Buscar:edward s dead

Original Gravity Records announces a deadly new 7" from Boss Foundation, the fresh alias of producer and multi-instrumentalist Neil Anderson. Previously known as Woodfield Rd Allstars for his vintage Jamaican (predominantly instrumental) output, Anderson now moves forward under the sharper, more genre-focused name Boss Foundation—a banner that reflects the heavy, stripped-down, late-’60s Boss Reggae style at the core of his sound.

Side A: The Henchman

A tough, propulsive Boss Reggae instrumental driven by a fierce groove, The Henchman comes armed with vintage-style pistol-shot effects and a pair of unmistakable Dennis Alcapone vocal drops, giving the cut the swagger and tension of a lost 1969 sound-system special. Heavy, atmospheric, and tailor-made for selectors who favour harder-edged instrumentals.

Side B: Pressure Version

An organ-led version built on the riddim Anderson created for The Pioneers’ 2025 recording of “I Feel So Bad” (the Jackie Edwards classic). Featuring Abramo Riti on Hammond organ, Pressure Version offers a warm, melodic excursion that highlights the depth and movement of the rhythm—spacious, soulful, and crafted with the sensibilities of a classic late-’60s version cut.

Pressed in a strictly limited edition, this double-sided killer marks the official debut of Boss Foundation, signalling a powerful new chapter in Original Gravity’s ongoing commitment to era-authentic Jamaican sounds.

One look at the axe-wielding marauder (drawn by famed heavy metal illustrator Edward Repka) on the front of this album and you know it’s not for the faint of heart. Canadian metal band 3 Inches of Blood’s musical attack (an appropriate term indeed) featured a unique, dual lead vocal line-up of Cam Pipes on “clean” vocals and Jamie Hooper on “screaming” vocals, with bludgeoning guitars (okay, axes) provided by Sunny Dhak and Bobby Froese (Dhak, Froese, and drummer Matt Wood left after this album to form Pride Tiger). Though this record came out in 2004 on the Roadrunner label, it wears its ‘80s metal allegiances on its sleeve, harkening back to the vein-popping intensity of vintage Judas Priest and Accept. Remastered on its 20th anniversary for an orange and black “ashen dawn” vinyl pressing, with a full-color inner sleeve sporting lyrics. Storm the castle!

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

Nice Swan Records is ecstatic to unveil the highly anticipated 2nd volume of "Nice Swan Introduces." This compilation, following in the footsteps of its predecessor, showcases the best releases from the past two years on the Nice Swan Records Label. Just like Volume I, this release comes alongside an exclusive limited run of only 250 vinyl records, ensuring you'll own a piece of Nice Swan history.

Prepare to be captivated once again by a diverse array of musical talents, reminiscent of the Volume I lineup. Featuring exceptional artists like Prima Queen, Deadletter, Chalk, Cowboyy, Human Interest, and a host of others who have graced the Nice Swan roster over the last few years.

Your collection won't be complete without this addition. Nice Swan Introduces Volume II continues the tradition of introducing new and exciting talent to the world, reinforcing Nice Swan's status as one of the UK's most reputable indie labels. Stay tuned for further signings and releases in the coming weeks, as we continue to fulfill our mission of discovering and nurturing emerging artists.

Just as Volume I marked a significant milestone in our journey, Volume II is another step forward for the cult indie label. With acts from our roster gaining prominence on BBC Radio 1 and 6 Music airwaves, and receiving extensive tastemaker approval, this compilation couldn't be arriving at a better time.

In memory of the late Mark Edwards, a true nice swan.

"Richard Edwards is in the pocket. He’s been there for several albums now: 2017’s Lemon Cotton Candy Sunset, 2020’s The Soft Ache & the Moon, and 2022’s Ghost Electricity/Vampire Draw. Just as the Margot records defined his twenties, this “Beach Bum” era, as he calls it, may well define his thirties. That era is expanded in Two Sad Little Islands Drift Together, Two Lonely Little Monkeys Find A Tree: Rare and Unreleased 2015-2023.

Beginning with Lemon Cotton Candy Sunset, Richard has been steering his ongoing body of work toward capturing a feeling of being at sea. Life can find us at sea in any number of ways–in a marriage or partnership, or in longing for one; in parenting, and its ceaseless wonders and worries; in bodies and minds that confound understanding (whether just our own, or also that of professionals); in our rotting world, which we’ve fucked up beyond all repair.

“What does that sound like, though?” you may ask. Like Mike Bloom’s cascading fingerpicking in “Lil Dead Eye-d (b.),” or the tranquilizing combination of Dave Palmer’s piano and Perla Batalla’s multi-tracked vocals on “Love (b.)” Like the L.A. based Section Quartet on “True Love Waits,” or the triumphantly stoned Velvet Ocean jam-session that is “Jane Greer With A Gun.” Like Richard’s use of melody and imagery on “Pink Lightning (b.)” and lead single “Benzedrine,” where he is masterfully accompanied by Erin Rae (on the former) and Maria Taylor (on the latter).

Unlike Richard’s past archival releases which have often featured home demo recordings, everything on Two Sad Little Islands has been produced in-studio. With this 3-LP vinyl set, Richard presents just over two hours of material that once again makes his case as one of the “most underrated songwriters of our time” (LA Review of Books)."

ENG Dark, atmospheric heavy Americana from Austin, TX, haunting, psychedelic ghost-town sounds for fans of Woven Hand, Russian Circles, and Dead Meadow! Lord Buffalo is a mud-folk band from Austin, TX. They make music together under cover of darkness. Their songs are bricks with which to build a house slowly. They will not be rushed. They will not be quiet. They are the trees clapping, the rocks crying out, the whistle in your snore. Imagine the haunted sensibility of artists like Chelsea Wolfe, David Eugene Edwards (Woven Hand, 16 Horsepower) and Ian Astbury (The Cult) fused with the spacious, expansive psychedelics of Dead Meadow and All Them Witches. Lord Buffalo creates somber, crashy, ghost-town Americana on new album "Tohu Wa Bohu," thick with captivating intensity and brooding heaviness of the soul. 'The sound of Lord Buffalo - that atmospheric diving headlong into the very heart of darkness - is unsettling. And it's magnificent.' _Laurie Gallardo, KUTX Brand new 2023 pressing on sleek transparent coke bottle-green vinyl!

Requiem for Jazz is a 12-movement suite composed and arranged by Angel Bat Dawid, inspired in part by dialogue from Edward O. Bland’s 1959 film “The Cry of Jazz.”

The original form of the music was premiered at the 2019 edition of the Hyde Park Jazz Festival in Chicago, where Angel conducted a multigenerational fifteen-piece instrumental ensemble (all Black musicians from Chicago’s creative music community) alongside a four- person choir (featuring singers from Black Monument Ensemble), dancers, and visual artists in performance.

Angel mixed and post-produced recordings from the performance – adding interludes, vocals and additional sounds, as well as transcribing a piece from “The Cry of Jazz” film. The final movement of Requiem for Jazz features Marshall Allen and Knoel Scott of the Sun Ra Arkestra. Their contributions were recorded remotely at the historic Arkestral Institute of Sun Ra in Philadelphia in late 2020.

The final Requiem for Jazz work in album form is an immersive 24-track, double LP experience. The physical package is a deluxe, heavyweight gatefold jacket with liner notes by South African writer Nombuso Mathibela, artwork by Damon Locks, and a large fold out poster designed by Jeremiah Chiu, featuring poetry written by Angel Bat Dawid in dedication to all of her collaborators on the project. Additionally, there is a limited Thy Kingdom Come purple color vinyl edition of Requiem for Jazz available for the first pressing only.

Futurismo present their new anthology series: Altered Vision, beginning with SUBURBAN ANNIHILATION The California Hardcore Explosion / From The City To The Beach: 1978-1983.

This aggressive collection draws from California’s rich history of punk, more specifically hardcore: a new sound that eschewed melody for intensity, a sound that took punk harder and faster, a sound intrinsically American. Whilst hardcore was also burning over on the East Coast, it was in California that it had ignited and sprawled, a sonic punch in the face that raged socio-political disdain and total abandonment for commercialism, fuelled by a crumbling American Dream and the collapse of family values.

Suburban Annihilation takes you from the major cities, to the coastal towns, to the SoCal suburbs, showcasing some the most important bands of the West Coast. Blasting off with the Adolescents ‘I Hate Children’, it heads from the year zero of Middle Class’s ‘Out Of Vogue’ to the surf punk of Agent Orange’s ‘Bloodstains’, from the blues tinged outlaw of The Gun Club’s ‘She’s Like Heroin to Me’ to the classic anti-anthems: ‘Live Fast Die Young’ by the Circle Jerks, lifted from their seminal Group Sex album, and the hardcore staple ‘California ÜberAlles’ by the Dead Kennedys. Also present are so many other bands integral to the era: T.S.O.L, Wasted Youth, Germs, Social Distortion, Suicidal Tendencies, Negative Trend, Flipper and many more.

Though the music was designed to repel, this historical document has been lovingly designed to remind us that this genre created some of the most immediate and acutely-realised music ever produced. Making this collection of choice cuts essential for long-time fans of hardcore and punk, just as those new and inquisitive about one of the most angry and pissed off genres to have given birth in America.

This 2xLP comes in a choice of limited edition coloured vinyl, it has a tracklist co-curated by Henry Rollins, it contains liner notes by Lisa Fancher of Frontier, a bio by award winning author Benjamin Myers, and contains a booklet featuring an array of images by the legendary punk photographer Edward Colver.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Fünf Jahre nach der von 20 Buck Spin veröffentlichten Debüt-EP "Pulsing Dark Absorptions" erheben sich Daeva aus Philadelphia wie lodernde Flammen aus den höllischen Tiefen mit dem lange schwelenden ersten Album "Through Sheer Will And Black Magic...".

Ein feuriger Strudel aus frühem dämonischem Black Metal und zackigem Thrash Metal bildet die Grundlage des Albums, auf dem Daeva ihre Kunst wie glänzend geschmiedeten Stahl perfektioniert haben. Innerhalb dieses Wahnsinns setzt Gitarrist Steve Jansson die mit Maden übersäte Leiche des Death Metal und eine kräftige, tödliche Dosis reinen 80er-Jahre-Metal-Geistes frei. Die Reise durch dieses verbrannte Ödland wird durch die giftig-säurespritzenden Vocals des Sängers Edward Gonet geleitet.

Song für Song, Riff für Riff ist das von Arthur Rizk produzierte "Through Sheer Will And Black Magic" ein unersättlicher und unaufhaltsamer Wirbelwind aus außerweltlichen Genüssen und infernalischem Gemetzel. Wie in einem unerbittlichen Rausch stürmen Daeva die Tore des Himmels und unterwerfen die schwachen Schafen des Lichts in einem ultimativen Triumph der Hölle!

Fünf Jahre nach der von 20 Buck Spin veröffentlichten Debüt-EP "Pulsing Dark Absorptions" erheben sich Daeva aus Philadelphia wie lodernde Flammen aus den höllischen Tiefen mit dem lange schwelenden ersten Album "Through Sheer Will And Black Magic...".

Ein feuriger Strudel aus frühem dämonischem Black Metal und zackigem Thrash Metal bildet die Grundlage des Albums, auf dem Daeva ihre Kunst wie glänzend geschmiedeten Stahl perfektioniert haben. Innerhalb dieses Wahnsinns setzt Gitarrist Steve Jansson die mit Maden übersäte Leiche des Death Metal und eine kräftige, tödliche Dosis reinen 80er-Jahre-Metal-Geistes frei. Die Reise durch dieses verbrannte Ödland wird durch die giftig-säurespritzenden Vocals des Sängers Edward Gonet geleitet.

Song für Song, Riff für Riff ist das von Arthur Rizk produzierte "Through Sheer Will And Black Magic" ein unersättlicher und unaufhaltsamer Wirbelwind aus außerweltlichen Genüssen und infernalischem Gemetzel. Wie in einem unerbittlichen Rausch stürmen Daeva die Tore des Himmels und unterwerfen die schwachen Schafen des Lichts in einem ultimativen Triumph der Hölle!

TRANSMISSION 2LP EDITION OF PORCUPINE TREE'S 1991 DEBUT
ALBUM
Having recently announced that Snapper Music will be representing
Porcupine Tree's Transmission label worldwide, new CD & LP reissues of
the band's extensive catalogue continue to roll out throughout 2021
Porcupine Tree's 1991 debut album 'On The Sunday Of Life' is an album that
stands up as a modern-day pop-psych classic.
With acid warped lyrics courtesy of Alan Duffy (the brains behind the late
lamented Imaginary Records label) the album is a surreal delight containing gems
such as "Jupiter Island" & "Linton Samuel Dawson" filled with quirky melodies,
effected vocals & trippy backwards guitar work. "Nine Cats", the undoubted
masterpiece of the album, is pure Edward Lear styled psychedelia.
'On The Sunday Of Life' also hints at the direction the band would later take with
more progressive influenced material such as the epic "Radioactive Toy".
Porcupine Tree released their last album, 'The Incident', in 2009, marking another
step forward in the incredible journey of the band that began as a solo studio
project created by Steven Wilson in the late eighties to a multi grammy nominated
act & one of the world's most revered live bands, selling out arenas across the
globe & wowing fans with their incredible performances.
"Refreshingly original – a wonderful musical adventure" Record Collector "A debut
disc of unearthly delights… deadly seducing stuff" NME 2LP 140g Gatefold
Edition

Originally released in 1986, the debut album by My Dad
Is Dead is remarkable not only for its strong and varied
material, but also how the aesthetic of MDID’s music was
fully formed and instantly recognizable from the git-go.
Here are the open modal guitar tunings, the primitive
drum machine paired with live drums, the complete
rejection of the pentatonic scale and related 1970s guitar
techniques, and the dry, journalistic language that brings a
distanced, subdued pathos to the harrowing characters and
their situations.
Few artists who traffic in the darker realms of the human
condition do so without some degree of melodrama; Mark
Edwards’s penchant for understatement and distance
brings even more gravity and impact to these songs of lost
souls in a dying city. All these qualities would become
hallmarks of the My Dad Is Dead sound for years to come.
Like Edwards’s next few albums, ...And He’s Not Gonna
Take It Anymore was performed and written entirely by
himself, which only deepens the feeling of isolation that
permeates the album.
This 2021 reissue was remastered by John Golden Sr.
and is a huge sonic improvement over the original pressing
and early ’90s European editions. Best of all, it includes
an entire bonus LP of rare 1985 recordings that were only
issued on cassette at the time. These are raw, primitive
4-track recordings that ooze with post-industrial Cleveland
malaise. They include nine previously unnreleased songs,
and early versions of four songs that were re-recorded for
the album. Fans are certain to find some new favorites here.

Following on from the success of Demon Records’ sold out ‘Special Stuff’ box set, we present the three anniversary specials from 2017, pressed on 3 sides of 180g “Snowglobe” vinyl, with the
fourth side an etching of Tubs and Edward trapped forever in a ‘Phantom Zone’ like state. The Anniversary specials tell the story of Benjamin discovering that his late Uncle Harvey is far
from dead and buried, Tubbs and Edward setting up shop in a derelict block of flats, Pauline reliving her past with her jobseekers and the continued woes of Geoff Tipps. Starring Mark Gatiss, Steve Pemberton and Reece Shearsmith, and featuring gatefold artwork
from horror maestro Graham Humphreys

The Oystercatcher is the first collaborative LP from Cucina Povera (Maria Rossi) and ELS (Edward Simpson)

Recorded in London over two days, hours' worth of improvisations have been edited down to form these six tracks.

A fragile interplay is at work between Maria's drifting vocals and the ominous churn of Edward's modular synth. Each sonic element takes a turn at leading the way.

The opening track 'Mantle' is formed from sparse, monolithic electronics, woven gently with a thread of vocals. In the closing track 'Eon' Maria's voice shepherds spontaneous bursts of sounds, almost Rave-like if order were imposed, through 15 minutes of turmoil and resplendent until the end.

Maria's vocals make their own trails amongst the noise, bringing to mind the the exploratory language from Ursula K. Le Guin's album 'Music and Poetry from the Kesh', recalling the same understated mystery.

The overall effect of this collaboration is a completely unique creation albeit within a recognisable lineage of predecessors.

The artwork reflects the vision of these two artists, collaged together. Both images are from a trip to Helsinki. Edward's photograph of Tulips caught after dark are reviled by a flash. Maria's seemingly abstract drawing is a graphite rubbing taken from a granite slab of a pavement somewhere in Kallio. Together the two images represent two different methods for capturing a city's haptic landscape.

The album moves with a feeling of transience, which is no surprise given that the idea to collaborate was formed in Helsinki, realised in London and edited together in Rotterdam.

The Oystercatcher tells a fragile tale, one that spins out into the unknown. A cold union of voice and machine, still tentative and probing, learning to co-exist. A kind of fundamental shift whereby shared moments have been turned to sound.

The Oystercatcher is a bird that can freely travel between the earth, sea and sky. The motif is taken from a Tove Jansson short story. A dead bird washes ashore, two different versions of events are presented to how the bird came to die. The album feels like two different stories being presented on top of one another but ultimately coming to the same tragic conclusion.

Cucina Povera is Maria Rossi - Vocals
ELS is Edward Simpson - Synthesisers
Recorded in London across two days during the Summer of 2019
Mastered by Russell Haswell

By track two we've already blitzed Cutty Ranks samples via Dawn Of The Dead chatter through Street Fighter vamps and Pulse X resurrection subs. All you can do with Mars89's mesh of gutter sonics is pick out the landmarks you recognise: 'oh yeah that's kinda drill, mmmm gqom, oooo Night Slugs' but like the best hallucinations you just shut your eyes and ride it.End of The Deathsounds like it comes from no place in particular.

Slotting way outside of the current batch of hard-to-describe club music that we're all struggling with, End of The Deathis the Tokyo native's third release, his 2nd for Bokeh (after 2017's Lucid DreamEP) and his first official appearance on wax (after a run of 30 'Biological Tides'/'Poltergeist' dubplates). Bokeh pays full respect to Mars89's futuristic intent with a bad acid Akira sleeve airbrushed by Patrick Savile and a limited VR headset edition - accompanied by a 360° video environment by Seth de Silva.

Bokeh Edwards and Mars89 met at the Bokeh Versions x Diskotopia night in Tangram hairdressers, Tokyo (sponsored by Pioneer) in October 2016. He's a crucial member of the Tokyo's Chopstick Killahz, a self-described "Post Tribal DJ Unit" lurking on the fringes of the city's grime scene. Mars89's self released his debut EP East End Chaos in 2016 on a limited run of zines. He's also recently composed music for Amazon Fashion Week Tokyo 2017A/W and started a residency at Bristol's Noods Radio to highlight DJ and production talent elsewhere in Asia.