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Brazilian duo DEAFKIDS returns with a vital and combustive new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE).

This nine-track sonic assault forges a path beyond the conventions and boundaries of static musical genres. Here, electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.

Vinyl is opaque orange with black dot splatter. Limited


PRESS FOR PREVIOUS ALBUM ‘METAPROGRAMACAO’ (NR113)

LEAD REVIEW IN WIRE MAGAZINE: 'BRAZIL'S DEAFKIDS PERFECT AN UNHOLY COLLISION OF DUB, METAL AND PSYCH ON THEIR CACOPHONOUS NEW ALBUM'
'OPENER 'MENTE BICAMERAL' SOUNDS LIKE BAD-TRIP MINISTRY AND THE SEVEN MINUTE CENTREPIECE 'RAIZ NEGATIVA' IS ABSOLUTELY HUGE' 4.5/5 NARC

“ONE OF THE MOST INDIVIDUAL ENDEAVOURS OUR COMMUNITY WILL DELIVER THIS YEAR” ZERO TOLERANCE.

9/10 REVIEW IN LOUDER THAN WAR: “. IT'S NOISY, IT'S INDUSTRIAL, IT'S PUMMELLING AND ULTIMATELY, IT'S COMPLETELY SATISFYING..

Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions
of power, tracing the anatomy of a systemic grand deception and exploring its mechanics
of psychological, social, and material domination, the indelible marks imprinted on bodies
and minds and its catastrophic consequences.

It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable - physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths

T.R.U. REALigion is the seventh mixtape by Atlanta rapper and legend, 2 Chainz and first release under his current artist name (formerly known as Tity Boi). The mixtape served as a major launching point for 2 Chainz as it was his first release to chart on the Billboard Top R&B/Hip-Hop Albums chart, and led to numerous major guest appearances ("Mercy" & "Beez In The Trap"). It achieved viral status in the mixtape era, having amassed over 1 million downloads on popular mixtape hosting site, Datpiff. Rereleased on streaming platforms for its 10th anniversary with 2 new songs featuring Wiz Khalifa & Big Sean, & now for Black Friday, the project finally sees the vinyl treatment during its original anniversary month (November 2011). Pressed on double Red, White & Blue Marbled Vinyl & housed in a denim-coated jacket, this album is a must have commemorative release for any Dirty South rap fan aficionado and serves as one of the great mixtapes of the early 2010s



2xLP, Pressed on Red, White & Blue Marbled Vinyl & Housed in a widespine jacket inside an embroidered denim outer slipcase.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

Blang Records are thrilled to announce another two vinyl album re-releases from Jeffrey Lewis's back catalogue: The debut classic The Last Time I Did Acid I Went Insane (originally Rough Trade 2001) and The critically acclaimed 4th album 12 Crass Songs (originally Rough Trade 2007). The Last Time I Did Acid I Went Insane (VV001LP) : The fragile poetry and lo-fi warmth of JL's home-recorded debut paint vivid scenes of downtown Manhattan life with cracked sincerity, comic book absurdity and charm. This groundbreaking album continues to charm listeners but has completely run out of stock. Press Quotes: "Jeffrey Lewis: `The Last Time I Did Acid I Went Insane' - Best Indie Album of 2002; like his drawings, his music is witty, animated and true." - New York Daily News "Bizarre but brilliant_ slugging it out to be New Rock capital of the universe, Jeffrey Lewis could well be New York's ace in the hole."- Uncut "Modestly brilliant." [Critic's Choice]- The Village Voice "He claws through the bullshit and pretence ingrained in society. [Jeffrey Lewis' work] _should be cherished."- TimeOut London "Jeffrey Lewis isn't simply a singer, but a creative comic mastermind_ brilliant_ a staggering work of_ genius." - (9 stars of 10) Addicted to Sound Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang. Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan's Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more.

The debut album from Tokyo's WENDY, now available for the first time as an extended vinyl edition. Formed as teenagers during Japan's strict COVID lockdown, WENDY secretly came together to create rock 'n' roll for a new generation. Their raw demos quickly landed them a publishing deal with Sony Music Publishing and caught the ear of Grammy Award-winning producer Marc Whitmore (Jon Batiste - "We Are"). Whitmore was so impressed he produced their debut album himself, recorded live in just nine days, with no edits, capturing the band's unfiltered energy. The process was even featured in Sound & Recording Magazine. The vinyl edition includes two exclusive, previously unreleased tracks: "Pull Me In" and the powerful "Pledge of Love".

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This seventh volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this seventh opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

Independent and Double Platinum ARIA-certified artist Ziggy Alberts' eagerly anticipated seventh studio record, New Love, set for release in February 2025, captures the essence of personal growth, reflection and adventure in a year defined by Alberts' return to the road. Written during his 2023 Rewind World Tour and completed in the beautiful Australian town of the Northern Rivers, this album is a return to simplicity, embracing magic and adventure amid life's chaos. With anthemic songs made for the stage and a deep, cohesive narrative, New Love stands as a spiritual sequel to Albert's 2018 album, Laps Around The Sun. Co-produced with Garrett Kato, the new record embraces the warmth of acoustic folk on Side A and the raw energy of rock and country on Side B. New Love is a testament to growth and resilience, choosing joy and doing good, and letting life's journey guide you back to the simple, meaningful moments. As part of the Artists’ commitment to sustainability, all physical albums are produced on 100% Recycled Stock. Main/Standard LPs use Eco-Mix Coloured Vinyls - which are created using recycled offcuts and colours from previous records. Where possible with manufacturers, environmentally conscious alternatives to plastic shrink-wrap will be used. A comprehensive global marketing campaign is in place to drive awareness from its announcement, on the 18th of September.

Nachdem sie gesehen haben, wie die Abholzung die Landschaft Costa Ricas bedroht, stecken Metalheads weltweit ihre Köpfe zusammen, um das Ökosystem der Welt zu erhalten.

Seit Gründung der Band im Jahre 2022 hat die 501 (c) (3) gemeinnützige Organisation 100.000 Quadratmeter Regenwald in Costa Rica geschützt. Savage Lands arbeitet mit lokalen und globalen Organisationen wie dem Jane Goodall Institute sowie mit vielen Entscheidungsträgern in der Metallindustrie zusammen. Auf „The Last Howl“ gibt es die Growls von John Tardy (Obituary) und hochfliegende Soli von Sepultura-Gitarrist Andreas Kisser. Heilung's Zeremonienmeister Kai Uwe Faust segnet den Black 'n' Roll von „Black Rock Heart“, während Maria Franz (ebenfalls Heilung) die melancholische Power-Ballade „No Remedy“ mit ihren beruhigenden hohen Tönen anmutig auflockert.

"Army of the Trees" führt mehrere neue Arten von Metalheads in das Ökosystem von Savage Lands ein. Die Eurovisions-Lieblinge Lord of the Lost versprühen bei „Out of Breath“ ihr Blut und ihren Glitter, und die Leadsingle „Ruling Queen“ wird von keiner Geringeren als Alissa White-Gluz von Arch Enemy mit ihren schlangenartigen Clean vocals und dem Gebrüll einer Löwin vorgetragen. „Jetzt ist es an der Zeit, Stellung zu beziehen“, brüllt die Band während des donnernden Titeltracks des Albums, der von Julien Truchan (Benighted) und anderen Säulen der französischen Metal-Gemeinde unterstützt wird, in einem wilden Schlachtruf.

Erhebt eure Hörner und schließt euch der Army of the Trees an, um die gemeinnützige Metal-Bewegung zu unterstützen!

Das definitive Live-Album der polnischen Prog-Meister RIVERSIDE. Aufgenommen am 1. Juni 2024 im COS Torwar in Warschau, bildet "Live ID." den Höhepunkt des "ID.Entity"-Albumzyklus mit einer gigantischen Live-Performance von 12 Songs und über 110 Minuten Spielzeit. "Live ID." enthält nicht nur mitreißende Performances von Songs aus RIVERSIDEs aktuellem und hochgelob-tem Studioalbum 'ID.Entity' von 2023 (Chartplatzierungen: Deutschland: #4, Polen: #2, Schweiz: #6, Niederlande: #9 uvm.) wie "Landmine Blast", "Big Tech Brother" oder "Self-Aware", sondern greift auch Kataloglieblinge wie "#Addicted", "Panic Room" oder "Conceiving You" auf überzeugende Weise wieder auf und unterstreicht einmal mehr die einzigartige Position und Relevanz der Band innerhalb der aktuellen progressiven Musikszene. "Live ID." ist erhältlich als Ltd. 2CD+Blu-ray Digipak (die Blu-ray enthält Stereo und 5.1-Sound der Live-Show sowie ein spezielles "Behind the Scenes"-Feature), Gatefold 3LP auf 180g Vinyl mit 8-seitigem LP-Booklet oder als digitales Album.

Das definitive Live-Album der polnischen Prog-Meister RIVERSIDE. Aufgenommen am 1. Juni 2024 im COS Torwar in Warschau, bildet "Live ID." den Höhepunkt des "ID.Entity"-Albumzyklus mit einer gigantischen Live-Performance von 12 Songs und über 110 Minuten Spielzeit. "Live ID." enthält nicht nur mitreißende Performances von Songs aus RIVERSIDEs aktuellem und hochgelob-tem Studioalbum 'ID.Entity' von 2023 (Chartplatzierungen: Deutschland: #4, Polen: #2, Schweiz: #6, Niederlande: #9 uvm.) wie "Landmine Blast", "Big Tech Brother" oder "Self-Aware", sondern greift auch Kataloglieblinge wie "#Addicted", "Panic Room" oder "Conceiving You" auf überzeugende Weise wieder auf und unterstreicht einmal mehr die einzigartige Position und Relevanz der Band innerhalb der aktuellen progressiven Musikszene. "Live ID." ist erhältlich als Ltd. 2CD+Blu-ray Digipak (die Blu-ray enthält Stereo und 5.1-Sound der Live-Show sowie ein spezielles "Behind the Scenes"-Feature), Gatefold 3LP auf 180g Vinyl mit 8-seitigem LP-Booklet oder als digitales Album.

Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen. Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt. Erhältlich in klarem Vinyl oder CD sowie limitiert auch als rote Vinyl-LP!

Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen. Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt. Erhältlich in klarem Vinyl oder CD sowie limitiert auch als rote Vinyl-LP!

Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

Mastered for vinyl by Christoph Brandes at Iguana Studios

Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

Mastered for vinyl by Christoph Brandes at Iguana Studios

R'n'Cs is the contraction of "Rem and the Courbarians". made up of Rem (drums - Vox) and the Courbarians brothers, Saïd (Guitar - Vox) and Gui (Bass Guitar - Vox). they were formed in the Orléans region at the dawn of the second millennium, combining Punk / Hard Core with overdriven Garage Punk'n'Roll. giving birth to a Rock'n'Roll speed all their own! The years go by. but the cadence remains the same. they are and remain definitively addicted to feedback and BPMs. Their Rock'n'Roll remains fast and furious. You'd think the teats they feasted on from an early age were loaded with nitroglycerine! And these R'n'R aficionados never tire of it! Class, delicacy and refinement have nothing to do with it. even if some music lovers will enjoy it! Their music isn't a poem, it's an ode to sex, drugs and rock'n'roll. all at breakneck speed! Hang on to the handlebars, because no one escapes this infernal spiral that grabs you and sends you straight to the devil's entrails! They became a national benchmark for speed rock'n'roll. and were repeatedly asked to play with bands such as Nashville Pussy, Supersuckers, Discharge, GBH, Unseen, Guitar Wolf, New Bomb Turks, The Cellophane Suckers, The Butchers, Burning Heads, Etc.. Over the years, R'n'Cs has always been backed, produced and supported by labels such as 442ème Rue, Beast Records, Guerilla Vinyl and of course Trauma Social. Their 7th Opus "Flytrap in the Murderhouse" released on Beast Records / Fly House Records (Trauma Social for the CD) saw the light of day in Spring 2024 and still remains in the tradition of Zeke, Peter Pan Speedrock, Mötorhead. This incendiary bomb will not differ from previous productions. Still in sweat, flames and Rock'n'Roll!!!! Hell Yeah!

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

Goo Goo Dolls (also known as First Release) is their 1st studio album released in 1987. Before the Power Pop hits...
This is a PURE RAW PUNK album recorded in their hometown of Buffalo, NY. It contains some covers mixed in with
originals. Vinyl has been out of print and unavailable.

Well known for his hardcore tracks during the 90’s and now we are allowed to distribute his first Davie Forbes Legacy Collection Vinyl.

It’s a double LP with some great tunes!


c A3 Mayfair 1997 Mix 05:28
d B1 Circa [1997] 05:14

[f] B3 Always [1997 Mix] 05:26

Foliage Records introduces Volume 2 of the new 12” Sampler Series.
Volume 2 offers four stunning cuts from the Foliage Records back catalogue for the first time on vinyl. The A side of the sampler features Jimpsters bumping Deep House rework of South African electronic producer, Thakzin and songstress Ray T’s ‘Don’t Let Me See’. Fresh from remixing Solomun, Kerri Chandler & Joey Negro, Jimpster picks up the pace, adds layers of Afro inspired percussion and creates an ethereal effect on the vocals, resulting in a club ready classic. Side A also features the stunning ‘Addicted’ by Richard Earnshaw & Kholi, a Deep House, bass heavy groover.


The B side of the sampler has the Afro anthem ‘Unification Vibration’, remixed by legendary producer Atjazz. A prolific remixer with a career spanning 20 years, Atjazz has worked with the likes of Bob Sinclar, Gilles Peterson & Jazzanova. The track is an ode to coming together in ‘our house, our only home’. The B side also contains the heavy talents of Turbojazz & Sean McCabe with their deep & dope remix of Diephuis feat. Ursula Rucker – Listen To This Drum. This remix takes things down a deeper path to the original, with a focus on the bassline and extra percussion.

Stephen Steinbrink discovered a short YouTube video of a street magician who approaches a highschooler walking home in Barstow, California. “Here, let me show you my idea,” he says, as he places a quarter on the kid’s hand. The magician performs some relaxed flourishes, and the coin vanishes. In silence, the kid stares at his hand at the nothing where there once, indisputably, was something, until his wonder finds a single word: “Cool.” The title of Disappearing Coin, the new album from Oakland songwriter Stephen Steinbrink, comes from this short clip. “When I look at it now,” he says, “I relate to the kid, who’s obviously uneasy in his body, and going through the experience of being a teenager in the early 2000s growing up in a bleak desert town like I did. I also relate to the coin, an inanimate disc of possibility. And I relate to the magician, an absurd facilitator of sending what is tactile and concrete into the wispy conceptual realm.” “I’ve watched it probably a hundred times,” he says. “It cracked me up but also blew my mind open the feeling of wonder I experienced watching this video became a guide as I navigated new ways of staying in the realm of what’s both real and magical.” Following the 2018 release of Utopia Teased, Steinbrink completed an apprenticeship in the nearly-lost art of Stained Glass, becoming a glazier at a studio that over three years, fully restored the enormous 90-year-old windows in San Francisco’s Grace Cathedral. He committed to his Buddhist study, beginning lay monastic training before the process was thwarted by the pandemic. He dove deeper into music production for other artists, engineering two albums by Boy Scouts released on Anti- Records in 2018 and 2021. Steinbrink delighted in the way these pursuits pulled at the thread of ego’s tapestry and decentralized him from his craft, allowing him to embody a new role as a creative caretaker engaging in practices that felt communal and restorative. “As I slowly began writing for myself again, I tried to imbue my new songs with this sense of playfulness and wonder I felt while exploring these other interests.” He says. Feeling unlocked from the pressures of perfection that he often felt in his earlier work, creating Disappearing Coin felt buoyant and healing. “The album feels like an integration of all of my past musical selves zeroing in on the present,” Steinbrink explains, “I felt free to explore new ways of writing, through different perspectives, experimenting with fictional songwriting, visual archetypal language, and total collaboration.” This “total collaboration” was a joyous new venture after years of solo performing and recording. The album can be seen as a 42 minute session of show and tell, the manifestation of Steinbrink repeating the mantra of “Here, let me show you my idea” to himself over and over. Disappearing Coin is at once a welcome return for the veteran Steinbrink and the debut of a totally new artist, one who has found a new path to himself with new goals of openness, curiosity, and self-acceptance. “Recalls the magic pop purity of Arthur Russell...its minimalism manages to feel enlightened and transformative.” PITCHFORK // “Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt.

Born in Milan to a Cameroonese father and a Polish/Lithuanian mother, Nathan Dawidowicz moved at the age of 6 to Jerusalem. He was spending his childhood in a Jewish ultra-orthodox environment playing the piano and dreaming of being a Fashion designer and musician. After waking up from the reality he was raised in, he moved to Venice and started to explore the "outside world" of the mental barriers of religion. Music and fashion were his medicine, and he quickly became addicted to musical textures and vinyl. His love for music brought him quickly to Berlin, where he currently lives and loves.

Sanctuary Of Ideas is a very personal and optimistic journey by Nathan Dawidowicz. His first solo album is a spiritual path, as cosmic and adventurous as Nathan`s trajectory, with beautiful twists and psychedelic twirls into Dawidowicz personal rabbit hole. A record full of memories and positive affirmations, filled with Jazzy yet psychedelic Cosmic and Krautrock elements. A fusion of inspiration - and a perfect reflection of Dawidowicz heritage.

Idea`s Eve is a stargate to our ancestral power. The source of our inspiration is connected to our past - to the spirits of our ancient memories. Dawidowicz leaves a lot of space to breathe in this magical opener. Enchanting melodies and bubbling sounds surround the listener while his voice keeps repeating a mantra of an ancient love spell. A track where you feel your DNA spiraling up the ladder of evolution. Yet so natural and healing.

Full Moon Dance is the spiritual continuation of the first track. A swirl of magical melodies, yet jazzy but truly cosmic walking up the ladder to another dimension, where warm moon rays and fluffy clouds surround love. The synth lines represent the playful and smooth moon rays reflected on a rhythmical heart-beating ground where tears can be joyfully spent to honor the emotions we usually oppress.

To close the EP, Nathan Dawidowicz worked a half a year to finalize the last track in full detail. 23 Minutes and 18 Seconds long is the Capricorn Rising Over Jerusalemite Temple. This story is where the listener is brought to a higher level of consciousness. Against the rules of our consumerist world, Nathan Dawidowicz focuses on a dramaturgy full of patience for our own lifetime. Acidic lines come and go, powerful synth solos trigger unknown brain parts, and an epic melody accompanies the listener and lets dark emotions melt in a brass-filled part where a voice tells us that time is on our side. The song ends with an epic twist and promises a new start, where our most lovely memories stay in a vortex of light. Beam me up Nathan.

Finally on vinyl, the legendary broadcast from the Hove festival in Arendal, Norway on Jun 26th, 2007. Amy Winehouse battled through heavy rain to deliver a stellar set on the first day of the festival, conquering the hearts of the Norwegian crowd with a medley of hits that borrowed heavily from her second album Back To Black in addition to an explosive mix of cover versions including numbers originally performed by the likes of the Specials, Toots and Maytals, and the Zutons. Amy's blend of soul, ska, R&B e Jazz left an incredibile mark in the music world and this breathtaking performance shows how we lost the most incredible vocal talent of her generation.

Neuauflage des gesuchten Disharmonic Orchestra Albums "Not to be Undimensional Conscious" aus dem Jahre 1992.

Wenn man über Progressive / Death Metal geht, dann dürfen DISHARMONIC ORCHESTRA aus Österreich nicht unerwähnt bleiben. Mit "Not to be Undimensional Conscious" beschritt die Band 1992 neue, avantgardistischere Wege, ohne dabei ihre Death Metal Wurzeln in Vergessenheit geraten zu lassen. Die einzelnen Songs des Albums zeichnen sich durch eine selten in dieser Form erlebte Verrücktheit aus jedoch ohne den Blick auf das Gesamtkonzept zu vernachlässigen. Disharmonic Orchestra gelang es mit diesem Meisterwerk avantgardistische, progressive Elemente mit Death Metal aus der Frühphase der Band zu verbinden. Nun erscheint dieser längst vergriffene und in der Szene hoch gehandelte Meilenstein erstmalig im hochwertigen Ltd, Edition Vinyl in Mint bei Metalville Records.

Amy Winehouse’s Live at Glastonbury 2007 will be available on vinyl for the first time from June 3. It captures her performance on the Pyramid Stage at that year’s festival, 15 years ago this summer.

Winehouse’s show, her second at Glastonbury, will be released in a 2LP black vinyl set. They bring back to the fore one of the most memorable highlights of her all-too-short career, capturing not only her unique artistry and song craft, but the singer and writer’s trademark, between-songs banter and the sheer love for her emanating from the festival crowd. Highlights include “Rehab,” “You Know I’m No Good,” “Love Is A Losing Game,” “Valerie,” and “Tears Dry On Their Own,” as well as her cover of Toots and the Maytals’ “Monkey Man.”

Amy played a second set later the same day on the Jazz World Stage, and returned to the Pyramid Stage the following year, firmly establishing herself as part of the world-famous festival’s remarkable history. The artwork for the forthcoming release includes recollection of the performance by Glastonbury Festival’s co-organizer Emily Eavis. “Amy Winehouse was a Glastonbury-goer through and through,” she says. “She either came and played or, when she wasn’t working, came and camped. She played in the blistering heat and the heavy rain, and there were so many magical moments to her performances.”

G&D are back with vol 3 of their edit series... This is one essential 12" vinyl for any serious djs ad disco, Boogie and Cosmic lovers.
They have addicted us to a cultured sound while being fun. The versions always seriously edited by two Italian masters.
With this third release the obscure G&D duo have raised the level of quality. Absolutely essential tune.
The release contains all the seventies song as disco funk boogie and cosmic tune.

Supported by.... Sadar, Red Greg, Volcov, Grusane, Daniele Baldelli, Ge-ology, Hot Buttered soul, Twice.

The first release as Buena Vista Disco Club (Miami, Electric Pickle/Vinyl addicted) and collaboration with female Dj and label owner Yulia Niko based in Brooklyn. Incl. Remix by London techno guru Laurence Ci, who is currently a member of the op:um group and accordingly he mixing his music around the world.

More Than Less, started from Seoul, South Korea, came back with 4th Vinyl release Folka EP, composed by Joton, owner of Newrhythmic Records, based in North Spain, Leon. He is also part of More Than Less records, releasing "Fragment EP" with Soolee remixes in 2014. It had great success and been supported by many producers like Surgeon, Pacou, DVS1, Invite ,Lakker, Paul Mac, Samuli Kemppi, Unam Zetineb, Jeroen Search and many more. "Folka EP" has two new tracks, called "Frontier" and "Sendice". These two tracks are remixed by Japanese Techno hero, DJ Nobu, and Korean Techno pioneer, Soolee, again. The "Folka EP" represents the conjunction of AsianEuropean Techno, which More Than Less has been pursuing. "Frontier" has pure anlalog synth sounds with addicted melody line, based on rough sound textures. It s obviously for the peak time of the dance floor. "Sendice" has unique grooves which Joton s trademark and adding rhythmic loops gives numerous dance feelings. "Frontier", DJ Nobu remixed, gives hypnotic raw sounds and exotic feelings. It has subtle rhythmic factor and people can t help moving their body. Another remixer is, More Than Less Records owner, Soolee. It is 9 minute track, consisting with full of hypnotic sounds from the first to the end

The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series the crew shares some of their favorite old tracks - in a reworked version. This time COEO get back in time. They destroyed a couple of 1970ies disco jams. Recut & repasted them. And gave them their special COEO touch. Of course it's irresistible! This release comes on vinyl only first. Later maybe could be out on selected Digital sellers.. not sure yet.

There are some records that are not created only for the digital market, and this new Vinyl release on Extravaganza contains a selection of the 4 best tracks in our first year of activity!! Expect to hear music from the hands of Luna City Express & SIS / Julian Perez & Loquace / our label boss Taster Peter and finally the mighty Seph from Argentina!!! This release is GOLD.

Maybe this is a mirage, an illusion Maybe we are on another planet, or maybe we are in the spaceship going to another planet Maybe we are all insane Possibilities, an infinite number of possibilities. 'We are in the darkness; nameless things with no memory-no knowledge of what went before, no understanding of what is now, no knowledge of what will be.' - this can easily describe what Absys Limited sublabel is offering us soon with Kontext studio album, 'Dispersal'. Kontext is an alias of Stanislav Sevostyanikhin from St. Petersburg, Russia - well acclaimed DJ and producer also known in drum&bass world as Dissident, who was responsible for the one side of our own first 12" vinyl with his track 'Scarecrow' and for numerous releases for such labels as Hospital Records, Subtle Audio, Counter Intelligence, Alphacut and many more.

'Dispersal', first LP since 2009's 'Dissociate' is Kontext at his finest. Ten track album that cannot be classified in genres, full of drifting through space orbits and dimensions, through newest technologies and our own human nature, through some glitched sonic fields and abyss of consciousness. Production level is high as always on Absys, tracks are kept in various tempos, with many layers and glitches to keep you moving places and enriched with quotes from film classics as 'Twighlight Zone' or 'Pi'.

Coming out with unique artwork by Krik, 'Dispersal' will be available on CD Digi Pack and 10" vinyl sampler.