quête:black out ja

Die legendären King's X, bestehend aus dUg Pinnick, Ty Tabor & Jerry Gaskill, freuen sich, die Veröffentlichung ihres 13. Studioalbums 'Three Sides of One' über InsideOutMusic/Sony Music bekannt zu geben. Es ist das erste neue Album der Band seit 14 Jahren, für das sie sich mit dem Produzenten Michael Parnin (Rage Against The Machine, Mark Lanegan) zusammengetan haben, um es in seinem Blacksound Studio in Kalifornien aufzunehmen. dUg kommentiert: 'Es kommt mir vor, als wäre es eine Ewigkeit her, dass wir ein neues Album herausgebracht haben, und ich bin bereit, dass die Welt unser neuestes Werk zu hören bekommt, das hoffentlich ein bisschen von allem enthält, was man an King's X liebt. The groove is with us!" Das Album wird als Limited Deluxe Gatefold 180g Marbled 2LP + CD mit einem exklusiven, handnummerierten Druck und Poster, sowie als Ltd CD Digipak, Gatefold Standard 180g 2LP + CD und als Digitales Album erscheinen.

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

. One of the first Grunge Records ever released. Sourced from the original 1985 Master Tapes. Includes Unreleased Bonus Track. Mark Arm & Steve Turner of Mudhoney, Jeff Ament & Stone Gossard of Pearl Jam. Features Studio Master Tape Box image w/ lyrics. Released in 1985, Green River “Come On Down" was a record existing in its sonic universe out of step with its own time. Was it glam? Was it punk? Was it metal? Was it cool? We now know it was one of the building blocks of what Mark Arm would coin as "grunge" but in 1985 this record was a silent groundbreaker. It was not only the raw, sludgy, slower guitar sound that makes this band important in its place in rock history, but the members of Green River would go on to lead some of the biggest names in the genre: Mudhoney and Mother Love Bone, the latter of which also contained the roots of Pearl Jam. The record includes the iconic original cover artwork, now pressed on black vinyl, and includes a printed inner sleeve with lyrics and photo of the original master tape box, plus an unreleased rare bonus track!

Compilation of singles recorded for Glass Records. Pressed on Yellow vinyl with orange & black splatter. Includes printed inner sleeve with posters and postcards
Religious Overdose formed in 1979 and alongside the likes of PIL, Joy Division and Bauhaus helped forge the sound that became to be known as post-punk. In just 2 years their experimental songs were pushing boundaries. From the hypnotizing drum machine led debut “25 minutes” and the krautrock influenced “I said go” to the synth infused new wave of “Blow The Back Off” and their final single. The sprawling 7 minute “The Girl With The Disappearing Head” This is a celebration of the much underrated and important Religious Overdose.
Formed in Barby (near Rugby) in 1979, original vocalist left, ALEX NOVAK joined in 1980, producing three singles for GLASS RECORDS. Initially used a rhythm generator then replaced by drummer PETE BROWNJOHN. Played with WHERES LISSE / FALL / EYELESS IN GAZA / TRANCE / MYSTERY GUESTS / BAUHAUS / DANCE CHAPTER / SKI PATROL /ENGLISH SUBTITLES / ATTRITION / THEATRE OF HATE... the last gig was in Northampton 1982, recorded and released as a tape by ADVENTURES IN REALITY label and fanzine from Coventry.
The Cast
ALEX NOVAK Vox before ISAWS after TEMPEST / ATTRITION now VENUS FLY TRAP , RICHARD FORMBY Guitar after JAZZ BUTCHER / IN EMBRACE / SPECTRUM, DAVE HYNES Keyboards, ADY TILLEY Bass before WHERES LISSE, PETE BROWNJOHN Drums before ISAWS , ALARIC NEVILLE Guitar, FILIPE FIGUERA Bass

Blue Mitchell's run of albums for Blue Note are among the great jazz recordings of the era. His '70s output has often been overlooked, however Blue Mitchell remains a fantastic set featuring the stellar lineup of Black Jazz recording artist Walter Bishop, Jr. on piano and keys, the legendary Doug Sides on drums, bass extraordinaire Larry Gales and the one and only Jimmy Forrest on tenor sax. This record deserves reappraisal as a fine selection of recordings. Licensed officially from Mainstream and remastered from the original tape transfers, this is the best the record has ever sounded. Featuring new words from Doug Sides especially for this release.

CLAMM's music was already concerned with the woes of the world, but
the last two years have added extra urgency to their blown out, dystopian
punk power
New album Care is bigger, louder and darker than its predecessor. CLAMM
dodged lockdowns to record at Rolling Stock and Sound Park Studios with Nao
Anzai (NO ZU, Cash Savage, Rolling Blackouts). Nao also plays fearsome synth
on the album and has joined the band on- stage at recent shows. Saxophonist
Anna Gordon (Mangelwurzel) contributes wild free jazz skronk to a number of
tracks.
180g "Chick" Yellow Vinyl

Oli Stewart is Casbah 73. American-born, Madrid-based DJ, producer, vinyl collector and selector extraordinaire with several decades of experience under his belt.

Classic soul, funk and disco at its finest, with releases on mainstay outlets such as Glitterbox and Lovemonk, we're extremely proud to have him in the Boogie Angst record bins.

Casbah 73's Boogie Angst debut is a two-sided live band funk workout reminiscent of early 70's acts and labels such as 24 Carat Black, Black Heat and Strata East, but also connects to the current sounds of Black Jazz Chronicles, Sault and Nu Genea.

Let's Invade the Amazon is a highly grooved piece of live musical wizardry, with vocal performances to match. Beautifully extended and ongoing, the steady backbone interplay with funky electric pianos, with the occasional synth riff popping up for a breath of fresh air. And in the words of Casbah himself: "Quite possibly - no, definitely, the only soul-disco track ever to be inspired by Michael Mann's book "The New Climate War", The Clash, Sun Ra... and Dr Seuss".

On the B-side we find Pale Splash of Blue; some top shelf live Moog-, Rhodes- and Hammond featuring jazz funk. Punchy organs stab away alongside Casbah 73's signature electric piano sprinkles, bouncing around his unique rhythmic groove. All resulting in a driving pace and attractive up-tempo moment; more than worthy of that evening beach club get-together.

Casbah 73's sound is a clear amalgamation of his broad range of influences, and the two songs on this release are a definite showcase of his love for funk, soul and disco.

With some excellent remixes on their way, keep an eye out for the upcoming limited edition vinyl release.

'Casbah 73 – Let's Invade the Amazon' is out on all digital portals on May 20, 2022, via Boogie Angst

Radio Diaspora works on the concept of cultural identity, which is flexible and dynamic. This provocation is generated by referring to all African ancestry moved by the diaspora and its sonorous, vocal, polyrhythmic, and polyphonic codes - all the ancestral heritage that has spread throughout the world following expropriations, genocide, and slavery - sampling and amplifying references that become triggers of energetic approaches. A heavy core of representations and senses aims to exorcize through noise and strangeness all secular violence against people of the African diaspora. In the title song of this album, 'Negro Humor', the respected Brazilian actor Grande Otelo highlights the contradiction of the clown, which awakens joy in everyone but is a sorrowful, lonely figure, ridiculing himself and putting himself in the most embarrassing situations. Relieved, loud laughter echoes in the audience because it is not the target of ridicule. In 'Despacho', Radio Diaspora explores the dichotomy of society by introducing a speech by Brazilian lawyer Hédio Silva Júnior specialised in Afro-Brazilian religion. He questions a rule under discussion in Brazil's Congress that would prohibit the use of chickens in Candomblé and Umbanda rituals. Silva Júnior points out that everyone takes a stand to protect the rights of animals, but the same cannot be said of the defense of young black people and outlying societies. The track 'Meia-Noite' evokes a celebrated point of Umbanda, an Afro-Brazilian religious syncretic cult, permeated by free jazz and electronic atmospheres developed by the duo. The other songs on the album are divided into two parts. They feature the voices of North American icons of the black struggle for civil rights: The tracks 'A.H.M. Al-Shabazz 1 and 2', amid sonic dissonances, use extracts from speeches by the American leader Malcolm X, and in 'Muhammad Ali 1 and 2' we hear quotes from famous interviews given by the boxer and activist. Ali ironizes the questions he asked his mother as a child, why all good and positive things are associated with white. "Mother, how come is everything white? Why is Jesus white with blonde hair and blue eyes? Angels are white, the Pope, Mary, and even the angels. When we die, will we go to heaven? She said naturally we go to heaven. So, I said, what happened to all the black angels they took from the pictures." His Inquiry, however, is seen as a joke by the white audience present at the TV show, which laughs off Ali's scathing criticism. Radio Diaspora uses art as an instinctive force to reject submission to traditions and culture as taming. Music is the weapon. "The (album) sound means to exorcise racism out of our minds and make us ready to act". - Rômulo Alexis

Standout favorites of RidingEasy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done.White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a 5-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides 6 of the 10 tracks on Thunderbolts of Fuzz.The original White Lightning trio only released one 45-rpm single “Of Paupers and Poets” during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, 3 of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history.
Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly 70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.
Drummer/lead vocalist Mick Stanhope later relinquished his drum throne to take center stage as lead singer of the expanded lineup. Throughout its initial 1968-1974 run, the band had 10 different lineups, with Caplan, Woodrich and Stanhope the most consistent members — though the band points out that no one member has played in all 11 incarnations of the group. For more facts and information visit thelitter-lightning.
Album opener “Prelude to Opus IV” is a wailing rocker with blazing double-kick drum, sizzling melodic riffs and Jim Dandy howls jam packed into an epic 4 minutes that serves enough testament to the band’s greatness, nothing more need be heard or said. However, the would-be hits keep coming as the Led Zeppelin meets Black Oak Arkansas thwack of “Hideaway” and “Born Too Rich” come screaming out of the speakers. “When A Man Could Be Free” shows the band could also reign in the fury, at least a little bit, for a warm Southern rock style ballad. “Borrowed and Blue” echoes the stately poetry of Electric Ladyland-era Hendrix with a dash of The Who’s rollicking psychedelia. “1930” is, quite simply, insane. Searing twin guitars with incredible fuzz-drenched tone, a warm and buzzing bass line bounce atop drummer Bernie Pershey’s unrelenting bass drum triplets while Stanhope ravages his lungs with soulful abandon. The album closes with the aptly titled “Before My Time” a barnstorming boogie rock instrumental the proves the band vanished long before receiving their due.

BLACK VINYL REPRESS

ITS 25 YEARS Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!

From the original reissue sales notes:
“The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”


We’ve asked for some new appraisal of the Heads for the Silver Jubilee edition from good friends....

Stewart Lee February 2021
“The Halley's Comet victory orbits of historic heavy artefacts from Detroit, like The Stooges or The MC5, leave grateful onlookers aghast. But, hidden away in Bristol, The Heads are still with us now, our homegrown acid-garage godfathers, an ongoing thirty-two year old concern with a back catalogue arguably more consistent than the super-dense psyche-rock groups that inspired them. The Heads arrived fully formed and have spent three decades becoming more like themselves, a musical black hole that sucks in all surrounding matter. I love The Heads “

Phil Alexander February 2021
“The Heads make music for freaks in the know. If you were there in 1996, you’ll know just what that means…

Back then, they were gloriously out of step with the pop-cheese of the time and geezerly lumpiness of Britpop. Theirs was an altogether different take on music – a take inspired by the glorious burn-out of the ‘60s, the sonic overdrive of the ‘70s and the axis of joy created by the combination of excess volume and repetition.

We could name-check some inspirations and kindred spirits: The Stooges, Hawkwind, Floyd, Loop, Sabbath, Amon Düül II, Spacemen 3, Walking Seeds, Mudhoney, Monster Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room to jam their way through yet more mind-altering riffs and mood-altering rhythms.

Relaxing With The Heads is their first defining statement. It is also possibly their most straight-forward release, the sound of a band attempting to find structure in their playing rather than abandoning themselves to their wildest impulses. That would come later…

And yet, 25 years on, this album blasts forth like few records from that time, its slacker charm welded to super-fuzzed riffs that propel its 10 tracks ever onwards. Righteous is probably the only word for it…”

In Kooperation mit dem Künstler, Komponisten und Sounddesigner stonefromthesky (Oleksii Zinchenko) bringt Black Screen Records den Soundtrack von Undungeon auf eure Plattenspieler. Die Musik zum Action-RPG von Laughing Machines erscheint in limitierter Auflage auf Doppel-Vinyl.Alle Tracks wurden von Christian Bethge (Risk of Rain, Deadbolt, Divinity: Original Sin II, A Plague Tale) sorgfältig neu gemastert und auf 45RPM geschnitten. Der Soundtrack kommt in einem minimalistischen Gatefoldsleeve mit Artwork von Serhii Kochmar und "Glow-in-the-Dark" Spotlack."Nach 6 langen Jahren der Produktion, in denen wir auf viele harte Proben gestellt wurden, ist der Undungeon OST endlich fertiggestellt. Heruntergebrochen auf 16 Tracks, bleibt es der Idee treu, den Soundtrack als zusammenhängendes Album zu veröffentlichen. Geschnitten in 45RPM für höchste Qualität, nimmt der Soundtrack euch mit auf eine musikalische Reise durch das Multiversum und geleiteten euch in den Shift." -stonefromthesky"

One of the most rare and sought after soul lp’s from the mid 1970s, Love Is a Very Special Thing by Charles Williams receives a lush reissue from Svart Records. Originally released in Finland only, American singer and songwriter Charles Williams has remained in obscurity ever since, only known to die hard soul record collecting enthusiasts. Williams’ Love Is a Very Special Thing is an epic concept album that has only been reissued in Japan some years ago in a limited edition run and is still a hard to find, highly prized collectors item. Brilliantly crafted black funk and soul from the disco era, Williams was a highly talented soul singer and musician influenced by a wide range of styles, from soul stars Marvin Gaye, Barry White and Isaac Hayes to folk rock band Crosby, Stills & Nash. Williams’ soul music is neither easy listening nor disco, but brings to mind the best of the creative 1960s Motown artists and singer-songwriters like Joni Mitchell and Judy Collins. Love Is a Very Special Thing began raising interest among soul collectors in the 1990s, when the internet brought record collecting into a new era. Williams’ name was discovered outside Finland and the prices soon went up. It’s no wonder: Love Is a Very Special Thing is as good as the best US soul albums of the era, but soul fanatics outside Finland didn’t have a clue about it, because it was released in Finland only, and as a relatively small pressing too. This new luxury edition by Svart Records is the LP plus a replica of the rare 7” Just As Long / Funky Music (1976) that has never been reissued until now. The CD has the single as bonus tracks. Get yourself acquainted with a rare piece of Finnish funk and soul history, and discover an artist whose music deserves to shine again.

Blue Mitchell’s run of albums for Blue Note in the
1960s are considered some of the great jazz
recordings of the era. However, his early 1970s
output following his departure from the label is
often overlooked.
 ‘Blue Mitchell’ is a fantastic jazz soul set featuring
a stellar line up of Black Jazz recording artist
Walter Bishop Jr., Doug Sides, Larry Gales and the
legendary Jimmy Forrest.
 Licensed officially from Mainstream and
remastered from the original tapes, this is the best
the record has ever sounded.
 Mastered from the original analogue tape transfers
by Kevin Gray.
 12” insert featuring rare photographs and words
written especially for this release by Doug Sides.
 Printed and pressed at Pallas on 180 gram vinyl
and housed in a deluxe reverse-board jacket.

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism.
Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down.
Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

Kaum eine Hardrock-Band hat in den letzten Jahren so abgeräumt wie die Ladies von THUNDERMOTHER! Ihr Album "Heat Wave" (2020) erreichte Platz 6 der deutschen Albumcharts (und später einen beeindruckenden Chart-Wiedereinstieg (Platz 16) mit der Erweiterung "Heat Wave Deluxe"). Nicht mal die Corona-Pandemie konnte die Band komplett ausbremsen und so spielte man u.a. Konzerte vom Dach eines Feuerwehr-Trucks. THUNDERMOTHER sind für die Bühne geboren, ihre energiegeladenen Liveshows muss man gesehen haben. Mit Ecken, Kanten, Attitude und einem feinen Händchen für große Melodien spielt sich die Band Schritt für Schritt Richtung Rock-Olymp. Und dieser kann nun, mit dem am 19.08.2022 erscheinenden neuen Album "Black And Gold", eingenommen werden. Die Band um Frontfrau Guernica Mancini fackelt ein wahres Hit-Feuerwerk ab. Die erste Single "Watch Out" sendete bereits die richtige Message: Achtung, hier sind THUNDERMOTHER und "Black And Gold" ist ihr Meisterwerk!

Kaum eine Hardrock-Band hat in den letzten Jahren so abgeräumt wie die Ladies von THUNDERMOTHER! Ihr Album "Heat Wave" (2020) erreichte Platz 6 der deutschen Albumcharts (und später einen beeindruckenden Chart-Wiedereinstieg (Platz 16) mit der Erweiterung "Heat Wave Deluxe"). Nicht mal die Corona-Pandemie konnte die Band komplett ausbremsen und so spielte man u.a. Konzerte vom Dach eines Feuerwehr-Trucks. THUNDERMOTHER sind für die Bühne geboren, ihre energiegeladenen Liveshows muss man gesehen haben. Mit Ecken, Kanten, Attitude und einem feinen Händchen für große Melodien spielt sich die Band Schritt für Schritt Richtung Rock-Olymp. Und dieser kann nun, mit dem am 19.08.2022 erscheinenden neuen Album "Black And Gold", eingenommen werden. Die Band um Frontfrau Guernica Mancini fackelt ein wahres Hit-Feuerwerk ab. Die erste Single "Watch Out" sendete bereits die richtige Message: Achtung, hier sind THUNDERMOTHER und "Black And Gold" ist ihr Meisterwerk!

Kaum eine Hardrock-Band hat in den letzten Jahren so abgeräumt wie die Ladies von THUNDERMOTHER! Ihr Album "Heat Wave" (2020) erreichte Platz 6 der deutschen Albumcharts (und später einen beeindruckenden Chart-Wiedereinstieg (Platz 16) mit der Erweiterung "Heat Wave Deluxe"). Nicht mal die Corona-Pandemie konnte die Band komplett ausbremsen und so spielte man u.a. Konzerte vom Dach eines Feuerwehr-Trucks. THUNDERMOTHER sind für die Bühne geboren, ihre energiegeladenen Liveshows muss man gesehen haben. Mit Ecken, Kanten, Attitude und einem feinen Händchen für große Melodien spielt sich die Band Schritt für Schritt Richtung Rock-Olymp. Und dieser kann nun, mit dem am 19.08.2022 erscheinenden neuen Album "Black And Gold", eingenommen werden. Die Band um Frontfrau Guernica Mancini fackelt ein wahres Hit-Feuerwerk ab. Die erste Single "Watch Out" sendete bereits die richtige Message: Achtung, hier sind THUNDERMOTHER und "Black And Gold" ist ihr Meisterwerk!

2LP im Gatefold-Sleeve. 100% recyceltes & zufällig gefärbtes Re-Vinyl. "Black Screen Records, Videocult, Akapura Games und Komponist James Primate freuen sich darauf, euch erneut bei der akustischen Reise durch die seltsame "Rain World" zu begleiten. Nachdem der Soundtrack jahrelang ausverkauft war, wird er nun endlich neu aufgelegt. Dieses Mal auf 100% recyceltem & random-coloured "Re-Vinyl". Die Musik stammt von Videocult-Level-Designer und Komponist James Primate - mit Unterstützung von Lydia Esrig (die andere Hälfte des Chiptune-Duos BRIGHTMATE) und Rain World-Schöpfer Joar Jakobsson.Die Platte erscheint in einem Gatefold-Sleeve mit atemberaubenden Artwork von Allegra "Del" Northern. Zusätzlich enthalten ist ein 12" Kunstdruck mit weiteren Illustrationen von Del.

From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion. On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole. Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar. Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality! 1. SINGLE - EN On first single 'Levitation Hoax' off of Evidence of Immortality, CONAN showcases their trademark sound combined with fast-paced riffage and a pounding groove in epic doom metal grandeur, before dragging you into a safe, deep black hole. The British trio is one of the leading and most heavily touring doom metal bands of modern times, with millions of streams on Spotify alone. This further proves that their sound will live immortal! 2. SINGLE - EN Evidence of Immortality single 'Righteous Alliance' emphasizes that CONAN are the masters of their craft, while frontman Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio. Boasting sold-out international headline tours, frenetically acclaimed appearances at Hellfest, Desertfest and more, and millions of streams on Spotify alone, England’s doom metal masters strike back again on their new album. Hail Conan!

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

Repressed !

Fuzzed out and psychedelic covers of rare and classic tracks performed by San Francisco's Monophonics.
Monophonics are back with a six-song EP that fuses the complimentary and explosive soul, rock and funk influences, proving themselves to be the rightful inheritors of the Bay Area’s impressive psychedelic soul sound. Mirrors is comprised entirely of cover tunes, except that I doubt you’ve ever heard of half the deeply funky and soulful originals that inspired these soulful, tastefully produced, and timeless Monophonics treatments. “We wanted to do a couple songs that were more familiar to people and then shine some light on groups we’re big into,” lead singer, keyboardist and co-producer Kelly Finnigan explains. It takes a lot of guts to cover your favorite songs, your van jams, that song you play as a shot of inspiration to break-up a marathon studio session. “Not only are these great songs, but these are artists that we listen to and are influenced by.”

“It’s not about making records that sound old, it’s about making records that sound cool,” Kelly says. Not that he and the other five members of Monophonics mind if you confuse their albums for classic-era recordings. Even musician friends regular mistake a sweaty and greasy Monophonics original for an unheard Bar-Kays’ side, or a deep soul cover tune might pass for an original to a novice ear, except that Kelly makes sure to give credit where credit is due, which is what they do explicitly on this EP, Mirrors.

Even the familiar tunes, iconic, better said, receive a fresh treatment as instrumentals, despite their ubiquity as vocal songs. The EP opens with a ‘tip of the cap’ to The Main Ingredient’s version of “Summer Breeze” before the band unfolds a hazy, mellow-funk opus worthy of inclusion on a Bob James CTI album. The next four songs, all featuring vocals, range from the lowrider soul ballad, a cover of the The Invicibles’ “My Heart Cries” with a pleading and plaintive vocal by Nicole Smith, to the psychedelic blues stomp, “Lying,” originally by the archetypical psychedelic soul band nearly signed to Motown, Black Merda. Add in Kelly’s monster vocal take on Frankie Valli and the Four Seasons Northern Soul classic, “Beggin” (to be released as a 7” single with an instrumental version on the b-side), and the deep-funk pop-soul of Nu People’s “I’d be Nowhere Without You” with back-up vocals by Jeanine Jones and Veronica Johnson, and you have a highly-entertaining, toe-tapping, backbone-slipping, masterclass in deep funk and soul.

The final tune is the band’s singular take on the Mamas and the Papas hippie standard, “California Dreaming,” as an explicit and heartfelt tribute to their fans in Greece. The discerning music lovers of Greece fell in love with Monophonics after their 2012 hit “Bang Bang” resulting in multiple tours of the Mediterranean, where these native Californians imbibed on the fine ouzo, good vibes, and Grecian hospitality. Gifted a prized bouzouki (a traditional Greek guitar) by a local fan, Monophonics’ guitarist Ian McDonald and band infused this classic pop song with a soulful cinematic air and Mediterranean flavor, evoking a tune from an imagined Fellini film with a soundtrack by David Axelrod.

Catch the band on the road this Spring to hear some of these songs, favorites and new tunes from their forthcoming LP.

As the 1970's turned into the 1980's Reggae's beat took another turn,slowing down to allow more space for the music to breathe.
The new sound became Reggae's focus and the Roots Radics one of Jamaica's finest session/backing bands were at the forefront of this radical change.
The Roots Radics were based around the nucleus of Errol'Flabba'Holt(bass),Lincoln Valentine 'Style' Scott(drums) and Eric 'Bingi Bunny'Lamont(guitar).
Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as 'Swine and Dine','They Hold Us Down' and the great 'Kingston Twelve Tuffy'.
Before this Bunny had played for one of the other great Reggae sessions band the Channel One based Revolutionaires.
It was the demise of this legendary band due to Sly and Robbie's commitments to their own Taxi label that led to the formation of the Roots Radics.
The Radics have worked with many different producers over the years including Linval Thompson with the series of alums 'Space Invaders Destroy the World' and 'Win the World Cup'.They also worked as Gregory Isaacs backing band and were responsible for the rhythms that made up his seminal 'Night Nurse' set.
We have caught the Roots Radics for this set cutting rhythms in their favourite environment the famous Channel One Studios.
On this occasion working with producer Ossie Thomasfor his own Black Solidarity label,a match made in Heaven...Enjoy..

Coming out on July, Jazz Codes is Moor Mother's second and latest album for Anti- and a com?panion to her celebrated 2021 release Black Encyclopedia of the Air. Jazz Codes uses free jazz as a starting point but the collection continues the recent turn in Moor Mother's multifaceted catalog toward more melody, more singing voices, more choruses, more complexity. In its warm, densely layered course through jazz, blues, soul, hip-hop, and other Black classical traditions, Jazz Codes sets the ear blissfully adrift and unhitches the mind from habit. Through her work, Ayewa illuminates the principles of her multidisciplinary collaborative practice Black Quantum Futur?ism, a theoretical framework for perceiving and adjusting reality through art, writing, music, and performance, informed by historical Black ontologies.The songwriter, composer, vocalist, poet, and educator Camae Ayewa spent years organizing and performing in Philadelphia's underground music community before moving to Los Angeles to teach composition at the University of Southern California's Thornton School of Music. She released her debut album as Moor Mother, Fetish Bones, in 2016, and has since put out an abundance of acclaimed music, both as a solo artist and in collaboration with other musicians who share her drive to dig up the untold. She has performed and recorded with the free jazz groups Irreversible Entanglements and the Art Ensemble of Chica?go, and made records with billy woods, Mental Jewelry, and YATTA.

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love Warner Records, on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”

“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.

We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante

On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.

Unlimited Love resumes a three-decade partnership with Rick Rubin Johnny Cash, Adele. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik 1991, Californication 1999, By The Way 2002, and Stadium Arcadium 2006.

The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.

This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

Terrace Martins neuestes Projekt Drones beschreibt der Künstler als "Black Disneyland" - eine Mischung aus überdimensionalen, farbenfrohen Charakteren, die als Avatare von Emotionen in kleinen Welten innerhalb einer größeren Welt funktionieren. Um seine Vision zum Klingen zu bringen, rief Martin - ein dreimaliger Grammy-Nominierter, der einige der größten Namen der Rap-Szene von Los Angeles sowie legendäre Genre-Pioniere wie Herbie Hancock und Clark Terry produziert hat und gleichzeitig Teil des West Coast Get
Down ist (zu dem auch Kindheitsfreund Kamasi Washington, Bass-Architekt Thundercat und andere moderne musikalische Koryphäen gehören) - Freunde, Nachbarn und Kollaborateure an. Kendrick Lamar , Snoop Dogg , Ty Dolla $ign und James Fauntleroy tauchen im Titeltrack auf und meditieren zu Slinky Funk und R&B darüber, wie wir in Beziehungen als Automaten funktionieren können. Die Töne, für die Martin bekannt ist, tauchen auf "Griots of the Crenshaw District" auf, einer instrumentalen Jazzexplosion, die von Grammy-Gewinner
Hit-Boy produziert wurde und bei der Martin, Tenorsaxofonist Kamasi Washington und Urban Maestro Robert Glasper verschlungene Noten in die Luft blasen. Aber es macht auch Platz für Songs wie das butterweiche "This Morning" von Arin Ray und Smino und "Reflection", James Fauntleroys digitalisiertes Plädoyer für Sehnsucht und Sinnlichkeit in einem ruhigen Sturm

1970 was a time for heady experimentation in popular music, but very few records—and even fewer on major labels—come close to matching the stylistic ground covered by William S. Fischer’s album
Circles.
African American composer/arranger/keyboardist/saxophonist Fischer grew up woodshedding with the likes of Ray Charles, Fats Domino,
Muddy Waters, and Percy Mayfield…and then took a sudden left turn by studying electronic music in Vienna during the mid-‘60s. There, he met Joe Zawinul, and ended up penning five of the six tunes on Zawinul’s groundbreaking 1968 album The Rise and Fall of the Third Stream. Fischer went on to arrange for Herbie Mann, who signed him to his Embryo imprint for Atlantic Records; Circles was Fischer’s one and only release for the label. And he didn’t waste the opportunity; an utterly mindblowing mix of Sly Stone funk, heavy Hendrix-y metal, Southern soul, jazz fusion, and Stockhausen-esque explorations on the Moog synthesizer, Circles enlisted the same band (bassist Ron Carter, guitarists Eric Weissberg and Hugh McCracken) that Fischer had worked with while acting as Musical Director on Eugene Daniels’ underground classic Outlaw, complemented by drummer Billy Cobham and a five-piece cello section. With a line-up like that, it’s little wonder that the artistic reach of Circles is breathtaking, but it somehow manages to cohere according to its own internal, crazy logic; it remains one of the most adventuresome and collectible releases of its day. For this, its first-ever vinyl reissue, we’ve pressed 2000 copies in “black ice” vinyl, preserved the original “circle” cut-out stencil cover, and added liner notes by Peter Relic that feature quotes from Fischer himself. For the intrepid listener!

Black Vinyl 2 x 12" Vinyl Album + 2 x CD album

ls brandneue Ergänzung zu Dream Theaters umfangreichem 'Lost Not Forgotten Archives'-Projekt dokumentiert 'Live in Berlin - 2019' einen der ersten Live-Auftritte der Band in Europa als Support für das von der Kritik gefeierte Album 'Distance Over Time', das im selben Jahr erschien. Auf dem Album finden sich einige der beliebtesten Tracks, darunter 'Barstool Warrior' und 'Pale Blue Dot', sowie altbekannte Stücke aus Dream Theaters geschätztem Katalog wie 'The Dance Of Eternity', 'Peruvian Skies"'und 'Lie'. Diese Veröffentlichung stellt den bisher letzten Eintrag in die Serie dar und bietet einmal mehr einen aufregenden Einblick in eines der letzten Kapitel der Bandkarriere.

This new Studio collection on Soul Jazz Records delves deep into a melting pot world of reggae and funk and dub created at the music laboratory of 13 Brentford Road, Kingston in the 1970s - an intense collaboration of crack musicians, singers, DJs and engineers under the guidance of producer Clement 'Coxsone' Dodd. Here you will find some of the deepest and rawest cuts to emanate out the Studio One factory - truly hypnotic rhythms, powerful funk guitar and bass, soaring horns and more interspersed with occasional vocals and toasting as musicians reach for the highest heights and deepest roots of reggae music.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

MARIUSZ DUDA (RIVERSIDE / LUNATIC SOUL) - INTERIOR DRAWINGS
PRESENTED FOR THE FIRST TIME ON VINYL.In 2020, Polish multiinstrumentalist Mariusz Duda (Riverside, Lunatic Soul) decided to
conduct an experiment
He set out to create a third music world, independent of his band 'Riverside' &
project Lunatic Soul. A world which would differ stylistically from the previous
two & underline his first steps in music. 30 years ago, a certain shy boy
fascinated by the works of Jean Michel Jarre, Vangelis, or Tangerine Dream,
locked himself up in his room & started to think up his original music stories. He
recorded them on cassette tapes, created covers for them & arranged them on
the shelf next to those of his masters. 30 years later, when the world was taken
over by a pandemic & an international lockdown, Mariusz was beamed back to
his childhood bedroom, reading & drawing comic books, playing games, listening
to lots of music from cassette tapes... & recording his own electronic sounds.
"Why not do it again?" He thought to himself, feeling inspired. "Why not create a
new project where I will play only the keyboards? And why not sing it just like I
used to when I was a kid ? Simply 'Mariusz Duda'". And that's exactly what he did.
Between 2020 & 2021, he recorded & released online three electronic albums that
make up the so called "Lockdown Trilogy".
The final of the three albums, 'Interior Drawings', is the first to get the vinyl
treatment. The album comes packaged in a gatefold sleeve & pressed on 140g
black vinyl.

DoomCannon presents a meticulously crafted debut album ‘Renaissance’ available on a 12” LP vinyl, CD and digital formats on 15th July 2022. Journeying through an awakening and reimagining of the young Black British experience. Sequentially moving through a rich breadth of soundscapes, ‘Renaissance’ signifies the birth of a new era in DoomCannon’s trajectory. Inspired by an accumulation of experiences over the past four years and defined by significant events like the global pandemic to the worldwide outcry of the Black Lives Matter movement in the summer of 2020.

The album has garnered early support from Gilles Peterson & Tom Ravenscroft at BBC 6Music, Jazz FM, Worldwide FM, NTS, Rinse France, FIP, Radio Nova plus features on Spotify & Apple. Almost 130K combined streams on Spotify alone for his first two singles ‘Amalgamation’ & ’Times (feat. Lex Amor)’.

DoomCannon spearheaded a plethora of forward-thinking, improvised Jazz-inspired outfits (Project Karnak, Triforce) and is the Musical Director of award-winning vocalist, Celeste, performing live at the Brit Awards and Later with Jools Holland. He presented his solo project at Abbey Road Studios & was selected via Jazz Re:freshed as part of the SXSW/ British Council collaboration. Invited to curate sessions at the legendary Ronnie Scotts, DoomCannon is set to hit numerous stages, including his debut headline show at Peckham Audio, the Worldwide Awards, World Island Festival & We Out Here this Spring/Summer.

7A Records announces the release of Dolenz, Jones, Boyce & Hart’s original studio and live albums. In the mid-1970s promoters were trying to reunite the Monkees, but with Michael Nesmith and Peter Tork unavailable, it was suggested that Micky Dolenz and Davy Jones team up with Tommy Boyce and Bobby Hart to tour as ‘The Golden Great Hits Of The Monkees Show - ‘The Guys Who Wrote ‘Em & The Guys Who Sang ‘Em’’. The group signed a deal with Capitol Records to record a self-titled studio album of new material. They later released a live album from their tour of Japan. Both albums have been unavailable and out of print for many years. 7A Records have tracked down the original master tapes, that were presumed missing for at least 27 years, and remastered both albums for this release. Available as deluxe 2CD and 2LP sets, the CD version will include a big 40 page colour booklet featuring extensive liner notes and previously unseen photos. The 2LP version comes in a gatefold sleeve and is pressed on special 180g Green, Black and Yellow Quad Vinyl.

Debut release from David J (Bauhaus, Love And Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners Recorded worldwide during the pandemic Available January 21, 2022 on CD and Digital with LP coming later in 2022 Iconic and foundational bands in the history of alternative music certainly include Bauhaus, Love And Rockets, and Violent Femmes. San Francisco born artist Darwin Meiners was a fan of all three. A chance meeting 13 years ago with David J (Bauhaus, Love & Rockets) grew into a friendship, and Darwin not only became a bandmate, but David J’s manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after the Femmes’ Coachella set in 2013. Soon after the three collaborated on Darwin’s 2014 release Souvenir. As the pandemic took hold, Darwin was looking for a new project to occupy the lock-down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society. To say this is something of a dream come true for music fans would be entirely accurate. (The band’s name came from one of many Zoom meetings between the three members. After addressing various pressing musical issues the conversation rambled somewhat and turned to the subject of David Lynch, with David J telling an anecdote which was told to him by Lynch’s sound designer, John Neff. Lynch had asked Neff to obtain a field recording of crickets chirping at night for inclusion in Mulholland Drive. When Neff played him the tape, the director immediately recognized the sound that the insects make when it is light which is apparently a little different to their nocturnal chirp. “No! No! No! These are day crickets, John! I want my night crickets!” Victor, Darwin, and David then shared a look of mutual realization and instantly agreed that the project now had a name!) In Night Crickets’ own words: Night Crickets, a long distance groove affair conducted during the drawn out days of lockdown and beyond.

"This is the sound of a band empowered. Nothing - not our traumas and losses, not those who have underestimated or undermined us - can stop us. Those who seek to oppose us; your sins will catch up to you. We know who we are. We are united and you will fear us." Ithaca - They Fear Us ---------------- Formed in 2012 out of a mutual love of metallic hardcore but despair at its lack of ambition, Ithaca exist to challenge everything you thought about what a band that makes heavy music should look and sound like. A glitter-covered nailbomb, Ithaca seamlessly blend the brutality of Relapse Records metalcore with blackgaze, 90s industrial metal, 70s prog and even tinges of 80s power pop. Their influences stretch beyond the musical - this album comes with a clear vision and aesthetic: drawing from members’ different ancestral heritage, queer/non-conforming identities and iconic figures in avant-garde, new wave and post punk culture. Their upcoming second album ‘They Fear Us’ is the sound of a band healing from trauma - standing in their own, unapologetic voice. Furious and wildly inventive while also being more coherent and accessible, this album will introduce Ithaca to a wider audience than they’ve ever had before. To quote the band - ‘those who oppose us; your sins will catch up to you. You will fear us’. Ithaca's 2019 lauded debut ‘The Language of Injury’ was followed by their early 2020 tour with Grammy-nominated indie rock band Big Thief, starting at London’s Hammersmith Apollo. Press support from Pitchfork, BBC R1, Metal Hammer, Kerrang!, Rock Sound, Revolver, Decibel, BrooklynVegan, and performances with Bleeding Through, Jamie Lenman, Anaal Nathrakh, The Number Twelve Looks Like You, at Boomtown Fair and ArcTanGent Festival mark Ithaca as one of the most exciting and vital new voices in UK heavy music currently. Ithaca have also appeared on Ed Gamble’s Spotify podcast ‘Lifers’, Sky News and BBC3.

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

Top roots outing from the mellow canary on this dreadlocks man 1979 classic, backed by the Roots Radics in full effect on the big showdown Scientist dub. Both tracks produced by Henry "Junjo" Lawes and recorded at Channel One studio. Limited one-time press only, 7-inch-single with Jah Guidance label prints in a grey/white sleeve with Barrington Levy and "Junjo" images. European pressing.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the
time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music,
jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove
movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna
based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for
many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa
Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special guest and today is still considered
one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector
and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten
gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:
Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and
Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo
album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru
and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre
Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.
After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation
of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry
Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with
the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with
international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam
Recordings, !K7.

The latest three CDs on the Irma label “I Don’t Want This Groove To Ever End” (2012), “Ain’t Nothing But A Groove” (2013), “Don’t Let
The System Get You Down” (2015) and “Beggar Groove” (2017) show the funkiest and grooviest side of LTJ !
In the last years LTJ has literally toured the world, some really important and popular Festivals have booked him for his reknown DJ
Set performances, Scottish Soul Weekender (Dumfries, Scotland), Mareh Festival (Boipeba Island, Brazil), Garden Festival (Tisno,
Croatia), Jazz Refound Festival (Vercelli, Italy)
And visiting Cities like: Tel Aviv, Skopje(Macedonia), Belfast e Derry (Ireland), London, New York, Berlin, Bucarest, Amsterdam, Paris,
Marsille, Barcelona, and Vilnius (Lithuania). just to name a few.
Deepening of a Groove is the new album, the fifth dedicated to the research of sounds Disco Funk from its origins revisited by today's
rhythms and the dancefloor feeling of 2000. For the first time on this album 4 sung songs appear. Bad Side (already released in single
version) and Infiltrator are sung by Anduze, soul singer from Los Angeles also known for his collaboration with Parov Stelar. I'm Gonna
Funk U and Stranger are sung by the Marche singer AdniL for the first time in collaboration with LTJ.

Sounds like supergroup. Rarely have outstanding figures of such a variety of musical styles collaborated on one album to pay homage to a nearly forgotten artist, one of the few black Beatnik poets, Bob Kaufman.

"All Those Streets I Must Find Cities For" by The Plastik Beatniks is an attempt to acoustically reanimate Bob Kaufman, to return the Beat to him in a transatlantic collaboration. It is a shimmering psychedelic, at times jazzy concept album, sometimes reminiscent of Krautrock or hip hop, about a Beat-era poet who was as great as he was forgotten. It takes spoken word to a new level, as a transatlantic showcase of musical avant-gardes and a joyful "sound archaeology" of modernity, in which the tracks of the "Plastik Beatniks" meet the best voices of America.

The 12 wildly different songs and audi collages, on the transatlantically-produced album, "All the Streets I Must Find Cities For," is based on lyrics by Beat author Bob Kaufman. They were originally part of the radio play "Thank God for Beatniks," for which author Andreas Ammer ("Ammer & Einheit"), Notwist‘s Markus Acher and Micha Acher and loop maker Leo Hopfinger ("LeRoy") formed "The Plastik Beatniks." On the eastern side of the Atlantic they composed music and crafted soundscapes. On the west side of the ocean, they asked three of the most renowned singers, activists and producers in the U.S. to recite or sing Bob Kaufman's poetry.

Punk-pop icon Patti Smith immediately signed on to read Kaufman's poem "Ginsberg (For Allen)". Free jazz vocalist Moor Mother passionately performed Bob Kaufman's "War Memoir". American jazz clarinetist, composer, singer and “International Anthem” labelmate Angel Bat Dawid, a legitimate successor to Sun Ra, polyphonically read and sang such poems as "The Sun is a Negroe" and "West Coast Sound 1956" and included some clarinet solos on top. Also on the album, Bob Kaufman himself recites his previously unknown poems "Hollywood Beat", "Would You Wear My Eyes", and the "Jail Poem" "All Those Streets I Must Find Cities For". Beat chronicler Raymond Foye, who still lives at the Chelsea Hotel in New York, contributed an interview he conducted with late beatnik Allen Ginsberg about Bob Kaufman. Completing the circle was hip-hop artist Adam "DoseOne" ("13&God"), who once gave Markus Acher a well-thumbed volume of Bob Kaufman, whom he admired. He contributed some raps. Thus 12 tracks emerged, as diverse as the artists, poets and musicians who contributed to it. More than an album. An epitaph. A work for the eternity of Beat.

Regarding Bob Kaufman - of course the FBI kept a file on him – first as a sailor, then a communist, and finally a Beat poet. As one of the mainstays of the movement, he edited the literary magazine "Beatitude" in San Francisco and defined "Beatnik" to Allen Ginsberg: half rhythm, half sputnik. Bob recited his poetry loudly on the streets (when he wasn't sunk into years of silence in protest of the Vietnam War) and in the bars and bagel shops of North Beach. Once, he almost landed a pop hit ("Green Green Rocky Road"), which then made Dylan's companion Dave van Ronk famous. That Kaufman is today less known than his friend Allen Ginsberg may be because he was a black Beat poet, and also a Jew. This was not compatible with fame in the US of the 1950s. Though Kaufman had the same publisher, City Lights, as Ginsberg, he was frequently arrested and jailed, and was treated with electric shocks until he developed serious mental heath issues. There he wrote his "Jail Poems". The seventh of these lent this album its name:

"Someone whom I am is no one / Something I have done is nothing Someplace I have been is nowhere / I am not me What of the answers / I must find questions for? All these strange streets I must find cities for, Thank god for beatniks."

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber