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"Recorded and produced by friend and frequent collaborator Mo Troper, Who’s A Good Boy is equal parts scrappy and starry-eyed in its sonic makeup. Album opener “The Flake” sets the stage with fuzzy guitars crashing in and Ramirez’s relaxed vocals placed front and center, as a result, the track feels like throwing on a warm blanket. And look no further than the album’s charming lead single “We Both Won,” a jangly earworm with the hypnotic refrain of “Don’t worry about me” lingering long after the track ends, serving as further proof that Bory has found the recipe for the perfect pop song and knows how to deliver it in two minutes flat. At every twist and turn of Who’s A Good Boy there’s something new to be discovered, making it one of the most exciting debuts you're likely to hear in a long time.

"Warm but guarded, intricate and muted, reminiscent of the Shins and David Bazan and especially Elliott Smith." -Pitchfork
"Whether it's the pastoral "Feel The Burn" or the splendid, reverb-drenched "Five-Course Meal", Who's A Good Boy debut full-length project shows some major potential for Bory to earn the title of Next Big Thing in the genre." - UPROXX

LEMMY Forever. LEMMY ist für immer. Diese limitierte 12inch Bild-Schallplatte enthält rare Hits & Klassiker von und mit Lemmy, der Frontröhre von
Motörhead.

Trombone legend Steve Turre (Ray Charles, Rashaan Roland Kirk, Art Blakey, and many more) assembled a sextet of fellow legends, modern masters, and an up-and-coming star to celebrate the post-pandemic reopening of Smoke Jazz Club with 10 searing sets of live music in front of enthusiastic audiences. Elder statesmen Buster Williams and Lenny White on bass and drums are joined by trumpeter Nicholas Payton, and Turre's SNL bandmate Ron Blake on saxophone and young piano phenom Isaiah J. Thompson. The resulting performances are electrifying live jazz music.

Astral Doors wurden 2002 in Borlänge gegründet und haben seitdem Power Metal-Fans und Traditionalisten gleichermaßen begeistert. Gleichzeitig verschaffte die unverkennbare Verwandtschaft des Sounds mit Dio-fronted Rainbow und Dio/Martin-fronted Black Sabbath Astral Doors Auftrieb bei Old-School-Metallern, die sich über die vermeintliche Fadheit und den Mangel an Substanz im Power Metal-Genre aufregten.
Das Debüt "Of the Son and the Father" erschien 2003 und wurde von der Kritik begeistert aufgenommen.
2017 kehrten die Astral Doors mit "Black Eyed Children" zurück, einem Album, das die Band stärker denn je zeigt.
Das ist klassischer Rock/Heavy Metal in der nächsten Dimension. Das Cover-Artwork stammt von Felipe Machado, der auch das letzte Blind Guardian-Cover gestaltet hat.
Dies ist eine Vinyl-Wiederveröffentlichung in petrol-transparenter Farbe!

We are delighted to bring you the follow up to the successful 'The Bristol Punk Explosion (1977-1979) album released in November 2023 - a twelve-track compilation entitled 'The Bristol Punk Explosion Vol 2 (1977-1981).'The sleeve notes are written by Tim Williams author of the 1977 Loaded Fanzine. Tim talks about the transition from Soul to Punk, the demise of Prog Rock and the fashion culture that sat seamlessly alongside the music. There are three previously unreleased tracks never before available on vinyl. The Cortinas were the first. They played the Roxy Club, released two singles on Mark Perry and Miles Copeland's Step Forward label, graced the front cover of Sniffin' Glue and recorded a Peel Session. Taking their cue, bands like Social Security (the first band on Heartbeat Records), The Pigs (whose 'Youthanasia' single was released by Miles Copeland's New Bristol Records), The Media, 48 Hours and Private Dicks gave Bristol one of the strongest provincial early punk scenes. The area of Barton Hill gave us The X-Certs, who by 1978 could already pull audiences of five hundred into Trinity Hall. Though we did not realise it at the time, they effectively bridged the gap between the late 70s Bristol scene and what our American cousins like to term the UK82 bands. In time bands from the suburbs of Bristol started to appear on the scene, Misdemeanor (who were managed by the late Dennis Sheehan U2's tour manager for thirty plus years), Apartment from Downend (whose photo adorns the front cover) and Noiz Boiz from Weston Super Mare, the seaside town just down the road. This compilation is designed to give all fans of Punk a snapshot of what Bristol Punk was all about during that period. We close side Two of the album with The X-Certs Clash infused /reggae single 'Together' and follow it with one of Bristol finest Roots reggae bands Talisman and their single 'Wicked Dem'. The punky/reggae party had truly started as we move into the 80's Bristol Stylee! Bristol Boys Make More Noise!

Deluxe 180g vinyl. Art Edition LP includes set of six 12”x12” art cards.



The follow-up to Kee Avil's acclaimed 2022 debut Crease: "A stunning debut" (The Quietus); "A whiplash style of uninhibited exploration" (The Wire); "Kee Avil's debut is a force" (Foxy Digitalis); "A work of Frankensteinian wonder" (Electronic Sound); "A tightly coiled, finely wrought vision of avant-pop" (Exclaim); "A debut of fiendish creativity" (Bandcamp Album Of The Day / Albums Of The Year) Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk… and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements - guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months - a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. - jj skolnik

Not God is the new album from Chicago's beloved two-headed monster, Finom (fka Ohmme). You can ask them to go into more detail about the boring reasons why they changed their name, but for now, the answer is going to be polite refusal. No. Co-fronted by Sima Cunningham and Macie Stewart, Finom's influences run vast and varied, and they put a premium on change. Produced by Jeff Tweedy in the Wilco Loft, Not God is a marvel of growth, a progression from the roots of this collaborative band whose history can be traced back to its improvised conception. This is owed in no small part to their hometown of Chicago, the life raft to so many persisters in musical adventurosity. That energy combined with Finom's dramatic vocal and musical gifts puts them in the peripheries of the legacies cemented by The Roches, Roxy Music, the B52s, Kate Bush, Cate Le Bon, and Wilco. Cunningham and Stewart are brilliant harmonizers, but harmony doesn't equate to a utopia. In Finom's maws harmony can also be a fight, holding the line until the volcano erupts. This realistic depiction of a creative relationship jolts throughout the songs of Not God, and brings the whole damn thing to life. Finom are more than one person with more than one dream. But still, they grow together, harnessed by their shared love of pop songwriting, control, chaos, and being generally freaky-deaky. Freaky in that way that is only really fun when you're doing it with a friend. As the globe spins and advancements advance, it can feel essential to return to relationships that make us feel whole, that generate energy of strength and relief. Which puts double the weight on the reality that Sima and Macie continue to pledge allegiance to each other, at the base of the volcano, in the front seat of the car as it pulls off the highway.

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

2024 Repress

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities: Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

"Return Of The Super Ape" was the final revelation from Lee Perry’s Black Ark Studio, a psychedelicized dub journey into uncharted sonic territories. The longplayer is now state-of-the-art remastered by Pete Norman (Finyl Tweek) and restored with original press artwork complete with inner disco sleeve!

The album from 1978 is the final chapter in the trilogy of albums in the period from 1976 - 1978 following "Scratch The Super Ape" (aka "Super Ape") and "Roast Fish & Cornbread". Produced, mixed and arranged by Lee Perry at the Black Ark Studio featuring on all tracks the skills of The Upsetters and additional vocals by The Full Experience on "Dyon-Anasaw" and "Tell Me Something Good". The frontsleeve artwork image was created by Lloyd Robinson (also known as the singer of the Studio One classic "Cuss Cuss").

Reggae expert Jeremy Collingwood says: "The Return Of The Super Ape that surfaced later in the year 1978 saw Perry way off the mainstream with a set that owed much to jazz with its loose structure and horn breaks. The title track took an early production from Perry, U-Roy's " OK Corral", and reshaped it into another futuristic outing - just like the original that had been a decade earlier. At the time few knew what to make of it and over the years its lack of proper re issue had meant it's remained a hidden Perry gem. It also marked the end of a hugely creative period at the Black Ark."

Tracklisting / side-split
Side One
A1 Dyon-Anasaw
A2 Return Of The Super Ape
A3 Tell Me Something Good
A4 Bird In Hand
A5 Crab Yars
Side Two
B1 Jah Jah Ah Natty Dread
B2 Psyche & Trim
B3 The Lion
B4 Huzza A Hana
B5 High Rankin Sammy

• Follow-up to the highly acclaimed dub album Super Ape, the album like its predecessor, was produced by Lee ‘Scratch’ Perry. This was the last album recorded by The Upsetters before Perry closed down his Black Ark Studio.
• The remastered album showcases the production skills of undisputed dub master with insanely layered textures and technical wizardry. With musical backing The Upsetters – Boris Gardiner, Mikey Richards, Sly Dunbar, Benbow Creary, Earl ‘Chinna’ Smith, Winston Wright, and Keith Sterling.
• Remastered by Pete Norman at Finyl Tweek
• Coloured Inner Bag

Mit "Dark Superstition" schlagen Gatecreeper ein neues Kapitel in ihrer Bandhistorie auf: Das kommende Studioalbum ist gleichzeitig die erste Veröffentlichung der Death-Metaller bei Nuclear Blast.

Dafür hat sich die US-Band unter anderem Unterstützung von Fred Etsby (Dismember) und Converge-Gitarrist Kurt Ballou geholt. Zum Hintergrund des Albums, auf das es mit "Caught In The Treads" bereits einen ersten Ausblick gegeben hatte, erklärt Frontmann Chase Mason: "Viele der Songs handeln von übernatürliche Ideen, gepaart meinen eigenen Erfahrungen. Allerdings ist der Titel selbst eine Referenz an die Superstition Mountains in unserem Heimatstaat Arizona. Es ist eine wunderschöne Bergkette, umgeben von Tragödien und Legenden über verborgenes Glück." An das Thema des Übernatürlichen schließen sie auch mit der neuesten Singleveröffentlichung "The Black Curtain" sowie dem dazugehörigen Musikvideo an.

Darin ist die Band von einer Friedhofskulisse umgeben, der sie mit ihrer Mischung aus straightem Rock, peitschenden Death Metal und ausufernden Shoutings Kontur und standesgemäße Düsternis verleihen. Dazu führt Mason weiter aus: "Es geht darum, zwischen Leben und Sterben gefangen zu sein. Eine Seele, die im Fegefeuer gefangen ist und darum bettelt, von einer übernatürlichen Kraft zurückgebracht zu werden."

2024 Repress

Coming in hot off their latest Watergate Mix Adana Twins deliver their first EP stemming from the mix itself putting what could be the standout track off the compilation: their remix of Patrice Bäumel's 'Roar' front and center. Taking the hugely successful original which could be considered as much a tool as it is a peak time bomb, the duo twist the initial anthem into a climactic, euphoric ride by adding their signature percussion and shimmers of melody while utilizing the original's spine tingling tension to create an absolutely massive and memorable dance floor experience. Flipping to the B-side, Adana Twins present 'Aufstand der Massen' where they dive into the ethereal corners of dramatic Techno reminiscent of the 'Jupiter' EP from early this year creating a flawlessly executed trip into enchanted territory. Having already been in constant rotation of heavy hitters like Solomun and Tale Of Us is proof enough that Adana Twins have a hit on their hands and now it's time for you to have it too.

Jinte Deprez aka J. Bernardt, eine Hälfte und Co-Frontmann der belgischen Band Balthazar, veröffentlicht sein zweites Solo-Album. 'Contigo' greift auf eine Vielzahl von Einflüssen zurück, darunter Pop, Soul, Funk und Spaghetti-Western-Soundtracks, und spiegelt Deprez' Liebe zu Künstlern wie Serge Gainsbourg oder Ennio Morricone wider. Das Album dient als Soundtrack für verlorene und verwundete Liebende, ist eine emotionale Achterbahnfahrt und fängt Deprez' persönliche Reise mit einer Mischung aus Melancholie und Humor ein. 'Contigo' ist ein dramatisches, fesselndes und farbenfrohes Werkund beweist J.Bernardts außergewöhnlichen Fähigkeiten als Sänger, Songwriter, Instrumentalist und Produzent.

MARTY FRIEDMANs Präsenz in der Welt der Musik, der Welt der Gitarre und der japanischen Popkultur ist rätselhaft, bizarr und geradezu inspirierend.Von seinen bahnbrechenden Anfängen mit Cacophony an der Seite des legendären Jason Becker bis hin zu seiner entscheidenden Rolle, Megadeth mit seiner atemberaubenden Bandbreite und seinem unorthodoxen melodischen Gespür auf den Gipfel der Popularität zu treiben, hat MARTY seinen Status als einzigartige Gitarrenikone gefestigt.

MARTY kündigt mit "Drama" sein neuestes Soloalbum an, auf dem er die atmosphärischen Elemente seines gefeierten Albums "Scenes" aus dem Jahr 1992 nur geringfügig aufgreift und sie zu einer modernen und exotischen Sammlung von extravaganten und unverkennbar emotionalen Mini-Symphonien erhebt. Das gesamte Album stellt MARTYs hypnotisierende Melodien, überraschende Arrangements und Motive noch stärker in den Vordergrund als alle seine früheren Werke. In Italien aufgenommen, wo MARTY neben seinen modernen Signature-Modellen auch Zugang zu einer Fundgrube von Vintage-Gitarren hatte, ist "Drama" ein reines Vergnügen für jeden, der Musik schätzt, die Emotionen weckt.

Melodischer Death Metal mit Frauengesang! Düstere Hymnen der Rebellion Ancient Settlers haben sich in der europäischen Melodic-Death-Metal-Szene dank ihrer unermüdlichen Live-Aktivitäten schnell einen guten Ruf erspielt und wollen nun mit ihrem zweiten Studioalbum die Messlatte höher legen. Angeführt von den dämonischen Vocals der Frontfrau Argen Death beherrscht die venezolanisch-spanische Band das Thema Melodic Death mit absoluter Sicherheit durch stürmische Heavy-Riffs, fette Grooves
und eingängige Hooks (genau wie die Schwedischen Paten es uns allen beigebracht haben). "Oblivion's Legacy" ist ein konzeptionelles Werk, das in die Tiefen der menschlichen Existenz vordringt und das Vermächtnis erforscht, das wir als Individuen und als Spezies hinterlassen. Die Texte befassen sich mit den Auswirkungen unseres Handelns, den Kämpfen, denen wir uns stellen müssen, und dem endgültigen Schicksal, das uns alle erwartet. Vor dem Hintergrund kosmischer Wunder und existenzieller Introspektion dient jeder Song als Kapitel in der sich entfaltenden Erzählung der Reise der Menschheit durch Zeit und Raum.

7A Records are proud to present Davy Jones’ “Incredible!”. A deluxe reissue of Jones' “lost” ‘80s album, remastered and expanded with bonus tracks. The limited edition gatefold Vinyl release is limited to 1,000 copies. Pressed on 180g transparent blue vinyl, it features extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures by photographer Henry Diltz.

Fuelled by MTV’s re-runs of the original Monkees TV series, “Incredible!” was recorded at the height of mid-‘80s Monkees comeback-euphoria. Given the flurry of activity happening on multiple fronts for the Monkees throughout 1986, especially the grueling demands of their touring schedule, the fact that Davy Jones managed to record a full album amid the chaos is somewhat staggering. “Incredible!” features several songs that could well have reached the Billboard charts, had things played out differently. However, Jones decided to hang on to the album and it ended up being self-released on cassette on his own mail order label. The minimalistic promotion and treatment of the original release belie the considerable studio and artist firepower behind these recordings. This deluxe repackaging allows this chapter in Jones’ fascinating journey to finally more fulsomely shine.

• Remastered With 6 Bonus Tracks
• Rare & Previously Unseen Photos
• Extensive Liner Notes
• Limited to 1,000 copies

When ANY GIVEN DAY took to the international metalcore stage six years ago, most of the audience had already left and the scene police were already busy sweeping out the hall. ANY GIVEN DAY, the hard-working guys from Gelsenkirchen, still put their backs into it. Musically gifted and well marketed, the band didn't quite make it to the top, but secured a place at the front of the field behind bands like KILLSWITCH ENGAGE and CALIBAN. This status is further cemented with "Overpower". And now this convincing Overpower is finally being re-released on vinyl.

Goldenes Vinyl, limitiert auf 100 Exemplare. DEVILTRAIN - Eine explosive Mischung aus Energie, Leidenschaft und ungebändigtem Rock. Seit 2015 bringt das Quartett aus Bamberg mit seinem einzigartigen Sound jede Menge Power und eine Prise Rebellion auf die Bühne. Nun steht der fränkische High-Energy-Schnellzug endlich mit dem dritten Studioalbum "Sonic Fever" in den Startlöchern. Musikalisch schlagen Simmi (Vocals/Gitarre), Heiko (Leadgitarre), Basti (Bass) und Simon (Drums) in eine ähnliche Kerbe wie einst die Vorreiter der skandinavischen Rockwelle in den 90er/00er-Jahren, The Hellacopters und Gluecifer. Aber auch Einflüsse aus dem Garage-, Southern- und Bluesrock sind nicht von der Hand zu weisen. Über allem thront dabei die ausdrucksstarke Stimme von Frontsängerin und Gitarristin Simmi, welche zusammen mit energiegeladenen Leadgitarren-Parts, einem donnernden Bass und treibenden Drums zum unverwechselbaren Stil von DEVILTRAIN führt.

DEVILTRAIN - Eine explosive Mischung aus Energie, Leidenschaft und ungebändigtem Rock. Seit 2015 bringt das Quartett aus Bamberg mit seinem einzigartigen Sound jede Menge Power und eine Prise Rebellion auf die Bühne. Nun steht der fränkische High-Energy-Schnellzug endlich mit dem dritten Studioalbum "Sonic Fever" in den Startlöchern. Musikalisch schlagen Simmi (Vocals/Gitarre), Heiko (Leadgitarre), Basti (Bass) und Simon (Drums) in eine ähnliche Kerbe wie einst die Vorreiter der skandinavischen Rockwelle in den 90er/00er-Jahren, The Hellacopters und Gluecifer. Aber auch Einflüsse aus dem Garage-, Southern- und Bluesrock sind nicht von der Hand zu weisen. Über allem thront dabei die ausdrucksstarke Stimme von Frontsängerin und Gitarristin Simmi, welche zusammen mit energiegeladenen Leadgitarren-Parts, einem donnernden Bass und treibenden Drums zum unverwechselbaren Stil von DEVILTRAIN führt.

Lange 28 Jahre mussten die Fans warten. Nun endlich erscheint das Debüt-Album "Cryogenix" endlich auch auf Vinyl. Und das gleich auf zwei limitierten Marbled Red+Black Scheiben als Doppel-Vinyl im Gatefold-Cover. Vollgepackt mit 14 Titel, darunter auch einige sehr rare und sogar unveröffentlichte Songs aus der Zeit. Ursprünglich erschien "Cryogenix" 1996 auf dem damaligen Electro-Kult-Label "Zoth Ommog" (Front 242, Frontline Assembly, usw). Das Album avancierte sofort zum Szene-Hit und viele der Songs sind auch heute noch bei DJ's und Fans gleichermassen beliebt. "Harmonie & Härte" war das damalige Markenzeichen, dem sich die Band bis heute treu geblieben ist.

After the Dead Boys, Bators embarked on a musical journey that saw him touch upon power pop during a brief solo career. Although included in our past release "I Wanna Be a Dead Boy" (1992), as a limited edition 7" boxset, this is the first time the single gets an official reissue in its original format. This is an essential power pop classic! As the frontman for the Dead Boys, Stiv Bators terrorized audiences with his snotty, in-your-face punk rock style. But after the Dead Boys, Bators embarked on a musical journey that saw him touch upon power pop during a brief solo career. Stiv moved to Los Angeles and signed with Bomp! Records, Greg Shaw's label that released many seminal 70s West Coast punk and power pop groups such as the Nerves, the Weirdos, the Zeros and the Germs. The first Bators single to emerge from Bomp!, 'It's Cold Outside' (originally by Ohio legends The Choir), is a song that the Dead Boys reportedly could not figure out how to play. It was released in May 1979. The B side 'The Last Year' is a Stiv/Jeff Jones (alter ego of Frank Secich) song dedicated to the recently deceased bassist of the Sex Pistols Sid Vicious and would later appear on the LP "Disconnected" (1980).

Nach Bigband-Arrangements von Coltrane-Klassikern nimmt sich Christophe Dal Sasso nun Chick Coreas „Three Quartets“ vor. Unter Leitung des Arrangeurs nimmt sich seine vielfach ausgezeichnete Big Band das legendäre Album des Pianisten vor, das nach dem Vorbild von Streichquartetten komponiert ist. An vorderster Front stehen in den Fußstapfen von Michael Brecker drei außergewöhnliche Saxofonisten: David El-Malek, Stéphane Guillaume und Rick Margitza. Das Album in All-Star-Besetzung ist somit eine Hommage an zwei verstorbene Größen des Jazz: Corea und Brecker

When ANY GIVEN DAY took to the international metalcore stage six years ago, most of the audience had already left and the scene police were already busy sweeping out the hall. ANY GIVEN DAY, the hard-working guys from Gelsenkirchen, still put their backs into it. Musically gifted and well marketed, the band didn't quite make it to the top, but secured a place at the front of the field behind bands like KILLSWITCH ENGAGE and CALIBAN. This status is further cemented with "Overpower". And now this convincing Overpower is finally being re-released on vinyl.

The Midnight Hour Live At Linear Labs was recorded on February 22nd, 2019. Adrian Younge and Ali Shaheed Muhammad performed The Midnight Hour in front of a live audience at Linear Labs studio in Los Angeles. This was a direct-to-analog tape recording that 200 very lucky fans were a part of. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

Jonah Matranga has been making music for over 30 years. A prolific artist, he has become an enduring institution in the scene with a devoted fan base, rich lineage, and varied music career. Jonah has often straddled the line between the underground and mainstream. He’s worked with indie labels like Jade Tree and majors such as Atlantic, having fronted the bands FAR, NEW END ORIGINAL, and GRATITUDE. His music has influenced bands from Deftones to Blink-182, and he was there for emo and post-hardcore giants in their earliest beginnings–taking bands such as Thursday and Dashboard Confessional on tour. Simply put, the scene cannot be separated from Jonah’s art. Jonah has always written from the heart and performed in an intimate way that few others have accomplished. From basements to massive festivals, he brings the same energy to them all: raw honesty and an ability to make every show unique and personal. This is most apparent in Jonah’s solo and collaborative project ONELINEDRAWING. Jonah’s solo performance has always been about connecting with fans in an intimate setting, where they often perform with only a guitar and R2D2 sidekick. Sketchbook is the latest release from ONELINEDRAWING, featuring a collection of songs from Jonah’s early solo years, 1999 - 2001, completely remastered for vinyl. The album features originals and renditions of the likes of 7 Seconds and Jawbox, as well as the Sensefield split honoring the late Jon Bunch (Sense Field / Further Seems Forever). The LP also includes liner notes and zine by Norman Brannon (Texas is the Reason / New End Original). Sketchbook exists as both a time capsule and thank you letter to fans and music itself–a combination of the period in which Jonah first embarked on his solo journey and a celebration of the vitality that music and community not only affords him but all of us. Available in the EU/UK from Thirty Something Records and in the US from Iodine Recordings. Genre: Alternative / Emo

Warm Exit is a post-punk quartet hailing from Brussels, Belgium. Their violently frontal music is an explosive blend of sonic intensity that sets them apart as one of the country's most electrifying and raucous acts. Drawing inspiration from Krautrock, Punk, and Noise, their relentless rhythmic prowess is a testament to their diverse influences. Channelling the spirit of iconic 1970s bands like Wire, Rema Rema, and Nine Inch Nails, Warm Exit ventures into the shadowy realm of post-punk with their latest EP. Here, they seamlessly oscillate between fast and slow tempos, high and low energy levels, and vocals that span from tense whispers to unbridled screams. This journey takes the listener through a landscape of discordant riffs, haunting groans, evocative spoken word passages, and industrial undertones. Over the past three years, Warm Exit has cultivated a devoted following both locally and internationally, thanks to their electrifying live performances that leave audiences in awe. Carrying the reputation of a striking live band, they are eager to storm the stage at any and every given opportunity

His list of collaborators is a who's- who of adventurous improvised music. Recently he's extended into an actual new territory, moving to Lisbon, Portugal in 2021. This new record Beast captures him playing in front of a live audience with a new multi-generational ensemble of musicians from the fertile European improv scene. Rhythm section duties are handled by the Portuguese team of Ze Almeida on bass and drummer Joao Lencastre.

Joining the band on piano is the German musical polymath Samuel Gapp, so that this recording marks the first time in John's prodigious and storied career that he has recorded as a leader with the classic piano quartet line-up. The album presents four extended improvisational settings, with half of these drawing upon John's compositional ideas as inspiration for exploring unknown territory, manipulating timbre and density as well as pitch and rhythm. "My compositions are used as frameworks, with the caveat that they are only to be used to provide cohesion when we sense the need. Otherwise, everything's wide open."

This album presents the next instalment in the journey of one of the music's greatest questing musical innovators, exploring all the possibilities opening up with a new set of collaborators in a new country.

Son Mieux is a collective formed around Dutch singer, songwriter & producer Camiel Meiresonne. Once the keyboard player in Soul Sister Dance Revolution and in his young years frontman of All Missing Pieces. After playing in bands since he was eleven years old, he is now a grown young man, ready to invite the world into his own. Son Mieux writes his songs in the after hours, which make his songs both intimate & alive. By combining folk, indie and electronic music, he manages to create a unique sound and to process the expressions of his personality in his music.

The past two years have been an accumulation of highlights for Son Mieux. Single 'Even' became 3FM Megahit, debut EP 'Vice Versa' (2016) was streamed more than 6 million times and the song 'Easy' was used under major advertising campaigns from ING, McDonalds and Deezer. The band toured the country with sold-out club shows, festivals such as Zwarte Cross and Where The Wild Things Are.

In 2017 and 2018 they took their time to write the debut album. With singles 'Hiding', 'Everyday' and 'Old Love', the debut album Faire de Son Mieux makes a more mature and fuller sound. Together with producer Thijs van der Klugt (Douwe Bob, Sue the Night), a deepening was sought without losing the characteristic Son Mieux sound.

Faire de Son Mieux is available as a limited first pressing of 500 individually numbered copies on white vinyl. The package includes 5 exclusive inserts with song lyrics and photos.

Warehouse Find!

With Manuel Tur's Es Cub LP just out and winning high praise from all corners of the electronic music press we present you DJ's and vinyl aficionados with the second part of the two separate 12's highlighting Manuel's brilliant third album. As RA put in their review - 'This is among the most seductive collection of house tracks so far this year.'

In 2012 Manuel spent a year living in Ibiza, the birthplace of his father and somewhere he has always felt a strong connection with despite never having lived there. This period became something of a sabbatical, a year of orientation both privately and musically and despite managing to visit not one single club in his
entire time there the esoteric and cabalistic nature of the island clearly became a big influence.
Here in Part 2 things get off to a suitably raw and bumpy ride with El Soplo where a depth and certain majestic beauty are created from the simple, stripped back, rolling beats and flowing pads. Flux takes things in a more minimal direction with echoing percussion hits and plucked synth line giving a sense of space, the driving, the single note bass reminding us of the more techno side of say Ame or Baikal. Flipping over we have Basilia which picks up the tempo and pushes a single reverberating vocal hit to the front of the mix before we are introduced to the glassy chiming arpeggiations that have become Manuel's signature sound for this LP. Finally, El Dub goes for a subaquatic vibe with a slow pace and dubby FX allowing us to get absorbed in the foggy haze Manuel creates with his thoughtfully conceived
minimalism and minute attention to detail. Expect to be hearing much more from Manuel in the coming months. He has become
in demand for his mixing skills, working regularly with Andre Hommen for Objektivity, Shit Robot for DFA and Marcus Worgull for Innervisions.

A 2LP edition on coloured vinyl of the original album remastered, housed in the newly updated Hopes and Fears 20 artwork, plus second disc of B sides and rarities.

"Mercury Studios announces the May 10, 2024 release of Back to Front– Live in London from Peter Gabriel on 4K Ultra High Definition Blu-ray.
Back to Front – Live in London captures the complete live performance of the So album from start to finish. This spectacular live concert, filmed at London’s O2 over 2 nights in October 2013, using the latest Ultra High Definition 4K technology, captures Peter Gabriel’s celebration of the 25th anniversary of his landmark album So. "

Limitierte Jubiläumsauflage der 2014er Xiu Xiu-LP "Unclouded Sky" auf weiss-silberfarbigem Vinyl. Das von Shahzad Ismaily in Sigur Rós' Studio auf Island produzierte Album enthält neun mit einer 1953er Silvertone-Gitarre aufgenommenen Interpretationen amerikanischer und karibischer Spirituals, die ursprünglich zwischen 1850-1920 komponiert wurden, und zusätzlich mit Field Recordings versehen sind, die Xiu Xiu-Frontmann Jamie Stewart im Dschungel von Guyana machte.

Lloyd Banks is gearing up for the release of The Course Of The Inevitable, his first studio album in over a decade. Having previously set the stage with a few cinematic teaser trailers and the album cover, Banks has now come forward to confirm the official release date for the upcoming project, as well as the tracklist and guest appearances to be expected.

For the most part, Banks will be flying solo on COTI, with only five of the eighteen tracks including featured artists. On that front, we're looking at appearances from Roc Marci, Benny The Butcher, Styles P, Sy Ari Da Kid, and Vado. Other than that, however, the stage is largely set for the Punchline King, who will likely have much to say on his fourth studio album.

The female-led discodelic soul band Say She She, named as a silent nod to NileRodgers (C'est chi-chi!: It's Chic!"), release their sophomore album `Silver' on theheels of an epic break-out year that grows brighter by the day. The three strong voices of Piya Malik (El Michels Affair staple feature, and formerbacking singer for Chicano Batman), Sabrina Mileo Cunningham and Nya GazelleBrown front the band. This harmonizing trio was formed in a classic New York taleof friends that met by following the music: the downtown dancefloors, through theLower East Side floorboards and up to the rooftops of Harlem. `Silver' was entirely written and recorded live to tape at Killion Sound studio inNorth Hollywood earlier this year and produced by Sergio Rios (of Orgone). Whilethese analog recording techniques help root Say She She's sound in a bedrock oftonal warmth that only tape can achieve, it is also their process of cutting the trackin the moment and capturing the magic of communal creativity that has seen theirsound described as "a glorious overload of joyful elation and spiritualelevation" (MOJO) and "infused with the wonky post-disco spirit of early'80s NYC" (The Guardian). Silver, the element, is known as the metal of self-confidence and the mirror of thesoul. With that, the 16-song double-LP projects not only their growth in writingwith confidence, but also reflects a deeper exploration into their punk-chic, femme-forward sensibility. Ultimately, `Silver' oozes with quirk and adventure and embraces themultifaceted nature of what it means to be a modern femme. The She She'sfully embrace their role as beauticians, actively reminding people of the inherentbeauty in the world. They skillfully employ double entendres and humor toencourage open dialogue and fearlessly address important matters that demandattention.

Combining elements of post-rock, trip-hop, and industrial music, HAAL have quickly become cult favourites in the UK live scene. Their psychotropic blend of samples, DIY pedals, and monolithic instrumentation, has seen the band play and tour alongside the likes of Kyoto Kyoto, WEB, Deliluh, Treeboy & Arc, Katy J Pearson, and Gurriers, as well as appearing at festivals such as ArcTanGent, Dot To Dot and more. Coming off the heels of their recent singles “Janus” and “Judy” (and subsequent remixes by Water From My Eyes and Crimewave), the new EP “Back To Shilmarine” arrives as a blistering snapshot of the band’s protean dynamism.

The band celebrate their late-90s / early-00s influences in a caustic yet melodic blend of tracks that nod as much to the output of labels such as Dischord, Touch & Go, and Nothing Records, as they do their contemporaries in the UK scene such as SCALER, Famous, deathcrash, and LICE. The EP sees them bring all these touchstones together to create a unique and uninhibited maelstrom of sound that spans everything from intricate math-inflected guitar lines and pensive vocals to propulsive drumming, totemic riffing, and warped synths.

Arguably some of HAAL’s heaviest material to date, “Platform 1, 18:19” offers the first look into this new material melding motorik rhythms and hypnotic riffs with sudden explosions of noise and power. However, as ever with HAAL, there is more than meets the eye – the track also features samples completely abstracted from their sources, for instance, the drone that begins the song is taken from a video of frontman Alfie Hay and his friends beating Bop It.

Elsewhere on the EP, the lyrics explore themes of cosmic existentialism, absurdism, meaning, transhumanism, inner reflection, science, history, and general philosophy. “All the lyrics are musings or verses that I wrote at very different times in my life” says Hay. “I then had to fit them around the music, despite being written at wildly different periods.” The record was once again recorded with long-time collaborator Alfie Tyson Brown (Katy J Pearson, LICE, Lazarus Kane) at The Louisiana in Bristol. The band have a tight knit collaborative circle around them, this is particularly notable around the band’s imagery

Arriving as the third album on Supreems ‘Sweet Sun’ label – an imprint gathering a reputation for future-facing, storytelling electronic music – Sloucho's 'NPC' explores the duality of his main character and non-playable lives. With a strong Irish artistic presence featuring Rory Sweeney, EMBY, Curtisy and more, Sloucho navigates through Cloudcore-inspired broken beats, bass-driven percussion, alternative dreamscapes and wubby fuck-steps on his most complete release to date, laying the foundation for an origin-story in the process.

Garnering support from Surusinghe, Roza Terenzi, Two Shell and more; some of the tracks on NPC have already been heard in clubs around the world - from Antwerp to London and Mumbai to Paris. ‘Mind Traveller’ offers an ambient introduction to ‘Athrú’, Sloucho’s home world, as the artist's pitched vocals act as the listeners guide into the island's core. ‘Mutant’ features experimental electronic artist Rhoshi on a track that follows the kaleidoscopic sonic-themes of Sloucho’s previous Cloudcore releases ‘Slow Feet’ and ‘Silver Veil’, before the Rory Sweeney-featuring ‘Come Around’ ignites the dance with its dutty screw-face two-step, balanced by moments of melodic contemplation before evolving into a techno-dancehall hybrid.

‘Brand New’ stays on the steppy aesthetic, and brings MCs EMBY and Zack Oke into the frame with a 3D Meta-human video created in collaboration with respected, exhibiting digital artist Aisling Phelan. Using a motion capture suit, they captured EMBY and Zack’s performance and imported it into Unreal Engine, using different environments scanned from around the Greek Islands as the backdrop. The result is mind-blowing; a complete digital realm, shot like a real-life rap video as EMBY and Zack spit bars across an elasticated garage riddim. Full video is on YouTube.

‘Super Maramu 2000’ is a cut of alien-club beamed directly from ‘Eile’, the afterlife of Sloucho’s Neolithic ancestors. A waltzer-ride through Latin-bass and techno with an oxymoronic blend of maximalist and minimalist futurism, it’s as silly as it is serious, before the stuttering, juke-influence of ‘Make It Work’ brings the album’s rapid first half (and a bit) to a close.

Sloucho seamlessly weaves from front left of the club to dark, fume-filled rooms on ‘Two Thousands’ (featuring EMBY and Curtisy), ‘Rocks’ (featuring Zack Oke, who sounds remarkably like experimental spoken-word artist Coby Sey here, and Chilean artist Vatican Jail) and ‘Lights On’ (featuring Yamagōchi), Sloucho explores a previously unseen side to his sound, meandering through alternative trap and hip-hop laden beats that are both dreamy and nightmarish, bringing NPC to its starry-skied climax.

Parallelle & Nicolas Masseyeff return to Crosstown Rebels to deliver the excellent ‘Surrender’, backed by a remix from Axel Boman. Returning to the iconic imprint following the trio’s stand-out ‘Renegade’ EP in 2023, the new collaborative release, set for release on 10th May 2024, welcomes two hypnotic cuts alongside a slick rework from the Studio Barnhus co-founder.

Three talents with a long-standing and innate musical connection stretching back years, Dutch brother duo Parallelle and French DJ/producer Nicolas Masseyef have been connecting and collaborating to shape a series of lauded projects released via renowned imprints such as DGTL, Systematic, and Masseyef’s own Diversions Music. Reuniting for a second outing on Damian Lazarus’ Crosstown
Rebels imprint, following the success of their 2023 debut with the heavily championed ‘Renegade’, the trio return in style with two fresh, original productions backed by an ever-stylish remix from Studio Barnhus co-founder Axel Boman, who returns to deliver his second remix on the label following his debut remixing Dinky in 2016.

The EP’s title track ‘Surrender’ is a rumbling and impactful percussive journey through the darker territories of the night, with skittering synths and echoed vocal interjections adding glimpses of brightness to the otherwise murky sound. Meanwhile, ‘She Says’ keeps the playful vocal elements front and centre, introducing warping melodies and dub-tinged textures. Providing his flip on the latter, Boman’s take on ‘She Says’ is classy and engaging from the off, stripping the track back to expose a raw yet polished interpretation while drawing on hazy pads, eerie tones and sweeping atmospherics for a wonky and trippy excursion.