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Repress of the sold out Record Store Day release, this time on a different colour. Black Spiders – Those trusted and true sons of the north are back. “We knew the new album had to be special. We’ve been away for a while. The first album was a straight shot, the second on the rocks, with this new one we had to kick down the brewery doors!” Pete Spiby. Back in June of 2017, Sheffield rock beasts Black Spiders waved goodbye to an army of loyal fans with some sonically charged shows before retreating into the shadows. And then, in November of last year, with the world in the grips of the Coronavirus pandemic and after a long year of very little fun from out of the silhouettes they returned with ‘Fly In The Soup’, the first new Black Spiders music in 6 years. Exactly the feel-good shot in the arm the world needed, while we await that other vaccine. The seeds of the Black Spider return were actually planted last summer, when singer and guitarist Pete Spiby began taking to guitarist Ozzy Lister to start writing new material and before they knew it, they had amassed the best part of 40 songs in a very short period of time which they whittled down. And then the pandemic hit. “It’s certainly been a strange process, in unfamiliar territory,” explains Pete. “We started to look at how we could do it given the restrictions and not only that, but we had to replace our original drummer too. For us and probably most other bands, we would usually take a riff or song idea to a rehearsal and thrash it out ‘till we either had something or it ended up in the song graveyard! This time around we couldn’t do that, so myself, Ozzy and on occasion Adam Irwin (bass player) started to send ideas back and forth until we had something to work with in GarageBand. We got to a point where we had enough song ideas with basic structure to go into a studio. It was at this point when we had to look for a new drummer.” With former drummer ‘Tiger’ Si Atkinson unavailable to play, with a week or two of grooming, the band took a chance on Planet Rock DJ Wyatt Wendel to occupy the drum stool. “I've never joined or worked with a band in this way EVER,” laughs Wyatt. “2020 certainly made it surreal. “A Pete/Ozzy writing session at the beginning of the year had produced some promising results, but it felt like barriers were popping up everywhere,” explains bassist Adam Irwin. “We started talking about how we could use technology such as GarageBand to help, and slowly but surely the song writing gathered pace. It was time to hook up with our old producer Matt Elliss and try these new songs out in the studio. “Heading into the studio to record songs we’d written but never played together, with a drummer that we’d never met, is one of the stranger experiences I’ve had while being in a band. Thankfully, Wyatt has turned out to be an excellent addition, who despite his faults (loud, southern) has fit right into the band dynamic. Covid has made life really tough for so many of us in our industry. And yet, this new way of song writing has been liberating, this is the most consistent and prolific we’ve ever been, and I am immensely proud of this album.” Against all of the odds, Black Spiders have crafted an album that features 13 tracks of high-energy, feel-good rock n’roll contrasted by demonic doom that despite the disjointed, isolated way it was recorded. It sounds like a band, firing on all cylinders. “We had to dig down deep to pull out some gems and what would we want from Black Spiders,” questions Pete. War, vengeance, mental health, death, conservation & climate change, where are we from? Relationships, friendships, our flaws. Where are we going? Alien life and Mother Earth - some of which made the record.” Kicking off with the aforementioned ‘Fly In The Soup’ single, this 3rd ST long-player wastes no time in grabbing you by the scruff of the neck and dragging you through an album where good times, hooks and riffs are not in short supply, but the doom-drenched likes of ‘Wizard Shall Not Kill Wizard’ and the psychedelic groove of album closer ‘Crooked Black Wings’ give us an album of many moods and dynamics and a reason to be cheerful in 2021. And why does the album have no title? “It wasn’t hard picking a title for the album, as we decided that the focus should be on the band, not the album title, so we decided not to have one. Let the music do the talking....

Place of longing Paris - with the cellist Gautier Capuçon "Gautier Capuçon is like a diamond in a ring and sparkles on its setting", with enthusiasm the New York Times resorted to figurative comparisons. With such effusive praise, it is no wonder that the famous cellist's albums are also absolute bestsellers.

Intuition, Emotions and Sensations are now followed by his next album with a ravishing program: Destination Paris is dedicated to atmospheric evergreens and ranges from popular film music to French chansons and classical works.

The latest album release by acclaimed Norwegian band Erlend Apneseth Trio is made in collaboration with renowned experimental composer and vocalist Maja Ratkje. Their impromptu concert together in 2022 was a glorious kick-off for a five-day festival and was luckily put on tape. After reworking and reimagining the recorded material with their steady collaborator Jorgen Træen, the result is a refreshing take on improvisations-turned-compositions. Featuring innovative soundscapes with archival material and an engaging transitory state. Listening to the album is akin to being on a voyage of discovery, in and out of the dream state. From the very beginning, the listener is met by ancient voices on tape, surrounded by distorted and dispersed sounds. Like stars on a moonless night, the sounds fall in and out of perceptibility, most twinkling, some falling. You suddenly wake up on a speeding train. As it enters a tunnel, ghostly voices sing a lullaby. The music gradually unfolds from mesmerizing melancholia to a ritualistic blowout. The music always takes the route of the unexpected and reaches momentums which shows why this is one of Norway's most unique constellations. Orbiting sounds gather around and assemble themselves into scenes, forming uncanny rooms collectively dreamed up by the artists. The album's first track Tre Vegar follows an enthralling pathway layered with field recordings and intensified by noise, suddenly plunging into a delightful stream of chords fleeting in mid-air. The variety of sounds that make up this glorious and aptly named 'Collage' is astounding. Elemental sounds range from the howling wind and soft-bright ringing of sheep-bells to the timeless trickling of a small stream of water. Strings of many timbres soar over animated croaks and quacks, assembling into a swampy symphony. The well-balanced diversity of acoustic and electric sounds has become the band's trademark. It is ever-present, complementing and creating new improvisatory trails to follow. Erlend Apneseth: Hardanger fiddle Stephan Meidell: baritone acoustic guitar, live sampling, modular synth Oyvind Hegg-Lunde: acoustic & electronic drums, percussion, timpani Maja S. K. Ratkje: voice, electronics

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

»What is Dance?« contains two pieces originally conceived in 2017 for a performance/sound installation of the same name at Meinblau Projektraum (Berlin), as part of the series singuhr_projekte. Drawing inspiration from the works of American sound artist Joe Jones and his »Music Machines«, Robert Lippok (Ornament und Verbrechen, To Rococo Rot) arranged various sound objects (pieces of wood, cymbals, rotating plastic film), that were played mechanically. The sound piece—designed for a 4-channel system and condensed into a loop, that clocked in at around 20 minute—is his interpretation of three dances from the opera »The Fairy Queen« by Baroque composer Henry Purcell.

From this source material, Robert Lippok has now extracted and rearranged two pieces for »What is Dance?.« The result is music of its own right: Dense, but permeable drones are central, but complemented by harmoniously matching and gently pulsating sounds.

Long regarded as one of the OG Heavyweights of the SBDM scene, KRAANIUM are the epitome of what Slamming Brutal Death Metal is supposed to be. Abhorrent lyrics, disgusting vocals and brutal cacophony... Coming out of Norway, but with members from across Europe, KRAANIUM mix a putrid blend of acid gargling gutterals, concrete heavy slams and machine gun blastbeats into what can only be described as one of the heaviest bands Europe has to offer. 'Scriptures of Vicennial Defilement' bludgeons the listener in the most barbaric way possible and does not let up for a second. A future genre classic.

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

During the peak of Australia's post-punk scene, Melbourne's The Wreckery captivated with their darkly atmospheric rock, combining swamp blues, noir-jazz, and deadpan rock. Fast forward 35 years, and "Fake is Forever" resurrects The Wreckery's signature sound, featuring Charles Todd's baritone sax, Hugo Race's poignant lyrics, and Clayton-Jones' angular guitars. With Nick Barker and Frank Trobbiani providing a solid rhythm, this iconic band delivers an album that ranges from sarcastic and provocative tracks like "Smack Me Down" to romantic melodrama in "The Devil in You," all with a quieter yet equally menacing and intoxicating presence compared to their '80s brashness.

With a familiar 1, 2, 3…Elliott BROOD count in a new album cycle, Town & Country, that explores the people and places that shape our lives, wherever we call home. On part one, Town, Elliott BROOD rumble and rock over a map of the towns and cities that populate their experiences and imaginations. With their brand of nitty gritty city folk mixed with retro nods, be it classic country or 60s surf, Elliott BROOD take us on a highly entertaining trip. Who better to write an ode to Windsor, ON (“Rose City”) than the band that has become the city’s unofficial ambassadors. Over bridges and into barrooms, lose your way to find yourself in Elliott BROOD’s "Town".

‘Restless Thoughts’, the full-length debut from Zooey Celeste, was produced in Brooklyn by Nick Hakim. Centred on Zooey’s hypnotic baritone vocals, set against a backdrop of sparse drum machine beats and droney guitar tones, the album drifts between avant-punk, chamber-pop and lo-fi psychedelia, drawing the listener into a sustained dream state. Colombian-Canadian singer songwriter Tei Shi (aka Valerie Teicher Barbosa) joins Zooey on ‘Big Trouble’ for a sublime piece of surrealist dancepop. LP pressed on turquoise vinyl.

Österreichs Crossover-Legenden KONTRUST melden sich zurück!

Die österreichischen Crossover-Legenden KONTRUST melden sich nach neun langen Jahren endlich mit ihrem mit Spannung erwarteten, neuen Studioalbum zurück. madworld erscheint am 3. November 2023 via Napalm Records. Auf dem Nachfolger des 2014 veröffentlichten Explositive stellen KONTRUST die beiden Neuzugänge, Sängerin Julia Ivanova und Schlagzeuger Joey Sebald, zum ersten Mal auf Platte vor.

Beide präsentierten bereits 2022 ihr energiegeladenes Live-Potenzial auf den Hauptbühnen einiger der größten europäischen Festivals - wie dem Graspop Metal Meeting, Hellfest Open Air, Barcelona Rockfest oder Resurrection Fest. Sängerin Julia hat sich zudem bereits durch ihren Auftritt bei der ukrainischen TV-Show ”X-Factor” einen Namen gemacht und zeigt jetzt ihr beeindruckendes Talent auf den insgesamt 11 Tracks der neuen Scheibe.

KONTRUST gehören zweifelsohne zu den ausgefallensten und aufregendsten Acts der Szene. Die Band begeistert Fans und Kritiker gleichermaßen durch ein unnachahmliches Gespür, verschiedene Genres wie Reggae, Pop und Dance mit schweren Hardrock-Riffs zu fusionieren. Gepaart mit ihrer ganz eigenen Art, die Wurzeln ihrer Heimat klanglich und visuell zu repräsentieren, liefern KONTRUST ein einzigartiges aufregendes Gesamtpaket. Mit ihrem neuen Album madworld beweisen KONTRUST, dass sie voller Überraschungen stecken und bereit sind, alles bisher Erreichte zu toppen!

VOCES8, das international gefeierte britische Vokalensemble, präsentiert auf seinem neuen Album ”A Choral Christmas” ein fröhliches musikalisches Weihnachtsspektakel voller funkelnder, filmischer Neuarrangements beliebter Weihnachtslieder des US Komponisten Taylor Scott Davis. Das Album enthält mehrere Weltersteinspielungen brandneuer Werke und Bearbeitungen, darunter das Herzstück des Albums, ein bedeutendes neues Werk für Chor und Orchester, Taylor Scott Davis’ umwerfende Vertonung des Magnificat. Zu hören ist außerdem das ruhige und intime neue A cappella-Lied „The Sleeping Child“ des britischen Komponisten Bob Chilcott, das speziell für VOCES8 geschrieben wurde. ”A Choral Christmas” ist die bisher umfangreichste Aufnahme von VOCES8 - mit dem VOCES8 Foundation Choir und dem Orchester zum ersten Mal, mit Instrumentalsolisten und unter der Leitung des VOCES8 Mitbegründers und Countertenors Barnaby Smith.

Dreamers have dreamt for as long as domes have fallen, bobbing musical swells from Stephen Foster to the Everlys. Now here comes that beautiful dreamer JOSEPHINE FOSTER and, sugarpie, she's not the same. She has donned her magenta vestiments, dreaming back, with mossy verses that haunt like a name never called. It's not just Jo and her shadow, though, this time around-she's got a gaggle of Nashville cats on hand to coax spidery cathedrals from these campfire jams. Folks will want to call this her "Harvest" - with its harp and pedal steel, its double bass and cascading piano. And it's true, "I'm a Dreamer" beckons with a gentle hand, each note clear and crisp so that one feels each grain. Amid such delicate charms, however, lurk muses with rotting flesh, ugly ducklings and Djuna Barnes, wooden floors upon which no babies will be rocked. Wily is the heart that wanders filled with duende and desire, that rides the thigh like a parlor guitar when a strap just isn't handy. These are songs comfortably at home in salon or saloon, dreams deep enough to bury your dread - as sorrowful, as sexy, as stirring a set of songs as anybody's dreamt up in ages.

Neo Noir Swing! The modern Les Paul from the Dark Side! PO and his band catapult you right into a ball room filled with misfits and goons and smack you with 12 songs including the terrific cover version of Niagara's 80's disco hit L'amour a la plage Pierre Omer was born in London of an Indian father and a Swiss mother. He is a founder member of the legendary Swiss funeral Rock'n'Roll band The Dead Brothers (guitars and accordion). In 2009 he started several solo projects along with Robert Butler (the Shit, the Miracle Workers), Roland Bucher and Christian Aregger (Blind Butcher) in 2013 the Swing Revue was born, along with: Pierre Omer: vocals, guitar Julien Israelian: drums, Géraldine Schenkel: Fender Rhodes, Christoph Gantert: vocals, trumpet, and the one and only Lalla Morte: Sings Fakir and Dances. They played many shows and festivals such as: Binic Folk Blues Festival, Montreux Jazz Festival, Buskers Bern, Festival Les Athénéennes, Pod'Ring Biel, Vinelz, Le Cirque Electric Paris etc. This new album is recorded by the band itself in true DIY-style - Pierre already produced some Voodoo Rhythm Records (mama rosin) in the past - and was mixed in Berlin's Big Snuff Studio with Nene Baratto (movie star junkies, black lips, Heat, Jimi Tenor, King khan, Black Mass Rising. The whole album Stands out with Pierre's amazing song writing skills, the lazy laid back dark vocal and his irritating guitar playing, along with Christop Gantert's devil possessed trumpet playing. The Music of the swing era of the 30's and 40's, combined with a garage spirit and an eye for everything else make for a special album. Classic black vinyl with dlc and printed inlay, CD as gatefold wallet with 12page booklet.

Recorded between January-March 2023 across Europe (Amsterdam, Paris, Nijmegen, Utrecht, Barcelona, Madrid). CD: 2 x CD packaged in a cut out digipack with 3 insert cards to make your own customized sleeve.

3LP: 3 x 180 grams vinyl with printed innersleeves and specially packaged in a cut out sleeve so people can make their own frontcover. Limited edition colored vinyl with 3 colours per album! LP1: slightly gold, LP2: dirty pink, LP3: safari.

Recorded between January-March 2023 across Europe (Amsterdam, Paris, Nijmegen, Utrecht, Barcelona, Madrid). CD: 2 x CD packaged in a cut out digipack with 3 insert cards to make your own customized sleeve.

3LP: 3 x 180 grams vinyl with printed innersleeves and specially packaged in a cut out sleeve so people can make their own frontcover. Limited edition colored vinyl with 3 colours per album! LP1: slightly gold, LP2: dirty pink, LP3: safari.

Live at Levitation. On gold nugget colored vinyl.
Live bij Levitation. Op 'gold nugget' vinyl.

Witty and gritty lryics revived from early 80s Jamaica

Hannah White's searingly honest lyrical style and gift for adhesive melody
have had her gaining ever more momentum over the course of several
widely-praised albums
The last two were both recognised by the Americana Music Association UK, with
a nomination for her project with the Nordic Connections followed by a highly
popular win for UK Song of the Year in January 2023 with the moving, personal
Car Crash, from the About Time album. But Sweet Revolution is anything but a
push-button re-run of those achievements. With production by frequent live and
studio collaborator Michele Stodart of the Magic Numbers, these are songs that
take White into exhilaratingly new territory. They have the cohesive, multi-layered
excitement of a modern- day Fleetwood Mac, driven by earworm tunes and her
characteristically perceptive, soul-baring imagery.

“Azazel” is the second vinyl release of this year and the EP debut from Priorato (MX), with some interesting and outstanding remixes by Colossio, Ludviq, and Chinosynth. This vinyl release will offer a diverse range of remixes, each bringing its own interpretation and style to the original track "Azazel".

A1. Led by Rubén Torres, a DJ and producer from Ciudad Juárez, Chihuahua, focusing on indie dance and techno, the original track for "Azazel" is characterized by a solid bass sequence, hypnotic vocals, and a blend of electronic and organic elements.

The song creates an enigmatic and immersive atmosphere, gradually building a powerful and addictive groove, it offers a musical experience that transports listeners to a trance-like state, inducing feelings of euphoria and escapism.

A2. For the first remix we have the honor to have again on board Colossio, he’s also known as one of Mexico's most talented producers, with previous releases on labels like Duro, Calypso, and Exit Strategy. His remix of "Azazel" is expected to bring a mix of high energy and darkness to the track, showcasing his signature style.

B1. Originally from Guadalajara, Mexico but now based in Barcelona, Spain, Head honcho Ludviq, delivers a remix that promises to be energetic, groovy and psychedelic, incorporating unconventional percussions and sounds recorded from the city chaos and nature calmness environments.

B2. Based in Culiacán, Mexico, Chinosynth's remix aims to infuse a human touch into the track by incorporating analog sounds from studio instruments such as guitars, bass, and synths, while maintaining a dance floor-oriented vibe.

Formed in 1999 by bassist Jim Barr and drummer Clive Deamer, best known as the rhythm section of seminal act Portishead, award-winning Bristolian jazz-rock disruptors Get The Blessing present their seventh studio album 'Pallet' Like most artists around the world, the pandemic forced the ensemble to rethink their creative processes. Born from a series of improvisations between Barr, Pete Judge on trumpet and Jake McMurchie on saxophone, the trio built up a rough portfolio of recordings which they then sent to Deamer, who added his drum parts at home in Oxfordshire. The result is nine minimalist compositions driven by groove, texture, electronics, and spontaneity. Built around the hypnotic loops that have become synonymous with their sound, 'Pallet' is an exploration of the nexus of improvisation and modern production. Grounded by thick, punchy bass lines and playful drum grooves, the record creates deep sonic spaces through the use of dizzying delays, squelching filtered loops and trails. The album's title owes much to the obtuse punning jazz musicians have enjoyed since the '50s; the song titles conjure up an imaginary colour chart with which the listener can fill in the paint-by-numbers image of a wooden pallet on the cover art

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Vladislav Delay presents the fourth EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

A decade after the international boom of the Iberian Hardcore scene and its subsequent decline, some members of the bands ORDEN MUNDIAL and BARCELONA, scattered around Europe, got together to form LAME, with MORREADORAS' bassist on vocal duties. These 7 songs were written in Mallorca during 4 days and recorded in pieces between Mallorca and Berlin shortly after. An instantaneous and fleeting project, quick and concise, with no time for regrets. A journey through the generalised madness that affects us from far and near; a mixture of reflections and blind head-butts against the padded walls of understanding. The loss of control, the loss of time, the loss of oneself and the loss of dear departed all meet at once. Resignation is death indeed. What does it sound like? Unabashed hardcore with a broad spectrum of current and classic influences. Serrated guitar riffs, mechanical deep bass lines and hypnotic drumming backing an extremely sharp and vile vocal delivery. It can remind you at times of CHAIN REACTION and GRB, of RUDIMENTARY PENI and NOG WATT. All passed through a Mediterranean filter

Multi-instrumentalist Oscar Browne's roots lie in the foundational intricacy of golden-age songwriting A founding member of the London based folk- collective Broadside Hacks (amongst other banded- ventures), Oscar Browne's debut solo endeavour 'Never Quite Right' was released in 2022 to critical acclaim; an established inauguration which saw him eventually signing to So Young Records in the spring of 2023. Following a six-month spree in which Browne found himself tirelessly writing in order to process the changes taking place around him, the five songs which would eventually go on to form his debut EP 'If Only', are a deep- dive into the heart and soul of an artist who masterfully captures all the joys and heartaches of life in your early-twenties. Recorded over one week at Bristol's The Playpen, home to producer Ali Chant (Aldous Harding, Katy J Pearson), 'If Only' was all-in-all, a long time coming. Selfaccustomed to doubling things up and hiding imperfections, it was through the art of collaboration, and Ali's teachings in the power of emotional transparency that the pairing of Browne and Chant really shined. "Ali was a massive part in keeping the recordings minimal" notes Browne "he kept the rawness". Oscar Browne's creative- capability is a limitless array of captivating delights. These aren't simply re-interpretations of eras gone by. Browne channels as much Ben Howard or Kurt Vile as he does Nick Drake and John Martyn. Rather, it's through his ear for musical- lucidity, highlighted throughout the course of these selected songs, that enables Browne to transport his love of traditional folk and folklore, into a uniquely contemporary realm. His fearlessness in baring- all to those who'll listen creates an artistic magnitude will only keep growing with fine prowess, as Browne continues to cut his teeth as a beguiling 'one to watch'

An archival release of this head-scratching 2010 recording made by
members of the freshly disintegrated Stars Like Fleas (called "NY's most
sublime and continuously undiscovered band" by PAPER Magazine): an
amalgam of private press new age, electro-acoustic improvisation, gothadjacent 80s DIY cassette culture, Italian prog rock, and community
choirs
From 2009-2011, Family Dynamics said what they had to say and then vanished,
their members separately going on to celebrated musical careers of their own.
The project emerged from the still smoldering ashes of volatile art- music
collective Stars Like Fleas, one of the earliest and most polarizing bands to define
the early aughts North Brooklyn music scene that produced Grizzly Bear, Dirty
Projectors, Animal Collective, TV On The Radio, Liars and others who went on to
enjoy broader appeal and success. Family Dynamics performed for barely two
years before unceremoniously vanishing, without any widely available record or
document. Whatever's Clever is thrilled to (re)issue this buried treasure, selfrecorded in a cabin in Woodstock, NY, at their creative peak, and never before
issued in physical format

Dropped Balls is the debut 12” vinyl release for Galway’s Belacqua. After previous releases on Unscene Music and Wherethetimegoes, Dropped Balls sees the Galweigan channelling his inner Sound Hack and travelling back in time to early 80’s NYC for a riotous collage of off kilter sampling, propellent drums, weeping acid and a general air of barely-controlled chaos.

Gunnish kicks things off with jagged piano riffs before charging full steam ahead into the wall of a dank basement in the Meatpacking District before Davish jumps into life with its supercharged, rolling drums. The A-side then slowly but surely descends into the washes of distorted synths and booming kicks of Youngish

On the flipside Marshall Applewhite (Yo Sucka! Detroit) drowns the stuttering funk of Gunnish in his trademark sludged out techno before the 12” takes a turn to the emotive with the transcending, slo-mo acid of release closer, Tennish.

“I believe that if they ever had a singing Olympics Donald and I would get (into the) top 3, if not win some gold. If you put us all together and let us have a singoff, we could hold our own with anybody from any era. That maybe sounds a little prideful, but that’s what I believe.” Phil Everly’s words to author and music historian Joe Smith will ring very true to anyone who listens to this compilation. All the tracks on it are half a century old, yet sound as fresh as ever. The fact is, that the harmonies Don and Phil brought to the charts were widely influential on a generation of pop performers on both sides of the Atlantic. For most of their recordings, Don sang the baritone and Phil the higher tenor part. Paul Simon and Art Garfunkel were just one of the acts that copied the Everlys, while Bob Dylan added to the praise by saying, ‘We owe these guys everything. They started it all.’

There will always be another peak to summit and boundary to break. END stretch their second full-length offering, The Sin of Human Frailty, beyond its very limits with a fierce commitment to unwavering unpredictability and uncompromising intensity. The New Jersey quintet counts producer and guitarist Will Putney, vocalist Brendan Murphy, guitarist Gregory Thomas, bassist Jay Pepito, and drummer Matt Guglielmo among its ranks. These musicians deliver a concentrated barrage like no other on, The Sin of Human Frailty Closed Casket Activities.

END initially materialized during 2017. The group’s From the Unforgiving Arms of God EP spawned the fan favorite “Necessary Death,” and lead to a signing with label Closed Casket Activities. Highlighted by “Covet Not” and “Absence,” the band bulldozed the senses with their 2020 full-length debut, Splinters From an Ever-Changing Face. Brooklyn Vegan hailed “Pariah” as “an absolutely filthy dose of modern metalcore,” and Kerrang went as far as to describe their Debut LP as, “catharsis fed through a distortion pedal and shaped into a dense, destructive wrecking ball” Perhaps, Invisible Oranges put it best, “These gentlemen have come together to summon a fury seldom heard on any album from the realms of hardcore, grind, and black metal…”

Reissue of MORTICIAN’s classic redefining release House By The Cemetery!

«YENTL: Deluxe 40th Anniversary Edition» feiert den 40. Jahrestag der Veröffentlichung des Films und des Soundtracks Yentl. Disc 1 enthält den Original-Soundtrack zu Yentl, und Disc
2 enthält 15 Tracks, die Barbra als Demos in ihrem Wohnzimmer auf einem Stereo-Kassettendeck aufnahm, um den Film zu drehen, wobei Barbra jeden Track kommentiert. Bei den
Aufnahmen wird Barbra nur von Michel Legrand am Klavier begleitet

Ltd Black & White Splatter Vinyl, DL Karte. 500 Stück gepresst. Zum 10. Jahrestag der Wiederveröffentlichung von "Peace on Venus" von Bardo Pond, Philadelphias führenden Vertretern des psychedelischen Rocks, auf schwarz-weißem Splatter-Vinyl. Enthält 'Kali Yuga Blues', ein wahres Ungetüm von einem Song und ein leuchtendes Beispiel für die ekstatische Intensität der Band. Die Band taucht tief in ihr Unterbewusstsein ein, um es ins Bewusstsein zu bringen, und glänzt auf ihrem 2013er Werk mit ihrer Gabe für schwere Riffs, die mit hochfliegenden Vocals und Klangschwaden verwoben sind. Bardo Pond hat die äußerlichen Merkmale einer Rockband, aber die Flüsse, die in den oneirischen Fluss der Band münden, haben ihr Quellgebiet in den Gefilden des ekstatischen Jazz, des Free Noise und der Avantgarde. Bei der Aufnahme von "Peace On Venus" wurde das Prinzip der Quintessenz angewandt, ein Prinzip, das der Arzt Paracelsus im 16: "Nichts von wahrem Wert befindet sich im Körper einer Substanz, sondern in ihrer Tugend, und dies ist das Prinzip der Quintessenz, die, sagen wir, 20 Pfund einer gegebenen Substanz in eine einzige Unze reduziert, und diese Unze übertrifft die 20 Pfund bei weitem an Potenz. Je weniger es also von einem Körper gibt, desto größer ist seine Tugend im Verhältnis. "Obviously, Bardo Pond are the greatest band in the world" Vice.

The first Latin soul collection featuring a mix of chart-topping hits and deeper cuts from the crown jewel of the mambo era Tico Records, celebrating the iconic imprint’s 75th Anniversary. The 2-LP set includes 26 tracks from trailblazers Tito Puente, Ray Barretto, Joe Cuba, Celia Cruz, Eddie Palmieri, La Lupe, Willie Bobo and more. New liner notes by DJ Dean Rudland that tell the story of the New York City label that launched the careers of some of the most revered names in Latin music.

EVERGREENS feiert Streisands 60-jähriges Jubiläum als Künstlerin bei Columbia Records. Das Album enthält 22 Songs - 1 Song von jedem Studioalbum, das sie veröffentlicht hat. Die Songs wurden von Barbra als einige ihrer Lieblingssongs während ihrer Karriere ausgewählt. Keiner dieser Titel ist auf früheren Streisand-Compilation-Alben erschienen. Die für EVERGREENS ausgewählten Lieder haben nichts mit Verkaufszahlen oder Auszeichnungen zu tun. Sie wurden von Barbra ausgewählt, um ihre emotionale Verbindung zu diesen Melodien und Texten zu veranschaulichen, da jeder von ihnen einen besonderen Platz in ihrem Herzen und in ihrer Erinnerung einnimmt.

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

Part Time Signals is the new project formed by Sock vocalist and guitarist Jacob Church. The band came together initially by taking demo ideas written by Jacob. When introduced to a live band setting they grew into the form they take on this record. Part Time Signals features the talents of Sam Barnes (bass), Gavin Jenkins (drums) and Michael Blanchfield (keys).
All songs on the album were tracked one hot day in August 2022 at Chapter Arts Centre Cardiff, followed by a few days recording additional overdubs. The album was mixed by Sam Barnes and mastered by Eddie Al-Shakarchi.

Infernal Sounds bring their digital series to life with this spicy VA compilation, snipping four of the standout tracks from their first four EP's. The VA presents tracks from all over the world, spanning from Japan to the US, back home to Bristol and bouncing to Barcelona. Karnage, 'Spirit Bomb' kicks things off by slicing and dicing you with mid-range blades and tearing you apart with the heavy trap-style low-end ruckus. Switching things up completely on the A2 is Kodama with the wonderful 'Clear Your Head', entangling you in the beautiful melodies and uplifting mainframe, before Chief Kaya spins you all the way back to '06 on 'Ma'at'. The track brings about an essence of the old-school and a premium beat that you need to feel on a soundsystem. Finally, Khanum drops you in with and takes you under with 'Bun Politician', a strong message for the times, and a forceful track at that.

The tracks on this EP have had heavy support from the likes of Truth, N-type, BunZer0, Sicaria Sound, Deep Tempo, Hamdi and many more.

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.