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Alexander Winkelmann, der höflichste Punk von Germany, singt vom fast normalen Leben. Wir haben es offensichtlich mit Aufbruch und Verzweiflung zu tun, mit alten Sehnsüchten und neuer Zufriedenheit, mit dem Guten und dem Schrecklichen, und mit dem Yolofanten (»Yolofant«).

Was tut man, wenn man alles tun kann? Und was passiert, wenn alles stillsteht? Treibend und schrammelig, gaga und melancholisch. Die Neunziger, die Nuller, die Zweitausendzwanziger. Punk, Pop, Indie-Rock. Winkelmanns Debütalbum, »Danke der Nachfrage«, ist Wohnzimmer-selfmade und dennoch brillant produziert (in Marzahn – von Balayage, also Garagen Uwe und Sebastian Gieck). Das Album, das von mehreren Videos begleitet wird, ist durchsetzt von Hits, aber auch meta und formbewusst — ein eigentlich unmöglicher musikalischer Stunt.

Die getriebene Stimme der Winkelmann-Figur wirkt regelrecht manisch, sie ist der offensive Ausdruck einer Person, der es sehr, sehr gut geht, die aber auch sehr, sehr traurig ist. Winkelmann glaubt an die vereinende Kraft des Tempelhofer Flugfelds (»Flugfeld«), er läuft alleine auf einer unbefahrenen Autobahn (»Autobahn«) und hat Dinge gesehen, die schon längst wieder verschwunden sind (»Dinge«). Er möchte mit seinem Wohnraum zum Wohnraum des geliebten Menschen fliegen (»Lockdown«), er möchte Pizza mit ganz viel scharfem Öl benässen, und wird die Weihnachtsfeier des Jahres 2019 (»Weihnachtsfeier«) wohl nie vergessen.

Zehn exzentrisch-sensible Hymnen über das doch eigentlich schöne Leben, intim nah am Berliner Alltag.

"Produced by Jonathan Wilson (Conor Oberst, Roger Waters, Father John Misty) and recorded at Nashville’s Sound Emporium Studios, Renewal solidifies Strings’ position as a singular artist—one who honors the history of the music that inspires him, while continually pushing it forward. With the record’s sixteen tracks, Strings shares a more personal and honest perspective through his songwriting, while incorporating his wide range of influences with elements of bluegrass, classic rock, metal, psychedelic music and more.
Reflecting on the album, Strings shares, “A lot of people call us a bluegrass band and I don’t even know if that’s what we are anymore. You’ve got to let the song do its thing. So that’s what I try to do—write songs and let them come out however they do. I listen to it now and it’s emotional. I’ve always doubted myself, and I still do, but this album makes me think, ‘Hey, you’re doing all right, kid. You just need to keep going.’”"

In the beginning, there was chaos_ A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can. Angelic chants, Demon's screams, witches dancing and woeful mortal suffering are recounted in this album's songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil. "Battlefields of Satan's servants, witch-hunt for our ways, face off reality and eat TV today. Lucifer, Forever Grey". - Bill Politis - "The Unknown Secretary" comes to further unsettle the turbulent waves of music and burn its own mark in history. Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case.

‘Colors II’ is the tenth studio album from American progressive metal band Between The Buried and Me (BTBAM).
UK is the band’s 2nd top International market.
The band’s 2018 record ‘Automata I’ hit the Billboard charts at #1 Independent, #4 Hard Music, #6 Rock Albums and #8 Top Albums.

Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).

Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)

Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.

Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)

Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.

The LP version is pressed on 140g black vinyl and comes with a printed inner sleeve, lyric sheet and a download code.

The LP version is pressed on 140g black vinyl and comes with a printed inner sleeve, lyric sheet and a download code.

After 10 years from its origial release RADIO DAYS' 1st EP "Midnight Cemetery Rendezvous" is finally available again for the 1st time on vinyl! The records includes also all the tracks from their previous 7"s and an exclusive track!

Blackpool based quartet Blanket release their 2nd full length album on October 8th via Music for Nations. 'Modern Escapism' takes the post rock blueprint of the band’s 2018 debut full length 'How To Let Go' and infuses it with reverberating waves of shoegaze eclecticism and sudden outbursts of savage metal. The record’s sonic palette takes the ethereal fluidity of Slowdive, the vicious down tuned riffs of Deftones and the epic euphoria of Mogwai and coalesced them together into something far more cohesive. A 10 track transparent orange LP.

Imagine Andrew Weatherall producing Pere Ubu. The 7” Taki Chrome / Strummer Maxxx single by Pink Skull released on Höga Nord Rekords give a hint of how such a collaboration would sound. Mid seventies kraut rock á la “Neu 75” meet leftfield and sophisticated punk. The record has an organic warmth to it yet the excessive use of electronics: most instruments on the tracks are synthesizers and drum machines – all Moog, Korg and whatnot.

In the warmth of the Pink Skull-sound you suddenly get a wash of cold, hard rain from all directions. These elements of surprise create edges in the round soundscape and brings chaos to the mix. This is of course all part of Julian Grefes (founder of Pink Skull) plan.

Pink Skull propels you out of the quarantine like a shiny metal free bird released from its rusty cage.

We are always happy to throw you a curve ball, Athens of the North have an LP of our catalog flipped by Scottish beat Maker / Hip-Hop producer extraordinaire Jaisu.

We have always been a huge fan and sorted Jaisu with records whenever he popped down the office for a chat. One day early this year in full covid gear he came down to the studio with some beats from our previous releases and immediately I was like "Man do us an LP" and so the project was born. Jaisu took arms full of vinyl back to his studio in Niddrie and started feeding his MPC.

With a storyteller's eye and sly sense of humor that echoes not only his "honorary uncle" Del Reeves, but Tom T. Hall and Roger Miller, The Kernal delves deep into everything from family dysfunction to road trips to matters of the heart. The music, which he describes with a laugh as "diet country," embodies the spirit of that genre without any of the slavishness or self-seriousness of much modern Americana. Rolling Stone has called his style "sweetly subversive, intellectual and addictive," while Lo-Down said "the songs have an air of nostalgia but they sound far from old - modern, yet timeless. " From the joyous, southern-fried grooves of "U Do U" and "Pistol in the Pillow" through the revved-up rockabilly stomp of "Green Green Sky" and the cinematic travelogue of "Wrong Turn to Tupelo" to "The Fight Song," a sparkling '80s style duet with Caitlin Rose, it's a nine-song sequence that showcases The Kernal's warm, confidential voice while managing to make profound connections with the head, heart and feet. "When people ask me what kind of music I play, I say, 'It's like sixteen-foot trailer country music,'" he says. "You pull up a hay trailer in a field and you barbecue a bunch of stuff and there are people setting off fireworks and there are kids running around in diapers with ice cream running down their bellies. You get up there, turn it up and have a good time. I just love seeing people have a good time, and I think that's why I like country music. The groove of it. It speaks to people's legs. They loosen up and enjoy themselves and it's no big deal. I love that. And I love to be able to contribute to that."

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

The Zru-esque adventure takes its suite with a full-length LP recorded in adventurous (avant) times. No time left for the deliverance of these melodious flights, playful tribalistic cadences and surrealistic lyrics. Art-Funk duo Zru Vogue tackles avec grand-chic inner themes in order to let the listener get lost in the domain of dreams and spirituality. Surfing on Californian rocks, Andrew L. Jackson & Rick Cuevas affirm here their heretic talent in an non-angular form. Zru is a (post) 'beat' poet.

Spirale were an Italian quintet from Rome, consisting of Gaetano Delfini (wind instruments, vocals, percussion), Giancarlo Maurino (saxophone, flute, percussion), Corrado Nofri (piano, marimba, mbira, siren, Jew’s harp), Giuseppe Caporello (contrabass, guitar, percussion) and Giampaolo Ascolese (drums) who released a single eponymous album in 1974. This is a release known mostly by Italian progressive rock lovers, since its sound can be easily associated
to the jazz-rock delivered by the way more popular Napoli Centrale and Perigeo - but also to the ‘fundamentals’ Dedalus, Arti & Mestieri, Uno, or even the lesser known Bauhaus for instance. But playing this
kind of music and trying to release an album in the first half of the ’70s in Italy was also incredibly hard and courageous: Spirale, in fact, was one of the many bands that lived a very short life, before splitting up and disappear forever. Spirale was originally released on the International King record label, thanks to Mario Schiano, a free-jazz
saxophonist who discovered the band, and producer Toni Cosenza, who included the album in the ‘King JazzLine’ series. Consisting of just four tracks, most of which taken by the 13-minute long “Cabral, Anno 1” and the marvellous 17-minute “Peperoncino (Cose vecchie, cose nuove)”, Spirale is an incredibly balanced and flowing record that sounds still fresh and inspired even today, and it’s a shame that it has remained hidden and overlooked for such a long time. Moreover, it is characterized by that undescribable and particular Mediterranean flavour that only Italian musicians were able to obtain. This beautiful album is of course immensely rare in its original edition, and is now finally reissued on Dialogo record label in a faithful restored version that will finally satisfy any collectors who have waited for
years for this beauty to see the light again!

Split Single from the garage combo of The Panturas and Sundancer sung entirely on their
regional language. An exclusive 7” split from Indonesian surf-garage-rock behemoth The
Panturas and Sundancer, hailing from Jatinangor and Lombok Respectively. It was the
first series from their upcoming “"Singel Klub" series.
"Lasut Nyanggut" by The Panturas their first song sung entirely in Sundanese language.
The band appointed Ricky Virgana from White Shoes and The Couples Company fame to
be their producer, and successfully produced a garage psych-surf-calypso with a mixture of
traditional oriental sundanese pop aesthetics. The lyrics of the song itself paints a picture of
someone fishing.The title itself is a popular term among fishing enthusiast on the western
parts of Java.
“Dedare Tanjung” or “Gadis Tanjung” roughly translates to “the girl on the cape”, was
inspired from “Dark Eyes” a russian folk song and Ismail Marzuki’s very own “Panon
Hideung” which is a song sung in Sundanese language. The band translates the song to
their own mother tongue language which is the Sasak, a language that the band originated
from.

Docile Recordings continues with part three of a five cat series. Docile #30, the Alpha Cat ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. This Docile is a reaction to the stimulus of sight and sound; experiences, people and places inspire a sonic approach steeped in the realization of a moment. Docile aims to capture and release this moment in a minimal style that is its own. The Docile style appropriates noise of any sort to weave into its mello brand of 4/4 digi-o-log techno. Docile will continue until it can not; to shape sound into a spartan beauty.
hese arrangements speak soulfully, whether disruptive or smooth they define a struggle.

A1- brian wilson rides again----- this tribute to a master reflects a studio awareness theory in the breakdown of a minimal “good vibration” . a bass line scales down leading waves of synth and effect to crash upon an ambling kick shifting steady through a western soundscape.

A2-too jada ta’ trotta---the trash can of audio is thrown down the stairs with this haughty mover rocking a rolling crash through digi-glitch symposium.

B1-bumper car cocktail party--- a patchwork rhythms stutter and form together in a ruff and tumble jaunt soothed by a sexy sax that brings the assembly into line.

B2----pong-----crisp hi-hats rotate next to a steady clap complimenting a ponging in various forms under a cloud of dramatic synth calming the animal spirit.

Technical Ecstasy by Black Sabbath, limited edition, remastered, new mix, 90 mins of unreleased outtakes, alt mixes, live tracks from Ozzy, Tony, Geezer and Bill plus extensive book, tour program and poster. LP set on 180g vinyl.



In the summer of 1976, Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward headed to Miami to record Technical Ecstasy at the famed Criteria Studios. The band was coming off a world tour for their previous album, Sabotage, that had found their live performances evolving to include keyboards and synthesizers. These newly incorporated instruments and sounds were then introduced into the recording process on Technical Ecstasy. The new songs encompassed a wide range of styles from the hard charging “Back Street Kids” and single ballad “It’s Alright,” to the funky “All Moving Parts (Stand Still)” and progressive rock “Gypsy.” The Deluxe Edition presents a newly remastered version of the eight-track album, along with an entirely new mix of the album created by Steven Wilson using the original analogue tapes.



With eight previously unreleased outtakes and alternative mixes. Among those are different mixes of “You Won’t Change Me” and “Rock ’n’ Roll Doctor,” as well as both outtake and instrumental versions for “She’s Gone.” The collection concludes with 10 previously unreleased live tracks recorded during the 1976-77 World Tour. The songs touch on different eras of the band’s history with early tracks like “Black Sabbath”, “War Pigs” (from Paranoid), “Symptom Of The Universe”, “Snowblind” and “Children Of The Grave” alongside new songs “Gypsy” and “Dirty Women.”



The collection comes with an extensive hardback book featuring artwork, liner notes, rare memorabilia and photos from the era, plus a replica of the 1976-77 world tour concert book and a large colour poster of the iconic Hipgnosis (Storm Thorgerson/Aubrey Powell/Peter Christopherson) futuristic robots image which is perfect for framing.



Black Sabbath embraced change in 1976 when the heavy metal innovators started managing themselves and began exploring different sounds on the band’s seventh studio album, Technical Ecstasy.



BMG honours this daring album with a collection that includes a newly remastered version of the original, a brand-new mix by Steven Wilson, plus more than 90 minutes of previously unreleased outtakes, alternative mixes and live tracks. TECHNICAL ECSTASY: SUPER DELUXE EDITION will be available as a 4CD box set and 5LP box set on 180g black vinyl.



Contents:



Vinyl box set includes:

Original album newly remastered
New Mix LP
Outtakes and Alternative Mixes LP
2LP live concert from the World Tour 1976 - 77
40-page book with photos, artwork and liner notes
Technical Ecstasy colour poster

FULL OF HELL return with their highly anticipated new album, Garden Of Burning Apparitions. The new album, a genre-bending blitzkrieg of hardcore, grind and death metal, sees the band expand upon the very elements that have propelled them to the forefront of extreme music over the last decade. Produced by Seth Manchester, Garden of Burning Apparitions also sees FULL OF HELL adding new dimensions to their warp-speed hellscape. Guitarist Spencer Hazard and bassist Sam DiGristine's monstrous riffs now have an added noise-rock influence, while drummer Dave Bland commands the rhythm section at blazing speeds.
Lyrically, Garden of Burning Apparitions sees vocalist Dylan Walker exploring (anti)religion, life's impermanence and the fear that comes with knowing death is inescapable. "Industrial Messiah Complex” grinds organized religion to a pulp in under 90 seconds, while Walker contemplates the commodification of spirituality seen in America’s vast network of garish mega-churches and how these practices are at odds with true spirituality. Meanwhile, “Reeking Tunnels” rides a strident noise rock riff down into the sewer. It’s a metaphor for the physical and mental space we become trapped in when we live in a perpetual state of fear and hate. Elsewhere, justifiable ochlophobia propels the guttural death metal blast of “Eroding Shell.” Lyrically, the song seeks to capture our fear of the violent, ignorant mob—a scene glimpsed far too often in this volatile era.
In the end, FULL OF HELL’s boundary smashing has paid off again. “I think it’s good that we tried not to pigeonhole ourselves early on,” Walker reflects. “Because now, 10 years in, we have the opportunity to make whatever record we want, within reason, and people will follow along.”

Nachpressung der beliebten Compilation! Auf "Singles Round Up" kommen die ersten zwölf 7"-Singles, A&B-Seiten von Holly Golightly zusammen. Mit dabei ist das bluesige ,No Big Thing" mit seinem Barklavier und der Mundharmonika, das schmutzige gitarrenlastige ,Til I Get", die mit dem Jazzbesen bearbeiteten Drums und der Kontrabass von ,Come The Day", das eindrückliche ,Stain" und die brillante Coverversion ,Box Elder" von Pavement. Holly Golightly (ihr echter Name!) begann ihre musikalische Karriere 1991 bei Thee Headcoatees, einer Splittergruppe von Billy Childishs Thee Headcoats. Nach vier Jahren als Headcoatee trennte sie sich von der Band, um 1995 ihr Solodebüt ,The Good Things" zu veröffentlichen. Während bei den Headcoatees ein 60's Girl Group Sound auf dreiakkordigen Garagerock traf und viele Songs sowieso aus der Feder von Billy Childish stammten, vermischten sich auf Hollys Soloplatten Blues aus der Zeit vor dem Rock'n'Roll mit Folkrock und einer entspannteren Rock'n'Roll Gangart. Neben Coverversionen von Künstlern wie Willie Dixon, Ike Turner oder Lee Hazelwood schreibt Holly den Großteil ihres Materials selbst. Holly Golightly ist ohne Frage die interessanteste und vielseitigste Künstlerin aus der Schule von Billy Childish und ist mit Sicherheit eine der besten Songwriterinnen der Post-Grunge Ära, die mit jedem Album besser und besser wird. Seit ihrem Debüt 1995 war sie stetig aktiv, hat eine ganze Stange von Alben und eine noch größere Stange Singles für die verschiedensten Labels veröffentlicht und in den USA, Australien und Europa getourt.

Impressions cast from lyric and rhythm – desire in movement, now articulated and set forth. Meaning arises between attention and action. In darkness what is it?

Air is breath, like light through crystal; it’s truth and sacred geometry. A version like ancient stone - the sample shows in layers, solid time. Compressed life. Pages packed together and seen from the edge, razor sharp and two dimensional. We are the salt we become, our children and ancestors. All at once, being forever; a verse, then volume and tome.

But we slow, dragging like ploughs tilling clay. The physical is a language like memory – translated into real. Turn from backwards to parallel, watch it reduce; remember downstream. The rock, earth and salt, our real reconfigured.

Type peels away, turning to sand in the wash. Disordering disorder - now still. Translation becomes everything, set sequence and entropy. Whole, to node, to nothing, and all. Not new, just another.

Vector Trancer’s journey continues; re-emerging into the central stream, deep dub glows and woven polyrhythm conjure vital knowledge for protection and expression. Viridis Mantra and outer canopy steam, we’re brought tense rhythm experiments and biospheric reverb – see further excursions in atmos and shades from Touch, Fax, Geometrik, or Ed Handley on a dark one.

Longpigs were the alternative rock band who came to prominence in the 1990s Britpop scene
with their breakout debut album ‘The Sun Is Often Out’. Fronted by Crispin Hunt, the group also
featured guitarist Richard Hawley, Simon Stafford on bass and drummer Andy Cook.
• Originally released in 1999 on U2’s Mother label, ‘Mobile Home’ was the band’s second and final
release. Highlights include the singles ‘Blue Skies’ and ‘The Frank Sonata’ and the Stephen Street
produced track ‘Gangsters’.
• The album is now issued on vinyl for the very first time, pressed on 180g heavyweight clear vinyl,
housed in a UV gloss sleeve.

Ganze acht Jahre haben sich die schwedischen Viking-Metaller THYRFING Zeit gelassen, um ihr achtes Album zu präsentieren: VANAGANDR ist eine alternative Bezeichnung für den Fenriswolf aus der nordischen Mythologie!

Auch diesmal geht es bei THYRFING inhaltlich um Mythen, Märchen und Geschichten aus Skandinavien. Der kraftvolle, schwere und aggressive Opener DÖP DEM I ELD eröffnet das neue Album mit Groove und Melodie, es folgt mit TRÄLDOMSORD der wohl intensivste Song der Band bis dato, das Epos JORDAFÄRD schliesst voller schwermütiger und stimmungsvoller Sehnsucht das Werk perfekt ab. Co-produziert wurde VANAGANDR von Jakob Herrmann (In Flames, Machine Head, Evergrey) in den Göteborger Top Floor Studios, während Jacob Hansen (Volbeat, U.D.O., Katatonia) Mix und Mastering und Niklas Sundin von Cabin Fever Media (ex-Dark Tranquillity) das Artwork beisteuerten. VANAGANDR ist ein eindrucksvolles Statement, mit dem sich THYRFING zurückmelden, nachdem sie in den letzten Jahren ihren Fokus auf Livegigs legten und u.a. das Wacken Open Air, Summer Breeze und das Sweden Rock Festival zum bersten brachten.

Prior to his release this record was simply ‘labeled’ as Punk-Rock but this one comes from the New York Dolls side of Glam Punk. Storm the Gates of Heaven reveals unusual aspects of County's work: serious, reflective and profound. The monologue introducing the title track is the only part that may be considered offensive. The sound is a blend of bass, lead & rhythm guitar, drums & percussion by the versatile Electric Chairs.

Embellished by Hammond organ, the title track rages against and laments the suffering caused by religious wars. Cry Of Angels is an eloquent, even anthemic defense of Enlightenment values on which the guitar textures and the hook around the chorus superbly complement one another. An artful blend of County's characteristic outrage and the pure pop genius that lay behind the garish accoutrements, Storm the Gates of Heaven jams its eight tracks between two undisguised classics, the anthemic title track and a so-optimistic reading of "Tomorrow Is Another Day, not to mention a stunning cover-version of the Electric Prune´s "I had too much to dream last Night"

ayne/Wayne County's most audacious album is also possibly among the most important albums of its age. Released in 1979 just as the new wave was teetering on the brink of some kind of bold step forward, Things Your Mother Never Told You was one of the sudden shoves which sent it sprawling into its destiny. Electro-punk starts here. Producer David Cunningham takes only a portion of the credit; in years to come he would lead the Flying Lizards into the realm of heavily stylized electronica. But County's songs match his ambitions all the way, from the harsh, grating soundscapes behind "C3"'s muttered imprecations to the soft-spoken paranoia of "Waiting for the Marines," and onto "Berlin," the song that put into words everything David Bowie (among others) tried to convey about that city via image and insinuation. It's not all electro-art smarts, of course. "Boy With the Stolen Face" and the pouting, punishing "Wonder Woman" are archetypal Electric Chairs - a reminder of how, at the band's very best, they could run the Rolling Stones close in the swaggering rock & roller stakes - and the murder mystery "Wall City Girl" could have fallen off a forgotten volume of Nuggets or Pebbles. The title track, meanwhile, doesn't simply seethe with all the promise -- sexual, social, and societal -- which made County the superstar (s)he so very nearly was, it also lets listeners know why no one has ever truly snatched that crown away.

Beautiful Garbage is the third studio album from Garbage, initially released on October 1, 2001. Marking a departure from the sound the band had established on their first two releases, Garbage & Version 2.0, the album was written and recorded over the course of a year, when lead singer Shirley Manson chronicled their efforts weekly online, becoming one of the first high-profile musicians to keep an Internet blog. The album expanded on the band's musical variety, with stronger melodies, more direct lyrics, and sounds mixing rock with electronica, new wave, hip hop, and girl groups. This brand new edition featuring newly remastered audio by Billy Bush & Butch Vig across Deluxe, LP, CD and Digital formats. The Deluxe edition includes Beautiful Garbage on 2 x 180g Black Vinyl, as well as a 12” 180g of B-Sides and memorabilia. The two Double LP formats have been pressed on 180g Black and 180g white vinyl respectively. This reissue campaign also features a triple CD featuring, original album, b-sides, demos and remixes housed in a deluxe clamshell.

In These Silent Days, the highly anticipated new studio album from six-time Grammy Award-winning singer, songwriter, performer, producer and New York Times Best Selling author Brandi Carlile, is out October 1. Ahead of the release, the album’s first single, “Right On Time,” featuring a music video directed by Courteney Cox launched on announcement
Inspired by the mining of her own history while writing this year’s #1 New York Times Best Selling memoir Broken Horses, In These Silent Days was conceived of while Carlile was quarantined at home with longtime collaborators and bandmates Tim and Phil Hanseroth. The ten songs chronicle acceptance, faith, loss and love and channel icons like David Bowie, Freddie Mercury, Elton John and Joni Mitchell—the latter two who, by some sort of cosmic alignment of the stars, have turned out to be close friends in addition to being her biggest heroes and inspirations.
In These Silent Days follows Carlile’s 2018 breakthrough GRAMMY Award-winning album, By The Way, I Forgive You, which Rolling Stone declared, “…an Adele-meets Joni Mitchell tour de force.” In the years since—in addition to collaborative projects with The Highwomen, Tanya Tucker, Soundgarden, Alicia Keys, Dolly Parton, Barry Gibb, Leslie Jordan, Brandy Clark and more—she has earned six Grammy Awards recognizing her work as a performer, songwriter and producer, was awarded Billboard’s Women In Music “Trailblazer Award,” CMT’s Next Women of Country “Impact Award” and received multiple recognitions from the Americana Music Association Honors & Awards including 2020’s Album of the Year (Highwomen), Group of the Year (The Highwomen) and Song of the Year (“Crowded Table”) and 2019’s Artist of the Year. Carlile was also once again nominated for Artist of the Year and Group of the Year (The Highwomen) at the 2021 ceremony.

The core of the album is seven songs she wrote in the late 1980s and early ‘90s —“One Way Out,” “As Cool As You Try,” “I’m No Angel Myself,” “For the Last Time,” “Save Myself,” “That Would Be Me” and. “Wild Wild Wild.” Rounding out the set are two other previously unreleased songs, “You Have No Idea” and “Life Goes On,” recorded at an intimate and boisterous 2002 concert at the Roxy in West Hollywood.

These songs bristle with energy and emotion, a rock ’n’ roll edge and personal depth as sharp as anything in her canon. The first seven come from a time in which she was finding her first measures of fame with bolstered confidence and ambition. But it was also before she was ready to be fully open about herself. These songs show her finding her voice, but when it came to it she wasn’t ready yet to say it in public.

“It was an emotional space, a tender sort of place that I was reluctant to go to before I came out,” she says. “So yeah, I did hold back on that sort of thing. And now it was really fun to just step forward and fearlessly present these songs and play them. You know, really being set free.”

In 2013, while working on a proposed box set of archival recordings, Etheridge came across these songs again and found that they spoke to her anew with fresh vantage. A lot had happened in the intervening years. Etheridge had come out, become a parent, risen to status of multi-platinum album sales and top concert headliner, was diagnosed and recovered from breast cancer, won an Academy Award (for her song “I Need to Wake Up” from Al Gore’s climate change documentary An Inconvenient Truth, gotten married, taken on activist roles on various fronts and had continued to record and tour at as fierce a pace as always. With all of that, these songs needed to be given new voice, new settings.

Cahill//Costello's Offworld is the debut collaborative album between two Scottish artists, drummer Graham Costello and classical guitarist Kevin Cahill. Recorded at a studio in Sanna, Scotland, the most Westerly point of mainland Britain, the music sees the pair exploring ambient soundscapes through drone-like, atmospheric guitar and drum counterpoint, with added tape loop effects.
“CONTEMPLATIVE DUBSPACE, AMBIENT AND POST-ROCK SHIMMER THAT STEPS GLORIOUSLY OUT OF TIME” – Backseat Mafia

The Quest is the latest studio album from legendary progressive rock band Yes, and their first for new label home InsideOutMusic. Produced by Steve Howe, and featuring the line-up of Howe, Alan White, Geoff Downes, Jon Davison & Billy Sherwood, this stunning new record sees the band demonstrating why they are still such a revered group of musicians.

The Quest is the latest studio album from legendary progressive rock band Yes, and their first for new label home InsideOutMusic. Produced by Steve Howe, and featuring the line-up of Howe, Alan White, Geoff Downes, Jon Davison & Billy Sherwood, this stunning new record sees the band demonstrating why they are still such a revered group of musicians.

“Sympathetic Magic” is the new surprise album from Portland’s indie-rock outfit Typhoon. The album is scheduled for a surprise release on January 22, 2021. This is the band’s first new music since the release of their critically-acclaimed fourth LP Offerings in January 2018, followed by extensive touring across North America, UK, and Europe.
“The songs are about people - the space between them and the ordinary, miraculous things that happen there, as we come into contact, imitate each other, leave our marks, lose touch. Being self and other somehow amounting to the same thing.” – kyle / Typhoon
“This marks a major moment of growth for Typhoon. An album born from reckoning and upheaval, the experience is fraught with heavy sentiments and dark themes that are explored in a graceful manner. Sympathetic Magic is one of the band’s most personal and intimate albums yet. Each track is crafted with purpose, further carrying on the message Morton is trying to share. The album came as a surprise, but the love for it was guaranteed, and Typhoon has yet again proven their talents are to be lauded.” – Atwood Magazine

Outsider is Taylor’s first album of new material since 2013’s Fun On Earth A highly personal project, Outsider’s instrumentation is almost entirely performed by Taylor, with his largely restrained vocals matching the album’s contemplative ambience. But Taylor does cut loose along the way with a foray into some hard-riffing blues-rock as well as an adrenalin charged BIG surprise retread of a classic 1965 novelty song, which is exactly the fun on earth we need in these challenging times.






f 6 We're All Just Trying To Get By [feat. KT Tunstall]

Limited vinyl reissue for Baltimore’s pop punk legends’ masterpiece, originally from 1998. Fully REMASTERED VINYL VERSION INCLUDING one BONUS TRACK, and DOUBLE-SIDED poster insert. 300 COPIES ONLY, ON YELLOW VINYL.

Originally released in 1997, this is the first vinyl release of "Drink Beer", the classic 22 track stomper from Canadian punk rock institution, The Vapids. Ramones-flavoured 90's pop punk at its best. If Dee Dee Ramone himself literally defined them "one of the all time best punk bands ever” in his biography, there must be a reason!

FULLY remastered audio courtesy of Geoff Palmer, DOUBLE-SIDED INSERT, red vinyl, 300 copies only full-on HEY SUBURBIA treatment!

LIMITED BLUE WITH BLACK SPLATTER VINYL +DL CODE

Gestural Abstractions is the third full-length album from post-shoegaze duo Winterlight. After an admittedly difficult gestation for their second album The Longest Sleep Through the Darkest Days, this new album developed organically and somewhat swiftly from the moment the pandemic lock-down was initiated.

This mandatory seclusion allowed Tim Ingham to sit with his guitar or at the piano and play uninhibited. With daughter and bassist Bel returning home from university, her presence galvanized the creative process, which resulted in the duo writing their first song together: In Solitude. It is a song in which there is very much an equal display of Tim and Bel's influences and songwriting styles.
Gestural Abstractions is a focused dynamic collection of works teeming with expressive confi- dence; An upliftingly shimmering shoegaze leaning post-rock gem.

Introducing USA based artist Jon Linskey aka ‘Sectra’ to Tectonic! With a truly unique sound, Sectra’s music sits among the crushing, claustrophobic weight of Shapednoise drone spaces, the percussive dexterity of a Detroit techno wizard and summoning the power of DMZ with sub bass sonics designed to hug your ankles.

‘A Demon In My View’ runs at a dangerous 90bpm, a total night stalker of a beat riddled with menace and the deep stench of fear. You will be scared, but that’s OK, we’ll get through this. ‘Counter Culture’ runs at 126bpm and projects us far out into distance space for a Sci-Fi adventure to a distant galaxy with a techno shaped rocket to propel us out there (well, there’s a 4/4 kick in there at least..).

Flip for ‘Ashes’ where we get a hint of dubstep influence melded with mangling technology and more perfectly placed sounds. Lastly we turn to ‘Bedlam’ which takes the pace down a few notches and we find ourselves hypnotized in a half-step, rocking gently, wrapped in a blanket, slowly shaking off the trauma.

After three years of work, Nigerian-born neo-soul singer Wayne Snow returns with a new album Figurine. Written between Berlin and Paris, this album is based on a simple question: "Who is the real you?" - and leads Wayne Snow to explore renewal, individuality and his origins. Produced by Crayon - an artist signed to Roche Musique - with the participation of jazz guitarist Oscar Jerome on the track "Magnetic", Wayne Snow uses a range of sounds that showcase his songwriting talent. Preceded by the singles "Seventy", "Nina" and "The Thrill", the album Figurine will be released on Roche Musique on September 24, 2021.

For the second release in our Re-Issue Series we've teamed up with London duo Euphonic for a cherry picked deep dive into their back catalogue exploring some of their finest works, fusing Jungle, Breaks, and Down Tempo with unique programming, bass lines and traditional jazz/blues instrumentation.

The "Low Orbit Archives" 12" features a number of artists whom they have collaborated with since the project's inception back in 1997, including dr. Israel, Soothsayer, Kirsty Rock and Neech. Euphonic is led by producer Rob Henry and former Graffiti artist turned DJ Nick Trimm.

Following Part 1 of the project, the recently released 10" vinyl "Jah Science", the full LP follows, featuring an additional 5 tracks with Part 2 offering a wide spectrum of music for audio lovers and record collectors. All tracks have been taken from CD, Vinyl and DAT, unearthed and newly remastered.

Already renowned for a ball-tearing live show, The Sniffers
made their international debut as one of the hottest tipped
acts at The Great Escape in 2018. Soon afterwards, they
signed deals with both Rough Trade Records and ATO
Records, made a massively hyped appearance at SXSW,
and finally released their self-titled debut album in 2019,
landing them an ARIA (Australian Recording Industry
Association) Award for Best Rock Album, capping off a wild
year for the lunatic, likeable punks.
Late in 2020, Amyl and The Sniffers went into the studio with
producer Dan Luscombe to record their sophomore album,
‘Comfort To Me’. Written over a long year of lockdown, the
album was influenced by and expanded on a heavier pool of
references - old-school rock’n’roll (AC/DC, Rose Tattoo,
Motörhead and Wendy O Williams), modern hardcore
(Warthog and Power Trip) and the steady homeland heroes
(Coloured Balls and Cosmic Psychos).
Lyrically, the album was influenced by Taylor’s rap idols and
countless garage bands and, in her words, “I had all this
energy inside of me and nowhere to put it, because I couldn’t
perform, and it had a hectic effect on my brain. My brain
evolved and warped and my way of thinking about the world
completely changed.”
Seventeen songs were recorded in the ‘Comfort To Me’
sessions and the top thirteen made the cut. They were mixed
long distance by Nick Launay (Nick Cave, IDLES, Yeah Yeah
Yeahs) and mastered by Bernie Grundman (Michael
Jackson, Prince, Dr Dre).
‘Comfort To Me’ demonstrates the same irrepressible smarts,
integrity and fearless candour as their debut but, as you’d
expect of any young band five years on, their sound has
evolved - in Amy’s words, it’s “raw self-expression, defiant
energy and unapologetic vulnerability.”