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The second album by the New York hardcore band, originally released in April 1989. The album's cover reflected the band's interest in the Hare Krishna religion which started with previous singer John Joseph and then carried on through Harley Flanagan who also became a devotee.

The second album by the New York hardcore band, originally released in April 1989. The album's cover reflected the band's interest in the Hare Krishna religion which started with previous singer John Joseph and then carried on through Harley Flanagan who also became a devotee.

This is a special CD edition of Girls Aloud's iconic pop album 'Sound of The Underground'. To celebrate the 20th anniversary of the Album this special edition. is treated to a full deluxe makeover, bringing in rarities, remixes, B-sides, the band’s cover of ‘Jump’ from ‘Love Actually’ plus ‘Hopelessly Devoted To You’ and ‘Grease’, their two contributions to the poptastic ‘Greasemania’ project. It also includes a special 2022 Xenomania-produced remix of the title track ‘Sound of The Underground’, released as a 7” charity single in memory of the band’s Sarah Harding. The CD format also features extensive sleeve notes by respected pop journalist Nick Levine. The 1LP Coloured Vinyl is Being released on Vinyl for the first time. This is a special coloured Green LP with enhanced artwork and full album lyrics.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series, NOW – Yearbook 1978; 85 tracks from a magical year in Pop! The 85 track special edition CD is housed in ‘hard-back-book’ packaging, including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork. NOW – Yearbook 1978; 46 tracks on a 3LP set pressed on translucent pink vinyl - from a magical year in Pop!

The album Symposium Musicum is developed from field recordings, interviews, and observations collected in the villages of Podolínec, Lomnička, Levočské Vrchy, and Kolačkov - all areas of the eastern and north-eastern Slovakia with significant Romani enclaves. The pieces resulting from these interactions encourage the listener to tune in for a delicate negotiation of language, (audible) gesture, and storytelling.

The collaboration with the local participants appears lighthearted and whimsical on the records, but this seeming easiness is clearly a result of devoted fieldwork planning and committed post-production. The curated compositions represent and emphasize not only performative aspects of the acoustic activities but also point attention to seemingly non-productive aspects of creation, such as silence, hesitation, observation, perception, or waiting.

Sound experiment and preservation is not the only goal of the project. Some of the records capturing acoustic activities in peculiar places but also carry an element of social novelty that accompanied their making - according to the locals in Lomnička, the recording visitors were the first non-Romani persons who spent the night in the village.

In many instances, these recordings explore liminal spaces that have lost their original function (a church ruin or an out-of-business grocery store) and became a lively territory for acoustic exploration and playful reciprocity. For instance, in track 7, "Kavka", local children used crackling leaves as percussion devices.

Such moments betray a high level of engagement in the subtle details of the recorded spaces and their social ecologies. According to the creators, their creative processes involve "a social sound practice" as an attitude towards exploring sound in its social setting.

Symposium Musicum leaves behind many aesthetic conventions of sound capture and what is considered "musical", including the usual notions of a linguistic unit, narrative, memoir, and play. Instead, it engages in a self-reflective questioning of the way we listen to the world around us.

This project invites us to experience places outside the divided sociolinguistic provinces, resulting from multigenerational displacement and neglect of the Romani communities from the explored areas. The result is in many ways revelatory and poetically impactful.

Taiwanese label JIN records enters autumn 2022, with a new promising release by South Korea’s Yetsuby. As always searching for gems in the pan-Asian domain, JIN is delighted to have Yetsuby for its latest/6th release.

On this EP, one-half of the ambient duo Salamanda, Yetsuby showcases her expertise in mood setting soundscapes, taking listeners on a sound journey across a wide array of musical spectra.

Opening on A1, Yetsuby reinterprets a traditional Korean folk story of a bear devouring garlic and green onions, transforming the animal into a human being. Aptly named ” Bear Becomes The Human,” she transforms the transformed, turning the bear into a buzzing modern drum & bass-fused energetic tune. It turns out garlic is a powerful source after all.

B1’s “Jelly” showcases Yetsuby’s talent for stripped-back glitch music: With a minimal bass and drum pattern, the track gently muddles along and presents itself as well suited warm-up track for the earlier hours of any party.


For the remix sides, Cleveland delivers a vinyl only remix of “Bear Becomes The Human” with a futuristic house tune filled with jungle like drum pattern and techy yet smooth atmosphere on A2.


On B2, New Zealand’s Eden Burns takes an entirely different path on his reinterpretation of Jelly. Embarking from the original pattern, he turns the original into a slow brewing psychedelic trance cracker that seems most suited for the early morning after hours that need an energy boost.

Fabio Monesi is back on his own platform after 3 long years and he decided to celebrate his return with 2 solid dance floor house anthems that are ready to remain in our record bags for long!

If you are an Omar s Fan then you cannot miss the A side: 'You are not supposed to know' .

Timo Kaukolampi, frontman for Finnish electronic rock group K-X-P and tireless sonic wanderer, is releasing his second solo album, this time on Optimo Music. Exquisitely rendered, shadowy, curiously claustrophobic and even occasionally paranoid, Inside The Sphere is an album wholly deserving of its name.

A sense of paranoia is one of the threads through this glittering, winking electronic maze. Kaukolampi says “I came up with this metaphysical concept of the “sphere”. When you are manipulated you are ‘Inside The Sphere’. It’s like this dome of ‘undue influence’ that you don’t know exists around you. It’s a bit like the inside of a cult.”

Indeed, it’s amazing the effects achieved with a few sparse electronic textures, the odd smattering of studio trickery, and two or three well-placed synthesizer parts. Though the result might sound ostensibly simplistic, Inside The Sphere is an album of reduction rather than addition. The rhythmic and textural scaffolding is based around what’s not there, rather than what is. Take ‘VCS3’. At first listen, it seems forged from a few synth lines and a simple percussion part – so far, so simple. But listen closer, enter the sphere, look behind the mask – notice the slightly detuned drones, the chattering percussive textures, that distant swell of bass, the way the central fugue shifts and mutates somehow statically, like a barber’s pole.

Might we be listening to an album within an album, a more complex song cycle hiding within the folds of an ambient electronic album? This ties in with another of Kaukolampi’s thematic frameworks – that of the mask. He references Oscar Wilde’s quotation that “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”

Inside The Sphere is not a one-note album. For every moment where a clammy ambient space enters, a buttery analogue bassline is there to fill it. This clash seems to be the album’s engine room, its power supply.

Timo references devotional and choir music as an influence on this album. The paranoia and foreboding is tempered by these headier aspects. Kaukolampi mentions “empty and hollow spaces” in relation to several of the songs. Perhaps this is the very space behind the mask, where outward disguise merges with inner reality. Perhaps inside the sphere is not always such a bad place to be.

Blackened thrash veterans LEGION OF THE DAMNED slay on new studio album The Poison Chalice The LEGION slays again! Dutch thrash veterans LEGION OF THE DAMNED have once again entered into an alliance with the devouring depths of black and death metal and unleash another angry beast, The Poison Chalice, on May 26, 2023 via Napalm Records. The shredding monster delivers the most delicious pitch-black brew and tortures dark souls into demonic underworlds. Founded in 1990 as Occult, the thrash machine around founding members Maurice Swinkels and Erik Fleuren was reborn as LEGION OF THE DAMNED in 2005. On The Poison Chalice, the band unites with Fabian Verweij as second guitarist besides Twan van Geel and hails together with bassist Harold Gielen performing as a five piece for the first time ever on a studio album. Conquering the European charts for decades, the LEGION crowned itself at #17 in the Official German Album Charts with predecessor Slaves Of The Shadow Realms (2019). For almost 35 years, they have formed their aggressive signature sound from the most horrific ingredients of thrash and death metal, combined with brutal blackened influences, resulting in one of the most defined and unique sounds in the scene. The Poison Chalice comes to life by spreading its eerily beautiful wings within the first few seconds, then dives headfirst into a hellishly furious storm before the second song ""Contamination"" absolutely kills. In classic LEGION OF THE DAMNED manner, there is no escape as the track relentlessly drives into the abyss. The album spreads brutal and ice cold thrash soundscapes through relentless attacking drums and incredible guitar harmonies from both lead guitarists, underlined by angry bass lines. Infectious thrash treasures such as “Progressive Destructor”, and the almost seven-minute berserk “Behold The Beyond” break necks with hammering guitar riffs and bloody double bass infernos. “Beheading of The Godhead” delivers what the song title promises, before the past 48 minutes of hate closes with a final deep gulp from “The Poison Chalice” - leaving no one behind. Together with producer Erwin Hermsen, the band has closed the gates of the underworld in Toneshed Studio and demonstrates that they remain the unchallenged masters of brute and unrelenting death-thrash metal in 2023

“Come, Sweet Death” alternates between brutality and winding single string melodies that brings you back to the golden age of Swedish Death Metal! They say that the more things change the more they stay the same. If there’s one thing that has remained stable despite living in 2023 is that we love Swedish Death Metal. The style has become a favorite of ours over the past 35 years. Something about the guitar tone just makes you want to devour any release that can be described as “Inspired by early Entombed and Dismember”. The good thing is that there’s an incredible wealth of bands that draw from that well. The bad thing is that said wealth leads to a lot of bands becoming indistinguishable due to how same they are. Thankfully, Imperishable’s “Come, Sweet Death” manages to stand out from the pack, in no small part due to breaking away from the genre’s usual trappings. And in a way this is no surprise since the band members were or are involved in Vampire, Portrait, Nominon and Dr. Living Dead! As you might have already gathered, the band draws a lot from the Stockholm scene, more specifically Dismember, that is undeniable. What’s really interesting though is that they draw from their later, and more melodic influenced era as much as from the early days. Imperishable, like their peers effortlessly blends the aggressive buzzsaw riffing with leads brimming with melody, which most modern bands in the style avoid in favor of pure aggression. Said blend can be seen throughout their debut album, though it can be felt more on the longer tracks, like “Teeth of the Hydra” and “Fangs”, where the band has more room to develop their ideas and mix grinding Death Metal with NWOBHM-inspired leads and riffs. In short: Imperishable has great songs, great melodies, well-arranged structures and still is brutal, just like the great old bands were. And the production is spot on for this release. It is good to hear a band experiment beyond the confines of the original old school Swedish Death Metal sound. “Come, Sweet Death” is an extremely promising release, and a small breath of fresh air in an otherwise stale scene. Imperishable’s love for the more melodic aspects of the style make them worth keeping an eye on now and in future.

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

Factory Benelux presents a limited edition 180gm vinyl singles collection by Marcel King, best known for his sparkling 1984 dance single ‘Reach For Love’ on Factory Records, as well as the youthful vocalist on ‘SadSweet Dreamer’ by Sweet Sensation, a UK number one back in 1974 Limited to just 1000 copies, Reach For Love: Singles 1983-88 features both sides of the infectious electro single co-produced by Bernard Sumner (New Order) and Donald Johnson (A Certain Ratio) and released as Fac 92 in April 1984, as well as a previously unreleased demo for ‘Love To Shine’, the planned follow-up single on Factory produced by Tony Henry of 52nd Street. (NON-RETURNABLE).

The album also features ‘Hollywood Nights’, a later single cut by Marcel with Gee Bello of Light of the World, along with a rare US remix of ‘Reach For Love’ by noted New York DJ Mark Kamins, and extended dub and instrumental versions.

King was invited to record for Factory in 1983 by Joy Division/New Order manager Rob Gretton, a devotee of soul and black music, and prime mover behind the famous Hacienda nightclub. ‘Rob was a massive fan of Marcel and thought he was as good a singer as Michael Jackson,’ explains Tony Henry. Not just a gifted and
plaintive soul singer, King also wrote both sides of his Factory single, ‘Reach For Love’ and ‘Keep On Dancin’, both paeans to perseverance and enduring Hacienda classics.
A classic video clip for the single, filmed at The Hacienda with local breakdancing crews, is available in.

Alas ‘Reach For Love’ was destined to remain an underground hit rather than a chart topper. Rob Gretton blamed Factory’s disdain for conventional promotion. ‘At Factory we still basically believe that you don’t have to hype a group in any way, and that a record should success on its own. But it’s getting increasingly difficult.
We put a record out by Marcel King and it’s hardly sold at all. The charts are wide open to hyping and marketing.’

Adds Bernard Sumner: ‘Marcel was an incredibly talented guy, but a tragic figure. He used to sleep in a car in Moss Side and was a bad heroin addict.’ A troubled but pioneering artist, Marcel sadly passed away in 1995 after suffering a brain haemorrhage.
1000 copies only of FBN 47 will be available on Record Store Day on 22 April 2023, pressed on 180gm black vinyl. The sleeve is based on original artwork for the Factory single and also includes a press interview with Marcel from 1984.

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

Erik K Skodvin's alter persona “Svarte Greiner” re-appears with another chapter in his “zen music for disturbed souls” series, channeling both spiritual distress and meditation in a live recording from the bunkers of a bombed out brewery.

The first piece, entitled “Devolving Trust” is recorded live in the bunkers of Schneider Brewery in Berlin, 2018. Erik explains : “I was invited to use the vast old cellars located underneath the site for a performance / installation. Wet and hollow with a dark past and long reverb, it was a perfect location to channel a cello and electro-acoustic improvisation in the spirit of my two long-form, meditative albums Black Tie & Moss Garden. As a 30 minute piece, it was left looping in the room for hours after it ended as an echo of the performance, allowing people to walk around and soak up the sounds and empty hallways alone.

I am usually not into the idea of releasing a live recording, as there are so many factors that are lost in the translation from being present and listening to it in another space. The eyes, ears and body can often see beyond small mistakes once a live performance unfolds in front of you. The details are usually lost in translating it to a pure recording. I made an exception for this as I feel it translates the live feeling in a way I like. Very personal and full of small mistakes it creates its own life. Also, as an improvisation, I am very happy with it, and have been listening to it on and off since a few years. With this in mind I decided I want it to be another document in my ongoing series of longform, atmospheric pieces following the aforementioned two albums.

The second track simply called “Devolve” is mostly constructed out of fragments from the performance as a sort of minimal, reversed echo, further tunnelling into the unknown. These pieces has given me calmness, reflection and escape from the madness escalating outside of our doors. I hope it can do the same for you”.

Terr’s debut LP 'Consciousness As A State Of Matter’ arrives on green and orange split double-vinyl, limited to a pressing of just 400 copies, housed in a sleeve of hallucinatory artwork from designer Sebastian Ofuszak.

Across eleven tracks, Terr continues a long, fulfilling journey in electronic music with a visceral, vulnerable full-length statement inspired by tireless and timeless innovators in the history of electronic music such as Giorgio Moroder, Wendy Carlos and Phil Oakey. Achieving a delicate, wide-eyed chemistry between the catharsis of the dancefloor and the ever-renewing promise of pop, 'Consciousness As A State Of Matter’ includes and expands upon the vision of singles ‘Only For Tonight’, ‘Tale of Devotion’ and ‘Layers’.

Die doppelt Grammy-nominierte Mercury- und BRIT-Award-Preisträgerin Arlo Parks kehrt drei Jahre nach ihrem furiosen Debüt mit ihrem zweiten Album 'My Soft Machine' zurück, das am 26. Mai via Transgressive Records erscheinen wird. 'My Soft Machine' ist ein zutiefst persönliches Werk, das von Arlo Parks Erfahrungen ihrer frühen 20er erzählt. Musikalisch vielseitiger und gereifter als auf 'Collapsed In Sunbeams' thematisiert die britische Sängerin mit der ihr eigenen Poesie und vertraut-weichen Stimme die Angst ihrer gleichaltrigen Mitmenschen, den Drogenmissbrauch von Freund*innen, die Tiefen ihrer ersten Verliebtheit, den Umgang mit PTBS, Trauer, Selbst-Sabotage aber auch überschwängliche Euphorie und Freude.

Die doppelt Grammy-nominierte Mercury- und BRIT-Award-Preisträgerin Arlo Parks kehrt drei Jahre nach ihrem furiosen Debüt mit ihrem zweiten Album 'My Soft Machine' zurück, das am 26. Mai via Transgressive Records erscheinen wird. 'My Soft Machine' ist ein zutiefst persönliches Werk, das von Arlo Parks Erfahrungen ihrer frühen 20er erzählt. Musikalisch vielseitiger und gereifter als auf 'Collapsed In Sunbeams' thematisiert die britische Sängerin mit der ihr eigenen Poesie und vertraut-weichen Stimme die Angst ihrer gleichaltrigen Mitmenschen, den Drogenmissbrauch von Freund*innen, die Tiefen ihrer ersten Verliebtheit, den Umgang mit PTBS, Trauer, Selbst-Sabotage aber auch überschwängliche Euphorie und Freude.

Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.

The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.

The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.

This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.

Die Brutal-Death-Metal-Band BRODEQUIN veröffentlicht jetzt alle drei Alben im LP-Format über Season of Mist neu! Die Trilogie aus "Instruments of Torture" (2000), "Festival of Death" (2001) und "Methods of Execution" (2004) - unerbittliche, Nacken brechende Brutalität!
FFO: Devourment, Mortician, Disgorge, Internal Bleeding

Die Brutal-Death-Metal-Band BRODEQUIN veröffentlicht jetzt alle drei Alben im LP-Format über Season of Mist neu! Die Trilogie aus "Instruments of Torture" (2000), "Festival of Death" (2001) und "Methods of Execution" (2004) - unerbittliche, Nacken brechende Brutalität!
FFO: Devourment, Mortician, Disgorge, Internal Bleeding

Die Brutal-Death-Metal-Band BRODEQUIN veröffentlicht jetzt alle drei Alben im LP-Format über Season of Mist neu! Die Trilogie aus "Instruments of Torture" (2000), "Festival of Death" (2001) und "Methods of Execution" (2004) - unerbittliche, Nacken brechende Brutalität!
FFO: Devourment, Mortician, Disgorge, Internal Bleeding

Die Brutal-Death-Metal-Band BRODEQUIN veröffentlicht jetzt alle drei Alben im LP-Format über Season of Mist neu! Die Trilogie aus "Instruments of Torture" (2000), "Festival of Death" (2001) und "Methods of Execution" (2004) - unerbittliche, Nacken brechende Brutalität!
FFO: Devourment, Mortician, Disgorge, Internal Bleeding

Die Brutal-Death-Metal-Band BRODEQUIN veröffentlicht jetzt alle drei Alben im LP-Format über Season of Mist neu! Die Trilogie aus "Instruments of Torture" (2000), "Festival of Death" (2001) und "Methods of Execution" (2004) - unerbittliche, Nacken brechende Brutalität!
FFO: Devourment, Mortician, Disgorge, Internal Bleeding

Die Brutal-Death-Metal-Band BRODEQUIN veröffentlicht jetzt alle drei Alben im LP-Format über Season of Mist neu! Die Trilogie aus "Instruments of Torture" (2000), "Festival of Death" (2001) und "Methods of Execution" (2004) - unerbittliche, Nacken brechende Brutalität!
FFO: Devourment, Mortician, Disgorge, Internal Bleeding

Dutch progressive Death Metal legends Phlebotomized at the peak of their 30 year old career!

Phlebotomized is among the oldest Death Metal bands from Holland and one of the first using violin and synthesizers in extreme metal. Their typical “Death Metal with a twist” caused a stir in the booming Dutch metal scene back in the early 90’s. Formed in 1989, Phlebotomized started out as a Grindcore/Death Metal band,
inspired by acts like Morbid Angel, Nocturnus and Paradise Lost. Later on, the band began to use keyboard and violin arrangements, resulting in their unique sound. Their “Devoted to God” demo (1992) was recognized as a classic one demo worldwide. In 1994 Phlebotomized released their seminal “Immense Intense Suspense” album which offered an intelligent blend of atmosphere and brutality. It took the Death Metal scene by storm, giving both the band and the album a legendary Cult status worldwide.

The band played numerous shows but disbanded shortly after the release of their second full-length album “Skycontact” in 1997.

After a hibernation of 16 years, Phlebotomized regrouped in 2013 upon the re-release of their classic albums. The band played several live-shows and

After more than a decade of non-stop touring, acclaimed Austin songwriting duo, Kelsey Wilson and Alexander Beggins, quietly stopped touring as Wild Child. Headed in different sonic directions, the pair didn't know if they would ever make another Wild Child record. Then, what felt like the "end of the world" brought them back together. Pandemic lockdowns closed stages and drained bank accounts. As artists from all backgrounds took their shows to the internet, Wild Child was no different. Wilson and Beggins got together to practice for a series of online performances for devout fans, and within 30 minutes they wrote the first single for what would accidentally become Wild Child's fifth album, End of the World. Mixed by Matt Pence (Jason Isbell, Elle King) and including contributions from guitarist Charlie Wiles (Paul Cauthen, John Moreland, Orville Peck), End of The World sees the pair find catharsis in art amid compound disasters. As Wilson describes it, "I just started signing about things that were freaking me out. Wearing a mask for a year. Global warming. There's no heat, no water. It was like a dirge to begin with. But by the end we were all screaming and laughing that, yes, this might be the end of the world, but we're all together right now, making music in my living room by candlelight. It's all OK."

Canto A Lo Divino is the unique musical expression of the Chilean peasant world - a conversation with the divine nourished by Biblical and other sacred texts. It is communal music, played in packed rooms throughout the night on the 25-string guitarron, its ancient melodies transmitted through the 10-line decima form originating in Spain and found across the Caribbean, South America, and even into the Mississippi Delta. Rooted in the remote Central Valley of Chile at the skirt of the mountains and following the slopes of the major rivers, the Canto tradition has persisted for centuries in the voices of hundreds of men and women who sing of saints, divine images, and angelitos (very young children who have died). The verses are also centered around daily life in the valley - labor and drought, family, animals, and plants. There are countless entonaciones (melodies) that define this region, its communities, and its unique worldview. Mississippi Records is privileged to work with the Museo Campesino En Movimiento and their archive of hundreds of hours of intimate field recordings of the Canto - music rarely, if ever, heard outside of the region. Artwork is provided by another inhabitant of Chile's Central Valley, a baker called Frederico Lohse, who brought divine visions from the Cantos to life, painted on reused flour bags. Canto A Lo Divino celebrates the complexity and solemn, stunning beauty of this nocturnal, communal form of musical devotion. Double vinyl LP comes housed in deluxe gatefold jacket with 8 pages of lyric translations and liner notes about the Canto tradition by researcher Danilo Petrovich.

Yazmin Lacey didn't set out to be a singer. Born and raised in Manor Park, East London, she relocated to Nottingham whilst working for a children's charity and initially only considered making music as a way of having fun with friends. However, a chance encounter lead to her earning a place on Future Bubblers - Gilles Peterson's development programme devoted to discovering and nurturing fresh UK talent – and enthused by the experience, Lacey recorded some songs in her living room, then in 2017 self-released her debut EP, 'Black Moon'. The more polished 'When The Sun Dips 90 Degrees' EP followed in 2018, and then 'Morning Matters' EP in 2020 – the EP's title track has clocked up over 14 million plays on Spotify and also saw Yazmin make her COLORS debut performing 'On Your Own'.

Es ist wahrscheinlich das beste und eindringlichste Album der Band aus Florida, deren oberstes Gesetz Leidenschaft und Hingabe ist. Ihre Motivation ist bis in jeden Winkel der elf Songs zu spüren, und selbst die sanften Momente auf The Sound Of Madness haben noch eine Wirkung wie ein Faust in der Magengrube. Aufgenommen mit Star-Producer Rob Cavallo bringt es die geballte Kraft des Ultimativen in die Bahn, die SHINEDOWN mit dem US-Platin-Debüt Leave A Whisper
(2003) und dem Nachfolger Us And Them (2005, Gold) eingeschlagen haben.
Jetzt zum 75. Jubiläum von Atlantic kommt das Album als exklusives Crystal Clear Vinyl.

Over a decade since its inception, Wave Temples continues to refine and refract the project’s visionary mythopoetic exotica. Panama Shift presents a 20-track kaleidoscopic star map inspired by “the euphoric cults, both then and now, that come and go in the vast ritual of night.” Bleached keys, devotional synth, and driftwood percussion align in minimalist vignettes shaded by tape hiss and field recordings of streams, waves, wind, and birds.
Dedicated to the late Japanese-born American anthropologist Yosihiko H. Sinoto (whose portrait graces the cover), famed for his excavations throughout the Pacific and French Polynesia, the album embodies a similarly voyaging spirit: “chasing ancient mysteries… and rekindling with the esoteric journey of the human spirit.” This is music of forgotten shores, sea air, and saltwater shrines, echoing in shells scattered across the altars of Atlantis.

After a recent, acclaimed EP on Madrid’s Analogical Force label, Suction Records is thrilled to announce “Grey With Breaks,” the 8th full-length album by Lowfish. The electro veteran, who’s been programming 808s since the early ‘90s, returns to Suction Records, the label he co-founded and debuted on in 1997.

“Grey With Breaks” is an electro record, with thick analog basslines and TR-808 boom tschak front & centre, but Lowfish’s electro-style stands out from the pack. Not only is the LP devoid of the Drexciya/Dopplereffekt worship that permeates the scene these days, it also rarely hits above 110bpm, oozing with melancholic melody.

"ARCHETYPES COLLIDE demand repeated listening, mixing everything from Linkin Park and Bring Me The Horizon to The Chainsmokers, and Stranger Things-style retro synths, into a unique musical identity. A collection of singles and EPs drew a devoted fanbase and the attention of Oshie Bichar, bassist for Beartooth. Bichar enlisted his management, and the pair took Archetypes Collide under their wing. Soon after, SiriusXM's Octane got behind songs like ""Your Misery,"" ""Becoming What I Hate,"" and ""Above It All."" The band appeared on major festivals like Aftershock, Louder Than Life, and Welcome To Rockville, toured with genre giants The Amity Affliction, and crafted an ambitious self-titled debut album for Fearless Records. Archetypes Collide spent several weeks in the first part of 2022 making their inaugural full-length, with a super team surrounding them to execute their vision. Bichar produced alongside Nick Ingram (Dayseeker, Convictions, Hawthorne Heights) at Capital House Studio in Ohio. Additional production came from Jon Eberhard (Skillet, I Prevail, Until I Wake); The Plot In You frontman Landon Tewers lent a creative hand as well. The resulting album, mixed by Jeff Dunne (Ice Nine Kills, Wage War, Make Them Suffer), captures the vibrant spirit of the 2010s-era Warped Tour with a postmodern edge. It's a diverse but singular mission statement, brimming with authenticity and hope. ARCHETYPES COLLIDE aren't bound by preconceived notions or limitations. As single Kyle Pastor explains simply: ""Why not take every shot, in every direction, under the umbrella of hard rock and metal? "

Never one to pull inventive punches, Left Coast electronic music producer Dave Aju reassembled this notorious cast of characters for a remarkably fitting album package made during one of the most strange times our world has ever faced in the throes of the COVID-19 pandemic. While things were essentially shutdown, reopened, cycle-repeat worldwide, and every other species in mother nature's kingdom temporarily rejoiced while humans remained still in their caves, Aju and The Invisible Art Trio, his formidable if not-seen-in-a-minute musical team behind such underground anthems as "Be Like the Sun", went to work in the final days of the glorious G-Son studios in Atwater Village LA to record this LP.

Indeed, the same four/five walls and vocal booth that saw the Beastie's iconic Check Your Head and Hello Nasty come to life, became the birthplace of Glossolalia, Aju's fifth studio album and appropriately impressive seven-song set. As always, myriad musical styles and influences are strung together and boldly combined here, to the degree that drawing comparisons or attempting genre references feels futile. There are, however, clear visceral expressions of political provocation, hope and anger, fear and joy laid over twisted yet dedicated grooves in a lockdown era where Aju's imaginary collective dance floor feels in the temporary absence thereof and bizarro sixth-world unification strategy of recording every song's lyrics in complete non-languages aka total gibberish, feels right at home. Even the vocal guests join in the literal chant here, granting us diverse spell-casting and sensual nonsensical lyrical lines over tech-funk mother lodes, before closing the otherworldly proceedings with a powerful grand finale tribute to the US of A's proud boys-in-blue in the wake of George Floyd's very public assassination.

Equal parts timely anti-establishment and uplifting call-to-action, Glossolalia serves as a decidedly coarse yet crucial reminder of the possibilities in collaborative and devoted noise-making, booty-shaking, and alternative world-building during greater global disarray - beyond stylistic, nationalistic, and linguistic dividing lines. An overtly universal and unifying message liberating us from any fixed cultural identities and thus differences, to instead just focus on how the music delivers and we physically respond, together, as the foundation. Perhaps also an inspired response to the talking heads in every corner of the world's media, spewing useless and politically-tainted mouth data at us amidst these turbulent times.

Tom Zé and Faust collide in Domenico Lancellotti's "machine samba"

Domenico Lancellotti's SRAMBA reaches back to the roots of samba whilst completely revamping its blueprint, indoctrinating guitar and percussion-led rhythms with analogue synthesisers, courtesy of album producer Ricardo Dias Gomes.

The majority of SRAMBA was recorded over two months in The Cave - Domenico's home studio in Lisbon, the city both Brazilian ex-pats reside in, where the arrival of a couple of Russian-designed synths purchased by Ricardo influenced the direction of their initial experimentation: "Ricardo had these instruments, modular machines" remembers Domenico, "and I had my guitar, some percussion instruments. On the first day we started making sounds and recording them, and songs started to appear, sambas started to appear."

The son of a renowned samba songwriter, at home Domenico would watch his father play and compose. At parties, the adults would hand his father a tamborim (a small tambourine) and ask him to play along. "I grew up inside samba, it's my roots", he says. "For me, everything is samba, I bring it into whatever style of music I am making".

Domenico and Ricardo instantly saw how the synthesisers were not at odds with the sambas they were playing, instead they had a similar sound to its typical percussion instruments (ganza, repinique, surdo, tarol). What's more, they saw a connection with roots samba, the samba that existed before bossa nova and samba jazz came along. This was rhythmic samba, with grooves that could go on ad infinitum. "It's samba de clave, geometrically structured" says Domenico. "It's ostinato samba", adds Ricardo.

"Diga" is a great example of what their proposal is capable of, as what begins as a glitchy machine whirring into action soon turns into a glorious samba in which the gurgles and scratchy beats coming from the analogue equipment only add to the arrangement. Likewise, on "Tá Brabo" it's an aching melody from one of the synths that gives the guitar rhythm its needed counterpoint, and shows how the duo's greatest accomplishment is not in invention alone, but in creating a great samba album. It's an album that can go from the opening track "Ere" with its reverberant bass thud, mantra-like vocals and staccato rhythms to the string-accompanied "Nada Sera de Outra Maneira", a swooning samba that pays tribute to the Brazilian ensemble Tamba Trio, who along with Tom Zé's Estudando O Samba, Domenico names as the biggest influence on their treatment of samba.

Other important reference points are made clear on "Um Abraço No Faust". One of three instrumentals on the album its title riffs off a JoãoGilberto song, "Um Abraço no Bonfá", but whereas JoãoGilberto was giving a hug (um abraço) to bossa nova guitarist Luiz Bonfá, Domenico and Ricardo are giving theirs to the German avant-gardists Faust. "Quem Samba", with its horn section and dramatic melody give a whiff of Domenico's Italian ancestry, while "Descomunal" is devoid of rhythm whatsoever, guest vocalist Tori singing over a bed of electronic drums, cello and swirling synths, that highlights the duo's unwillingness to stick to a particular formula.

Both Domenico Lancellotti and Ricardo Dias Gomes are revered names within Brazilian music over the past 20 years. As a member of the +2's, with Moreno Veloso and Kassin, Domenico released a trio of albums on Luaka Bop in the early 00s that pioneered a new Rio samba sound with elements of funk and psychedelia. With Veloso and Kassin he would later form Orquestra Imperial, a big band intent on reviving ballroom (gafieira) samba, and that has worked with guest vocalists such as Seu Jorge, Elza Soares and Ed Motta. SRAMBA is his fourth solo album. Multi-instrumentalist Ricardo Dias Gomes first came to notice as a member of Caetano Veloso's band Cê which helped reinvigorate Caetano's career with a sound influenced by British new wave. As well as collaborations with Lucas Santtana, Negro Leo and Thiago Nassif, and work with his own group Do Amor, he has released a series of acclaimed solo albums that reveal a restless music-maker.

SRAMBA is a glorious showcase of the duo's style, uniting Domenico's playful lyrics and rhythmic, samba-rooted songs with with Ricardo's assured accompaniment of unorthodox textures and instrumentations. It may be a new language for samba, machine samba (samba de máquina), but as Domenico says, "samba da máquina is samba".

In 2012, the two moved to an abandoned funeral home in rural southern Illinois where they founded Rose Raft, an artist residency and analog recording studio. This was done in part to alleviate the financial stress of being an artist in an expensive city, and it has allowed them to remain totally immersed in their craft, not unlike Dead Moon or Low.

“The biggest reason we were motivated to make our own studio is that it was the only conceivable way we could keep things going. We started as a band so trashy and raw and ‘low-fi’ is because that’s what we had access to.” says Jessee. The studio is all analog, and the pair has once again found how to find freedom in constraint, using the limitations of the process to think creatively and to inform their songwriting. Tracked entirely live, the new record celebrates the magic and physicality of analog recording, leaving in raw sounds and charming artifacts, like their dogs Junimo and Joja Cola barking at the tail of the keeper take of “Velvet Cash”.

Glow in the Dark Flowers finds Philip and Jessee reinventing their sound with maturity, grace, and poeticism, but without abandoning the fuzzed out sound and studio adventurousness of their earlier work. The album's intimate opener “Growing Cosmos” is propelled by an unquantized drum machine that stutters in and out of tempo, accompanied by enveloping hard-panned bass guitar. “Still Close To Me” recalls the duo’s effortless and hypnotic pop sensibility that made The Funs such a captivating live band in Chicago’s then thriving DIY scene. The albums closer “When The Leaves Have Fallen”, originally composed for a performance by the artist Lise Haller Baggesen, continually builds on its original theme until the drums drift out and gives way to cascading distorted guitars folding in on each other.

The band's new album represents a new level of their devoted partnership that continually produces raw and beautiful music. Glow in the Dark Flowers is a true representation of their passion and dedication to their drive for creation.

Originally released in 2014, Kero Kero Bonito’s debut mixtape, Intro Bonito, was a monumental success in the underground hyperpop scene bubbling up throughout the band’s hometown of South London. The trio, featuring Gus Lobban, Jamie Bulled, and Sarah Midori Perry, started crafting their unique blend of electronic pop music after school friends Gus & Jamie met Sarah on the internet. With Perry’s unique singing style (featuring lyrics in both Japanese and English), the band went on to write influential tracks such as “Sick Beat,” “I’d Rather Sleep,” “Pocket Crocodile,” and others that were inspired by J-pop, dancehall, and video game music.

The Intro Bonito mixtape paved the way for Kero Kero Bonito’s rise from underground glitch pop wizards to a monumental act within the PC Music scene and beyond. Since its release, the trio has built up a devoted fanbase across the globe, racked up over 500 million streams & video views across multiple albums, EPs, and singles, collaborated with numerous high-profile artists (e.g. 100 gecs, Porter Robinson, Felicita, Soccer Mommy, Ashnikko, etc), and performed at festivals around the world.

Puce Moment is part of the French contemporary music scene. Their music is climatic, often inhabited by a strong emotional power. A procession of harmonic structures organized in a ritual way, sometimes close to trance. It can be written or improvised, vocal or instrumental. The electronic and electroacoustic arrangements summon new spaces and abstract landscapes, which can go from the purest sound to the most raw distortions. Vast, slower, deeper - distant echoes of half-faded things - and when we are lost, voices appear. Voices whose only reference would be the timeless SeeFeel.

Nicolas Devos and Pénélope Michel are visual and sound artists, one trained at the Beaux-Arts and the Fresnoy studio national des arts contemporains and the other a classically trained cellist, singer and multiinstrumentalist. They created Puce Moment, envisaged as a sound research laboratory open to experimentation, to multi-disciplinary encounters and to decompartmentalization. Their work is akin to a fictional ethnology expressed through protean projects and mutant visual, sound and musical creations.

»Epic Ellipses« is their 4th album.

They have composed the original soundtracks of more than a dozen dance performance, fiction or documentary films, virtual reality in variable formats (Christian Rizzo, Mylène Benoit, Vania Vaneau, Benjamin Nuel, Laurent Pernot, Carolina Gonçalves). Or in the form of film-concerts including David Lynch's cult film 'Eraserhead' with which they have toured intensively since 2012 in France and Europe, and since 2019 »Koyaanisqatsi«, the cult experimental documentary by Godfrey Reggio.

Some gorgeous soulful boogie tracks right here!! The French Philippe Lecauchois, better known as "Phil Boogie Times" and Claudio Casalini, the factotum of the Italian label Best Record, teamed up with the intention of carrying on their identical passion, being devoted to Boogie, Funk, Soul and " Old School Disco". There couldn't have been a better choice to start this conjunction of passions and sharing of ideals: the first 12inch, produced by Darryl Payne in 1983, sees two precious gems such as "What's the Deal" b/w "Have You for My Love" by the charming ex Salsoul artist, Carol Williams (BTBS-12001). The other reissue of Phil and Claudio is 1984's "Come Back Lover" masterfully sung and arranged by Carl Smith (BTBS-12002). Listening to these splendid 40-year-old productions again will do good to the hearts of all the followers and fans of true soul music made in the USA. Coming on a limited vinyl edition!