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My Brutal Life delves into the profound aspects of our artistic endeavours encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on Symmetry, Synchronisation, and Repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism.

Das fünfte Album der Emo-Punk-Band Free Throw aus Nashville beginnt mit einem fünfsekündigen Dunst geigenartigen Feedbacks, bevor es im Sprint auf dem Boden aufschlägt: eine dicke, übersteuerte Gitarre, Schlagzeug und der Bass knallen zusammen mit knackigen Ausbrüchen und einem lebhaften Gitarren-Lead hinter einer Wall Of Sound herein. 'Es ist so verrückt, dass die Dinge mit zunehmendem Alter irgendwie so kompliziert werden', stöhnt Sänger und Gitarrist Cory Castro zu Beginn der ersten Strophe des Albums. In wahrer Free Throw-Manier ist die Platte mit Videospiel- und TV-Referenzen versehen – Castros geliebtes Pokémon (Cinnabar Island), Outer Worlds (Spacer's Choice) und Trailer Park Boys zum Beispiel. Aber während sich frühere Releases auf ein zusammenhängendes Thema konzentrierten, das für Dramaturgie und Erzählung bereit war, geht es in 'Lessons That We Swear To Keep' um etwas noch Unmittelbareres und Prägenderes, aber weniger Diskutiertes: die Grauheit des Alltags.

What do Elvis Presley, the Beatles and all the other rockers have in common? They all performed songs by Chuck Berry. Rhythm, musicality, intelligent lyrics, sensuality, insolence, humor, style... It's all there! His records are the perfect rock'n'roll vade mecum.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Ein paar Monate nach digitalem Release schieben wir 300 streng limitierte, kristallklare Vinyl vom softboy ivo und b&dbbb (aka Young Meyerlack) Album "Kids Auf Nix" nach. Irgendwo zwischen 80er Pop und Untergrund Lofi Rap bewegt sich diese Kollaboration zweier alter Freunde, die zeitgleich quasi das Debüt Album von softboy ivo darstellt, der unter diesem Namen seit Dezember '22 agiert. Das Artwork stammt von Johnny Basse. Von diesem Album wird es keine weitere Vinyl-Auflage geben!

FFF joins Straight Up Breakbeat with two slabs of hybrid hardcore! Connecting the dots between original jungle, footwork, rave, and then some, FFF taps into his multi-faceted musical history with two tracks aimed straight at the floor. Modern day Dance Mania !!
Dead Man's Chest - 5/5 “Sick, always got time for some rolling bongo jungle!”

Sherelle - “Sounding Big!”
Settle Down - "These are silly good"
Jay Cunning - 5/5 “LOVE IT! Full support from me!”
Louise Plus One & Simon Hughesee (Distant Planet) - 5/5 “A great release, both great tracks!”
Further support from Gremlinz, Mister Shifter, Yorobi, Jaise, Esc, Glowkid & more.

After releasing their debut album Red Forest in 2022, a stint at the Trans Musicales in Rennes and on legendary American radio station

KEXP confirmed the delicious identity of a corrosive sound that has hypnotised many. Sarakiniko is his name. It's both the name of a lunar-like beach in Greece and, without realising it, the translation of buckwheat, the emblematic plant of Brittany, where he comes from. Sarakiniko is a man, Yann Canevet (Venera 4, Future, Maria False), who writes, composes and records the music that comes from his dreams and his aesthetic vision of a magnificent world in disuse. Having first transported us into the deep forests of her heart-rending, sentimental music, Sarakiniko now unfurls her roots in an even more personal soundscape. Sophisticated, demanding music carved out of a tree trunk with chisels and chisels. A slightly grimy, slightly disturbing pop that he himself describes as "mud-pop", but which ultimately comes across as fearsomely massive shoegaze, with delightful echoes of Andrew Weatherall's productions. His second album, Dehors, takes us back to an inner child overwhelmed by his own élan vital. A naïve child who justly cries out upon his arrival on Earth. Tender, luminous and terribly fatalistic, this new stage in Sarakiniko's journey leaves us hanging in poetic and abrupt lyrics inherchildhoodlanguage,toresonateevenmoreprimal.Powerfulwords,headyrefrainstobesunguntiltheendoftime.

The eponymous debut disc from German-Swedish supergroup 4
Wheel Drive went straight to the top spot as Best-Selling Jazz Album
In Germany For 2019. And the media didn’t hold back with their
praise either: “Four first-league jazz musicians with pure joy of playing
and a love of good pop music,” said ZDF’s ‘heute-journal’ about this
spirited and enjoyable group that combines trombonist / singer Nils
Landgren, pianist Michael Wollny, bassist / cellist Lars Danielsson
and drummer Wolfgang Haffner.
 For ‘4 Wheel Drive II’, it is evident that things have shifted up a gear
right from the start, with the rocky, pulsating opening track, ‘Chapter
II’, straight from Wollny’s compositional workbench. Landgren likes to
let his trombone roar like a sports car engine. In similarly dynamic
vein are pieces like Danielsson’s final track of the album, ‘The
Wheelers’, which, thanks to Haffner’s nimble brushwork, makes you
think you’re on a high speed train.
 Compared to the first album, there has been another change, an
increase in the proportion of original compositions written by all of the
participants, as Lars Danielsson, who has contributed a sensitive,
poppy ballad to the new album, ‘Just Another Hour’, remarks.
“Interpretations of worldwide hit songs were a factor behind the huge
success of the debut album, but the ratio to original compositions
here is getting closer to 50:50. That said, the fuel powering 4 Wheel
Drive has remained the same: this band is all about creating music
from deep within, and with like-minded people whom you can
absolutely and implicitly trust to be in the driving seat.”
 “It just flows,” enthuses drummer Haffner, “we’re a group of close
friends with nothing we need to prove, we can just go for it. I've had
so many magic moments with this band, it really is incredible!”
 On the new album, listeners are treated to several new moments of
pure magic, continuing 4 Wheel drive’s illustrious story. For example,
their new instrumental version of the Simon & Garfunkel classic,
‘Sound of Silence’, has something mysteriously Nordic about it. Or
their newly-cast version of the surprisingly infrequently covered
Genesis ballad, ‘Hold On My Heart’, putting it into a jazz context. The
courage to approach pop tunes that have become so ingrained in
many people’s minds from a completely different perspective pays off
in full. Within 4 Wheel Drive are four originals at work, each of whom
can be recognised from the very first note they play or sing.

* New 2023 Vinyl pressings * Original Release Date: 10/25/1994 * Album Notes: Single LP + poster Mercyful Fate "Time" packs a nasty horror-metal punch. As always, metal icon and frontman King Diamond leads the way on Time with epic lyrics and instantly recognizable vocal range that defined the group's sound. Bandmembers, guitarist Hank Sherman, bassist Sharlee D'Angelo, and Snowy Shaw on drums do their usual fine job cranking out retro and near thrash metal riffs with biting precision. The sprawling "Lady in Black" is a clear standout, with its superior guitar grooves and relatively melodic and intelligible vocals. Other choice cuts include the crushing opener, "Nightmare Be Thy Name," and the title track,

Ein europäischer Jazzklassiker - zum ersten Mal auf LP!

Auf “Over The Years” (erschienen im Jahr 2000) zog die damals 70 jährige Abbey Lincoln ein beeindruckendes Zwischenresümee ihrer Karriere. Dafür stellte sie ein reizvolles Programm mit Stücken aus den 1940er Jahren, Traditionals, romantischen Standards und eigenen Kompositionen zusammen, das selbst für eine notorische Bilderstürmerin wie Abbey eher ungewöhnlich war. Begleitet wurde sie bei der Aufnahme des Albums, das als eines ihrer besten gilt, von einem jungen New Yorker Begleittrio sowie Tenorsaxophonist Joe Lovano und Trompeter Jerry González als prominenten Gästen.

Spiritus Mortis compilation from the Albert Witchfinder years! The definitive compilation of rare and sought after Spiritus Mortis 7" and 12" single and split tracks from the time with Sami Albert "Witchfinder" Hynninen on the vocals. These recordings have not appeared on Spiritus Mortis albums and never before in any digital format. For this compilation the songs have been completely remixed by Joona Lukala and Sami Hynninen, and the disc is expanded with exclusive bonus live material. Essential to ALL fanatics of real Heavy/Doom Metal!

Spiritus Mortis compilation from the Albert Witchfinder years! The definitive compilation of rare and sought after Spiritus Mortis 7" and 12" single and split tracks from the time with Sami Albert "Witchfinder" Hynninen on the vocals. These recordings have not appeared on Spiritus Mortis albums and never before in any digital format. For this compilation the songs have been completely remixed by Joona Lukala and Sami Hynninen, and the disc is expanded with exclusive bonus live material. Essential to ALL fanatics of real Heavy/Doom Metal!

The Art of Surrender marks a return to life, sown from primal impulses and hard-won emotional truths. Unrestrained melodic rapture soars above a relentless kick drum, speaking a need to move, to dance, to love. The music is as ambitious as its origins are personal. Tignor plays with scale, crafting multi-movement epics alongside one-minute miniatures. The smallest, most fragile violin gestures, where the finger barely touches the string to extract natural harmonics exist side by side with angular, exotic melodies, asymmetric rhythms, and rapid-fire string crossings. On this LP, Tignor digs even more deeply into the violin and its technicolor reimaginings under his electroacoustic treatments. Christopher Tignor is a composer, violinist, lecturer, and software engineer. His emotionally charged scores and unique focus on live, performance-based electroacoustic practice has won acclaim within both the classical and experimental communities across 10 LPs on the Western Vinyl and New Albion record labels. He creates the live performance software he uses, shared freely. As a composer he has written and recorded work for ensembles including The Knights, A Far Cry string orchestra, and Brooklyn Rider string quartet, performing alongside them at premiere venues including Carnegie's Zankel Hall. As a string arranger he has worked with Helios, Jefre Cantu-Ledesma, John Congleton, This Will Destroy You, Meshell Ndegeocello, and several other artists at the boundaries of popular music. This music breathes, swoons and swoops elegiacally, in the same way a crack symphony might on a good night." MAGNET // "A bulwark against the ambient clatter of everyday life...sheer technical mastery" BANDCAMP (ALBUM OF THE DAY) // "Tignor creates a muttered hum of activity that burbles at the fringes of an internally focused halo of sustained, glowing chords, and the effect is powerful." NPR // "Making computers coexist in harmony with acoustic instruments in a live setting is more easily imagined than achieved. But Christopher Tignor, a young composer and performer shaped as much by his work in downtown nightclubs as by his formal education at Bard College and New York University, proves that it can be done." THE NEW YORK TIMES // "Absurdly talented"

Standard LP on 180g clear vinyl, printed inner-sleeve, download card included. 'Interiors' is the fifth studio album by Brooklyn-based minimalist post-punk/synth-pop duo The Vacant Lots. The 8 songs on 'Interiors' synthesise all of the band's past work while pushing forward into the future. It's Jared Artaud and Brian MacFadyen's darkest and most visionary work yet. Ethereal metallic synths and blistering electronics are driven by disco-on-downers dance beats lashed with gutter-rock guitar riffs and icy detached vocals with evocatively concise and lacerating lyrics. Recorded over many sleepless nights and amphetamine-fueled mornings in the project's isolated Brooklyn bunker home studios, the album follows the band's minimal is maximal aesthetic coalescing into dark bedroom anthems for loners and lovers with nods to 70s/80s punk and nightclub music ala Joy Division, Iggy Pop's The Idiot, Depeche Mode, and New Order. On the lead single "Amnesia," Jared Artaud says "It's about dealing with duality and integrating the conflicting feelings within a relationship. It's about feeling dissociative and getting burned by the fire. Then coping with how this inevitably leads to the dissolution of the relationship. This is a mantra for all the songs on the album.

Jesca Hoop"s debut album Kismet (2007) stands out as one of those rare examples of a newcomer getting it right on the first try and winding up with one hell of a tough act to follow. September 2023 sees Kismet"s 16-year anniversary and to celebrate, Hoop is reissuing Kismet on vinyl paired with The Complete Kismet Acoustic, a live stripped back version of the album. While Kismet brims with studio wonders and the absolute joy of diving into the medium with musical giants that include Stewart Copeland, Matt Chamberlin, Blake Mills, Shawn Everett and Tony Berg, The Complete Kismet Acoustic brings us to the heart of Hoop"s character with just two acoustic guitars and three voices. Listening back-to-back is a striking experience. This double gem is the first ever vinyl pressing of both titles and is not only a must have for the collectors of Hoop"s work but an essential for those new to the realm.

It features a collection of Finbar's own compositions and four well known traditional songs; Kitty, The Rocks Of Bawn, Slieve Gallen Braes and The Parting Glass. Finbar brings his own unique style to these classic Irish songs, using his romantic eloquent voice to evoke ages past. Music's Door is Finbar's ode to music, but there is a poignancy to it as well, in September 2022, he recorded this duet with his friend, 'Jump The Gun' singer Roy Taylor to raise awareness for MND which Roy was suffering from. Sadly he died in June 2023.

September Said Goodbye is an emotional cry for a lost loved one in the 9/11 tragedy. The mood takes an upbeat turn with Wild Horses, a joyful and carefree instrumental, and Blue Jewel In The Sky, a song Finbar released in 2020 with his daughter Aine Furey, alerting us to the impending horrors of climate change. Finbar draws inspiration from the world around him. His passion for music and the plight of the underdog has always underscored his work. He has honed a talent for finding the soul of a person, a place or a time through his music. 'Moments In Time' reflects the artist looking back at the vagaries of life, completing the album with the timeless The Parting Glass.

However, he is also looking forward, emboldened by his music he embraces and celebrates life, and most of all, love.

For singer and songwriter Hilde Louise Asbjornsen, this album was an urge as natural as breathing. Recorded for a 2020 live gig, she dives headlong into handpicked songs from her decades- spanning career. Gathering "all the threads of inspiration through my years as a songwriter and jazz singer", this is the way they were always meant to be heard.

'A Swing of its Own' took Hilde Louise back to the beginning, to a time when she was falling in love with jazz and spinning her mother's old jazz records on a turntable. And yet, nostalgia is notably absent here. Rather, the album brings back to life the sheer energy and irresistible pull of this music which first swept the USA and then the rest of the world. Hilde Louise's career has been a long and winding journey, but now, she feels, she has "finally come home". And to those willing to open up this music - your heart is sure to follow her to that place, too.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city. After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

Released in November 1987, Sinead's striking debut album The Lion and the Cobra was met with critical and commercial success. The album synthesises several of Sinead's influences into a diverse array of sounds and styles, from the hushed, atmospheric 'Troy' and 'Jackie' to the pop-rock hit single 'Mandinka', and the hip-hop inspired 'I Want Your (Hands on Me)'. The album also includes 'Drink Before The War', a song written by Sinead about her experiences at the Catholic reform school she attended, and was recently featured in the HBO series Euphoria.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city.

After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

Released in September 1994, Universal Mother was described by Sinead as "the first attempt to try to expose what was really underneath a lot of the anger of the other records". The album features sparse, striking but delicate arrangements on intense and honest songs. Standout moments include the singles 'Thank You For Hearing Me' and 'Fire On Babylon', along with contributions from Germaine Greer (opening track 'Germaine'), and Sinead's son Jake Reynolds ('Am I A Human?'), plus a cover of Nirvana's 'All Apologies'.

New Shadows peaks into corners where interior and exterior worlds collide, where miniscule revelations can be found in the darkness of ourselves and our community: lost children, unheard prayers, bugs, money, depression, romantic relationships, regret, and Zoom funerals, all become a lens for self-reflection.

The production (by Don Cento and JDD) is modeled after DeCicca's favorite early 80's albums (Lindsey Buckingham's Law & Order, ZZ Top's Afterburner, Robert Palmer's Clues, Lou Reed's New Sensations,) while the songs' architectures and pathos lean more towards Warren Zevon, Townes Van Zandt, and John Prine - all these record- makers and songwriters are embedded in DeCicca's DNA, having seen them, and in some cases met them after gigs, when his brain was still developing between the ages of 13-19 years old.

The virtual collaborators are the musicians whose kept him company while isolated in his rural town, Bulverde, TX: Brian Harnetty's Many Hands, Rosali's No Medium, Irreversible Entanglements' Who Sent You?, James Brandon Lewis's Jessup Wagon, Jeff Parker's JP's Myspace Beats and Suite for Max Brown, and the Los Lobos discography.

New Shadows isn't so much about DeCicca's new discoveries, as it is the penumbrous reminder of what's always been there.

Emitting a soulful, nu-jazz sound that builds into an uplifting chorus refrain, "On My Way Up" is sonically inspired by the likes of Joy Crookes, Roy Hargrove and Leanne La Havas.

Hailing from Bristol, Cut Capers bring an elevating message and a big sound. The 4 piece horn-section blends with the lead vocal to create a textured juxtaposition rich in depth and layers. With infectious ear- worm melodies and warm vocal energy, Cut Capers deliver a feel-good summer hook that takes you from themes of reflection to new discoveries. With over 13 million streams across major streaming platforms, Cut Capers returned with their first release since their 2019 critically acclaimed album, Metropolis. A passionate and dedicated fanbase has
waited patiently, and the wait is over!

Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory

A live recording from 1977! First time on vinyl! Previously only available on CD as part of the Past & Future Landslide 3CD box set! LIVE AT THE QUEENS HOTEL MARGATE 1977 It was 1977 and things were progressing extremely well. We had signed to Beggars Banquet and our first single ‘Shadow’ b/w ‘Love Story’ had been released. John Peel had been playing both sides of the single most nights on his radio show, so we were getting heard by a lot of people. But we didn’t yet have a "proper" tour bus, so we all piled into a transit for the trip down to Margate with our tour manager Mike Stone in the driving seat. The Queens Hotel turned out to be a pretty good venue. There was a nice high stage which we much preferred over the low-slung platforms of some of the places we played. It meant that the crowd wasn’t totally swamping us the whole time, although there would still be a constant stream of people jumping on and off stage, bumping us, knocking equipment over and so forth. We weren’t sure if many people would turn up on a cold and windy night so close to Christmas, but it was a good turnout, and they were out for a good time too. There was none of the aggro stuff which would become a problem later on at our shows. The actual gig was typical of a Lurkers show at that time, being fairly chaotic with a lot of crowd "interaction". There is a recklessly fast version of ‘Pills’ on the recording, and I think we were playing ‘It’s Quiet Here’ for the first time live. Howard was on good form too; it would be his birthday on Christmas Day. My favourite quip from him is towards the end of the show when he says "eat your heart out Hank Marvin" after one of my more eccentric Shadows guitar intros. PETE STRIDE 2022

A-side from recent album Soundtrack To The New Cold War! B-side exclusive to this release! TRACKLISTING 1 – Hope You’re Having Fun 2 – Don’t Tell Me Everything’s Alright (Exclusive track) Tell us about your influences Phil… “Influences hmm well, we don’t just listen to punk rock, neither did the early bands because there wasn’t any. We like the usual suspects obviously, our favourites are the Belgian band The Kids, X-Ray Spex and Buzzcocks. We like Satan’s Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, stuff like that, loads of stuff, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin’ Wolf. The list goes on and on and on.” We love that you still release singles. Are they fun to do? Why do you keep doing them? “Ian and Duncan Damaged love singles. We love singles. Where else would you put a B side?” (As told to Bruce Turnbull from Vive Le Rock Magazine) The band play the UK in September and December, Europe in November, and will also be heading to the US for the first time in October to play some west coast shows! UK TOUR DATES: 7th Sep 2023 @ The Salty Dog, Northwich. 8th Sep 2023 @ Redchurch Brewery, Harlow (w/ The Courettes). 15th Dec 2023 @ Hope and Anchor, London. 16th Dec 2023 @ Leeds Punk Rock Xmas (Brudenell Social Club), Leeds. 17th Dec 2023 @ Waterloo Bar, Blackpool.

TOP PRIORTY RELEASE. Escape Music is delighted to announce the release date for the long awaited Jelusick debut album title “Follow The Blind Man” featuring Dino Jelusick the most well loved and respected vocalist in the Rock World! will be available on CD, Vinyl, and digital platforms! The Vinyl will be limited edition to 500 copies only! “Blade Bullet” colour and all will be numbered 1-500.Jelusick is: Dino Jelusick – vocals, keyboards, guitar / Ivan Keller – guitar / Luka Broderick – bass, backing vocals / Mario Lepoglavec – drums, backing vocals / Produced by Dino Jelusick, Mixed and Mastered by Simon Jovanovic, Executive Producer Dario Jelusic - JELUSICK played on 4 European tours during 2021- 2023 which also included Guitar Scene festival 2021 where they played with all star band together with John Norum and Gus G. The same line up also played there in 2022 and shared the stage and jammed with Airbourne, Johnny Depp & Jeff Back, Black Label Society, and Beth Hart. Dino Jelusick, born 4 June 1992, is a Croatian rock singer, musician, and songwriter. He was the founder, principal songwriter and lead singer of hard rock band Animal Drive, which was formed in 2012. and dissolved in 2020. Since 2016 Dino became a permanent member of American rock band Trans-Siberian Orchestra. He also worked with Gus G, Mike Mangini, George Lynch, Will Hunt, Michael Romeo, Jeff Scott Soto, Joel Hoekstra, Steve Smith, Jon Oliva, Kip Winger, John Macaluso, Deen Castronovo, Phil Demmel, Mike Portnoy, Henrik Linder, Justin Johnson, Tony Franklin, Kyle Hughes, Virgil Donati, Kiko Loureiro, Jordan Rudess, David Coverdale, Tommy Aldridge, Reb Beach, Michele Luppi, Lachy Doley etc. On July 27th, 2021, upon direct phone call from David Coverdale shortly after that David announced that Dino had become the new member of Whitesnake! In 2009 he started recording a new studio album in Melbourne, Australia which was finalised with producer Robert Ahrling in Malmö, Sweden. The album named “Living My Own Life” was released in August 2011. Between 2012 and 2013 Dino was hired to take part in an international project in South Africa named “Synkropation” where he was featured in several songs and played to an audience of 50.000 people in Johannesburg and also participated in two rock operas. In 2015, American drummer John Macaluso (Ark) invited him as singer and the keyboardist for his new American-Croatian band Stone Leaders. During this time, Dino was also a member of Croatian metal band The Ralph with whom he released the album “Enter Escape” in February 2017. In February 2016 he was noticed by American rock band Trans-Siberian Orchestra. After auditioning and meeting with producer Paul O’Neill and Dino was chosen to join the group. 2018 his band Animal Drive released debut album, “Bite!”, to critical acclaim. April 2019, they released a covers EP titled “Back to the Roots”. Dino was also featured singer on two songs on Magnus Karlsson “Free Fall” album. 2020 Dino Joined ex-Krokus members and Mandy Mayer (Gotthard, Asia, Unisonic…) for a concert project named Gotus and they released a video for the song “Souls Alive” (Unisonic). July 2021 Michael Romeo, guitar master from NY insisted that Dino should sing on his new album “War of the Worlds part 2” and it became a great and successful collaboration. 2022 Dino toured Europe with Whitesnake. As the last part of the EU tour was cancelled due to some DC health issues, Dino joined The Dead Daisies tour replacing Glenn Hughes who got unwell at the end of November 2022.A 2 year long legal battle with Dino’s ex-label was over and he immediately started recording new songs for his band JELUSICK…Welcome back Dino!

Jan Erik Vold and Jan Garbarek, two of Norway's most prominent figures in jazz teamed up with
bassist Arild Andersen, drummer Jon Christensen, guitarist Terje Rypdal and Bobo Stenson on
keyboards and these two September days in 1970 and made a formidable jazz album. Two poems
from Violence ("Det alle vet" from the collection of poems Mor Godhjertas glade version. Ja (1968) and
"Dikt" from Kykelipi (1969)) and long tenacious instrumental parts.

MONSTER HOUSE Original Motion Picture Soundtrack by Douglas Pipes! Monster House is a 2006 animated Horror film directed by Gil Kenan (Scream, Ghostbusters: Afterlife). The plot tells the story of
a neighborhood that is terrorized by a haunted house during Halloween. The movie features the voices of Steve Buscemi (Reservoir Dogs), Maggie Gyllenhaal (Donnie Darko, The Secretary), Mitchell Musso (Hannah Montana), Sam Lerner, Spencer Locke, Kevin James (The King of Queens), Nick Cannon, Jason Lee, Fred Willard (Spinal Tap), Jon Heder (Napoleon Dynamite), Catherine O-Hara
(Beetlejuice), and Kathleen Turner (Jessica Rabbit in Who Framed Roger Rabbit).

Monster House marks Sony's first computer animated film produed by Sony Pictures Imageworks. Produced by Roger Zemeckis (Back to the Future Trilogy) and Steven Spielberg's Amblin Entertainment, the film was released in 2006 and was met with praise from fans and critics for its blending of horror and accessibility to a broad audience as a feature animated film.

Roger Ebert gave the film his highest ranking of four stars calling it "one of the most original and exciting animated movies I've seen in a long time" and compared it to the work of Tim Burton. Douglas Pipes is an award winning American film score composer whose feature films include the Academy Award nominated Monster House, the Halloween horror anthology classic TRICK 'r TREAT, and the Christmas comedy-horror film Krampus.

Hey!Tonal is the first album by HEY!TONAL, a project helmed by the guitarists, multi-instrumentalists and sound designers Mitch Cheney (Rumah Sakit, Sweep the Leg Johnny) and Alan Mills (Chiisai-oto). Each member constructed the album instrument-by-instrument between 2006 and 2008 over a vast geographical area from NYC, Chicago, Florida, San Diego and Nantes in France. Main collaborators included Kevin Shea (Storm & Stress), Theo Katsaounis (Joan of Arc, Dead Rider), and Dave Davison (Maps & Atlases). Kenseth Thibideau (Rumah Sakit, Sleeping People) and Julien Fernandez (Chevreuil) joined the group for a song as well. In 2009 the album was released by Africantape on CD format; now, Hey!Tonal has been remastered by Carl Saff and pressed tovinyl for the firsttime.

Discipline Through Sound 25 is the new album by Big'n, a noise-rock band from Chicago that formed in 1990. At the time, the band consisted of vocalist William Akins, guitarist Todd Johnson, bassist Mike Chartrand, and drummer Brian Wnukowski. This outstanding expanded reissue was intended to come out in 2021 to commemorate the 25th anniversary of Discipline Through Sound, Big'n's indisputable masterpiece originally released on Gasoline Boost in 1996, but was delayed due to a PVC shortage and the fallout of the COVID-19 pandemic. DTS 25 is a massive album. It contains two pieces of superb- quality vinyl with a reissue and remaster of Discipline Through Sound on the first disc. Side C contains unreleased demos from the album. As for Side D, it contains three previously CD-only tracks from a split with OXES

—plus two never-before-heard outtakes. The records are packaged in a6mmspinegatefoldcoverwithmattefinish.Thereleaseissupplemented by a 12-page booklet featuring never-before-seen photosofthe band, a foreword by Steve Albini , and writings from Big'n's associates. The entire package is housed in a sleek, tactile, Type-2 aluminum packaging newly developed and designed by Computer Students.Don'tmissyourchancetoownabrilliant,undersung artifact of '90s noise-rock in Chicago—refreshed, expanded,andmore venomous thanever before.

Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies.

He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”.

in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000.

“Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003.
Robert Calvin Brooks, known professionally as Bobby “Blue” Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records.

His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”.

Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992.

Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside – two of the best from two of the all-time greats.

Originally released on white vinyl for Record Store Day 2021, this much sought after soundtrack is now available on a limited run of Transparent Red Vinyl.
2020 saw the release of the critically acclaimed “Audrey”, a documentary film taking an intimate look at Audrey Hepburn’s life with access to never-before-seen footage from her family’s personal collection and produced by the multi award-winning team behind “McQueen” and “Churchill”.
The soundtrack was composed by Alex Somers, an American composer and producer who has written and collaborated on soundtracks including “We Bought A Zoo”, “How To Train Your Dragon Trilogy”, “Aloha”, “The Circle”, “Captain Fantastic”, “Shia LaBeouf's Honey Boy” and Taylor Swift's Netflix original documentary “Miss Americana”. His work was first noticed in 2009 with Riceboy Sleeps, his ambient album collaboration with partner Jónsi (Sigur Rós). Following “Riceboy Sleeps”, Alex co-produced Jónsi’s 2010 debut solo album “Go”. He then opened his own recording studio in Reykjavík where he co-produced and mixed Sigur Rós’ 2013 album “Valtari”, and continued to collaborate with artists Jónsi, Julianna Barwick, Jóhann Jóhannsson, Gyða Valtýsdóttir, Damien Rice, Amiina, Sin Fang, Briana Marela.

This album brings some of Hammer’s greatest music to vinyl for the first time. It’s an evocative and diverse collection of themes that are just as memorable as the remarkable films they accompanied. The release showcases a selection of classic themes from the film company's varied soundtrack catalogue from composers that range from the great James Bernard to David Whitaker and spans Hammer's golden years between 1958 and 1974.

* New 2023 Vinyl pressings * Original Release Date: 10/25/1994 * Album Notes: Single LP + poster Mercyful Fate "Time" packs a nasty horror-metal punch. As always, metal icon and frontman King Diamond leads the way on Time with epic lyrics and instantly recognizable vocal range that defined the group's sound. Bandmembers, guitarist Hank Sherman, bassist Sharlee D'Angelo, and Snowy Shaw on drums do their usual fine job cranking out retro and near thrash metal riffs with biting precision. The sprawling "Lady in Black" is a clear standout, with its superior guitar grooves and relatively melodic and intelligible vocals. Other choice cuts include the crushing opener, "Nightmare Be Thy Name," and the title track,

Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.

Following a triumphant performance at New York City's Madison Square Garden on 26th September 1998, Prince and his New Power Soul Festival band and friends party into the wee hours at Tramps before an intimate club audience.

Iconic funk bassist Larry Graham and saxophonist Jerry Martini are also on board, and Chaka Kahn and rapper Doug E Fresh also join in on the fun. The entire after show was recorded by a local radio station and broadcast live across New York City, and it is this transmission that provides the recording featured on this double LP set, making this quite unique event available on vinyl for the first time.

Disco Bits are back with 2 slices of high class edits/mash ups !!

SIDE X
KLA vs TSI - MAKE ME BELIEVE IN FREE
The Patti Jo classic is reworked for the dance floor. Brand new vocals cut together with a steppin' Nu-disco beat and soulful strings. We believe in free!

SIDE Y
THE CHOPPER - PEOPLE ON HOLD
Lisa, our best friend from the 80's is dressed up in nu disco clothes by The Chopper. An uptempo chugger that will work in nightclubs and weddings alike!

In our little history, the number 7, besides a kind of esoteric fascination, has marked important milestones in our evolutionary journey. This is why Raw Culture has decided to pay homage in grand style to its seventh year as an independent sound guarantor. To do so, it weaves a co-production with Oderso Rubini, historical memory of the Italian New Wave and head of Italian Records in the 80s. Out of this synergy comes our 24th release, Ping Pong, a dancefloor of dissonant bounces, where free-form suggestions, electronics and rhythmic improvisation find synthesis in a high-intensity competitive match. Starting from the sampling of Korean ping pong matches and the voices of the speakers, Renzini and Passini build a framework where the sound or voice of the electronically harmonised hoover amalgamates with powerful and syncopated drumming, a sound experiment poised between improvisational heavy jazz and Korean-style electronics.

The record is ideally divided into two converging visions highlighting the duplicity of the game, side A or Master Ping collects the first improvisations made by the duo in 2018 leaving almost unchanged the improvisational spirit close to a kind of degenerate free jazz. Side B or Master Pong made later explores more musical forms, with influences of the krautrock and electronic disco matrix, and sees the collaboration with other musicians from Bologna’s historic rock scene such as Gianluca Patini (Surprize, Slava Trudu, Volkwerk Folletto) on guitars, Giorgio Lavagna on vocals (Gaznevada, Stupid Set) and Enrico Serotti on electronic samples (Confusional Quartet, Stupid Set).

„The 90’s are back!“ – 30 Jahre später ist das beliebte Jahrzehnt musikalisch wieder voll im Trend! Auf der „FETENHITS - The Real 90’s“ sind die Originale der größten Party-Hymnen der Dekade vereint.

Ob die groovigen Sounds von „No Diggity“, der absolute Ohrwurm „Wannabe“ oder die Kult-Nummer „Mambo No. 5“ - Der bunte Mix der besten Party-Songs und Klassiker der 90‘s ist voller „Good Vibrations“!

Mit dabei sind u.a. U2, Britney Spears, Salt-N-Pepa, 20 Fingers & Gillette, Freddie Mercury, La Bouche, DJ Bobo, TLC, Backstreet Boys und viele mehr.

„We Bring It All Back“ mit den größten Party-Hits der 90er! Erhältlich als 4LP, 4CD und eAlbum ab dem 29. September 2023!

On October 20, 2023, Anetha will release her third tempetuous compilation on her label Mama told ya entitled MTY-AIR «Mille attaques, les vents contrèrent», just one year after MTY-TERRE «Contre tout, toutes et tous, la terre demeure» and two years after MTY-EAU «L’eau repousse les feux agressifs».

Through air element, the compilation comes up with the collaboration of 22 artists with 20 tracks, divided into 4 vinyls: Once again, Anetha carried away with her a generation of electronic artists from around the world to simply blow our mind.

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ON AIR: After twelve successful releases on Mama told ya, Anetha paraglides in our skies with the stormful MTY-AIR, a volatile new compilation: 4 swirling vinyls, 20 aerodynamics tracks, 1 wind blowing perfume.

Entitled «Mille attaques, les vents contrèrent», it will be the third of a series around the four elements. Capricious yet vigorous, air sweeps out everything on its way. Nothing can save you when you’re in the eye of the cyclone: prepare to fly hard. Alongside our windbreaker artists, skydive into the celestial vastness of sound: Gusts of disturbed techno, squalls of groove, mental tornado, minimal bass hurricane, cloudburst of psytrance… Time to get some fresh air.

Piercing pampero, mad mistral, forceful cierzo are blowing, blazing khamsin, steady sirocco, sharp shamal, dank nor’wester are entwining… Techno winds from all around the world are joining the fight against humanity. This is « Endgame » (B2). Final chapter, twisters and typhoons are cleansing the surface of earth, overthrowing everything on their path. Poor soul, don’t try to confront air’s blast as it will « Facelift » (D2) the shit out of you in less than a second. Take shelter as air is untouchable, unpredictable, unstoppable. Or if you’re brave enough, you’ll jump into the sky, looking for the currents to carry you up, sailing whirlwinds, riding airwaves, on the road to the « Temples of Quantum » (H2). Now jump!

The artwork has been once again entrusted to visual artist Karin Kimel, who worked on MTY-EAU’s artwork. She delivers an aerial scenery where supernal wafts are swirling, embalming our air. Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep. And for the second time, with a direct message from earth to Earth, we opted for recycled vinyls.