quête:heavy rock

Svart Records unveils “Sutra”, the new album from grand master avant-garde overlords Yakuza. An genre crushing album of forward thinking metal for the modern age, “Sutra” is a powerhouse of unlimited expression and molten riffs. Formed in 1999, Chicago based heavy hybridizers Yakuza, are in a genre all of their own, which Pitchfork describe as a “a specialized and strange alloy”. So eclectic and hard to pigeon-hole, their music has been described over the years as everything from avant-garde metal, progressive metal, alternative metal to experimental rock, jazz metal, art metal and post-metal. Incorporating psychedelic rock jams that sprawl into heavy, sludging Doom with jazz influences, while also incorporating breakneck grind riffs and grooves, makes Yakuza’s new album “Sutra” a long awaited and insanely enjoyable feast of frequencies. From their break-out debut album “Amount to Nothing” in 2000, which was met with critical acclaim, Yakuza have been a phenomenon in the world of heavy music, hot on the tongues of those who know. Their second album “Way of the Dead” in 2002 landed Yakuza a deal with Century Media and worldwide notoriety, securing them live slots with like-minded progressive heavyweights like Candira, Opeth, The Dillinger Escape Plan, Lacuna Coil and Mastodon.

Die Heavy Metal Ikonen Alcatrazz aus LA liefern Songs im Warp Faktor 10 auf ihrem sechsten Studioalbum, das dritte in drei Jahren. Das Album umfasst 10 mitreißende, charismatische Tracks und in jedem ist die einzigartige Fusion von amerikanischem Classic Rock mit der harten Rock-Attitüde des britischen Metal zu erkennen. Take No Prisoners kommt mit der Energie von Alcatrazz, im Gepäck umfassende Melodien mit "Road Warrior" Riffs.

'Little Viper' hat eine Gitarre, die alles abmäht und dann in einem Gewitter endet, ein Angriff, den man von Dio kennt; aber es gibt auch ruhigere, umfangreiche Songs wie das epische 'Strangers' und das Album endet mit dem Brennpunkt 'Bring On The Rawk'. Ohne Frage:
Alcatrazz is kicking ass. Mit Doogie White (Gesang), Joe Stump (Gitarre), Jimmy Waldo (Keyboards), Gary Shea (Bass) und Larry Paterson (Drums) ist das Werk ein lautes und stolzes Classic Rock Album, produziert von Giles Lavery und Waldo. Take No Prisoners it ganz in der Tradition wie man Alcatrazz kennt, exzellente Gitarren,
donnernde Rhythmen und mit einem Gesang, der an die Dio/Rainbow Ära erinnert.

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

Armed with a discography that includes hits for the likes of Nas (“Ether”), Big L (“Ebonics”), Jim Jones (“Pop Champagne” f/ Juelz Santana), Snoop Dogg, 50 Cent, Fat Joe, Lil Wayne, Killer Mike, Papoose, Method Man, Ja Rule and more, the Harlem-based, iconic producer returns with his most coveted compilation album to date with, One Twenty Seven.

Named after Harlem’s 127th street that raised the gifted beatsmith/recording artist, the 12 track LP boasts a soundscape that ranges from 808 heavy club bangers, head nodding boom-bap and menacing underground joints, equipped with a star-studded line-up of guest appearances that include Diddy, Kid Capri, Mobb Deep, Raekwon, Busta Rhymes, Rockness Monsta, Kool G Rap, Sauce Money, T-Pain, Jadakiss and more!

Short Bio: It only takes a few seconds exposure to the rolling riffs of opening track “Tom Cruise Control” to be reminded that this is Gozu’s world, we’re just living in it. Given that it has been five years since the Boston quartet dropped the monstrous Equilibrium, returning with Remedy is one hell of a way to make sure that everyone - whether previously familiar with them or otherwise - realizes that they are perhaps the most badass of American rock bands, for they have taken everything to the next level. “There is a certain maturity mixed with a childlike enthusiasm to play music, and we all are better players now than on Equilibrium,” says vocalist/guitarist Marc Gaffney. “We have all really tried to look at what we enjoy but more what we do not enjoy. Playing music is a gift and when it becomes A Nightmare On Elm St Part 37.3, you are done.” The result is nine tracks of their signature combination of fuzzy 70s inspired riffs, rich, catchy, grunge-esque vocal melodies and a touch of old school trippy psychedelia written and played with the utmost passion and enthusiasm, eclipsing everything else in their catalog. “The band wanted a very heavy groove-oriented album with singalong choruses. We also wanted sonically to hit you in the chest, like a three-combination, left-right-left, like Micky Ward. Harmonies and melodies were something we really looked at and wanted to shine, and thick guitar tones, driving bass and drums were under the microscope.”

FOR FANS OF: BLACK SABBATH, RAINBOW, DIO, AEROSMITH.
Ozzy Osbourne ist einer der bekanntesten und beliebtesten Musiker der Rock-Welt und einer der Gründer des Heavy Metal. Aufgenommen 1983 für KSAN-FM, beinhaltet diese strikt limitierte 10" Picture Schallplatte Hits wie Crazy Train, Steal Away und den Black Sabbath-Klassiker Paranoid.

First LP from Donna Candy, the bass-vocal-drums trio trawled from the sub genres of experimental rock and busy pushing to the front of heavy music. Nu metal bass riffs, switch-pitched fuzz vocals and big, splashy drums layer over unsettling narratives and extreme loops to bring a bit of the pit to the dancefloor.

Begun as an off the cuff party band with the idea of finding a live sound that would fit between 4am trance sets, the trio soon found themselves addicted to the euphoric sludge they created. Swapping their usual guitar for a bass, JS Donny drives Donna Candy with simple riffs, split half clean and half shredded with Boris / Sunn O))) like distortion. Head-banging the whole way, they’ll switch speed or stop suddenly, bending and drawing out notes to ratchet things up for release. Nadja's vocals tear through the top layer - heavily processed and warped with weird imagery. Together there’s a feeling of what it might be like to see Sightings slowed by codeine but with Elvin Brandi on the mic.

Always set up facing each other, off stage and surrounded by the audience, Donna Candy encourage catharsis - reciprocally transforming energy between themselves and the crowd. They build a queer euphoria that pulls apart metal’s narrow dichotomy of nihilistic machismo vs. hyperfemininity, and begins to make the visceral faux-hybridity of nineties nu metal feel possible this time around. ‘Blooming’ brings us six offerings from the band on a four way split release that speaks for itself - once on board with the DC energy you’ll want to be a part of it.

Wieder lieferbar ist ein Klassiker des Dub-Reggae, von Kevin Metcalfe re-mastered und auf dem VP Records Sublabel 17 North Parade wiederveröffentlicht. Im Original erschien der Longplayer erstmalig 1977 auf Joe Gibbs' Record Globe Label und wurde mit seiner Studioband The Professionals eingespielt. Laut Originalcover waren das George "Fully" Fulwood, Carlton "Santa" Davis, Tony Chin, Richard "Dirty Harry" Hall, Tommy McCook, Bobby Ellis und Leroy "Horsemouth" Wallace. Am Mischpult saß Errol Thompson. Hier finden sich 12 exzellente Dubversionen von Riddims aus der Treasure Isle und Studio One Rocksteady-Ära, und zu "Hypocrites" von Bob Marley & The Wailers sowie zu"Uptown Top Ranking" von Althea & Donna!

Head of the Lo-Fi movement with the SP-404
-In 2006 he dropped the first SP404 kung fu inspired beat tape under the alias 5 ELEMENT NINJA Beatjitzu vol 1. Since then he has garnered a cult following of SP404 kung fu inspired producers and sparked a genre. He is the forefather of said style and has numerous beat tapes under various aliases such as 5 Element Ninja, Lords of da LO FI, GODZ of WuTang, MAZINGA Z, JIM KELLY and of course Bruce Li. -He has worked with Killarmy featuring Cappadonna of the WU TANG CLAN and others. He has complete production credit on albums with LONE NINJA, Recognize Ali and Verbal Kent(Dueling Experts) and lastly CLEVER 1 of DA BUZE BRUVAZ. -Also he has appeared on albums with credits alongside Hop hop royalty RZA, True Master, 4th Disciple and legendary PETE ROCK. Lord Beatjitzu presents 420, a densely packed album that captures the same sense of euphoria and paranoia one can gain from an extensive and smoky 4/20 celebration. He has crafted a soundtrack with loops upon loops of smoked-out loops. Sort of like the smoke rings that used to emanate from Cheech and Chong having one of their notorious sessions. Adding on to his varied discography, this fits more in line with the varied sample chops of his celebrated Mazinga moniker. Intricately woven to provide the perfect soundtrack for 4/20 and any other day or night that you have a moment to kick back and enter another zone. Lord Beatjitzu is a beatmaker originally from Mexico City D.F. who stays studying and constantly honing his craft. Extremely reclusive and low key, he is known strictly through sparse collaborations and various beat tapes which he has put out starting in 2006. He has put out over 100 beat tapes and collaborations under an innumerable amount of known and unknown aliases.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

Ghost Producer aka Badawi (aka Raz Mesinai aka Bilal ibn Yakub al-Badawi) is a prolific producer and artist who has been on the forefront of underground experimental jazz and electronic music scenes around the world for over thirty years, with a catalog of albums on labels as ROIR, Asphodel and Tzadik under various monikers dating back to the late 1980s.

Ghost Producer released his first albums starting in the late 80’s under the monikers Psy Co. and Ruff Riddim Productions, selling his cassette tapes in NYC. He produced, on average, at least one album per week since 1988 until today. One of the twenty or so monikers was Badawi, later being signed to ROIR Records and releasing the seminal experimental dub, punk albums »Bedouin Sound Clash« and later »The Heretic of Ether« on Asphodel. Spending time as a child between Occupied Jerusalem, the West Bank (Balata) and New York City (Rock Steady Park) during the height of the B-Boy era in the 70s and 80s informed Ghost Producer’s singular sound of heavy driving Sufi rhythms, sonic experiments, percussion, piano playing and sound design which has connected him to a wide variety of artists ranging from Maryanne Amacher to John Zorn, to added elements of darkness to music by such artists as Hanz Zimmer (Black Hawk Down) and rappers Danny Brown (Pneumonia) and Skepta and Double D (Don) among many others.

At age 14, Ghost Producer was discovered by visionary jazz and rock musician, Juma Sultan (Jimi Hendrix) whom later trusted Ghost Producer with producing the archive of over 2000 hours from recordings from »Studio We« and the Free Jazz Loft Movement in NYC in the 60s and 70s. As a composer, he has worked with Kronos Quartet and has had premiers at Carnegie Hall (Cross Fader, The Echo of Decay) and Lincoln Center (String Quartet For Four Turntables). In addition, Ghost Producer has released several albums on John Zorn’s Tzadik label, where he explored producing to the books of Franz Kafka (Before The Law, Resurrections for Goat Skin, Cyborg Acoustics)

As a composer for film, he coined the term »score design» to describe his work in conceiving and producing scores for films with particularly demanding needs, working on such films as A Late Quartet (director Yaron Zilberman composer: Angelo Badalamenti), The Fountain, Black Swan and The Wrestler (Darren Aronofsky/Clint Mansel), Black Hawk Down (Ridley Scott/Hans Zimmer) and many more. In 2014, he was awarded as a fellow in the Sundance Composers Lab.

In 2015, Ghost Producer formed the Underground Producers Alliance, a unique program for developing producers, performers and composers, with co-founders Scotty Hard (Wu Tang Clan, Medeski Martin and Wood, De La Soul), HPrizm aka High Priest (Anti Pop Consortium), Honeychild Coleman (the 1865, The Slits) and Prince Paul (Jungle Brothers, De La Soul), where Ghost Producer produces entire albums with student participation in his master course.

This album, »The Book of Jinn«, is one of many productions done within the course, featuring players/mentors Juma Sultan (percussion), Chandenie (voice) and Shahzad Ismaily (electric bass), with additional student participation from Adam Culbert and Jonah Sollins (aka Goodnight 1500) on synths and percussion as well, then all remixed and rearranged by Badawi into what you hear here, The Book of Jinn.

The third full-length from Olivia Jean, Raving Ghost, is an album populated by mysterious characters in various states of danger: cursed lovers, doomed souls, women deliriously haunted by unseen forces. Over the course of its 12 spellbinding tracks, the Detroit-born singer/songwriter/multi-instrumentalist amplifies that drama with her wildly melodic take on garage-rock, handling each riff with the power and precision she’s previously shown as a member of the Black Belles (and as an in-demand session/touring musician who’s played with legends like Wanda Jackson). A stunning evolution of the retro-surf sound of her past solo work, Raving Ghost ultimately makes for the most magnificently heavy and mesmerizing output yet from an endlessly fascinating artist.

This is a new pressing on 180g Transparent clear vinyl. 500 copies only. We ThRee announce the reissue of the "Odyshape" the second album by The Raincoats originally released on Rough Trade Records in 1981.Re-mastered from original masters. Heavyweight 180-gram vinyl.

"It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression…or the typical female as sex symbol avec irony or sensationalism". (Kim Gordon, Sonic Youth,1993). //

"We just really loved what The Raincoats were doing - they were a really exciting band. I think the thing that was good about The Raincoats simply was that the tradition that they were playing in was their own and so they had an original voice. You couldn’t ignore them - they were undeniably fascinating - the interplay between the two voices and the sound of the group was something original and that was what was exciting about them." (Geoff Travis, Rough Trade Records, February 2009)

In the Detmold area (Westphalia, Germany), there wasn‘t much going on for metal fans in the first half of the eighties. Fortunately, the members of two bands met in 1982 in a chip shop and recognized their common preference for hard music by their long hair, leather jackets and moustaches, which were good manners at that time. In this moment SACRAFICE were born, who subsequently became local heroes - of course influenced by the NWOBHM that was just spilling over into Germany, but also by the usual suspects like Black Sabbath, Deep Purple, Rainbow or Kiss, as well as Judas Priest and the early Accept.

Two unusual choices were made at once: In the spirit of Def Leppard or Led Zeppelin, the band name was deliberately changed - i.e. NOT Sacrifice, but Sacrafice. And they decided not to make the typical demo tape, but a 12“ EP on their own. This one is called „The First Experience WIth The Unknown“ and can be bought here and now on Discogs for 120 Euro and more used.... But already the book „Heavy Metal Made In Germany“, which was published in the nineties via Iron Pages, lists the record as „Top German Metal Rarity“.
No wonder, because the quite aggressive heavy rock and metal knows how to please even today - or maybe especially today - and reminds us of the upbeat mood of the German metal scene in the first
half of the eighties. This is also true for the three live tracks, which have been elaborately restored in days of work.

Another house number are the tracks of the follow-up band TranQuilL
(that‘s right, that‘s the correct spelling). The mostly overlong songs can be classified as heavy prog. Due to various circumstances these pearls remained (as good as) unreleased. Again, a lot of time and work was invested in restoring and mastering these private studio recordings (there are six long TranQuill songs on the CD version, while there was only room for two tracks on the LP, without losing sound quality).
As always, the printed inlay contains liner notes (actual interview with a former band member). Photos and other illustrations.
The CD version of the Golden Core re-release has already received very good reviews in Rock Hard and Good Times, among others!

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und
Picture Disc.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und Picture Disc.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und
Picture Disc.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und
Picture Disc.

The Beths debut EP – new pressing on on Light Blue Vinyl

The Beths' Warm Blood is a strong contender for the catchiest record you've never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands' careers.

Listeners for whom the tag 'New Zealand indie rock' brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood's five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstatic crescendos that channel The Zombies' Odessey and Oracle.

With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like leadoff track and first single 'Whatever,' the ridiculously addictive standout 'Idea/Intent,' and 'Rush Hour 3,' a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song. 

Swing Family's Music Force is dramatic mid-80s synth-funk. From the maverick mind of Sauveur Mallia, it's a thrilling and uniquely brilliant album from start to finish. It's undoubtedly known and revered for its unbelievable standout track, "Mission Africa". Those that know, know. And if you don't know, get to know. It's the reason this record has been hugely sought-after for the best part of two decades. Originally released on Tele Music in France in 1985 but now tear-inducingly rare, this is the definition of "a welcome reissue."

Swing Family is basically a supergroup of French Funk royalty. Led by French disco lord and Arpadys maestro Sauveur Mallia, they were augmented by trombonist Alex Perdigon from legendary French funk rock collective Godchild, trumpeter Kako Bessot from funky fusion group Synthesis and saxophonist Pierre Holassian, a member of Giant, Janko Nilovic's French jazz orchestra. So, about as heavyweight as it gets for funky French goodness. Mallia handles, of course, bass duties throughout, as well as utilising his arsenal of synths including his E-mu, Yamaha Dx7, Roland MSQ 700, Mini Moog and Oberheimm.

The maximalist disco fusion of "Exorcistor" is perhaps a bit too 80s French cheese for most tastes, so either linger on its singular style or head straight to the soundtracky typo-funk of "Greewich Boulevard". A deep, swaggering powerhouse, it comes on like mid-80s Chic jamming on the set of Beverly Hills Cop with Kashif. Yes, *that* good. It's followed by the vital "Music Force", a synthy, sleazy instrumental full of sax and flute and those 80s drum fills. Just the right side of acceptable.

OR! You can even choose to forget all the rest and just stick "Mission Africa" straight on. A rumbling, strutting, afro-cosmic low-profile banger. The slick drums hit hard, the synth strings warm things up, overlapping horns add swagger whilst electric guitar flourishes and a chanted refrain sit in the mix quite perfectly. A track that's almost impossible to describe and do justice to. You just need to hear it. Preferably as you saunter into your favourite after-hours club, after spotting all your friends at once, as you cut a swathe to the bubbling dance floor. A track quite like no other, it makes you sit up within its first bars and, to us at least, sound like something you'd have heard on a Print Thomas mix from the mid 00s. Basically, it's cosmo-galactic.

The B Side opens with "Musical Stars", an oh-so-80s funk-lite track which, at times, sounds like something Daft Punk may have left on the cutting room floor during their Discovery sessions. Another unimpeachable favourite of ours is the druggy brilliance of "Gentleman & Musician". You can almost hear the white powder through the speakers, as soaring, acidy synths, slick, heavy beats and the irresistible interplay of the primo horn players create a real sleazy wonder. "Film Action" follows, a galloping horn-heavy synth romp with moments of extreme bass breakdown brilliance before the drama-synths of "Episode Double" take things up another notch as it oscillates between gorgeous funky horns and urgent bleepy magic. Super tense, super funky and super stylish. Just ace. The elctro-tinged horn workout "Fatal Lady" closes things out majestically.

The audio for Music Force has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve - complete with perky Liberty Belle - has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Erstes Soloalbum des Queenryche Sängers Todd La Torre. Die durch die Pandemie verschobene Queenryche Tour bot Todd La Torre die Gelegenheit,das lang geplante Soloalbum zu verwirklichen. Todd tat sich mit seinem langjährigen Freund Craig Blackwell zusammen. Wie bei Queensrÿche's The Verdict spielte La Torre Schlagzeug und übernahm die Vocals, Blackwell spielte Gitarre, Bass und Keyboards. La Torre und Blackwell produzierten das Album selbst, zogen jedoch Queensrÿche- Produzent Zeuss hinzu. Gastauftritte von Jordan Ziff (Age Of Evil, Metalhead, Ratt) und Al Nunn. Insgesamt zeigt sich der Solo-Output vielseitig, ohne die progressive Basis von Queensryche zu vernachlässigen. Die Grundlagen sind allerdings mehr im klassischen Metal verortet und werden mit verschiedenen Einflüssen kombiniert. . Der Opener "Dogmata" oder "Vanguards Of The Dawn Wall" kommen mit mächtig Speed um die Ecke und mixen Heavy mit Speed und Thrash. "Pretender" erhält einen leichten epischen Touch und La Torre bewegt sich stimmlich in überraschende Höhen. Metallisch klassisch wird es mit "Hellbound And Down", dem starken "Vexed" und "Rejoice In The Suffering". Der progressive Part kommt bei "Darkened Majesty", "Apology" oder "Critical Cynic" zum Tragen. Die Balladenfreunde hören in "Crossroad To Insanity" rein.Zum Schluss gibt es mächtig dunkle Töne zu entdecken - "One By One . Craig Blackwells Gitarrenspiel setzt den Gesang von La Torre musikalisch perfekt in Szene. Todd findet sogar Vocals, die noch nie zuvor von ihm gehört wurden, wie auf dem Titeltrack und dem bestechenden "Vanguards of the Dawn Wall" zu hören ist. 2021 nur in den USA veröffentlicht, macht ROAR dieses Juwel nun endlich auch in Europa erhältlich, zusätzlich in 2 luxuriösen Vinyl Versionen. "Rejoice The Sufffering"ist ein herausragendes Opus von einem spät berufenen Sänger, der völlig losgelöst beweist, wie man eine wuchtig-moderne und vitale Metal Scheibe schreibt, arrangiert und produziert Für alle Queensryche Fans und Liebhaber des klassischen Metal.

Mit ihrem unverwechselbaren Sound ignorieren As Everything Unfolds traditionelle Grenzen und schaffen durch die Kombination zahlreicher Genres alternativer Musik ein einzigartiges Hörerlebnis. Mit über 20 Millionen Streams für ihr Debütalbum, "Within Each Lies The Other", bleibt ihre Kunst nicht unbemerkt. Die Band wurde für einen Heavy Music Award nominiert, trat auf großen europäischen Festivals wie dem Download, Graspop, Rock For People oder Full Force auf und tourte mit Bands wie Enter Shikari, Wargasm, Holding Absence, Being As An Ocean und vielen anderen. Mit der
Veröffentlichung ihres neuen Albums und vielen weiteren Touren und Festivals in der Pipeline, verspricht 2023 ein großes Jahr für As Everything Unfolds zu werden.

"The new album 'Ultraviolet' is an open work on the thoughts and feelings surrounding us at the time," erzählt Sängerin Charlie Rolfe. "The anger, the frustration, the progress, everything on show, nothing to hide. Darkroom practice is something that has been a large part of my creative path, finding links between the emotion in music, putting everything on display for all to listen and exposing a colour photograph, putting it on display for all to see. Only when you are exposed to Ultraviolet light can you see life in full colour."

The duo WILDES from the south of Germany, consisting of Jana Pantha and Jenny Tulipa, presents a musical mix of electro-synth-pop, post-punk and dark disco influences. After the release of their first EP “RAWWR” in 2021, their debut album entitled “KLISCHEE” will be released on 3 February 2023. Released via the Kommando 84 label, the album features 11 songs and a musical re-interpretation of German-language Neue Deutsche Welle sounds. The songs combine spoken word passages in which the singers combine a certain irony with word-playful rhymes. In addition to world-political, social issues, the songs revolve around the complexity of the new romance in love - between cosmos and stereo. The strong and experimentally avant-garde lyrics accompany the danceable pulse of the drum computer, melodic synth waves and the shimmering solos of the lead guitar.

The album “Klischee” begins with an electro-pop track that combines consistent grooves with atmo- spheric sound arrangements and a lead guitar that accompanies our journey to the moon. With the chorus’ high-pitched words, „Konsum - leg mich auf den Moon“ (“Consumption - put me on the Moon”), WILDES dryly yet humorously allude to a society that couldn’t fly “higher”.

The following cheeky song Leger in Schwarz combines impeccable post punk with influences from the NNDW scene. A short love story led by the electronic beat of the synthesizer makes the hearts of the night beat faster. With casual reduction, a guitar riff leads through the song. The guitar solo finally rounds off the plea about the longing for a good flirt.

Italo disco shimmers and pulsates on the driving song Capri. With lyrics like “Pack the boats - Vai a bordo”, Capri is a homage to the tried and tested Italo feeling with a cappucino on the terrazza, or indeed on the yacht with a view of the rocky walls of the island. An electric charge of sequencers and synth tracks acts here as a lightness of being in contrast to the porosity of the rock.

An electrifying electric guitar solo kicks off the fourth track with a mysterious invitation to Steig ein translated, get in. Hypnotised by the lights of the road, dazzled in the side mirror, a clearly repeating rhythm leads into the chorus and through the coming verses. English spoken-word lyrics add to the stoicism of the German language. The song’s great power ends with the line Lost in the dark, holding open the finale of the “Night Drive” encounter.

Digital and stereo on all channels, the distinctly tight and robust rhythm sounds in the song Apparat. A clear and simple synth melody is heard as a contrast and the electric bass gives the balance of the machine at points. Hiddenly, WILDES points here to the superior power that can control human action beyond all limits. A piece as a laudation to all the science fiction novels that play with the switching of the individual parts.

Side One of the vinyl is finalised by a song called La Grande Bellezza that motivates to dance and sing along. The punky pop craft lives through the recurring beat of the rhythm guitar. Here the focus is on the woman in all her facets. The great beauty, una donna, who can do everything as well as wanting everything and nothing...a strong woman who, however, also staggers and wants to jump off the cliff. Clearly and distinctly, the musical accompaniment of the drum machine and the accompanying synth melody reflect hidden parallel worlds and the ambiguity of character - of life? We get a desire for more and turn the round record.

The B side starts with a powerful guitar riff, complemented by a catchy and strong bassline that runs through the song. In this work, WILDES provocatively describes the West’s lust for the much-cov- eted Schwarzes Gold black gold. The song is reminiscent of the works of the band D.A.F. and thus ties in with the electronic punk sound spate.

The driving guitar riff joins in with the reduced synth bass sequence - the electro-pop song with the title Hitze (Heat) came onto the digital music market as the first single from the LP in the summer of 2022. Pulsatingly, the drum computer lets the beats vibrate to the rhythm of heated air. The duo po- etically describes heat with supercooled voices, a clarity in the sky that makes everything flow, that makes the breath dry. The work ends with a melodic synth solo.

Ich lad dich ein, I invite you - we have all said or heard this sentence before. A chance meeting of two people later leads to the altar in love. A far-reaching question that more or less arises in many love relationships at some point “Do you dare?” positions itself in lyrical contrast to the simple ques- tion in the refrain “Do you need sugar?”. WILDES plays with laconic poetry and, full of irony, makes the listeners think about living together. Krautrock contours are skilfully used in this piece. Reduced to the essentials, the chorus immediately sticks in the ear. A cheerful mix of steel drums and infec- tious solo.

Toccami - touch me! We sit on padded leather chairs - “you’re a rocket! Peng Puff Peng” - this song by the band WILDES joins experimental art-punk-pop, electronically with flowing synth waves we take off immediately. Melodically sung, lyrical layers of lyrics dance loosely light and gracefully in the ears of the viewer. The rhythmic beat visualises the feeling of floating in a spaceship. It’s love in the universe - “I love you, my darling” sounds tipsy in the beat-heavy disco refrain.

Hypnotically, WILDES launches into the final song of the entire LP. The title Zone takes us on a journey through time. Inspired by the film Stalker, we find ourselves in a science fiction setting that couldn’t be more present in today’s European events. The musicality of the electric guitar riffs ac- companied by simple new wave drums drives the listener into unknown realms.

Repetition and electronic synth sounds play a compositional role alongside rocking guitar riffs like their forerunners in the NDW scene. Lyrically, each song varies between pop-romantic and politically critical passages. Listeners start pondering about hedonistic life and its consequences. Sometimes it feels like listening to a Tarantino soundtrack in German, other times it feels like listening to an 80s track by a James Bond. Science fiction fantasies and reality add up in dadaistic theatricality to spir- ited synthpunk of the New German Wave from the South. Discoid beats and driving drums in digital are included.

Cosmic Elements' first ever vinyl release is a 10 track album of chillhop, LoFi, old school and funky hip hop beats from Thylacinus & Da Funksta entitled 'A New Beginning'.

For fans of chilled downtempo beats in the style of Pete Rock, MF Doom’s Special Herbs series, Mushroom Jazz and LTJ Bukem’s Cookin Records imprint ‘A New Beginning’ was greatly influenced by these legendary artists and imprints, with none other than Mark Farina, the main man behind Mushroom Jazz, providing the artwork for the record sleeve and centre labels.

From the lush sunshine vibes of 'A New Beginning' with it's dreamy strings and infectious guitar lick, to the thought provoking keys of 'The Times We Had' through to the funky RnB influenced bass heavy 'Ready For The New Day', the album is a journey through all things chill.

Both prolific producers and label owners in their own right under various aliases, expect to see much more from Thylacinus & Da Funksta both individually and as a duo.

‘’Ace Todmorden label makes a significant discovery on its own doorstep: a superb cache of ‘loner folk’ songs recorded in the early-70s by Hebden Bridge’s answer to Nick Drake’’ UNCUT PLAYLIST

"This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.” Benjamin Myers
"Defiantly Northern and out of this world" Folk Radio

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.
Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.
Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.
It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.
Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.
Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.
In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.
Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.
Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).
Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.
With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.
Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia.

She’s out of this world…

Maltese musician & producer Joon’s galactic debut arrives on our shores fully formed a decade after she first set sail. 12 cuts of uniquely addictive Synthesized Pop twist & turn on the rocky waters of life.

Her story begins after a life-changing car crash on the streets of Malta many moons ago. She was lucky to walk away in one piece. “That car crash was a wake-up call,” she says. “It made me realize how precious life is & I started living the life I felt was worth living.” Inspired to finally pursue her love of music full time, she began collecting instruments. Starting with a Stylophone& a vintage rhythm box, she started documenting ideas. Returning home to Malta after a few years in London, she only met one other woman making electronic music on the island. Driven by the desire to make music possible & accessible for the next generation, Joon co-founded the Malta Sound Women’s Network.

Ten years later, she sends us messages in a bottle from across the Mediterranean Sea. Armed with a Moog & her ethereal voice, she transmits hope & joy from a bedroom somewhere between Sicily & North Africa. Her music is right at home alongside outsider pioneers like Fever Ray, Grimes, Laurie Anderson & Molly Nilsson. Dream Again glides across heavy rhythms & eclectic electro. Telling stories of alienation with a throbbing heartbeat & space-age melodies, she lets us into her ultra-vivid world where anything is possible. Produced by Johnny Jewel, the album shines bright like comet orbiting the label’s dark sky, a much-needed vision of light on the horizon.

“Even if I’m sad or heartbroken, I remain optimistic. I want to grow old with no regrets.”

It’s time to Dream Again…

Gretchen Goes to Nebraska is the second studio album by American heavy metal/hard rock trio King’s X. It is a concept album based on a short story written by drummer Jerry Gaskill.

The album received virtually universal critical praise for its uniquely progressive musical approach and varied styles and is considered as one of their works, a seminal record within the progressive metal genre. It achieved high slots on various Album Of The Year-lists, including #4 in Kerrang!.

Gretchen Goes To Nebraska is available as a limited edition of
1500 individually numbered copies on gold coloured vinyl.

Auch die Schweiz hatte (und hat) in punkto harter Musik
einiges zu bieten. Sacrifice aus Délemont gründeten sich
bereits 1982 und machten zwei Jahre später mit einer heute
sehr raren EP auf sich aufmerksam. Der griffig arrangierte Mix
aus Heavy Metal und Hardrock kam nicht nur überregional gut
an, sondern rief auch die deutsche Firma GAMA auf den Plan,
die 1985 das Debüt „On The Altar Of Rock“ auf ihrem Label
Camel veröffentlichten. In gutem Zustand müssen Sammler
heute mit 50 Euro und mehr rechnen, um die Original-LP mit
dem geschmackvollen Cover zu erstehen. 1990 erschien eine
CD der Platte (Aurophon). 1991 nahm man unter dem Namen
Jade ein weiteres Album auf, welches sich eher dem Hardrock
zuwendet.
„Encyclopedia Metallum“ listet die Band als Heavy/Power
Metal und damit liegt man, zumindest für das Jahr 1985, auch
richtig. Viele Jahre blieb die LP unbeachtet, bekam aber mit
dem Aufkommen des Internet und sozialen Medien immer
mehr (junge) Fans dazu. So erscheint eine CD Version des
Albums bei einer südamerikanischen Firma, während Golden
Core das Vinyl neu ins Rennen schickt.
Diese Wiederveröffentlichung entstand in Zusammenarbeit mit
einigen ehemaligen Bandmitgliedern, so dass ein bedrucktes
Inlay mit Liner Notes und Fotos möglich war. Die Spielzeit ist
trotz den Bonustracks auf einem Level geblieben, welches eine
bestmögliche Klangqualität garantiert.
Der Track „Little Killer Man“ wurde Ende 2020 auf der von
Golden Core veröffentlichten Doppel CD „The Best Of And
The Rare Of GAMA Records“ veröffentlicht und bekam in
zahlreichen Reviews eine Nennung.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

Toy Tonics presents a new producer team: Sound Support consists of two enthusiastic synth and house aficionados that everybody knows (in the scene): Lars Dales from Dam Swindle and Lorenz Rhode (keyboard wizard and producer genius).
Together they are doing extremely groovy, jazz infected dance music that connects the good things of 1990ies house with the indie disco of the 2000s.

Lars Dales & Lorenz Rhode connected through their mutual love for all things musically unusual. After years of having worked together on several projects, such as the Dam Swindle live show, they finally got around to making music together. The result has been nothing less than an avalanche of tracks, mostly made in 4 day coffee fueled studio sessions in Lorenz’ studio in Cologne. All reminding the big funk house tracks of the early 2000s. Yes a lot of Daft Punk is here, A lot of NYC disco influences. Larry Levan and Laurent Garnier, DJ Harvey and Masters at Work.. all influences on this record.

After their first two Sound Support EP’s on Prins Thomas’ label, Internasjonal, they’ve ventured out to House of Disco and other labels with a wide array of immensely enjoyable synth heavy tracks. 2023 sees these two venture more into house territory with releases on AUS music and Toy Tonics, two labels that have cemented themselves deeply into the underground scene. In any case, it’s clear that Sound Support have found its signature sound and there is much more of that to look forward to. Toy Tonics is the key label for the wildstyle house scene and Sound Support fit perfectly. Welcome!

Four essential UK lovers rock / dub selections from the late 70s and early 80s featuring the sought after vocal cut ‘Our Tune' by Marie Pierre produced by Dennis Bovell and the Fender Rhodes laced heavyweight rhythm cut ’Fe We Dub’, featuring trombonist Henry Matic - Both originally released on Patrick Cann's PC Music imprint reissued here for the first time from studio tapes placed alongside Elizabeth Archer & The Equators classic reggae cover of ’Feel Like Making Love’ back-to-back with the dub ‘Version’ aka ‘Feel Like Making Dub’. Cut loud on 12” single for the first time.

Das erste Album in voller Länge seit fünf Jahren von den kanadischen Melodic-Metal-Helden Gatekeeper! Eine fesselnde Reise mit acht Songs, die epischen, melodischen Heavy Metal neu definiert! From Western Shores ist messerscharfen in Ausführung und Produktion. Der gefragte Arthur Rizk (Cavalera Conspiracy, Kreator, Sonja) übernahm die Mixaufgaben. Letztendlich verdoppelt sich From Western Shores auf die Elemente, die Gatekeeper zu einem internationalen Metal-Schwergewicht gemacht haben. Die epischen Teile sind epischer und die traurigen Teile - wie die Band unterstreicht - "sad as fuck". Es verstärkt die Vorstellung, dass Gatekeeper ein Schmelztiegel von Stilen ist, anders eben als diverse Protagonisten in der Melodic-Metal-Szene.

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Reviews / Features / Ratings: Deaf Forever, Rocks, Classic Rock, Eclipsed, Rolling Stone, Visions, Slam Magazine, Rock Tribune, Rock Hard, Legacy, Rock Hard, Rockway, Metal Invader, Loud and Proud u.a.

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

Fans of the Escapers know the love of Rock Steady and Reggae Music. This time they pay homage to a Johnny Taylor sung Stax classic and transform it into a Lover’s Rock thriller. A bass heavy Roots rhythm combined with Colton’s haunting lead guitar create a perfect platform. Johnny Ruiz to express his love. Hey baby “Ain’t That Lovin You”? Definitely, and for “More Reasons Than One”

More of a double A-Side release, the b-side has The Escapers calling on The Heavyweight Dub Champion himself...the mighty Scientist to reinterpret their biggest single “Stay”! Overton “Scientist” Brown gives this tune a classic style “version” with all the echo and distortion any reggae fan would want. A real privilege to work with one of the true legends of dub music!

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

Standard Black Vinyl LP w/ Foil stamped jacket, printed inner sleeves + DL card. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's debut full-length American Nervoso was originally recorded in 1998, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's debut album is set to be re-issued on Sargent House 25 years after its original release. The album features white-hot guitar action, scathing vocals, sweet bass moves, and torrential drums, smashing existing precepts of hardcore and redefining both the word and the music for a generation of kids and grizzled vets alike. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates in the Pacific Northwest in February 2023. 25th anniversary re-issue of Botch's critically lauded debut album. Botch have their first live performances in over 20 years for early 2023. Botch have been included on "Most Influential lists" by outlets like Decibel, Rock Sound, Alternative Press, A.V. club + more

Released in 1973, Grinding Stone was Gary Moore’s solo debut. The music on this album could be described as experimental, but on the album, Moore explores a number of styles, from the title track’s instrumental “Boogie Rock” to soulful vocals on “Sail Across the Mountain” and 17 minutes of guitar and keyboard excursions on the surprisingly funky “Spirit”.

Often cited as an overlooked gem and totally ahead of its time, Grinding Stone showcases Moore at his most experimental, mixing up styles and a taste of the triumphs that followed with his work in Colosseum II & Thin Lizzy.

Grinding Stone is available as a 50th anniversary edition of 1500
individually numbered copies on flaming coloured vinyl

• 180 GRAM AUDIOPHILE VINYL
• DELUXE HEAVYWEIGHT SLEEVE WITH LEATHER LAMINATE
• FIRST AND ONLY ALBUM BY THE GARY MOORE BAND
• RECORDED IN 1973 AFTER GARY MOORE LEFT SKID ROW AND BEFORE HE JOINED THIN LIZZY
• 50TH ANNIVERSARY EDITION OF 1500
INDIVIDUALLY NUMBERED COPIES ON FLAMING COLOURED VINYL

It's often a good sign when one of your favorite musicians steps out from beyond the studio walls and past the stage lights to fulfill their own inspired and creative intent. And Caíto Sánchez is not just a favorite musician, but as his lengthy resume as a sideman shows, he's also one of your favorite musicians' favorite musicians, constantly working without fanfare as an essential ingredient in a larger music feast. Sánchez earned his stripes in the 2000s and beyond as a key session player and an integral touring band member, a quiet standout even among many oversized personalities. A dedicated drummer born in Panama and living in New York, Sánchez is quite capable of keeping time for legends like Charles Bradley, Lee Fields, and Brian Jackson, as well as supporting eclectic outfits like the live groups of Quantic, Chico Mann and Midnight Magic. For all the players who have shared a stage or studio with him it comes as no real surprise, and frankly as a long overdue development, that such a unique artistic force is finally stepping into the spotlight.

With this debut single we get a glimpse into Sánchez's creative and artistic personal space, more precisely a multi-instrumental discipline of not only drums, but also bass, guitar and lead voice. It's an intensely intimate recording debut, a fantastic studio concoction born from the heart of its creator, and later fostered and mixed down by the talented hands of NYCT and Daptone veteran Victor Axelrod. The defining result on this initial 7-inch offering are two heavy psychedelic and moody nuggets of rock enespañol, a decidedly new wave of sounds and style that are quite capable of shining on their own.