarters near Rimini where the club Melody Mecca spread the movement following Daniele Baldelli & Beppe Loda seeds. Consider "Afro" like what some would have called "World" has we're speaking about crazy African, Oriental, Indian, Reggae, Latin, Brazilian and even Bulgarian & Irish downtempo wrong speed trance tracks and edits like (!) Might be cheesier and more fun than expected since Dizonord recent Studiolo compilation, hope you're ready for the ride.

REISSUE

Following on from the runaway success of Soundway"s Kiki Gyan 24 Hours In A Disco, another Ghanaian legend looks to have his time to shine. One of the most well-known disco and burger highlife artists of the time, Charles Amoah originally began his career as a drummer. Playing with Alex Kunadu"s band, as well as the Precious Jewels and even Nana Tuffour, he then moved to Germany in the early 80s. His first album Sweet Vibration spawned several hits which went on to be released as separate singles, namely "Scratch My Back" and "Shake Your Body To The Beat". From the irresistible funk hooks of these singles, to the Lionel Richie-esque instrumentation of "Life"s Like Being In A Boxing Ring", or the kraut-rock stylings of "Jungle Rock" - there is little doubt that the blend of disco, funk and highlife that was unique to the Ghanaian-German scene can be experienced in its full splendour on Sweet Vibration.

Nach einer fünfjährigen Auszeit, in der er sich ganz unterschiedlichen Musikprojekten widmete, kündigt Squarepusher sein nächstes Studioalbum "Be Up A Hello" an. Für das neue Album setzte Tom Jenkinson nach vielen Jahren erstmals wieder auf dieselbe digitale und analoge Hardware, mit der er in den frühen 1990ern seinen Trademark-Sound definierte. Die Verwendung der Vintage-Synthesizer und -Effekte (inkl. eines Commodore Vic-20) markiert eine radikale Kehrtwende für den Briten, der auf dem Vorgänger "Damogen Furies" noch komplett auf moderne Tools und die neueste Software setzte, von ihm selbst im Laufe von 15 Jahren programmiert und optimiert. Das Ergebnis klingt vor allem ausgelassen, wenn Tom astreine Breakbeat-Tunes wie "Nervelevers" und "Terminal Slam" – klassisches Dancefloor-Material – vom Stapel lässt. Düstere Tracks wie "Vortrack" und "Mekrev Bass" belegen derweil, dass er nach wie vor ein Faible für perfekt ausbalancierten Psycho-Overload hat. Insgesamt verweist "Be Up A Hello" auf die Ära der DIY-Raves in Essex, deren Ekstase, Ausgelassenheit und Hemmungslosigkeit die ganze Herangehensweise von Tom nachhaltig prägen sollten.

Berlin-based psychedelic sludge and dark postmetal heavy weights Shovel are gearing up for the
release of their self-titled, first full length album.
Ever since their first gig, Shovel create an immediate
connection with the vibrant scene of Berlin and,
following their first demo in 2019, they managed to
establish themselves within the heavy music
underground.
The four piece connect the immediacy of an intense
riffage, existential screams and the elusiveness of
experimental sounds and otherworldly atmospheres.
Emerging from the mud of sludge, doom and post
metal, their intense music travels through the
openness and freedom of psychedelic textures to
end up crawling in black metal claustrophobia and
despair with an unconventional and distinct sound.
Shovel’s album was recorded at Big Snuff Studio,
Berlin by producer and engineer Richard Behrens
(Kadavar, Samsara Blues Experiment, Elder). The
album was mastered in The Atomic Garden Studio
(Oakland, California, USA) by Grammy-nominated
producer Jack Shirley (Amenra, Deafheaven,
Oathbreaker).
For fans of EyeHateGod, Iron Monkey, Grief,
Unearthly Trance, Crowbar, Soilent Green, Cavity,
Buzzoven.
LP pressed on clear green coloured vinyl.

Against the backdrop of Asbury Park , NJ rock and punk history comes
BEACH RATS
With a membership that includes four impossible- to- avoid New Jersey punk
stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz
(Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded
out by Danny Windas, AKA "Dubs" on drums . BEACH RATS play a brand of
hardcore/punk that stays true to their members' roots while creating something
completely fresh and urgent."I had moved to Asbury Park," recounts guitarist Brian
Baker. "And it turned out that Pete Steinkopf and Bryan [Kienlan] from the
Bouncing Souls were sniffing around and had the idea to do a fun side-band with
Ari Katz from Lifetime. They had recently played together at a memorial for Dave
Franklin [Vision frontman, R.I.P.] and had a blast. That was the foundation of it.
Like most of my career, I walked into a pre-existing situation, ready to go. They
were talking about it and I was immediately like, 'I want to be in a band! Bands are
great, let's go!"The common denominator for BEACH RATS for was simple. "It's a
mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80's
hardcore riffs because we were there," states Bryan Kienlan. "You're gonna get
authentic punk and hardcore from BEACH RATS because we are all from the 80's.
It's literally taking it back to some of our biggest influences like Negative
Approach and Poison Idea, And of course, Minor Threat."

1998 esce l’atteso secondo album di Alexia dal titolo “The Party”. L'album contiene quattordici brani tra cui i due singoli più gettonati dell’estate 1998 ovvero “Gimme love” e “The music I like”. L’album si aggiudica numerosi dischi d’oro e di platino con le sue oltre cinquecentomila copie vendute. “Gimme love” e “The music I like” sono stati al no. 1 delle classifiche quasi simultaneamente, vendendo un totale di più di centomila copie, un vero record nel mercato italiano. Nell’estate del 1998 Alexia domina la scena musicale in vetta alle classifiche, più di ogni altra artista italiana della dance music. In quel periodo, in Inghilterra, esce il remix di “Uh la la la”. E’ il primo singolo di Alexia ad uscire in quel mercato e diventa subito un successo, top ten in classifica. Questo particolare remix é contenuto
nell’album “The Party” come bonus track.

Shabaka Hutchings am Saxofon, Danalogue (Dan Leavers) an Percussion, Roland SH−09, Roland Juno−60, Roland SH−101 und Moog Sub Phatty, und Betamax (Max Hallett) an Drums, Percussion, Roland TR−808 und JHS Pro-Rhythm, haben mit ihrer Mischung aus Synthesizer-Sounds der 80er, Saxofon und Schlagzeug, gespickt mit Punkrock, Jazz-Blasts und Dancefloor-Trance schon reichlich Fans gewonnen.

Für sein viertes Album ging das Trio THE COMET IS COMING diesmal in Peter Gabriels Real-WorldStudio, zusammen mit ihrem langjährigen Toningenieur Kristian Craig Robinson unterzogen sie sich einem
viertägigen Aufnahme-Marathon, angetrieben von Intuition, Können und Improvisation.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special
guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.