quête:feet

Armed with a disdain for pastiche and a penchant for experimentalism, rRoxymore has spent the last decade pushing the boundaries of what constitutes club music. Across a steady stream of releases, the Berlin-based artist has continually reinvented her sound, shifting from hypnotic leftfield techno to UK bass mutations, genre-eschewing dub oddities and so much more. On Perpetual Now, her sophomore album, she again displays this propensity for pushing the sonic envelope. It's a slow-burning record, and one that blurs the lines between the electronic and the organic. Subverting the traditional album format, Perpetual Now is made up of four extended soundscapes - each taking the listener on a journey through tempo, texture and emotional state. Downtempo opener `At The Crest' gently sets things into motion, allowing the sparse percussion to tentatively find its feet. `Sun In C' is a peculiarly meditative excursion, crafting a rich, intoxicating atmosphere across its nine minutes. `Fragmented Dreams', with its pulsating rhythms and fractured melodies, sees the album fleetingly burst into life, before `Water Stain' winds things down in the most effortless of manners. A daring, unconventional album, Perpetual Now is everything we've come to expect and more from one of electronic music's most unique producers. French-born, Berlin-based DJ, sound artist and producer rRoxymore first emerged on the scene with `Wheel of Fortune', a ten-minute epic released on Planningtorock's Human Level back in 2012. She has since put out music regularly, dropping her debut album Face To Phase in 2019, and more recently "I Wanted More", a four-track EP that veered from downtempo ambience to lush deep house.

As his split album It’s counterpart (faitiche19, 2019) made abundantly clear, Jonathan Scherk is a master of his craft. Toon! immerses us in a highly distinctive world of plunderphonics-sampledelica-variations acousmatiques that’s impossible to classify while feeling familiar nonetheless. Following a strict two-minute format, thirteen complex sound constructions offer a range of experiences – as if the neurosciences had developed an acoustic formula capable of triggering illusions of memory. 13 tracks = 13 déjà-vus.

When department stores dream ... epiphanies appear in elliptical rotations. Afterthoughts recalled on the beach as a child, soft-drawn and befuddling. Are they dreams? Are they metempsychotic leakage? With cup so full-brim, there’s bound to be spillage. Toon! is sleeping on-your-feet, in the light. The pleasure must be more than belletristic, but what’s left to say? Perhaps the sun is simply too bright.
Samuel Dzierzawa/Jan Jelinek, 2021

Armed with a disdain for pastiche and a penchant for experimentalism, rRoxymore has spent the last decade pushing the boundaries of what constitutes club music. Across a steady stream of releases, the Berlin-based artist has continually reinvented her sound, shifting from hypnotic leftfield techno to UK bass mutations, genre-eschewing dub oddities and so much more.

On Perpetual Now, her sophomore album, she again displays this propensity for pushing the sonic envelope. It’s a slow-burning record, and one that blurs the lines between the electronic and the organic.

Subverting the traditional album format, Perpetual Now is made up of four extended soundscapes - each taking the listener on a journey through tempo, texture and emotional state. Downtempo opener ‘At The Crest’ gently sets things into motion, allowing the sparse percussion to tentatively find its feet. ‘Sun In C’ is a peculiarly meditative excursion, crafting a rich, intoxicating atmosphere across its nine minutes. ‘Fragmented Dreams’, with its pulsating rhythms and fractured melodies, sees the album fleetingly burst into life, before ‘Water Stain’ winds things down in the most effortless of manners.

A daring, unconventional album, Perpetual Now is everything we’ve come to expect and more from one of electronic music’s most unique producers.

The Layers collections showcase compilations by 7K! Records, supporting a range of contemporary classical music. Duet Layers pays tribute to the first editions of Piano Layers, String Layers, Ambient Layers and Wind Layers, honoring the layers thematic template, and challenging the artists to work together to find a common ground. The results of this are something new and unexpected.

The first edition to be pressed on vinyl, Duet Layers contains six duets. The result is a collaborative record written and performed by twelve of the most interesting artists from around the world, a sharing of sonic landscapes.

The release opens with a collaboration between the saxophonist Colin Stetson and pianist Hania Rani. Divided equally between an astonishing piano line, synths, a trace of vocals and the stunning melody of the saxophone. The music finds its feet in silence and developing into a new world full of sounds. The second track slowly moves into an artistic-axis held between Stefano Guzzetti’s piano and Neil Leitner’s (Echo Collective) viola – paying tribute to the slow passage of time. Following, the Polish cellist Dobrawa Czocher and British-Berlin violinist & producer Simon Goff, meet with a dark and poignant track.

Next on Extra Soul Perception, we're very proud to welcome a new artist to the label, Paddy Fred, with three tracks of antipodean psych soul for his 'Spells' 7".

Paddy Fred is a musician based on the south coast of Wellington, New Zealand, where he grew up. He's played guitar since he was a teen, and went on to study music performance, and toured with a number of bands throughout his twenties. When these bands dissolved in 2011, he began beat making and music production of his own, losing himself in the freedom of making music on his terms.

Inspired after hanging with Flying Lotus & the Brainfeeder crew and clubbing at Low End Theory in Los Angeles, Paddy created his first release, 'Laminate', which dropped in 2013; the same year Paddy entered fatherhood.

After emerging from the "survival zone" of the first five years of parenting, Paddy emerged a little lost, separated from the momentum of his musical career. There then followed a period of self-reflection. As he ran up and over the same coastal path repeatedly, he slowly but surely rekindled his passion for music making, and the work began again…

Paddy came to the attention of the Extra Soul Perception crew courtesy of fellow New Zealander, Mara TK (who provided the label's highly acclaimed 2021 album 'Bad Meditation'). When the guys heard the demos, they signed him on sight.

The lead track 'Spells' consists of big sludgy drums, a growling synth bass, ethereal guitars and spacey vocals, mixing the washed-out slow-mo beat construction of Toro Y Moi with the heady psychedelic soul of Tame Impala and Mildlife. On the flipside 'Found You' is a more tranquil affair, with languorous drums befitting DJ's Khruangbin rhythm section, whilst closer 'Kids' (digital only) offers a robust yet airy finish with an uptempo instrumental akin to the sound palette of late 00s Four Tet.

'Spells' is the first taste of Paddy's new material. Inspired by lost love, babies feet, social fatigue and universes held within rock-pools, this is Paddy Fred at his most true to self, and just a small sample of what's to come.

Storyville Records is proud to present Michel Petrucciani – Solo in
Denmark

This album features French piano prodigy Michel Petrucciani in a solo recording
from Silkeborg Church, 1990. MP was one of the most popular pianists in the
1990’s due to his extraordinary technique, his astounding musical outlook and
extremely dynamic playing style. His music is simply timeless and magical,
seemingly coming straight from his soul. As he is often quoted: “I’m not playing
to your head, but to your soul. When I play, I’m like a bird flying over the landscape,
and I can land anywhere.” Recorded on June 23, 1990 at the Riverboat Jazz
Festival in Silkeborg, Denmark, this album is a tour de force that leads the listener
through a series of the most iconic motifs in jazz, all of which are deconstructed
and transformed by an outstanding craftsman and embellished along the way by
a true master. And he also allows himself to insert unexpected twists and turns
that are guaranteed to make the listener smile. Pay special attention to his small
rhythmic and melodic tags, little hints for the well- trained ear. They reveal a
musician who never grows complacent or takes himself too seriously. Here, the
totality of MP’s talents are exhibited in an intimate setting, where he stuns the
crowd with his inventive and blindingly rapid playing. The music emanating from
the man simply grabs everybody’s attention. Arrangements by jazz legends like
Duke Ellington, Thelonious Monk and Miles Davis gets the cheeky Petrucciani
treatment with his rather audacious approach to ‘established’ jazz standards. MP
had the ability to effortlessly travel through the history of jazz on his piano,
fascinating his audience in the process. This church concert clearly displays why
MP quickly developed into a truly exceptional member of the international jazz
scene. For MP, joyful playing with the music was a necessity of life. He lived and
breathed for the opportunity to show it his love and respect. And all we have to do
is open our ears, mind and soul and accept the gems from a musical individualist,
who has made an indelible impression on millions of jazz listeners around the
world. Solo in Denmark is simply another chapter in the remarkable story of a
man, who perceived himself as a servant of the music. BIOGRAPHY Michel
Petrucciani was a highly charismatic and high- spirited character, despite being
hindered by a genetic disease called osteogenesis imperfecta or brittle bone
disease. He was extremely short, standing at three feet. Luckily, his hands were
perfectly normal, but he had special modifications to reach the piano’s pedals. He
started playing in the family band with his guitarist father and bassist brother. At
the age of 15, he had the opportunity to play with Kenny Clarke and Clark Terry,
and at 17 he made his first recording. MP moved to the US in 1982, where he
convinced Charles Lloyd to get out on the road again, and tour with his quartet.
Behind the grand piano, MP was a giant with h

How many hardcore, let alone metal, bands exceed all previous efforts on their third LP? Some might argue that ‘Feel The Darkness’ was Poison Idea’s prime. You could present ‘Master Of Puppets’ and ‘Reign In Blood’, if you’re so inclined. Let’s face it, these are a dying breed of exceptions to the rule. And yet, like an icepick in the eye socket of logic, here stands Foreseen with ‘Untamed Force’. In the landmine ridden field that is crossover, where bands can all too easily get it so wrong, Foreseen not only survive the death sentence of their sophomore record “Grave Danger” (2017), but head out on a blunt force killing spree. ‘Untamed Force’ indeed. Rarely has a record title been more fitting. Vocalist Mirko Nummelin sounds more pissed off than ever, 12 years on. Drummer Mårten Gustafsson’s arms and feet generate enough power to make Finland energy self-sufficient. And finally, pushing the band over the edge, separating Foreseen from us feeble bastards, we have new member Ville Valavuo joining Jaakko Hietakangas to form what is arguably the scene’s deadliest six string tag-team. Foreseen’s power is untamed but at the same time borne from hard work, a love for the craft and their musical community, and absolutely no excuses. Dig in, endure, stomp out, shoot to kill. Foreseen are for headbangers who haven’t been brainwashed by click tracks and digital recordings. Foreseen are for punks who can deal with a synth intro and harmonised solos. In 2022, ‘Untamed Force’ is the guiding principle that can inspire, but not be replicated, by the Kings of Hardcore Thrash.

1. Soldier's Grave 2. Birthright 3. Tolerance of Abuse 4. Suffocating Routine 5. Oppression Fetish 6. Cold Comfort 7. Serve Your Purpose 8. Desensitized 9. Untamed Force

After 2021's Mistakes Were Made broke the band's silence after 25 years
of being away, Too Much Joy return with even more rebellious power-pop
for smart people on 'All These Fucking Feelings'
Best known for early 90's MTV minor hits That's a Lie and Crush Story , the 5-
piece is viciously smart and makes you laugh and think while simultaneously
pumping your fists and stomping your feet to achieve the long-standing vision of
Randy Newman fronting the Clash .

Set for release on 28th October, the deluxe edition of Lady Blackbird’s debut album ‘Black Acid Soul’ comes with a staggering 11 additional songs, encompassing brand new material such as stunning single ‘Feel It Comin’ and remixes commissioned by the likes of electronic, jazz, funk luminaries Emma-Jean Thackray, Colleen 'Cosmo' Murphy and Greg Foat.

Originally released in 2021, ‘Black Acid Soul’ received enormous critical acclaim; The Sunday Times named her their Breaking Act, stating that she “brings a singing voice of extraordinary nuance and immaculate phrasing to a selection of covers/reworkings and pindrop originals” in a 4* review. The Guardian awarded the album a 5* review, remarking that Blackbird “finds her calling with an extraordinary collection of songs and performances that burn deep into you”.

Those who know, know. This is a man who has both stood on stage in front of thousands of fans and sat silently at the feet of Sufi masters. His journey began as a leading light within the underground club scenes of East London and Soho. There he co-founded the group Galliano and created the template for Acid Jazz - a movement that continues to this day. Having spent 10 years in Africa dedicated to self-development and study of Sufism. He has now returned to London and reconnected to his artistic roots. Writing, singing, producing, directing, designing, and collaborating by way of his new label ITEZ Records - with his own brand of afro folk, spiritual soul, jazz, and reggae, Itez Music marks the long-awaited return of 21st Century Renaissance Man, Constantine Weir a.k.a YAHYA.

Nicole Wray aus Virginia hat alles, was eine großartige Musikerin ausmacht: einen ansteckenden Groove wie ein Mitglied der Jackson 5 und ein Stimmvolumen wie Aretha. Nicoles Kindheit in Gospelchören hat ihrer Stimme einen klaren, fast schmerzlindernden Klang verliehen, der ihr Missy Elliot als Mentorin beschert hat. Danach folgte eine Odyssee: Kämpfe mit dem Musikgeschäft, mit Labels und Bandkollegen. Doch diese Kämpfe haben die Künstlerin am Ende stärker gemacht. Aus dieser Stärke heraus veröffentlicht sie jetzt ihr ultimatives künstlerisches Statement. Über ,Queen Alone", ihr Solo-Album von 2016, sagte Nicole: "Die Platte ist ein Spiegel meiner Seele. Sie zeigt die Person, die ich heute bin". Das stimmt: Auf dem Album singt sie selbst geschriebene Songs über ihr Leben.

BASTARDS....Zu diesem Album ist wohl nichts mehr zusagen.
wohl eins der besten MOTÖRHEAD Alben in ihrer Geschichte,
nun auf farbiger Vinyl erhältlich.

Limited Edition of 1500 copies. Includes a show flyer for the performance. Pressed on green colored vinyl. In the spring and summer of 1999, Satan's Pilgrims were awaiting the release of their self-titled fifth album. During that time, an in-store performance was recorded live at Jackpot Records on June 13, 1999 onto a mono cassette recorder. Since they were promoting a new album which was yet to be released, none of those songs had been performed in front of a live audience before. Both Jackpot Records and Satan's Pilgrims agreed that this lo-fi boombox recording should be released as is and sonically unaltered, since it really captures what it was like to be standing a few feet in front of the band vibrating the entire block. What could be more "Record Store Day" than an album recorded IN a record store? Mastered by Black Belt Mastering (The Germs, Green Day, Pearl Jam). Tracks: 1. Badge of Honor (cut) 2. Theme from the Arturan 3. Fra Diavolo 4. Tears and Gears 5. Casbah 6. All Day Party (All Night Party) 7. Mutha Fuzz 8. Frankenstomp 9. Super Stock 10. Black Marquis 11. Chi Chi 12. Jungle Room

Oscean comes out firing from the outset on their new 12” entitled Multirays. The Argentinian duo of Andrés Zacco and Sebastián Galante are following up on the first release of their collaboration, Ideoma, also released on Tresor Records. With Multirays, this burgeoning collaboration reveals a promising evolution, moving into
more rhythmically diverse environments and playful structures.
The opening track, Multidimensional, strikes with confronting beats and a searching, woolly bass sound.
Constantly growing, it moves confidently with its skittering percussion work, ebbing and flowing through filter movements and expansive synths. Invisible Rays draws in breathing techno pulses, as Zacco and Galante cast drenches of feedback across the spectrum. A
deceptively mellow melody, recalling Spiral from their debut EP, teases at a deeper melodic progression, but the focus stays locked on the animated rhythms, tempting towards divergent grooves but expertly keeping feet on the floor.
In Drivion, Oscean investigates electro territories, simultaneously bubbling and driving. Echoed arpeggiations and upfront beats funnel impulses between neurons. Broad synth gestures oer gateways into abstraction before, without barely a hint, the rhythms beat once more.
On the closing track, Horizonsz, the duo drive forth through skipping rhythms and soul-searching bass murmurs. Synth pads beckon with fresnel lens reflections and rising warmth, motioning towards a
stunning moment of euphoria, where futurist mirages coexist with distant memories.

Resignieren? Teilnahmslos die Zeiten Aussitzen? Vergiss es…wir haben da etwas Besseres "On the streets, on the streets There'll be riots on the streets…When they take your rights away" Und hier kommt der Soundtrack dazu:: Riot City Radio.Nach ihrer in 2020 veröffentlichten Mini-LP "Anchors in the Storm" haben die Jungs aus Plymouth, UK während der Pandemie ihre Zeit damit verbracht ihren ersten Longplayer "TIME WILL TELL" aufzunehmen! Und die Scheibe ist einfach ein Juwel in Sachen Streepunk/ Oi! geworden und vereint abwechslungsreich die verschiedensten Einflüsse zu melodischen Hymnen mit fetten Singalong-chorals bis hin zu aggressiven Shoutern.Riot City Radio kombinieren Liebe & Hass, Zuversicht und Rebellion in ihren Texten ohne dabei jemals zu vergessen, wo sie herkommen."True Attitude" verpackt in einen mitreißenden Sound oder anders ausgedruckt: Genau DAS, was wir lieben und jede Wette…es wird Euch nicht anders ergehen!.Time will Tell bietet 12 neue Songs…manchmal schnell und wie ein Schlag in die Fresse für Alle, die es einfach verdienen (Reap what you saw/ Never forgive, never forget). Manchmal antisocial mit klarem Bekenntnis zur Szene, ihren Wurzeln und der Working Class (Punk Rock Family / Working Class Anthem/ World at your feet…starring Mark/ Booze & Glory)!

The long awaited debut album from ROE – winner of Northern Irish Music Prize’s Best Emerging Artist. Recorded and Produced by Tommy McLaughlin (Villaghers/SOAK) in the wilds of Donegal in 2021, ‘That’s When The Panic Sets In’ is truly vibrant release, with rich contrast between ROE’s introspective anxieties and the colourful palette that she’s thrown across them. Hear the development and evolution of an artist and their style in real time over the course of 12 joyous, introspective and beautiful tracks.

Longform: EXHUMED return from the depths with their macabre new album, To the Dead! The band' storied career needs no introduction; EXHUMED are the pioneers of blood-soaked "Gore" Metal. To the Dead is the culmination of decades upon decades of nightmarish riffs, obliterating blast beats, and hellish screams from the very depths the band crawled out from! "To The Dead is a destination," EXHUMED mastermind Matt Harvey says. "A rotting world populated by the grotesquely twisted truths of our waking world and the decaying fallout of our most deranged ambitions. But it's also a title that evokes a celebration of, and an invitation into the gore-soaked world of EXHUMED." The very celebration of EXHUMED's history is ever-present on this album. "We've expanded the writing team on the record to include former members Mike Beams, Leon del Muerte, Matt Widener and Bud Burke in an effort to celebrate the band's history - at this point decades of it - and I think the resulting record is an excellent testament to the surprising longevity of Gore Fucking Metal!" Harvey says. So please, accept the band's humble invitation and sink six feet down to their level. EXHUMED can't wait for you to get a whiff of what they've cooked up - this will be the most fun you've ever had being disgusted! Short: EXHUMED return from the depths with their macabre new album, To the Dead! The new album is the culmination of decades upon decades of nightmarish riffs, obliterating blast beats, and hellish screams from the very depths the band crawled out from! FFO: Carcass, Repulsion, Aborted, Autopsy, Dying Fetus, Impaled, Cannibal Corpse, Napalm Death

B. Bravo (aka Adam Mori) returns to Bastard Jazz with the long-awaited follow-up to his 2017 debut LP, "Paradise," with a fresh full-length offering: "Vizionz." Replete with his signature future funk vibes, infectiously soulful grooves, and talkbox excursions, "Vizionz" sees the multifaceted artist take the classic West Coast into outer space. If B. Bravo's last album sought to get lost in paradise - enjoying the moment here and now - "Vizionz" looks forward, feet placed firmly in an established LA vibe, while the matured eyes of a veteran producer gaze keenly to the future.

"Vizionz" arrives following a slew of diverse singles, which highlight B. Bravo's stunning versatility as a songwriter, producer, and collaborator. Last year's "Lifted (What U Waiting 4)" came first, at the end of May, 2020, pairing g-funk talk-box verses and synth lines with rich vocal harmonies and a dance-floor-ready beat. Frequent collaborator Reva DeVito (Miami Horror, Kaytranada) makes a standout vocal appearance on "Fly Bye," the second single. Here, Adam surrounds Reva's vocals with ambient pads, a Dilla-inspired beat, and an irresistible bassline, while Reva's dreamily sings about getting away from it all. The final single, "Believe," sees Chuck Inglish (of the famed duo The Cool Kids) rhyme in his distinctive baritone over a bass-heavy instrumental meant to rattle some car stereos.

The singles offer a view into the rest of the album: Solo B. Bravo joints include "Moon Bounce," a talk-box boogie jam begging for late-night drives with the top down; the largely-instrumental synth improvisation, "Midnight Rider;" the upbeat "Penelope," which showcases Adam's vocal and harmonic prowess; a bumping g-funk interlude, with "Flip Out;" as well as the laid back album opener, "Da Essence."

Further vocal assists come by way of Sally Green on the flirty "10/10," and Rojai on the slow jam ""No Regrets" . Both singers have worked on B. Bravo projects in the past, with Rojai additionally joining forces with Adam to form the duo Kool Customer, whose self-titled debut album was released on Bastard Jazz in 2018. Two more hip-hop-leaning tracks are aided by Def Sound ("Back Times Two") and Nico Fasho ("Ms. Stardust"); leaning heavy into outerspace G-Funk Hip-Hop vibes.

Taken as a whole, "Vizionz" is a much needed boost of serotonin: Uncompromisingly positive, sometimes nostalgic, sometimes aspirational, but always funky. The range of styles is a testament to Adam's indelible production chops, songwriting skill, and ability to collaborate. While it has been a long 5 years since "Paradise," "Vizionz" proves more than worth the wait.

Born and raised in California, with roots in Japan, B. Bravo's signature style of Cosmic Funk and late night synth grooves have made him a favorite among DJ's, dancers, and music lovers worldwide. A tasteful producer, sought after remixer, party rocking DJ, master of the talkbox, band leader, and alumnus of the Red Bull Music Academy, Mr. Bravo is an accomplished performer both at home and abroad.

Heavily inspired by the synthesizer-enhanced R&B grooves of the late '70s and early '80s, B. Bravo debuted in 2009 with the seven-track "Analog Starship" EP. A deeper impression was made the following year with a shorter extended play, "Computa Love," the title track of which was supported by BBC DJ Benji B months prior to release. Additional strides were made with a batch of singles and EPs that followed throughout the next few years, as Bravo toured and performed at numerous festivals around the world.

His relationship with the Brooklyn tastemaker label, Bastard Jazz Recordings, began in 2016 with the 7" single "I'm For Real / Stay The Night' (which notably featured a Mr. Carmack remix of the latter). Bravo's debut solo LP quickly followed with 2017's critically acclaimed "Paradise" - which shone a light on vocalists and frequent collaborators Reva DeVito, Trailer Limon, Kissey, and Lauren Faith - with a remix album appearing six months later.

Additional solo releases have found a home on Gilles Peterson's Brownswood Recordings and Frite Nite, while production credits have appeared on releases from the legendary Blue Note Records, HW&W, All City, Friends of Friends, and Tokyo Dawn. B. Bravo has worked on projects with the likes of Salva, Mr. Carmack, Teeko, DJ Lean Rock, Reva DeVito, Lauren Faith, and Kate Stewart.

Having toured throughout the US, Latin America, Europe and Asia, he's shared the stage with performers like Erykah Badu, Flying Lotus, DāM-FunK, Hudson Mohawke, at a world-spanning range of festivals such as Detroit Electronic Music Fest, HARD LA, Northern Nights, Laneway Singapore, Sonar in Barcelona, Snowglobe, SXSW, Basscoast, Do-Over, Low End Theory, Boiler Room, and Soulection.

B. Bravo's "Vizionz" LP is out on Brooklyn's Bastard Jazz Recordings Spring, 2022.

Björk announces her tenth studio album Fossora -

each album always starts with a feeling that i try to shape into sound
the feeling was landing ( after my last album utopia which was all island in the clouds element air and no bass ) on the earth and digging my feet into the ground it was also woven into how i experienced the "now" this time around 7 billion of us did it together
nesting in our homes quarantining being long enough in one place that we shot down roots my new album "fossora" is about that
it is a word i made up it is the feminine of fossore ( digger, delver, ditcher ) so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end , we have 6 bass clarinets and punchy sub i would like to especially thank bergur þórisson and heba kadry and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet viibra and last but not least : sindri and dóa .

visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

Kinda Kinks ist das zweite Album der englischen Rockband the Kinks, das 1965 veröffentlicht wurde. Aufgenommen und veröffentlicht innerhalb von zwei Wochen nach der Rückkehr von einer Tournee in Asien. Das Album ist ein großer Schritt nach vorne in der Fähigkeiten von Ray Davies und der Band. Sie sicherten sich einen ersten Platz in den britischen Single-Charts mit "Tired of Waiting for You", das gesamte Album stieg auf #3. Ursprünglich veröffentlicht von Pye in Großbritannien am 5. März 1965 und jetzt von BMG auf schwerem
schwarzem Vinyl im Jahr 2022 wiederveröffentlicht.

Das Album enthält auch die Kult-Lieblingsstücke 'Look For Me Baby", "Come On Now", "Something Better Beginning" sowie sowie "Nothin' in This World Can Stop Me Worryin' 'Bout That Girl", mit dem sie in Sachen Ernsthaftigkeit ganz vorne in der der British Invasion in Bezug auf Ernsthaftigkeit und Komplexität, vor vor den Beatles oder fast allen anderen Mitbewerbern Konkurrenten Anfang 1965, aber das hinderte sie nicht dara zum bluesigen "Naggin' Woman" überzugehen.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

RENAISSANCE is the highly anticipated new album from global icon Beyoncé. Packed with rousing anthems that resonate with everybody, RENAISSANCE is a culmination of freedom and escape that encourages unimaginable jubilation, agency, and movement with abandon. The singular intent of RENAISSANCE, a reinvention of four on the floor, is to showcase music that stirs you from the soul and encourages your dancing feet. It is a celebration of a club era when anyone who felt like an outsider sought each other and formed a community of freedom-seekers to express themselves creatively through the rhythm, which we still celebrate today.

Includes:

2 black vinyl LPs, 180 Gram, in printed jackets w/ printed inner sleeves, 36 page booklet, and folded collectable 24”x 36” poster (1 of 3 randomized) in a hard slipcase.

Björk announces her tenth studio album Fossora - each album always starts with a feeling that i try to shape into sound the feeling was landing ( after my last album utopia which was all island in the clouds element air and no bass ) on the earth and digging my feet into the ground it was also woven into how i experienced the "now" this time around 7 billion of us did it together nesting in our homes quarantining being long enough in one place that we shot down roots my new album "fossora" is about that it is a word i made up it is the feminine of fossore ( digger, delver, ditcher ) so in short it means "she who digs" ( into the ground ) so sonically it is about bass , heavy bottom-end , we have 6 bass clarinets and punchy sub i would like to especially thank bergur þórisson and heba kadry and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet viibra and last but not least : sindri and dóa .

visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

A1 Somber ambience and dark drones pair well with small, silent melodies and form this perfect teaser track by Ninze & Niju.

A2 With their well-known ear for details, Ninze & Niju deliver the soundtrack for riding your skateboard through deserted downtown past midnight.

A3 Another signature tune by genre-defining NInze & Niju, bringing together hushed drum patterns and filtered organs to this mind-boggling brain bender.

B1 Not much time is wasted when rhythmic layers, driving arpeggios and moving percussion slowly unite to this hypnotic peak time beast to be unleashed by Ninze & Niju.

B2 This pretty straightforward, yet hard-to-grasp track unfolds in too many layers to leave you calm - another twisted tune for bare feet in morning dew.

Breathing Tornados is the third studio album by Australian musician Ben Lee, released in 1998. It peaked at number 13 on the ARIA Albums Chart and has sold in excess of gold sales.

Breathing Tornados distinguished itself from Lee’s previous albums for its expanded instrumentation, hip hop inspired beats and its pop polish, which came with the help of producer Ed Buller (Psychedelic Furs).

The album features contemplative but catchy songs like ‘Nothing Much Happens’ (inspired by an early morning conversation with Evan Dando) and ‘Tornados’, as well as the emotional bitterness of ‘Cigarettes Will Kill You’ which came in at Number 2 in the Australian 1998 Triple J Hottest 100.

Limited Clear Grey Vinyl 7". For Fans Of… Piero Umiliani, Amedeo Tommasi, Dorothy Ashby, Sandro Brugnolini, El Michels Affair, Sven Wunder. Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960’s, Salvator creates his own unique mood that’s equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

Tracks 1. Mind On Madrid 2. A Return To Normal

Los Cotopla Boyz: Millennial Cumbia For The End Of The World. The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives, like the drama “N’sync” about that chat where they leave you on read, or “Me Malviajé con las Ganlletas” about the hallucinogenic experimentation of ingesting cannabis and flipping out. These experiences also lead to songs like the clumsy love lost of “Dama tu Wasap,” the cathartic “Tren de Cotopla” and the ode to excess that is “Raspafiestas,” that moment in your life when the night seems eternal and you only want to go from one party to the next until the world ends. These songs, together with “Plankton (Abanico Sanyo)” and “El Peruanito” are part of Mamarron, Vol. 1, a compilation of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual, tracks laid down on their debut record that saw the light in 2020 in the middle of the pandemic and will be re-released in 2022 by AYA records (ZZK Records imprint.) As well as being pressed on vinyl the album will include the bonus track “El Peruanito” remixed by Colombian producer Santiago Navas and taken from Mamarrón, Vol. 2, their album of remixes by figures such as Frente Cumbiero, Cerrero, Prendida, Sonido Confirmación, DJ Rata Piano and Felipe Orjuela, local producers and musicians with a global scope and vision who expand the raspafiesta universe to the limits of the world. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights. Tracks SIDE A: 1. Plankton (Abanico Sanyo) 2. El Peruanito 3. Dame tu Wasap 4. N’sync SIDE B: 1. Tren de Cotopla 2. Me Malviaje con Ganlletas 3. Raspafiestas 4. El Peruanito (Santiago Navas Remix)

Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke’s work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018’s Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they’ve been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 12 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke’s mostly English splatter-poetry helps guide into a space that’s about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. The CD version of Lunatic Asylum features two exclusive bonus tracks. It was released in April 2022. TRACKLIST 1/Good Morning! 2/Head 3/I Ghore Es Gloeggli 4/Mood Swings 5/Damage Control 6/Happiness to Go 7/Pain is a Pain 8/Il y a des Enfants 9/The Lived Body 10/Ah-Ah-Ah 1921 11/Mika the Dog 12/Tuba Manifesto

What do notions of freedom and movement mean to us as we experience unprecedented restrictions on travel, culture and socialisation? Henry Keen’s Freedom In Movement offers a soundtrack to both remember and look forward to freedom through music, movement and community.

The memory and feeling of the Plastic People dancefloor were often in Henry Keen's thoughts as he produced the tracks on this new LP. Inspired by the London club nights he frequented – Balance, CDR, and CoOp – Freedom in Movement is Henry’s first vinyl self-release, an embodiment of self-expression that compliments his contributions to projects Electric Jalaba and Soundspecies.

The soulful tracks on the album pick up where Henry Keen’s 70's Baby (Maddjazz Recordings, 2017) record and EPs as The Room Below on the Don't Be Afraid label left off, bringing a range of tempos to get heads nodding while hips and feet work out. Lovingly made, the collection of songs offer meditations on questions evoked by the record's title and respite from the heaviness of challenging times.

The lead single from the album is Dexter’s Breakfast, featuring London-based woodwind expert, and previous collaborator Ben Hadwen on baritone/tenor saxophone, and flute.

Dexter’s Breakfast was released digitally on 25th June 2021 and gained support from the likes of Adam Rock (Jazz Re:freshed), Kev Beadle (Mind Fluid), Simon Harrsion (Basic Soul), Psycut (Music Is My Sanctuary) and Laani and Papaoul (Worldwide FM) amongst others

LIMITED 180GM BLACK VINYL INCLUDES DOWNLOAD CARD WITH 8 BONUS TRACKS. GATEFOLD + BOOKLET INCLUDED.

During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year old Janet Armstrong on vocals alongside Guy, ‘Ventilation’ best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80’s gem ‘Absolute Beginners’. By this point Kev Armstrong was also guesting for Bowie on guitar duties too.

Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). ‘Sang Sang’ is a good example of how he was inspired to deliver his poetic treatises over the band’s atmospheric, floating improvisations. Bertie’s impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. ‘Still Obedient’ fidgets, soars and careens across the dancefloor, “if you’re ahead close your eyes, you won’t notice the subtitles” chants Guy.

By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn’t win out, they’d eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa & even David Lynch and could feel the light beginning to shine through. ‘Dark World’ is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie’s nest. Emergent, hopeful and resistant in sound and ethic.

Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960's, Salvator creates his own unique mood that's equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

Killing The Dragon is the 9th studio album by Dio, released on 21st May 2002. This album, which introduces Doug Aldrich on guitar to the band, refers to technology as the ‘dragon’.

This red and orange swirl vinyl is to celebrate the 20th Anniversary of Killing The Dragon. LIMITED TO 1500 COPIES IN THE UK.

"Train of Thought, the third full length release by Kamloops, British
Columbia based psych quartet Mother Sun is a 12 song day trip through
an overstimulated frame of mind
Using 60's and 70's psych pop, garage rock, jazz and soul as a jumping off point,
the band refines their modern eclectic storytelling through lush and adventurous
arrangements, highlighted by abstract hooks, velvety strings and triumphant
horns."
"Train of Thought captures the moment as it happened, as natural as possible,"
explains drummer Jared Wilman. But judging from the way the ribbony loops of
Alex Ward's bass weave through the crystal shards of Jared Doherty's and Emilio
Pagnotta's guitars, the in-the-room reality experienced by Mother Sun may be a bit
more warped than average. "Posing a question, falling asleep/ Glued to a fish eye,
blind in the ocean/ Water resistance, growing webbed feet," Doherty sings on
"Webbed Feet", as a pulse of retro soundtrack horns and bombast drums propel
his bleary-eyed vocals into an endless psychedelic expanse.
That track's blend of riotous complexity and souped up devolution digs at the
thesis of the album as it teeters at the edge. "It's all about the way our thoughts
control us and we control them," Doherty says. "Being anxious about mind control,
noticing your surroundings, caring for your mental health, being mindful of others,
and not letting your train of thought run away due to complacency."

Middle Eastern psych-rock collective Al-Qasar"s debut album is an explosive mix of heavy Arabian grooves, global psychedelia and North African trance music. The band calls it "Arabian fuzz." Brazenly electric yet deeply connected to their roots, guests include Lee Ranaldo (Sonic Youth), Jello Biafra (Dead Kennedys) and Alsarah (Alsarah & The Nubatones). Mixed by Alain Johannes (Queens of the Stone Age, PJ Harvey). Al-Qasar was born in the Barbès neighbourhood of Paris," explains band leader Thomas Attar Bellier. "I"ve lived in Los Angeles, Paris, New York, Lisbon... I wanted to start a project that was in tune with the daily life of people living in these international cities, something diverse, radically colourful, with a fresh, contemporary outlook on what societies really look like today". The musicians came together from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. In the same time frame, Attar Bellier collaborated with the likes of Emel Mathlouthi and Dina El Wedidi, two of the most exciting names in contemporary Arab music. Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. It is relentless and insistent, like a psychedelic celebration on the dancefloor, bristling with the kind of deep energy that makes Al-Qasar sound like the world"s most dangerous wedding band. During those years spent behind the control board, Attar Bellier made some good friends in the US, and they"ve been eager to help out on the project. Alain Johannes (Queens of the Stone Age, PJ Harvey) mixed the record, and Grammy-winner Dave Collins mastered it. The Dead Kennedys" Jello Biafra was a natural addition to "Ya Malak," his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record"s social critique while showcasing the first-ever English recording of Negm"s work. Jello Biafra is not the only punk hero to appear on Who Are We? Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, "Awtar Al Sharq" and "Awal." The sweeping drones embrace the Moroccan bendir groove to magical results. "Lee sent me upwards of eighteen guitar tracks," says Attar Bellier in amazement. "It was enough for an entire EP, and all so good. The hard part was deciding what not to use. Lee"s vibe just fit perfectly with what I was trying to do with the track." Who Are We? is an exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock"n"roll. It is modern folklore, a reflection of the cross-cultural societies we"ve become.

First thought, best thought. Until the next thought: a guiding principle for No Age in the 16ish years they've been around. Constantly responding to their own streams of consciousness with reductive flexibility, they've taken the basic duo of guitar and drums with vocals WAY farther than anyone listening in halcyon Weirdo Rippers days could have guessed. Expounding on those larval possibilities, they've zig-zagged in serpentine precision, in and out of the teeth of the wringer - ranging outside and back in again, as befits the present thought. And now, six albums into it, these principles have led them to make People Helping People. Composed in their studio of ten years in the "pre pandemic" times, then an eviction from said space, and finished deep in the midst at their new basecamp: Randy's Garage. It starts with an instrumental, too. First counter-intuition, best counter intuition! Nearly five minutes prelude Dean's debut vocal interjection - a zoom in from the upper atmosphere, Randy's guitar clouds pulsing with radiation, paced by spare, percussive accents. When the first song with singing ("Compact Flashes") bounces in on an insane synthetic beat, the only recognizable sound of No Age is a sputtering of enchanted clicks and creaks - muted guitar strings and drumkit rattlings that cycle for a full minute before voice song and snare fall into place. This is the sound of People Helping People: No Age, deep in the lab, scraping available nuclii together to see what new compound they find next. Erasing the starting points, reordering the pieces and beginning anew. It's an everyday mindset - and as the first No Age album recorded entirely by No Agee, People Helping People is a broadcast of entirely lived-in proportions. Side one ricochets expertly back and forth between magisterial instrumentals and sing-song forms cut up on the mixing desk, as with the undeniable hitness of "Plastic (You Want It)", winningly rewired to MIDI-mangled beat squelches. They don't really land on a straight up punk-style riff until it's almost time to flip the side, and even once they've got off on a run of rockers on side B, their aesthetic choices continuously reframe the norms, enhancing their inherent power. People Helping People finds their disparate desires operating in perfect sync; prolegomenic weirdness fused immaculately to classic rock propulsion, transforming the energy pouring out from their hands and feet with electronics. Dean's lyrics are like pieces taken off the belt at the factory and put together into a John Chamberlin-esque sculpture, meant to sit out in the rain. Randy's guitars, collaged into arrangements that reflect, again, boundless curiosity and exquisite restraint. This is People Helping People: unpretentious, suspicious, inviting, confident, left field. The most accurate display of the No Age ethos put to record. Yet!

Brighton sextet Opus Kink share their debut EP ‘‘Til The Stream Runs Dry’,
via Nice Swan Records (Sports Team, Pip Blom, FUR, English Teacher).
• Partnering up with the cult indie label for their first extended release, the
enigmatic collective - comprised of Angus Rogers, Sam Abbo, Fin Abbo, Jed
Morgans, Jazz Pope and Jack Banjo Courtney - lend a blend a dizzying
array of influences in their ever-evolving enigmatic style, producing an
experimental patchwork of explosive material that’s consistently earned
widespread plaudits since bursting onto the scene.
• With EP lead singles ‘I Love You, Baby’, ‘The Unrepentant Soldier’ and ‘Dog
Stay Down’ attracting praise from all corners of the press landscape (NME,
DIY, So Young, Dork, Clash, Gigwise), not to mention countless BBC 6
Music (Steve Lamacq, Lauran Laverne) spins, the six-piece are clearly
primed for a busy summer.
• Having already ticked off live dates alongside labelmates Malady and
Mandrake Handshake, in addition to a sold-out headliner at London’s
legendary 100 Club last month, the band have a slew of festival appearances
lined up in the months to come, as well as shows with FEET and Bull.
• Detailing their EP, Opus Kink stated: “You may begin by dipping one stained
and rancid toe, but you know that once those waters have been tasted
there’s only one way to go - into the stream, away down the valley like
flotsam and windfall. Here lie six songs of bad love, ill winds, possession,
stagnation and earthly delights.”
• “Horn-fuelled filth-funk, where punk & jazz combine in grimy circumstances” -
NME
• “A land where growled-jazz meets the blues in a showdown to end all
perceptions of genre… Opus Kink have succeeded in turning listeners on
their head” - So Young
• “A frenetic groove-filled glimpse of what’s to come” - DIY
• “Intense blast of guitar pop” - Clash
• “There is a sense that they are still only just beginning to hit their stride” - M
Magazine
 Tourdates - August 20 Beautiful Days, September 28 Oslo London, 29 Record
Junkee Sheffield, 30 YES (Pink Room), Manchester.