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Double vinyl on blue and orange transparent vinyl in gatefold sleeve with download code.

 Former bIG*fLAME singer and bassist Alan Brown returns with his long term solo project The Great Leap Forward, releasing a powerful and trademark new album ‘Revolt Against An Age Of Plenty’. 

Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.

Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1). 

Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.

The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."

Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.

Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.

CRESCENT was formed in 1998 by Ismaeel Attallah and Amr Mokhtar in Cairo, Egypt. It started as a Black Metal band influenced by the Swedish Black Metal scene. In 2014, the band released their full-length debut ‘Pyramid Slaves’, focusing on Ancient Egyptian history/mythology, which marked the band’s complete transformation towards Black/Death Metal infused with Egyptian elements. In the following years, CRESCENT was booked to major Metal festivals such as Wacken Open Air, Inferno Metal Festival, Fall of Summer festival among others . 2017 CRESCENT ’s much anticipated second full-length ‘The Order of Amenti’,a tribute to the Ancient Egyptian gods, showed more emphasis on the blackened death Metal epic soundscapes and thematic atmospheres while maintaining its primordial Egyptian Death Metal essence. CRESCENT’s new album 'Carving the Fires of Akhet' was mixed/mastered by Victor ‘Santura’ Bullok (Triptykon, Dark Fortress) at Woodshed studio. The artwork was done by Khaos Diktator (Thron) , which is a Baroque-style recreation of one of the most influential and ancient Egyptian relics. The album title acts as the thread that holds all tracks together. The Fires of Akhet represents the great divine will that was carved into humanity's history and future. A value that brought nations to their apex and brought others to their knees, and the cycle goes on. Lyrically, the album touches upon a primeval epic story that is full of struggle and blood. It also reflects drunkenness with divine power, and pure evil in its religious and historic form (and beyond). Finally, the album lays a dark path of philosophical and material decay. The themes will not only be represented by the sound, but also by artworks that relays the sub-themes. It manifests CRESCENT's growing identity and beyond any of its previous works, starting a new era for the band.

Uruguayan groove and multicultural sophistication - 40th anniversary special edition, 500 copies, including 20 page booklet

With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Aquello, his third album, recorded in France in 1980 with an impressive cast of international musicians, reflects Europe’s multicultural landscape during the late seventies. Psychedelic folk, afro-candombe, murga, rock, new tango and jazz-fusion are combined in a surprising way in a one-off album that exudes strangeness and sophistication.

Das Phänomen POWERWOLF: Innerhalb der deutschen Heavy-Metal-Szene findet sich wohl kaum eine
andere zeitgenössische Band, deren Erfolgskurve seit vergleichbar langer Zeit derart steil nach oben zeigt,
was mithilfe der im vergangenen Jahr veröffentlichten opulenten Werkschau „Best Of The Blessed“ zum
15-jährigen Bestehen deutlich sicht- und hörbar unter Beweis gestellt wurde. Nun, nur rund 12 Monate
später, steht das achte Studio-Album unter dem Titel „Call Of The Wild“ in den Startlöchern, von dem
mit Fug und Recht behauptet werden darf, dass es neue Maßstäbe setzt!
Zeitsprung ins Jahr 2005. Bereits auf seinem Debüt „Return In Bloodred“ etabliert das Quintett um den
Lead-Gitarristen und Haupt-Songwriter Matthew Greywolf einen in dieser Form nie dagewesenen Stil, der
klassischen Metal melodischer Spielart mit erhabenen Orgelklängen und orchestralem Bombast vereint.
Alles an POWERWOLF, von den elaborierten Texten - die mal augenzwinkernd humorvoll, mal bitterböszynisch von Phantastischem und Historischem handeln - bis zur omnipräsenten sakralen Symbolik, nährt
die mystische Aura des Fünfergespanns, die über die folgenden Jahre mit jedem weiteren Werk an
Bedeutung gewinnen und auf unzähligen Touren in eine einmalige, nicht von ungefähr als
„Metal-Messe“ bezeichnete Liveshow übersetzt werden soll. Die süßen Früchte der eisernen Treue zu den
traditionellen musikalischen Wurzeln, bei gleichzeitiger konsequenter Weiterentwicklung ihres ureigenen Sounds, ernten POWERWOLF aber nicht nur von den Bühnen ausverkaufter Konzertsäle aus, sondern
auch an der hart umkämpften Chart-Front. Dreimal gelang in den letzten Jahren der Sprung aufs
Treppchen der offiziellen deutschen Albencharts - zweimal davon auf die Pole-Position - und im
europäischen Ausland wurden die jüngeren Veröffentlichungen „Blessed & Possessed“ und „The
Sacrament Of Sin“ mit Gold, die Hit-Single „Demons Are A Girl' Best Friend“ gar mit Platin
ausgezeichnet.
Warum außer Frage steht, dass das am 16. Juli 2021 erscheinende Opus „Call of The Wild“ in Sachen
Popularität einen weiteren Quantensprung bedeuten wird, erklärt sich sowohl langjährigen als auch frisch
gewonnenen Fans schon im ersten Hördurchlauf wie von selbst: Gerahmt vom Eröffnungs-Titel ”Faster
Than The Flame”, der sich pointiert als „POWERWOLF in Reinkultur“ beschreiben lässt, und dem
großen Finale ”Reverent Of Rats” verströmen die elf enthaltenen Songs zwar stets Vertrautes, wagen aber
auf jedem Schritt des Wegs Weiterentwicklung in vielerlei Hinsicht. So mutet etwa das
unverschämt-eingängige ”Dancing With The Dead” regelrecht tanzbar an, während ”Alive Or Undead”
als Power-Ballade allererster Güte den Ruf des Frontmanns Attila Dorn als absolutem Ausnahme-Sänger
endgültig zementiert. „Call Of The Wild“, das sich einmal mehr als heißer Anwärter auf den
Chartstürmer-Titel ins Rennen stürzt, ragt anno 2021 als turmhohes Ausrufezeichen aus der
Musiklandschaft hervor und vermittelt wie kein anderes Werk das leidenschaftliche Credo
POWERWOLFs: Metal is religion!

Three years ago Danish guitar player and highly acclaimed session musician Jacob Gurevitsch made his solo debut with 'Lovers In Paris', a sweetly melancholic single which conquered sunsets worldwide and earned a place in many quality compilations and has over 10 million views on Youtube. Roll forward to 2018 and this stunning track now heads up the Danish guitarist's first vinyl album, on Kenneth Bager's renowned Music For Dreams label. The original album of 'Lovers In Paris' album entered the iTunes chart at #1 position in Denmark and was (back then) being hailed as one of the Records of the Year by the Balearic Community. And the success story continues. With over 2 million monthly streams Jacob Gurevitsch is a name to watch.

This vinyl debut album 'An Introduction' consists of selected works from the 'Lovers In Paris album, a few from his 'Cinematica' Ep and some from his forthcoming album 'In Search Of Lost Time.'

One could say A kind of Greatest Hits.!

10 melodic and beautiful originals.

'Mexican Margarita' is a truly impressive piece of guitar work with superb bongos and bass - already an essential tune for any Balearic collector - and the recently released single 'Spanish Inquisition' a current DJ Harvey fave, shows his technical and compositional ante into the world of Flamenco. 'Mapa De Soledad' and 'Poesia Del Mar' both gorgeous and moving Mediterranean-flavoured ballads full of emotional keyboards, soulful strings and accordions. The indelible upbeat of 'Motive Loco' and elegiac cinematic 'In Search Of Lost Time' remains memorable long after listening and this hits the nail on the head.

Jacob Gurevitsch the guitar player and composer has a unique sensibility to write themes and melodies that transcend time and sound like divine interventions.

* A welcome reissue of The Disciples set `Infinite Density of Dub’.
* A cosmic trip into raw spacey dub territory with heavy rumbling, pulsating bass-lines
* Originally surfacing on the Dubhead label in 1999.
* Mixed and produced by Russ D.
* Limited to 500 copies only.

The infamous MAYHEM return this year with an EP called “Atavistic Black Disorder / Kommando” that presents the band in a way that has never been heared before! The lords of darkness have dug deep and reflected their influences to create a musical odyssey that shows them multifaceted in several ways. For this goal, cover versions of bands like Discharge, Dead Kennedys, Rudimentary Peni and Ramones were chosen, which in typical MAYHEM manner impressively fit into their bursting and darkenened sound. Nevertheless, MAYHEM would not be MAYHEM, if this musical creation would do without own composed songs. In addition to named cover versions, a brand new track called “Voces Ab Alta” was recorded to continue the musical journey alongside previously released tracks “Black Glass Communion” and “Everlasting Dying Flame”, which were used as bonus tracks for the 2019 album “Daemon”. The EP comes as a 180g LP format which features a two-sided cover artwork and two-page insert, as well as a Ltd. CD Digipak with sleeve and 12-page booklet.

Above the Earth, Below the Sky is the first full-length studio album by American post-rock band If These Trees Could Talk. It was independently released on March 11, 2009 and then re-released by The Mylene Sheath on vinyl the following year. Metal Blade picked up the release in January 2015, and now due to significant demand. has again repressed for 2021 in all new colors. The album was recorded, mixed and mastered by Tim Gerak at Mammoth Cave Studio in Akron. The album was produced by Zack Kelly and Tim Gerak.

Marking his first full-length album in six years, Five-Time GRAMMY Award nominee and diamond-selling performer, actor, entrepreneur, and philanthropist Robin Thicke makes a return in 2021 with the long awaited new album, "On Earth, and in Heaven." Setting the stage for the record, the scorching single "That's What Love Can Do," ignited this new flame and hit #1 on the Urban A.C. charts. The second single, "Forever Mine," garnered high praise from Vibe, and has already amassed over 2 million Spotify streams and counting. Presenting the same bold, bright, and boisterous R&B that turned him into a household name, he ascends to new heights on his eighth full-length album.

A modal masterpiece from 1959, Kind of Blue is a true classic that never gets old, no matter how many times you listen to it. Bill Evans’ understated piano is the perfect foil for Miles’ melodies, contrasted by the soaring alto sax of Cannonball Adderley; Jimmy Cobb and Paul Chambers keep the rhythm section steady but unobtrusive, allowing Miles and Cannonball to shine. ‘So What’ and ‘Freddie Freeloader’ are seductive, deceptive gems, imparting all the frustration, begrudging and joy as only a great jazz record can; ‘Blue In Green’ and ‘All Blue’ have melancholy hues and ‘Flamenco Sketches’ a precursor to Sketches Of Spain. Every household should have at least one copy of Kind Of Blue, one of the greatest records ever made.

I attended a trade fair in Rio de Janeiro, Brazil. In this show, we met producers, label and festival managers. It is a privileged moment when it is possible to learn about new trends, new musical forms, emerging groups. The timing of the meal is undoubtedly the most important. We take the time to introduce ourselves and discover each other. When my turn arrived, I took out my little map to locate the town of Sète on the map of France. There, an American promoter exclaimed "Yeah! You live in this beautiful city. Where there is this incredible music. ” I admit that at the time I didn’t quite understand what he meant but flattered by his remark I told him yes. Later, I realized that he was talking about gypsy music that made the whole world dream.



When my friend shared this anecdote to me, it resonated deeply with me. Indeed, for us, people of the south of France, this was nothing exceptional. Indeed, every day you could meet in the street a gypsy musician performing a rumba, another declaiming a fandango or another who liked to paraphrase the maestro Django. It is part of our daily environment, but it is indeed a peculiarity of this region. The territory of the Mediterranean arc, from Arles to Perpignan, is indeed the cradle of gypsy music in France. In addition, we must underline the major influence of the Gypsy artists of Catalonia in the development of these different artistic forms. Through weddings and family reunions, the repertoires have shifted to be reinterpreted according to the identities specific to each and the territories of residence.



With this new collection, we wanted to show, to hear all the musical richness of Gypsy and Manouche artists populating the territory. From appropriation to recreation, they never stop bringing this music to life, re-enchanting it and offering it a resolutely modern reading, open to the world. In this first opus, devoted to the guitar, we will take the routes of latin music, flamenco or jazz alongside renowned artists and young talents. With "The sound of guitars", it is a first door open to the gypsy music of the Mediterranean Arc, that we will discover gradually through the "Mediteranean Gypsies roads" collection.

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.

Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.

5th studio album (2005) from German Power metal pioneers.

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Those who pay close attention to DJ Harvey’s sets should already be familiar with NuNorthern Soul’s next single, a fully licensed reissue of a sought-after 1980 promotional seven-inch from legendary Spanish Flamenco singer Manuel Mancheño Peña, better known as El Turronero (‘The Nougat’).

Both ‘Las Penas’ and ‘Si Yo Volviera A Nacer’ have long been secret weapons in the sets of dusty-fingered Balearic DJs, with Harvey regularly dropping the tracks during his sessions at Pikes Hotel on the White Isle.

Both tracks first appeared on Pena’s 1980 album New Hondo, a set that updated the then veteran Flamenco artist’s sound for the disco era. Whereas most of his previous albums were more traditional Flamenco affairs, New Hondo combined his throaty, effervescent Flamenco singing style with the driving grooves, swooping orchestration and spacey synthesizer sounds of European disco.

To promote the album, Spanish label DB Belter pressed up a promotional “45” featuring two of the most club-friendly cuts on the album. It’s this release that is being reissued for the very first time by NuNorthern Soul.

A-side ‘Las Penas’ is undoubtedly an off-kilter, late-night disco classic. Built around a flanged, action-packed disco-funk bassline, metronomic beats. soaring and layered female backing vocals, intergalactic synth sounds and stirring strings, the track steps up a level when ‘El Turronero’ takes to the microphone to belt out an infectious, energetic vocal in his trademark Flamenco style. It’s the kind of cut that’s as haunting and intoxicating as it is funky and floor friendly.

Flipside ‘Si You Volviera A Nacer’, another of New Hendo’s most sought-after tracks, is another unique and righteous concoction. Looser, groovier and warmer in tone, it sees another sublime, Flamenco style lead vocal from Pena accompanied by even funkier bass, spiralling ’70s synthesizer sounds, sweaty drums and some seriously exotic instrumental flourishes (think sitar and kalimba). It’s every bit as alluring as the more driving A-side, and equally as playable.

Both tracks may be unusual in comparison to the artist’s other releases, but they expertly capture a moment in time, when disco dominated dancefloors all over the world and inspired even the most traditional and historic of European musical styles. Quite a number of flamenco-disco records were made in Spain during the late ’70s and early ’80s, but very few are quite as magical as these.

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

The stunning new soundtrack to the highly anticipated game, ‘The Last of Us Part II’. ‘The Last of Us’ is one of the most successful video games of all time. It sold over 20 million copies worldwide since it was released in 2013. It’s sequel, ‘The Last of Us Part II’ is one of the most anticipated games of 2020 and has already won awards including a Golden Joystick Award, The Game Award and The Game Critics Award. ‘The Last of Us (Original Soundtrack)’, also scored by Gustavo Santaolalla sold more than 25K copies in the UK. Marketing.

A vital moment in the resurgence of the London Jazz scene. This epoch-defining set captures all the power, energy and deftness of touch that became the thrilling, visceral experience of Binker and Moses' breakthrough performance at the now-legendary (and much missed) East London venue Total Refreshment Centre. Recorded on a sweltering night in the Summer of 2017. The palpable excitement of the crowd and its energetic, liberated response to the action on stage adds extra levels to the atmospherics, and elevates the pioneering duo's performance to a new high.

Wetzt die Äxte, Speere und Schwerter – monumentaler Black Metal ist mit STORMRULER auf dem
Vormasch! Schärft die Klingen und macht euch bereit für die Schlacht mit den US-Black-Metal- Senkrechstartern STORMRULER! Das Zwei-Mann-Projekt aus St. Louis, bestehend aus Gitarristen/Sänger Jason
Asberry und Schlagzeuger Jesse Schobel, erzeugt eine eiskalte Black-Metal-Atmosphäre, inspiriert aus
zeitgenössischem Metal und düsteren Erzählungen von Krieg, High-Fantasy und Geschichte. Auf STORMRULERs fulminantem Debütalbum Under The Burning Eclipse, welches 2021 über Napalm Records erscheint, gibt die Band genau das zum Besten: Auf 19 Tracks, erzählt das Album erschütternde Geschichten
von Krieg, Tod, Sieg und Niederlage und liefert ein unvergleichliches, höllisches Hörerlebnis, in welchem
sich bedrohliche Ambient-Parts und lodernde Black Metal-Riffs die Türklinke in die Hand geben. Under
The Burning Eclipse von STORMRULER ist ein musikalisch vollendetes Debütalbum voller fantasiehafter,
düsterer Fabeln, die Fans von extremem Metal nicht verpassen wollen!

Nearly twenty years on from his last solo sortie, Tommy Gillard reemerges as Curved Needle with “Rain Of Molten Iron” - a new six-tracker scoping out the confines between hi-octane body music and FX-riddled experimentation.

After spending most of the decade working in the studio with Oliver Ho alias Broken English Club as Zov Zov, the West London-based producer reignites the flame of trueschool horror electronics with five cuts heaving us into a furnace of post-apocalyptic machine talk by the scruff of the neck, complimented by a remix from Broken English Club.

Joviale is a multidisciplinary artist from North London making otherworldly, immersive music that plays with “minimal textures, killer interjections and vocals that are equal parts restraint and rage.” (The Times) Looping these high vocals with heady, emotional chords, they weave a screen around the listener, pulling them into chaptered, strangely sweet variations of the artist, divided out across albums, and designed to generate a performative atmosphere, both on stage and through the recording.

For their forthcoming EP Hurricane Belle NEVER SEVEN, spring 2021, Joviale combines warm sensual exposure with a flash of teeth, as the fictional Hurricane Belle whirls onto the scene, an embodiment of the “sense of electric and spiralised chaos” erupting from the artist’s centre. Hurricane Belle is a Champion that was inspired by Peter Shenai’s “Hurricane Bell” experiment, in which he cast brass bells modelled on the five stages of Hurricane Katrina. Industrial, insatiable and metallic, Hurricane Belle is embedded in the album not only through sound, but also through sight; the first single of the project, Blow, will be accompanied by a self-directed video, reflecting Joviale’s increased interest in the visual arts, and in building multisensory experiences. As written in the accompanying prose for the album, “Let yourselves into my breath, my rhythm and my core. Take pleasure in the whiplash of this collection.”

2019 saw the release of the artist’s debut EP Crisis, in which Joviale wielded narrative and storytelling to build a dreamy, silk-wrapped universe across songs such as Dreamboat, and Taste of the Heavens. As with Hurricane Belle, Crisis was created in collaboration with the producer Bullion, and it has been widely supported by press, including interviews in The Face and Coeval, and features in Dazed, Line of Best Fit, Guardian, The Times, Fader, Crack and Clash, among others. The EP also merited radio support from Huw Stephens on BBC Radio 1, Jamz Supernova on BBC 1xtra, Selector FM, Matt Wilkinson on Beats 1, Tom Ravenscroft, Tom Robinson on BBC 6 Music, Dan Alani on Reprezent, and Worldwide FM, among others.
Joviale belongs to a generation of artists with a strong sense of collaborative, interdisciplinary practice. The artist leans into this skill-sharing, research-led community, valuing project-based work that allows for the development of concepts related to visual and sound culture. This is reflected in them having recently directed a video for Laura Groves, as well as running a bi-monthly radio show on NTS over a period of twelve months. They carry a deep interest in the connection between the arts, ecological sciences, and semi-fictive encounters, as well as the wider London scene. In 2019, The Face described Joviale’s sound and aesthetic as “building the London artist a loyal fan base”, an effect that encompasses their involvement in the city’s music circuit; Joviale built a reputation for their live shows before releasing any official music. They have played support shows for artists that include Celeste, Zsela, Kate Tempest, Nilufer Yanya, Babeheaven, Kindness, and Westerman, and, in 2019, Joviale sold out their first headline show at Folklore, Hackney.

Since her crowning in 2009 at the Blues sur Seine Festival, the young guitar prodigy Nina Attal, with a powerful soul voice, has imposed herself to the public, recording 2 EPs, 3 albums and performing more
than 600 concerts.
‘Pieces of Soul’, is Attal’s fourth album and shows her return to the blues, rhythm ‘n’ blues and rock. Written and composed in the wake of a road trip on the West Coast of the United States, ‘Pieces of Soul’ is eagerly awaited.
These 12 tracks, to which is added a cover of “You’re No Good” popularized by Linda Ronstadt, put the guitar back at the heart of her creative process, through a range of sunny sounds, discreetly and respectfully tinted by various Californian influences (Ben Harper, Lenny Kravitz, John Mayer...).
The riffs with rock distortions are next to great blues-soul ballads, folk, or rhythm ‘n’ blues. Her lyrics, very personal, translate as many doubts as to her desire for emancipation. Inspired by her incompressible love for the music she has in her skin, just like her tattoos, ‘Pieces of Soul’ undoubtedly offers Nina Attal a new dimension.

Lux' is what we use to measure the intensity of light as we perceive it, when it's hitting or passing through a surface.

The first track, that gives the EP its name, embodies exactly that - the fluctuating, ever-changing nature of light; from fragile and fleeting to overwhelming and powerful. 'Lux' kicks off with warm synths creeping in, like rays of sunlight breaking through the clouds. Dreamy crescendos take you for a ride and build up until they melt into a comforting blanket of piano chords, accompanied by a propelling hi-hat pattern that will make you want to move. The track is hopeful, the start of a journey, with compelling break downs, industrial rhythm elements and powerful build-ups such as the one to the final section, dominated entirely by its fusion between techno-beat and dance-feel.

Next up is 'Odyssee'. An unapologetic track that picks up the pace. Kicking off boldly with harmonic tension and enticing drum sounds, it's hard not to surrender to the rich and fast-moving soundscape. Proud drums meet steel sounds and tentative piano figures, all glued together by the driving beat, determined to get to the next stop of this lifelong voyage. Striking accents, in the form of short-lived breaths or staccato bass lines take you through a labyrinth of growing gritty synths. A track that easily leads you through space and time and makes it feel like the most natural thing in the world. We're greeted with standalone bright and sparkly synth movements as 'Phoenix' rises and wraps us in warmth. Gently, like raindrops, a rhythmic pattern starts dripping in. Definition, like in many of his other works, blends rhythmical sounds that couldn't be more different into one, making them sound like they were never meant to exist unless next to each other. The track is a symbiosis of modern and classical sounds, lets us bathe in analogue warmth but always rolls along with digital precision.

'Phoenix' starts softly and ends in roaring flames: in a repetitively enchanting party, fabricated out of dark, pumping beats and gritty synths. 'Raven', the final of the four tracks and the lead single (released alongside the Jonas Ratshman remix just 1 week ago), intrigues with chants and empowerment just as much as with its determination and fragility. Falling from the highest heights, Raven lets you rediscover who you are when you hit the ground. Carried by a throbbing four-on-the-floor kick drum and covered in a synth-haze that is hard to resist, you'll float along, fall and rise with the everlasting wave-like movement of human existence.

Brilliant second album from the wholly original cult Sheffield post punk band. Released in 1983 on Red Flame ‘One Afternoon In A Hot Air Balloon’ is an adventure on its own. Artery somehow replaced the somber post-punk of the debut with a stream of melancholic pop paeans influenced by british folk and certain ballroom dances, with a spectral keyboard sound worth killing for. The secret weapon - when compared to the rest of their discography - is largely explained by the presence of keyboard player and (by now) main composer Christopher Hendrick. The band was in fact reduced to a trio with former members Mark Gouldthorpe (guitar) and Garry Wilson (drums) now supported by the singular effort of Hendrick (also on bass and xylophone). At the same time Garry Wilson was playing in an early incarnation of Pulp. Despite the early Joy Division influence - which the band firmly dismissed – Artery is moving forward into the so-called new romantic era. A vaudeville scenario light years ahead from the streets and the aggro-culture, a way to some pleasant and revealing experience.

On the Corner have taken a deep dive into the murky waters whereancient percussion are jolted through history with a high voltageshock of experimental electronics. Across the territory of 'When theWaters Refused Our History', Sunken Cages channels his ownjourney and that of the world of his ancestors and adroitly breachesthe porous frontiers being pushed by the cosmic adventures-led OntheCorner. Sunken Cages is the moniker for Ravish Momin, an Indian-borndrummer, electronic music producer and educator. For the pastdecade, Momin has been experimenting with enhancing his acousticdrum sounds with electronic ones, and has crafted a unique electro-acoustic approach. He triggers sounds and textures, layers live-loops and manipulates them 'on the fly', to blur the lines betweencomposition and improvisation. While rooted in Indian folk and BlackMusic traditions, Sunken Cages is also influenced by the streetsounds of South African G'com, Angolan Kuduro and Egyptian Mahraganat. He currently leads the electronic music focussed duo 'TurningJewels Into Water' with Haitian percussion virtuoso Val Jeanty.Ravish's unique approach quickly led him to work as a sideman witha diverse cast of musicians ranging from pop-star Shakira tolegendary avant-saxophonist Kalaparusha Maurice McIntyre (of theAACM).

Songwriter and fingerstyle guitarist, Jason McNiff releases his 7th full length album, Dust Of Yesterday, on April 16th. Produced and engineered by Roger Askew (Joe Strummer, Wilko Johnson, Christy Moore) the album was recorded throughout the summer and autumn of 2020 in Roger's home studio in Eastbourne, UK. It features McNiff's signature acoustic guitar work throughout with significant contributions from Beth Porter (of Eliza Carthy's band) on cello and Basia Bartz (most London based folk bands) on violin. 
 
His first album since leaving London - McNiff is now based in Hastings - Dust of Yesterday is an elegy on moving away from a beloved place and a lament for lost youth. We are treated to a musical tour of McNiff's life to date, from his 8-year residency as a Flamenco guitarist in a Spanish bar in Waterloo (Damaged Woman) to hopping the northbound train from King's Cross, hiding in the lavatory up to Nottingham (A Load Along). All the songs on Dust of Yesterday, in one way or another, speak of the past. But it is not bleary-eyed nostalgia. 

"I read somewhere that it is possible to literally change the past and I became very interested in this idea. It so happened around the same time that I discovered the Greek/Egyptian poet, Cavafy. In his poems he would talk about the past, but the memory is not a thing of the past, but something that is still part of him in the present. I could relate to that. "

Musically, Jason is influenced by the British acoustic guitarists (Jansch, Graham, Wizz Jones) and the great folk/rock troubadours of the 60s and 70s. He loves Mark Knopfler in the early days; the English teacher turned reluctant rock star, singing about Leeds and Newcastle and sounding like JJ Cale. For McNiff, the lyrics are central, and he has been especially captivated by those considered poets and writers as well as musicians. He loves literature and cites Hemingway, Chekhov and the aforementioned Cavafy, as major influences in his work. ( He has 'translated' Hemingway's 'For Whom the Bell Tolls' into a song on a previous album, 'Nobody's Son')
 
 
Jason McNiff was born in Bradford, Yorkshire in 1974 to an Irish father and Polish mother. Academically gifted, he did well at school and went to the University of Nottingham to study French and Russian. He fell in with the Folk & Blues scene in that city before moving to London in the mid-nineties to do another degree in English Lit. He was just in time to catch the Bert Jansch residency at the 12 Bar club. For 6 months, every Wednesday night, McNiff would be in the front row of Soho's tiny club learning fingerstyle from the master. He would later sign his first record deal with Snowstorm Records, a label run by Bert's brother-in-law and found himself opening for Bert on numerous occasions. 
There followed a string of albums on various labels, including 2003's Nobody's Son (Americana UK album of the year) and 2011's April Cruel (nominated for best alt-country album at the Independent Music Awards in the US.)

For Fans Of: The Burning Hell; Belle & Sebastian; Iron & Wine.

Following swiftly on from last year’s Tiny Men Parts EP, Quiet Marauder re-enter the sonic fray with their latest Bubblewrap Collective long-player, The Gift, on 9th April 2021. Taking a strong divergence from the bombastic pop-punk of its predecessor, The Gift sees backing vocalist Kadesha Drija step to the foreground for the majority of the album, standing afront a richly crafted, multi-instrumental acoustic-folk backdrop.

Recorded pre-pandemic, January 2020, in The Burning Hell’s (Canada) pop-up Snowbird Studios, aka an art deco villa in Riofreddo, near Rome (Italy), this release marks another chapter in the ongoing international collaboration between the bands. For this album, Quiet Marauder’s (Wales) contributions of acoustic guitar, bass, trumpet and layered lead and backing vocals are granted further textural depth from their Canadian counterparts. These include minimalist harmonic splashes of flute, piano, organ (Jake Nicoll), electric guitar, bouzouki (Darren Browne) and bass clarinet (Ariel Sharratt).

Returning to the conceptual songwriting approach of previous releases MEN and The Crack And What It Meant, The Gift charts the narrative of a troubled teenage girl (Willow) haunted by visions of a mysterious house fire. Willow’s path is traced through well-meaning foster parents, teenage love interests, time-bending superpowers, distrust of domestic appliances and, ultimately, her own memories; covering themes of self-identity and the fallibility of human recall. Though the album marks a more overtly serious tone for the band, the sensitive subject matter is delicately handled through their trademark low-key, observational and, sometimes, darkly humorous lyrics.

Split in two volumes, here is the sum of James Brown's early five year period 1956 - 1960, when JB (and his Famous Flames) was obsessively searching for his own sound. Selected from a bunch of 19 two-sided singles, and including super hits such as "Please, Please, Please", "Try Me" and "I'll go crazy", this collection represents James Brown's fundamental groundwork for the coming Soul Music revolution.

I met SUGAI KEN a few years ago in Tokyo, outside the Dommune radio studios. His personality and music, a very special brand, touched me. His music is a coded vision of a dream world. A trade that is progressive yet traditional - in the most positive sense of the word.

Recently out of the blue, Sugai San sent me a collection of personal field recordings he made of folklore groups and public performances in Tokyo, Toyama, Kanagawa, Kyoto, Tottori, … The close listener already knows that Sugai San’s aesthetics speak of a great knowledge of these performing arts.

An open invitation: “the traditional local performing arts in the 21st century intrinsically conceive “fragility” as they are vulnerable to extinction. The Japanese local performing arts that appear in this recording is no exception, endangered by the declining birth rate and aging population which are typical to the country. (SUGAI KEN)”

I bring the original recordings into conversation with new elements like a ‘monomane’ - tr. imitating – sound game. But when i throw these old and new figurines together on the podium, the objects immediately disappear in the cracks of the stage wood. Thus only the understament of the suggestion remains. And relentlessly the significance of every movement now becomes a question.

Furthermore, what’s in focus? The manipulation? Or the content? Or are we zooming in on the aspect of archiving ~ preserving? Dubious.

In KAGIROI – tr. heat haze - people coexist for a moment severely carved in time like a high contrast still of dancing flames. When you bring this composition home, it will never boil yet merely evaporate. And when you gaze at the clouds of condensed droplets inside your own darkness, on a soft volume, You complete our puzzle."

The popular mixture of extreme metal mixed with timeless melodies, driving riffs and epic parts as well as the aggressive screams and the choral vocals was retained and expanded with a lot of flair by several nuances. WOLFCHANT was founded in 2003 in Sankt Oswald, Lower Bavaria by Lokhi, Skaahl, Gaahnt and Norgahd. After the two demo self-productions "The Fangs Of The Southern Death" and "The Herjan Trilogy" WOLFCHANT signed their first record deal in 2005. With the albums "Bloody Tales Of Disgraced Lands" (2005) and the groundbreaking "A Pagan Storm" (2007) WOLFCHANT was able to gain a large fan base. This was shortly thereafter expanded internationally with the albums "Determined Damnation" (2009) and "Call Of The Black Winds" (2011) and the band played more tours, concerts and festivals in other European countries. The typical melodic pagan metal of Wolfchant was strengthened from this point on by the clear vocals of Michael Seifert (Rebellion) and the epic factor of the songs was expanded. After the release of "Embraced By Fire" (2013) and "Bloodwinter" (2017) WOLFCHANT managed to take another big step forward and further develop their fanbase worldwide. In addition to festivals such as Wacken, Summer Breeze, the 70000 Tons Of Metal (USA), WOLFCHANT played numerous national and international festivals, concerts and tours and earned a place at the forefront of German Epic Pagan Metal. In 2020 the band signed a new contract with REAPER ENTERTAINMENT and for 2021 the new disc "OMEGA : BESTIA" is now in the starting blocks waiting to be released. Blurb IG#1: With their first single "Komet" epic metal heroes WOLFCHANT strike back with everything they have! Blasting straight into the listeners ears "Komet" might become a new WOLFCHANT classic. Blurb IG#2: Der Geist und die Dunkelheit: A powerful hymn with a groovy and driving riff, combined with superb guitar playing and a epic chorus and lyrics in german!

With an Arturo Micro brute synthesizer put through psychedelic effects, Modern Ruins keeps the flame of Andrew Weatherall and Suicide burning through times of isolation and disarray. This Synth Wave/New Wave experience of an album, released on LP on Höga Nord Rekords, sums up 2020 with its dark and cold sound.

The title speaks for itself: “Unemployment Disco Line” reflects the desperation in the sound and the reverb-drenched vocals in the back of the soundscape comes from deep within the Covid hole. Sick, fed up and restless!

Drawing influences from masters like the legends above,Rowland S. Howard, Johan Balance + Peter Christopherson et cetera, this debut album by Modern Ruins sums up four decades of underground club music and no matter how long this pandemic goes on we are in “Nothing Blues” until the dance floors open again.

Total Control is the debut solo album by John Norum, known for being the guitarist and one of the founding members of the Swedish rock band Europe. Originally released in 1987, Total Control was dedicated to Tommy Östervik, one of Norum’s friends and heroes, who had recently passed away in a drowning accident. It was produced by Thomas Witt, who was Norum’s stepfather. The album features nine original songs, including the singles “Let Me Love You” and “Love Is Meant to Last Forever”. Norum recorded two cover songs as well: the Vinnie Vincent Invasion cover “Back on the Streets”, which was also released as a single, and Thin Lizzy’s “Wild One”, a bonus track that also appears on this LP. The album is available on coloured vinyl for the first time; it’s a limited edition of 1500 copies on silver marbled vinyl.

Spinning Coin is a worthy successor to the Bluesbreakers’ previous album Wake Up Call. The newly recruited guitarist Buddy Whittington is brilliant. His fluid, virtuoso playing adds an exciting dimension to already strong material.

Somehow John Mayall, often dubbed the “grandfather of British blues”, still had the fire in his belly to record a strong album almost 40 years after he began his storied career. The album is peppered with some great work, certainly on a par with Wake Up Call. “Ain’t No Brakeman”, “Long Story Short”, “Voodoo Music”, “Fan The Flames” and of course the longest and last track of the album “Remember This” are all very much worth a listen.

The album is available as a limited edition of 1000 numbered copies on transparent blue vinyl, and it comes with an insert.

• One of the first punk rock bands of the 70s music revolution, and certainly the first in Ireland, the Radiators From Space came roaring out of a 7-inch 45 with (I’m gonna smash my Telecaster through the) ‘Television Screen’ in April of 1977, a month after ‘White Riot’.

• Before the year’s end, a second 45 ‘Enemies’ (sometimes NMEies) and the “TV Tube Heart” long-player had appeared. Although the second single was on there, the debut was recorded in an altogether more relaxed style, presaging that there would be more to the Radiators than three chords and a polemic. In fact, they were obviously more sophisticated players than some of their contemporaries.

• The album was a full-on assault on all that any self-respecting youth would find wrong about the world at the time. All band members contributed to the songs, but it was Philip Chevron’s acerbic, angry, pointed and literary lyrics that gave the band such an edge. Philip strutted a gritty lead guitar counterpointing Pete Holidai’s underpinning rhythm, with Mark Megaray’s flowing bass lines belying the instrument’s more usual role to sit in with drummer Jimmy Crashe’s taut, driving rhythm. Steve Rapid fronted the band on some tracks, but Pete and Philip carried most of the lead vocals. Steve left before the record came out – he became a successful graphic designer and has re-imagined the sleeve for this 10-inch issue. He also designed the original.

• A second album, “Ghostown”, produced by Tony Visconti, came out in 1979, hailed now as one of the classic Irish albums of all time. Over the years the band periodically re-formed, first with the gay love song of great yearning ‘Under Cleary’s Clock’, and then making two more great albums in “Trouble Pilgrim” and “Sound City Beat”, covering great Irish 45s of the 60s and early 70s.

• Philip went on to a career as a Pogue, sadly leaving us way too young in 2013. Mark Megaray likewise departed at an early age. Pete and Steve keep the flame alive with Trouble Pilgrims, and if you are lucky you can catch them at a Dublin club sometime – well worth it.

• But “TV Tube Heart” is where it all started for Dublin’s finest.

Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.