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The Atomic Bitchwax - Live At Freak Valley Fest is the brand new album of the US rockerz The Atomic Bitchwax. Recorded live at the mighty festival FREAK VALLEY in Germany in June 2022. A psychedelic heavy rock'n'roll and stoner trip - a must have!

The Atomic Bitchwax - Live At Freak Valley Fest is the brand new album of the US rockerz The Atomic Bitchwax. Recorded live at the mighty festival FREAK VALLEY in Germany in June 2022. A psychedelic heavy rock'n'roll and stoner trip - a must have!

Indrajala comes sheathed in a limited edition full-color printed embossed and custom-cut hansaboard sleeve adorned by an artwork painted by @nieidda in collaboration with Rambadu.

Early support by Abstract Division, Ben Buitendijk, Brando Lupi, Forest Drive West, Svreca, Atomic Moog, Deepbass, Ness and Primal Code to name a few.

Silver Vinyl

Indrajala comes sheathed in a limited edition full-color printed embossed and custom-cut hansaboard sleeve adorned by an artwork painted by @nieidda in collaboration with Rambadu.

Early support by Abstract Division, Ben Buitendijk, Brando Lupi, Forest Drive West, Svreca, Atomic Moog, Deepbass, Ness and Primal Code to name a few.

If credibility were currency, FAKE NAMES" wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The International Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that"s slightly unexpected and wholly satisfying. "For our last record 2019"s FAKE NAMESthe general influences were 70"s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!" , Baker explains. For Expendables the band enlisted producer Adam "Atom" Greenspan (IDLES, Yeah Yeah Yeahs). Baker explains, "The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent." Expendables is the latest exchange in a musical conversation that spans four decades. Baker aptly refers to the lineup of FAKE NAMES as a "mutual admiration society" and says that once the five members got in the same room together, it felt as if they had already been in the band together for years.

LIMITED BLACK & WHITE COLOURED VINYL EDIT

If credibility were currency, FAKE NAMES" wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The International Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that"s slightly unexpected and wholly satisfying. "For our last record 2019"s FAKE NAMESthe general influences were 70"s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!" , Baker explains. For Expendables the band enlisted producer Adam "Atom" Greenspan (IDLES, Yeah Yeah Yeahs). Baker explains, "The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent." Expendables is the latest exchange in a musical conversation that spans four decades. Baker aptly refers to the lineup of FAKE NAMES as a "mutual admiration society" and says that once the five members got in the same room together, it felt as if they had already been in the band together for years.

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Dark Green Vinyl

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

"Dynamic Root Rock Experience" ist der Begriff, mit dem
SIENA ROOT ihre Musik beschreibt, und genau diese
Erfahrung ist es, die das neue Album "Revelation" der
Schweden für den Hörer so attraktiv macht: eine
kompromisslose Mischung aus hypnotisierenden
Rhythmen, schweren Riffs, schönen Soli und emotionalem
Gesang. Die Band verwöhnt den Hörer mit einem Ritt, der
weiter geht als die Band jemals zuvor, um zu erleben,
wie östliche akustische Folk-Melodien mit hartem Rock
und nordischer Wildnis verschmelzen. Es ist eine
dynamische Roots-Rock-Offenbarung!
Das neue Album "Revelation" ist das vielseitigste in der
Karriere von SIENA ROOT geworden; die Band springt
zwischen starken Melodien und schönen Harmonien,
geführt von dieser fantastischen starken Frauenstimme.
Mit ihrer unglaublichen Bandbreite an verschiedenen
Stilen zeigen die elf Tracks den musikalischen
Einfallsreichtum der Band. "Revelation" wird ein
musikalisches Lieblingsgericht für den Hörer werden, mit
all den klug ausgewählten Zutaten, sorgfältig gewürzt von
erfahrenen Musikern, die ein perfektes Gespür für den
richtigen Moment haben, wenn handgemachter Root Rock
serviert werden soll.

"Dynamic Root Rock Experience" ist der Begriff, mit dem
SIENA ROOT ihre Musik beschreibt, und genau diese
Erfahrung ist es, die das neue Album "Revelation" der
Schweden für den Hörer so attraktiv macht: eine
kompromisslose Mischung aus hypnotisierenden
Rhythmen, schweren Riffs, schönen Soli und emotionalem
Gesang. Die Band verwöhnt den Hörer mit einem Ritt, der
weiter geht als die Band jemals zuvor, um zu erleben,
wie östliche akustische Folk-Melodien mit hartem Rock
und nordischer Wildnis verschmelzen. Es ist eine
dynamische Roots-Rock-Offenbarung!
Das neue Album "Revelation" ist das vielseitigste in der
Karriere von SIENA ROOT geworden; die Band springt
zwischen starken Melodien und schönen Harmonien,
geführt von dieser fantastischen starken Frauenstimme.
Mit ihrer unglaublichen Bandbreite an verschiedenen
Stilen zeigen die elf Tracks den musikalischen
Einfallsreichtum der Band. "Revelation" wird ein
musikalisches Lieblingsgericht für den Hörer werden, mit
all den klug ausgewählten Zutaten, sorgfältig gewürzt von
erfahrenen Musikern, die ein perfektes Gespür für den
richtigen Moment haben, wenn handgemachter Root Rock
serviert werden soll.

"Dynamic Root Rock Experience" ist der Begriff, mit dem
SIENA ROOT ihre Musik beschreibt, und genau diese
Erfahrung ist es, die das neue Album "Revelation" der
Schweden für den Hörer so attraktiv macht: eine
kompromisslose Mischung aus hypnotisierenden
Rhythmen, schweren Riffs, schönen Soli und emotionalem
Gesang. Die Band verwöhnt den Hörer mit einem Ritt, der
weiter geht als die Band jemals zuvor, um zu erleben,
wie östliche akustische Folk-Melodien mit hartem Rock
und nordischer Wildnis verschmelzen. Es ist eine
dynamische Roots-Rock-Offenbarung!
Das neue Album "Revelation" ist das vielseitigste in der
Karriere von SIENA ROOT geworden; die Band springt
zwischen starken Melodien und schönen Harmonien,
geführt von dieser fantastischen starken Frauenstimme.
Mit ihrer unglaublichen Bandbreite an verschiedenen
Stilen zeigen die elf Tracks den musikalischen
Einfallsreichtum der Band. "Revelation" wird ein
musikalisches Lieblingsgericht für den Hörer werden, mit
all den klug ausgewählten Zutaten, sorgfältig gewürzt von
erfahrenen Musikern, die ein perfektes Gespür für den
richtigen Moment haben, wenn handgemachter Root Rock
serviert werden soll.

Heads have been after Otakar Olšaník and Jan Martiš's Advanced Process for a long time. That's because "coincidentally-cosmic disco" packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as "contemporary synthesizer underscores played by computers; depicting future technologies in today's process." If they'd just added "acid-drenched", they'd have been closer to nailing it.

The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener.

The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its wading through the heaviest K-Hole and is all the more thrilling for it. "Modem" is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. "Robot Masters", would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as "very-80s sounds" and digi-handclaps. The breathless "Digiheart" double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Advanced Process comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Als LACRIMOSA 1994 ihr bahnbrechendes "Schakal"
veröffentlichten, waren sie die erste Szene-Band, die
Gothic und Metal kombinierten, und dies in eine
klassische Orchestrierung einbetteten! Von der
Metal-Presse als zu düster und von der Gothic-Presse als
zu hart verrissen, fand sich der Band zunächst auf
einsamen Posten. Zwei Jahre später waren LACRIMOSA
Headliner der Dark Winter Nights Festivals, der ersten
Festival-Tour, die Gothic- und Metal-Bands wie THE
GATHERING, SENTENCED oder DREAMS OF SANITY
auf einer Bühne vereinten. Der Rest ist Geschichte: Viele
Bands, sowohl aus der Metal- als auch aus der
Gothic-Szene, folgten ihrem Beispiel und Gothic Metal,
sowie Symphonic Metal wurden bis heute zu etablierten
Musikstilen. In der Zwischenzeit haben LACRIMOSA ihre
musikalischen Fähigkeiten weiterentwickelt und
perfektioniert, während sie seit mehr als 20 Jahren Shows
auf der ganzen Welt von Argentinien bis China spielen
und nun alles in diesem Meisterwerk zusammenführen:
Leidenschaft trifft auf Vollkommenheit, Schmerz trifft auf
Erlösung und Dunkelheit trifft auf das leitende Licht der
Liebe! "Leidenschaft" ist mehr als ein neues Album, es ist
ein magisches Erlebnis purer Hingabe!

Sony Music Masterworks announces the vinyl format release of 'Sable (Original Video Game Soundtrack)', featuring instrumental and vocal music written by Japanese Breakfast’s Michelle Zauner for the globally acclaimed open world video game. The critically celebrated soundtrack is now being released as a stunning double coloured vinyl (purple/pink). This wasn’t Zauner’s only video game contribution of 2021: for the trailer to the new Sims 4 expansion pack 'Cottage Living', the singer/musician/director/bestselling author recorded a new version of her song 'Be Sweet' in Simlish, the fictional language featured in the Sims games. Drawing from her years of songwriting experience, Sable finds Zauner making new explorations into ambient and experimental music, the resulting soundtrack as breathtaking and otherworldly as the game itself. Sable had been hotly anticipated after being teased at E3 2018. The game is a unique and unforgettable journey accompanying guide Sable through her Gliding; a rite of passage that will take her across vast deserts and mesmerizing landscapes, capped by the remains of spaceships and ancient wonders. Of the soundtrack, Zauner says, “It was important to me that each biome in this world felt unique. I used woodwinds and vocal layering to make monumental ruins feel ancient and unknown, industrial samples and soft synths to make atomic ships feel cold and metallic, classical guitar and bright piano to make encampments feel cozy and familiar. I wanted the main themes to recall iconic works of Joe Hisaishi and Alan Menken, to fill the listener with the childlike wonder of someone on the precipice of a grand discovery."

Iceland's Thule offshoot label 66 Degrees was a vital label back in the day. After a 20-year hiatus, it came back strong in August and now follows up quickly with a second superb EP. This one is a carefully curated various artists collection that pulls together some local house anthems new and old. Ozy's 'Sequential Dub' is a super smooth deep house number with lush chord work. Sanasol brings heavier, more raw house drums and grinding bass that will get floors in a sweat. Oz Artists mixes up a raw, mechanical groove with balmy, dreamy pads up top to make for something utterly compelling on 'Atomox; while last of all Terry Cummingz pays homage to dusty Windy City house on his perfectly lo-fi 'Cherry Bon Bon. Classy business for sure.

Limited ep from Kronos Device aka electro legend Phil Klein aka Bass Junkie

Chaos & Colour, the energetic and triumphant 25th studio album from British hard rock legends and progenators Uriah Heep, bristles with explosive classic rock guitars, supreme harmonies, and Heep’s famously generous keyboard foundation.

Led by founding member Mick Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the eleven tracks. Opener “Save Me Tonight” shows the band’s weighty yet blistering chops, whilst “One Nation, One Sun” is a journey of soaring balladic contemplation.

“Fly Like An Eagle” emanates magic and mystery in a way that the late, great Ronnie James Dio would have heartily approved, and “Closer To Your Dreams” is a battle cry for all rockers to get out there and do it, with Shaw imploring that “So many have tried but slipped away/Now it’s time for you to have your say.” Throughout the album, Bernie Shaw’s timeless vocals are expertly supported by keyboardist Phil Lanzon, bassist Dave Rimmer and Box, with Russell Gilbrook on drums rounding out exceptional performances throughout.

Produced at Chapel Studios by Jay Ruston, and engineered by Pieter Rietkirk, Chaos & Colour is a superb album of quality hard rock from the pioneers of the genre who continue to create top class material. Old fans will be reinvigorated whilst new fans will surely find Chaos & Colour an exceptional discovery.

Chaos & Colour will be available to pre-order from November 4, in Black and Coloured Vinyl configurations, as a standard CD Digipak, a Deluxe CD packaged in a hardcover book with Uriah Heep’s Chaos & Colour signature patch and in digital formats.

"Ambiguity " ist l imitiert auf 1000 wunderschöne
orange-schwarz marmorierte Doppel-LPs im Gatefold.
Erstmals auf Vinyl erhältlich: das dritte Album der Heavy
Metaller BRAINSTORM - als Teil von Atomic Fire
Records neuer "Backfire" Serie. Für Vinylfans von
Vinylfans.
Die deutsche Heavy Metal-Macht BRAINSTORM ist seit
mehr als drei Jahrzehnten in der Szene, und es ist
tatsächlich immer noch schwer, das Genre zu definieren,
das sie spielen. Power-Metal? Heavy Metal? Prog Metal?
All diese Kategorien wären richtig, obwohl BRAINSTORM
noch mehr bieten und man mittlerweile von ihnen sagen
kann, dass sie eine einzigartige Metalmischung
geschaffen haben. Ihr drittes Studioalbum "Ambiguity",
das ursprünglich 2000 veröffentlicht wurde, wird jetzt von
Atomic Fire auf limitiertem (1.000 Exemplare) farbigen
Vinyls neu aufgelegt, damit die neue Generation von
Metal-Fans es in seiner vollen Pracht genießen kan

(Lauer rmx)

500 copies only !

The boston duo, the mighty Soul Clap, international stars goes balearic with one of their biggest track to date, the fabulous SUENO HEBREO ! It is a great pleasure to welcome them on Skylax Records. This track is like no other, unidentified sound object in sight, imagine the happy and improbable collision of sueno latino & the ibizenco spirit & sound popularized by alfredo and you can imagine the devastating effect this 12 inch will have on the dancefloor. As a bonus, an atomic remix crafted by the master Lauer which adds an early house touch (cece peniston finally atmosphere). Close your eyes you are in 1989. No in fact you are in 2022 & these madmen compile 35 years of music in the space of 6 minutes 40 seconds. The circle is complete.

Spills is the debut album from Spairs (made up of Jonn Penney and Dan
Worton of Ned's Atomic Dustbin) and features mighty riffs, emotion and
rock/moshability one would expect from such pedigree
This prolific lyricist, combined with the multi- instrumentalist talent that is Dan
Worton, has created something very special. This isn't a Ned's Atomic Dustbin
side project, this is a totally new beast born out of lockdown.

September 2012, the 4 turntablist djs from C2C (20syl, Greem, Atom and Pfel) released their first and only album to date : Tetr4.

This album was about to conquer the world: following heavy radio rotations with the hits "Down The Road" and "Happy", the band then toured in the biggest french venues before hitting the most renowned festival stages around the world (Coachella, Roskilde, Fuji Rock…).

For its 10th anniversary, the album comes on a new setting in its double LP vinyl version. Transparent color discs and silver sleeve to celebrate its first decade!

All his decisions. With tracks by Nina Kraviz, ANTIGONE, Kittin, u.r.trax, PTU, UFO95, Jurek Przezdziecki aka Praecox, Izolenta, Roma Zuckerman, Vladimir Dubyshkin, K-HAND.

Comprehensive box of 6 LPs / EPs and the band's first rare 7inch.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986) contributing to the music.

Box Set includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

First-time reissue of Aroma Di Amore's debut album, originally released in 1984.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 2nd album, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd album, originally released in 1987.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd EP, originally released in 1985.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music

First-time reissue of Aroma Di Amore's 4th EP, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

Moundrag members Camille and Colin from Paimpol, Brittany are giving a
new life to the 'hardprog' sub-genre
Camille plays Hammond organ, Colin plays drums, and both of them sing.
Moundrag clearly shows that you don't need a guitar to make rock music. They
have everything to have a massive and powerful sound: the Hammond organ
sound wrecks everything in its path like hurricanes, the drums rumble like a
storm, the vocals are dubbed, harmonized, highlighted, in that vintage rock style
that has been enjoying a revival for the last few years.
From their instruments to their look, everything is vintage, except them. However,
they seem to have come straight from a 1970s psychedelic trip! In any case, they
didn't forget to bring back the wild energy of the bands of that time to compose
their own music. Bold tracks with lacerating riffs, which evoke ELP, Atomic
Rooster and Deep Purple while adding their personal touch.
'Hic Sunt Moundrages' is the result of a journey where music, imagination and
visuals unite as one, transporting you into a transcendent universe.

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production.

The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature’s unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval.

Delirium 26 by Silver Zone aka Marco Repetto & Stefan Riesen in the rebound.
The re-mastered version from 1995 will be out soon

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production. The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature's unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval. The album opens with 'Beginner's Mind' - a semi-improvised motif develops into an impressionistic refrain. This is followed by "Twilight Flowers" and "Waltz On Treated Wire" - intimate, monochrome piano portraits. Later tracks such as "Lost Albion" and "Signs Of Life" build on skeletal piano motifs with subtle electronic washes, textures and field sounds. The album ends with the elegiac "On Terminus Hill" where a stately piano refrain explores a series of sparse harmonic variations evoking a sense of closure.

Always pushing forward, always aiming higher: In the 20 years of their existence, EPICA have never shied away from challenges, twists and turns, weathering every storm and pushing the symphonic metal genre to heights no one even dared to believe in. Since 2002, the band surrounding global metal icon Simone Simons and her long-time musical partner Mark Jansen have released eight highly innovative and cinematic albums, have toured the world over and have left their mark as one of metal’s most prolific, most cherished and most admired success stories forever.

With "The Alchemy Project", EPICA set another highlight in the band's 20th anniversary year! Graced by a vivid and witty artwork by graphic wizard Heilemania, EPICA embark on a journey through seven extraordinary new songs. Co-written and performed with diverse guests ranging from extremists like Fleshgod Apocalypse, Niilo Sevänen (Insomnium) and Björn ‘Speed’ Strid (Soilwork) via melodic masters like Tommy Karevik (Kamelot), keyboard legend Phil Lanzon (Uriah Heep) or Roel van Helden (Powerwolf) to a once- in-a-lifetime song with Simone Simons, Charlotte Wessels and Myrkur, EPICA have really outdone themselves once again. The result is a mind-bending release that even surpasses the usual broad scope of an EPICA record.

Always pushing forward, always aiming higher: In the 20 years of their existence, EPICA have never shied away from challenges, twists and turns, weathering every storm and pushing the symphonic metal genre to heights no one even dared to believe in. Since 2002, the band surrounding global metal icon Simone Simons and her long-time musical partner Mark Jansen have released eight highly innovative and cinematic albums, have toured the world over and have left their mark as one of metal’s most prolific, most cherished and most admired success stories forever.

With "The Alchemy Project", EPICA set another highlight in the band's 20th anniversary year! Graced by a vivid and witty artwork by graphic wizard Heilemania, EPICA embark on a journey through seven extraordinary new songs. Co-written and performed with diverse guests ranging from extremists like Fleshgod Apocalypse, Niilo Sevänen (Insomnium) and Björn ‘Speed’ Strid (Soilwork) via melodic masters like Tommy Karevik (Kamelot), keyboard legend Phil Lanzon (Uriah Heep) or Roel van Helden (Powerwolf) to a once- in-a-lifetime song with Simone Simons, Charlotte Wessels and Myrkur, EPICA have really outdone themselves once again. The result is a mind-bending release that even surpasses the usual broad scope of an EPICA record.

Zeke Sky is an American guitarist, pianist, vocalist and composer who has made continuous impact since videos of his playing and songs emerged on the internet in 2018. Combining influences of psychedelic rock, progressive metal, heavy metal and world music, Zeke goes against the grain in writing and performing bold and visionary songs without limitation, dealing with complex lyric issues ranging from toxic love to kingly conquests.

In the same year, Zeke played his first live event opening for KING'S X as part of a home recorded album effort. Despite the total infancy of his name, an impressive number of copies were sold of this obscure album on the web. Zeke followed up with a pair of singles in 2019 and 2020 with updated production ethics and of course more aggressive playing, and those saw favorable reviews all over the world, including in Rolling Stone Magazine (“ZEKE SKY is an incendiary of heavy metal.”).

In 2021, Zeke completed a debut label effort, »Intergalactic Demon King,« for release in late 2022. For this young composer, the future is as bold as it is long, for only the brave who accept the challenge will taste the fruits of the golden mountain. --- ---

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill