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Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.

Kaiso Power is a collection of rare jazz, calypso and percussive gems from Trinidad and Tobago from the revolutionary generation of the 1970s, bringing radical new political vision and reclaiming ancient spiritual consciousness through music. At the dawn of the 70s a shift was taking place all around the world. The streets of Port of Spain thronged with Black Power marches, trade union demonstrations and Carnival protest bands - one epicentre in a growing global exchange of ideologies and strategies among Pan Africanist circles in Jamaica, Guyana, London, New York, Montreal, Lagos, Accra and beyond. And when the meetings were over, the revolution moved to the cramped secret dance halls, the Carnival fetes, the steelband yards. The music always had a sharp edge. Searing commentary has always been part of the various types of music in Trinidad, and in the absence of lyrics, the defiant use of the drum maintains the resistance, as well as the re-framing of the playing of European instruments to the needs of the message. Lancelot Layne, Delano Abdul Malik De Coteau, Andre Tanker, Clive Zanda, Mansa Musa were more than artists, they were teachers, community workers and advocates for justice. These recordings are as raw as an all-night Carnival jam, the horns loud, the percussion ringing out, the bass dripping with joy and rebellion. Under the modern influences is a solid rhythm, an unbroken connection to Africa, the songs and keys and cadences brought across the middle passage. These songs are a peep into the untapped treasures of a revolutionary generation, looking at the world with fresh eyes and believing that music was a central part of the mission to build consciousness and regain confidence.

Futurismo are proud to present the iconic 1982 debut album, Only Theatre of Pain, by gothic legends CHRISTIAN DEATH. Available on deluxe 2xLP, CD digipak.

Hailed as a masterpiece of it’s genre, and considered by many as ground zero for Deathrock, Only Theatre of Pain is a seminal work of unholy power and pitch black emotion. Whilst this record may have it’s roots in punk - the origins of this true original version of Christian Death took place in Southern California during the early 80’s hardcore explosion - it cannot be overstated how important this record was in shaping the subsequent landscape. Emerging like an adrenaline shot into the heart of darkness, this unrestrained and mysterious recording still remains unclassifiable.

Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain’s musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz’s vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It’s a performance, but also a truth, perhaps Only Theatre of Pain is an art show, as much as it is an era defining record.
Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on Only Theatre Of Pain is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an eradefining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.

Only Theatre Of Pain is presented here in a new remastered deluxe pressing with a second disk containing early demo’s and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.

This classic LP comes in deluxe super limited edition ‘California Hell’ coloured vinyl and contains a second disk of bonus material. It is packaged in a gloss laminated sleeve with metallic ink, containing printed inner sleeves, a large fold out poster, redux artwork featuring the photography of Edward Colver, and liner notes by Lisa Fancher of Frontier. Also available as CD digipak

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Blood Sanctum Vinyl w/ Poster

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

READ THE AIR is the new full-length record from MARBLED EYE, the four-piece punk band responsible for all of that noise coming out of Oakland for the last couple of years. The opening title track sets the album's tone immediately, guitars starting and stopping to match a staggered drum beat before guitarist and co-vocalist Chris Natividad's lyrics act as a mission statement for the album's recurring theme of self-reflection: "Searching / shaking / life simulating_ read the air / count me out."Engineered mostly by the band themselves, Read the Air's ten songs are both overdriven and ominous. Songs like single "In the Static" offer riffs worthy of a Marquee Moon or Entertainment! comparison, but the band still can't shake the dread of modern times. The song's refrain treats time like a threat, with Natividad's constant shout of "staring at the clock" acting as a haunted refrain. The combined playing of drummer Alex Shen and bass player Ronnie Portugal give songs like "Tonight" and "See It Too" an angular and driving edge. With additional recording from Toro Y Moi's Chaz Bear and mixing from Grace Coleman (Courtney Barnett, Spiritual Cramp), Marbled Eye have dialed in a record that feels destined to live in the noisy post-punk canon for years to come.Marbled Eye's new album Read the Air arrives this March via Summer Shade Records.

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!