Pop & Rock Новости

Insanely popular across the Maghreb, name-checked in international spy novels and beloved of music adventurers like David Byrne, Libyan superstar Ahmed Fakroun is the most astounding raï-disco-electronica pioneer you never heard of. His 1983 album, Mots D'Amour, recently reissued by PMG, is regarded as a global fusion classic. This self-titled anthology of songs from the late 70's is an altogether mellower affair. The grooves are slower and sweeter, and Fakroun's multi-instrumentalist chops on the saz, mandol and darbouka drum really come to the fore. The album includes tracks from two of Ahmed's rarest and most sought-after 7's. 'Nysan' has an almost West Coast vibe: think Ned Doheny via Benghazi. Balearic-minded collectors will love the haunting flute runs in 'Awedny', produced by Tommy Vance, and 'Njoom Al Leyel'. There's even a touch of lilting reggae on 'Falah' and 'Yu Hussad.' Ahmend Fakroun is the perfect late night, come-down album. Especially after a hot and sweaty evening in a raï club, somewhere in North Africa. - Peter Moore,

“Here we have new music by an artist you may have heard but have never heard of, reason being the Austro-Balinese surf goth formally known as The Hands would now like to be referred to as Dully. Yes, Dully. The ESP Institute proudly presents his second official release which can only be described as independent gothic technotic antipop. Enjoy!” –DJ Harvey

Lydglimt by Klaus Schønning - an otherworldly blend of ethereal ambient, new age with inherent discofied undertones - reissued! Pressed at Pallas in a 500 copy run only & comes with a beautiful booklet !

Reissue on vinyl of the third PJ Harvey studio album To Bring You My Love. Produced by PJ Harvey with Flood and John Parish, and originally released in February 1995, To Bring You My Love features the singles ‘Down By The Water’, ‘C’mon Billy’ and ‘Send His Love To Me’. The album – which celebrates its 25th Anniversary this year – received wide critical acclaim on release, with nominations for Grammy Awards and the Mercury Music Prize. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish.

‘LIVING IN A GHOST TOWN’ a new song from The Rolling Stones. Written by Mick Jagger & Keith Richards, created & recorded in Los Angeles, London and in isolation.

Released on limited edition, orange 10” vinyl.

Mick- ‘‘So the Stones were in the studio recording some new material before the lockdown and there was one song we thought would resonate through the times that we’re living in right now. We’ve worked on it in isolation. And here it is – It’s called ‘Living in a Ghost Town’ - I hope you like it”

Keith- “So, let's cut a long story short. We cut this track well over a year ago in L.A. for part of a new album, an ongoing thing, and then shit hit the fan Mick and I decided this one really needed to go to work right now and so here you have it , "Living in a Ghost Town". Stay safe!”

Charlie- “I enjoyed working on this track. I think it captures a mood and I hope people who listen to it will agree.”

Ronnie- “Thanks so much for all your messages these past few weeks, it means so much to us that you enjoy the music. So we have a brand new track for you, we hope you enjoy it. It has a haunting melody, it’s called Living in A Ghost Town.”

Acnalbasac Noom – meant to be the German-English-American avant-pop group Slapp Happy’s second album – was originally recorded in 1973 but did not see release originally until 1980. Recorded with legendary German art-rock group Faust accompanying the Slapp Happy core of Anthony Moore on keyboards, Peter Blegvad on guitar, and Dagmar Krause on vocals, and with Faust’s brilliant producer Uwe Nettelbeck at the helm, Acnalbasac Noom was initially rejected by the group’s label Polydor as not being commercial enough. As a result the band left Polydor, signed with Virgin, and released this album’s tracks in a completely re-recorded version for their official second album, the self-titled Slapp Happy from 1974.

Far from being simply an “alternate version” of that album, Acnalbasac Noom is a completely different beast from Slapp Happy. Simultaneously low-key and high-brow, the versions found here are damaged art-pop par excellence; the combination of Slappy Happy and Faust create a sound that defies era, sounding at times like anything from the artsier side of their contemporaries in the British folk-rock movement to damaged ‘90s indie-pop, the more accessible end of Yoko Ono’s 1970s to an alternative universe Lynchian cabaret-lounge act. It’s not often that an unreleased or “lost” album marks the pinnacle of a group’s career, but with Acnalbasac Noom there’s a strong argument to be made.

2 tracks that were issued as singles in Marc’s final year of 1977, here we have rare broadcast versions (arguably better versions).

The last in this year’s ‘alternative singles’ series features a track that was never issued in Marc’s lifetime - Funky London Childhood was shelved in favour of London Boys as a single (a broadcast version of which is also included here ). FLC eventually was renamed Visions of Domino and rerecorded as an album track for the Dandy In the Underworld album issued in 1977. By early 1976, the much delayed Futuristic Dragon album was due to be issued along with a full UK Tour, although since finishing the album Marc had recorded enough material for two more albums, most of which would also get shelved and never see the light of day in his lifetime. 2 tracks on the B side are in keeping with many T.Rex singles of the day and aligning with today’s guidelines of how much time we can get of optimum sound on 7” vinyl. A: Funky London Childhood 2:30 (Marc Bolan) This version recorded January 1976 in Hollywood Published by Spirit Music Publishing Ltd B: 1. London Boys (Broadcast Version) 2:09 (Marc Bolan) This version recorded February 1976 in London 2. Funky London Childhood (Early Version) 2:28 (Marc Bolan) This version recorded December 1975 in Hollywood

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

2 x 180g Black 12” vinyl
20 page hardcover 12” art book
Song Machine Season One Deluxe CD
Download card for the full deluxe album
3 x 12” art prints
1 x 12” label copy sheet











j 10. Désolé (feat. Fatoumata Diawara) Extended Version










j 10. Désolé (feat. Fatoumata Diawara) Extended Version

Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.

If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.

Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.

Patrick Ryder

After swapping hemispheres, Australian outfit Death Bells have found a new home in Los Angeles, emerging with a new album of fervent guitar-driven rock, stripped of gloom and punching through with a new sense of positivity. New Signs of Life, their debut for Dais Records, finds Death Bells using a DIY pedigree to plunder the conventions of “rock music” with a saxophone along for the mission. Rather than leaping genres or formats, New Signs of Life is refined and nuanced—a methodology built on process, craft, and perspective.

Following their 2017 debut, Standing at the Edge of the World, and follow-up single “Echoes,” Death Bells left their hometown of Sydney for the United States. Energized by impulse, extensive touring and exploration led to the formation of an ambitious six-piece band that eventually coalesced as a collaboration between founding members Will Canning and Remy Veselis. With Canning and Veselis becoming the engine, Death Bells began to employ several underground mainstay musicians to complete their live presentation, including Cortland Gibson (Dock Hellis), Colin Knight (Object of Affection), and on occasion Brian Vega (Fearing). Revitalized and centered, Death Bells released the single “Around the Bend” in 2019, before workshopping material that would eventually comprise their second full-length effort. As much as Standing at the Edge of the World was an energized disclosure informed by fresh naivete, New Signs of Life harnesses those initial sparks, cloaking the threads of Death Bells with authority, allowing each of the nine tracks which embody New Signs of Life to become lush streamlined vehicles.

The eponymous lead single is a grandiose statement, influenced by the theme song of HBO’s classic television program Six Feet Under. The lyrics are a shopping list of personal neuroses butted against self-help clichés, dressed with jagged guitars, brass, and percussion providing a deliberate pace for Death Bell’s new chapter. As method gives way to melody, New Signs of Life exudes an urgent hope laced with drive and verve. The first track for New Signs of Life, “Heavenly Bodies,” signals Death Bells’ pointblank delivery of a laconic truth: “We all vanish, anyway.” Somber and cool, it eases into hushed staccato hypnosis while still finding the tenets of guitar-driven rock. ”A Different Kind of Happy” and “Alison” push the edge of convention, speaking to the power of love in a world gone mad. A nod to their homeland and new city’s surf heritage, “Shot Down (Falling)” pivots playful to a sun-soaked beach strum, layered with shimmer before the horizon fades. As a new statement of purpose, New Signs of Life subverts the band’s moniker, offering breath during suffocation; optimism in chaos with sound over sinking.

Fu Manchu’s 8th album, Start The Machine, was originally released on 14 September, 2004. Now repressed on neon yellow vinyl. (no flexi disc with this version).

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- 25TH ANNIVERSARY OF RINGO´S 10TH ALBUM
- INCLUDES THE SINGLES WEIGHT OF THE WORLD' AND DON'T GO WHERE THE ROAD DON'T GO'
- FEATURING JEFF LYNNE, BRIAN WILSON, HARRY NILSSON, ANDREW GOLD (WAX), JEFF BAXTER
(STEELY DAN), MARK HART (SUPERTRAMP) AND MANY OTHER GUEST APPEARANCES

When The Beatles were formed in 1960, Ringo Starr was a member of another Liverpool group, Rory Storm and the Hurricanes. After achieving moderate success with that band, he quit and joined The Beatles in August 1962, replacing Pete Best. Starr played key roles in The Beatles' films and appeared in numerous others. After the break-up in 1970, Ringo Starr released several successful singles including the It Don't Come Easy', Photograph' Back Off Boogaloo' and You're Sixteen'.

Ringo Starr achieved commercial and critical success with his 1973 album Ringo, which was a top ten release in several countries. He has been featured in a number of documentaries and hosted television shows. Since 1989, he has toured with twelve variations of Ringo Starr & His All-Starr Band.

Time Takes Time is the tenth studio album by Ringo Starr, released in 1992, his critically acclaimed comeback album. His first studio album since 1983's Old Wave, it followed a successful 1989-90 world tour with his All-Starr Band. Time Takes Time features several celebrity guests including Brian Wilson, Harry Nilsson and Electric Light Orchestra front man Jeff Lynne.

Many critics considered Time Takes Time Starr's best album since 1973's Ringo. Rolling Stone magazine wrote, The drummer's most consistent, wide-awake album since Ringo, from 1973.

Hot on the heels of the release of Ringo's latest album Give More Love, 2017 also marks the 25th anniversary of Time Takes Time. The album is now finally available again on vinyl.

”Shape & Destroy” wurde von Kelly und seinem langjährigen Kollaborator Jarrad K (Kate Nash, Weezer) koproduziert und in den Dreamland Recording Studios im Bundesstaat New York aufgenommen. Es dokumentiert Kellys Weg durch die Aufrechterhaltung seiner Nüchternheit und die Auseinandersetzung mit seiner Vergangenheit. Er begegnet diesen Erfahrungen und Rückschlägen mit ungeschminkter Ehrlichkeit, Anmut und Überzeugung in dreizehn neuen Liedern, darunter ”Brave”, das Anfang des Jahres mit Beifall der Kritiker uraufgeführt wurde - ”Men’s Health” verkündete ”Be prepared: this song is a sledgehammer
straight to your heart”, während Rolling Stone ”poignant” erklärte.
Zusätzlich zu Kelly (Gesang, Akustikgitarre, hochsaitige Akustikgitarre, E-Gitarre, Klavier, Schlagzeug, Sandpapier, Mandoline) und Jarrad K (E-Gitarre, 12-saitige Akustikgitarre, Klavier, Rhodes, Hammond M3, Schlagzeug, Schülerglocken, Hintergrundgesang), Auf dem Album sind außerdem Kellys Vater Tim ”TK” Kelly (Steel-Gitarre, Background-Gesang), Eli Beaird (Bass, Background-Gesang) und Eric Slick (Schlagzeug, Perkussion, Background-Gesang) sowie die Special Guests Gena Johnson, Abby Kelly und Kacey Musgraves für den Background-Gesang zu hören.

The Man Who: The Man Who sounds as fresh today as it did then. One of the most successful British albums of the last 20 years, it spawned the timeless singles, “Writing to Reach You,” “Driftwood,” “Turn,” and possibly the band’s most iconic song, “Why Does It Always Rain on Me?” Produced by Nigel Godrich (Radiohead, U2, Pavement), The Man Who spent an astonishing 11 weeks at Number One in the UK, going on to sell 3.5 million copies worldwide. Critical recognition quickly followed including Ivor Novello Awards for Best Songwriter and Best Contemporary Song for “Why Does It Always Rain on Me?” and BRIT Awards for Best British Band and Best British Album. Travis would spend the next 18 months on a 237-date world tour. The deluxe box set features 2-LPs, 2-CDs and a 58-page commemorative photobook, and includes 19 B-sides hand selected by the band themselves.

Im neuen Album von Wolfgang Niedeckens BAP fließt tatsächlich alles zusammen, was diese Band und ihren Sänger seit Jahrzehnten auszeichnet: Musikalisch. Gedanklich. Biografisch. Was Gesang, Energie und Schaffenskraft betrifft mag Wolfgang Niedecken immer noch als 30-jähriger durchgehen. Seine Texte und Gedanken aber atmen die Lebensklugheit jenes 70-jährigen, der er bald ist, und dessen Blick auf das Leben, die Liebe und unsere Gesellschaft so wach und klar ist wie nie. ALLES FLIESST ist das mittlerweile 20. Studio-Album von Niedeckens Band. Und aus jedem der 14 Songs spricht die Leichtigkeit, Gelassenheit, das Selbstbewusstsein und die Selbstironie eines Sängers, der längst deutsche Musikgeschichte geschrieben hat, und dessen souveräne Band im deutschsprachigen
Raum ihresgleichen sucht. Getreu dem Motto aus „Hauptjewinn“, dem ersten Stück des Albums: „Man muss keinem was beweisen, nicht einmal Florian Silbereisen.“

"KIKAGAKU MOYO state that with improvisation they can freely explore beyond consciousness as they make ‘free music’ and you can well imagine this as they take you on a journey through inner space with Mammatus Clouds. Here we are treated to meditative waves of ritualistic music as sitar player Ryu is to the fore on these recordings as the band stretch out to infinity, falling somewhere between the collected works of Bo Anders Perrson, George Harrison’s sitar exploits and The Taj Mahal Travellers"

2020 repress

Prior to the formation of Queens of the Stone Age, bassist/singer Nick Oliveri recorded some originals with ex-Kyuss bandmates Josh Homme (guitar) and Brant Bjork (drums), plus Karma to Burn's Rob (drums) and others. But once recording was completed, Oliveri decided to shelve the tapes; it wasn't until several years later (well after Queens of the Stone Age began to establish themselves) that the bassist decided to release the songs on a friend's indie label, Southern Lord Records. Going by the name Mondo Generator, 11 tracks were compiled for the 2000 release Cocaine Rodeo. The majority of the songs are much more raw and hardcore/punk-based than Oliveri's output with QOTSA, as evidenced by such tracks as "Shawnette," "Uncle Tommy," "Unless I Can Kill," and "I Want You to Die."

MFM048 sees the release of a special collaboration between two unique voices within the ambient landscape, Suso Sáiz & Suzanne Kraft (SK U KNO), with their collective debut album ‘Between No Things’.

Whilst having first connected at a Gaussian Curve release show in Amsterdam back in 2017, in which both musicians also performed, the two really got to know each other during a three day recording session that followed immediately after; “We would have good chats and laugh setting up and in between long takes but, for the most part, we almost didn't talk when recording.” An instant apparent chemistry between both was present and which, via effortless experimental jams, resulted in over 30 hours of raw material that would sit silently untouched until the tracks were slowly narrowed down to a potential album in late 2018.

Treated with overdubs and edits by the duo at Suso's studio in Madrid in 2019, the album slowly began to take on it’s final form. It would eventually be completed when Suso sent one final piece, resulting in something of a remote jam session between the two, which would become the closer of the record as well as the title song. Fully improvised, ‘Between No Things’ is an honest musical reflection of a new friendship between two kindred musical spirits, in its purest form.

Record Store Day 2020

Mott The Hoople’s Legendary 1974 Live Set Presented As A Unique Double Album “Very Flash - Very Rude - Very Much ‘74 Rock ‘N’ Roll!”
‘Live on Broadway 1974’ is the original recorded in-concert finale from Mott the Hoople. Touring the USA to promote their new hit records ‘The Golden Age of Rock ‘N’ Roll’ and The Hoople - and parading the classics ‘All the Young Dudes’, ‘All the Way from Memphis’ and ‘Roll Away the Stone’ - the group was soaring.

In May ‘74, Mott the Hoople became the first rock band to sell out a week of concerts in New York’s theatreland, when they stormed The Uris on Broadway. Recorded for live audio, but sadly not captured on film, five Broadway songs would be edited and merged with Mott’s 1973 Hammersmith Odeon tapes to create a truncated LP - ‘Mott the Hoople Live’ - their last CBS album release. Journalist Ben Edmonds enthusiastically described Mott’s shows at The Uris, where, “the ghost of Broadway tradition exchanged its top hat and tails for a pair of shades and a week-long electric seizure.” The Brits rocking residency
created several spectacular U.S. headlines including: ‘HOOPLA HITS BROADWAY’ (Record World), ‘Rock Invades the Great White Way’ (Performance), ‘What Rock ‘n’ Roll is all About’ (Scene) and ‘Hoople Whoop De Do on Broadway’ (Circus). The New York Times wrote:
“Mott the Hoople arrived on Broadway Tuesday night for the first of six shows, the first hard rock group ever to appear there, and the Uris Theatre will probably never be the same again. Apart from the cigarette burns in the rugs and spilled drinks stains on the floor, the overwhelming volume of the music must somehow stick in the theatre’s walls, deafening mere unamplified speech and song forever.”
Released following Mott’s acclaimed 2019 reunion concerts, including their first live American appearances for forty-five years, this 2LP gatefold set captures the fire and flash of the band’s Broadway extravaganza, including sparkling renditions of ‘Roll Away the Stone’, ‘Hymn for the Dudes’ and Ian Hunter’s memorable mini-opera ‘Marionette’ - a percipient precursor to Queen’s ‘Bohemian Rhapsody’.
The passion, the power, and the glory - it’s all here on Mott the Hoople, ‘Live on Broadway 1974’, presented in a gatefold sleeve and released on Madfish.

Mr. K and Most Excellent Unlimited are back with another must have motherlode of ten essential cuts on 7-inch, assembling a serious cross-section of diverse jams that were particularly popular at The Garage, majority of which appearing on 7-inch for the very first time in any form, let alone in these unique quintessential edits. Patrick Adams and Greg Carmichael production, female diva classic "Let's Get Together" backed with a previously unreleased NYC Peech Boys demo version of "Somebody Else's Guy." Tough South Bronx funk "Standing In Line". Synth epic, Krivit's classic edit of "Evolution". Disco Funk edit of Larry Levan’s "Slap, Slap, Lickedy Lap". With much more in this diverse and remarkably sought after tracklist, surprises, like “Catch The Rhythm” (the only Boris Midney production regularly played at The Garage), along with Mr. K’s previously Japan-only edit of Loleatta Holloway tour de force “I May Not Be There When You Want Me”. Five singles impressively mastered with maximum fidelity and playability for an exclusive Record Store Day, including a bonus pair of newly designed, Mr. K seven-inch slipmats.

Sixteen roller coaster rides of authentic neo-psychedelic pop!

The Psychedelic Yesterdays of Tomorrow is the first ever vinyl retrospective of pioneering 80s psych band United States of Existence.

Includes their fab Introducing: the United States Of Existence LP from 1986 (originally on Bam Caruso), plus essential single / compilation only tracks and fantastic previously unreleased ones.

*Colour insert with detailed liner notes and rare photos.

RIYL: BLUES MAGOOS, ELECTRIC PRUNES, STRAWBERRY ALARM CLOCK, THE ASSOCIATION, THE SEEDS, DUKES OF STRATOSPHEAR…

United Sates Of Existence were one of earliest neo-psychedelic groups from the US. Born in Baltimore in 1978 out of the ashes of prog-rock outfit Klangfarb, their goal was to reproduce the sound of their favourite 60s psych bands: Strawberry Alarm Clock, Electric Prunes, Blues Magoos, Nazz, The Assocation…

They consisted of Paul Rieger (guitar, bass and electric sitar), Bob Tiefenwerth (organ, electric harpsichord and piano), Dennis Davison – of Jigsaw Seen fame - (lead vocals, acoustic guitar and theremin) and Gary Schwartz on drums and harmony vocals.

The group used vintage instruments and antiquated recording techniques to fully embrace the sounds of the first psychedelic era (1967-68). They never got to play live, preferring to spend their time recording in their basement studio or going on record-buying binges at all the discount stores, searching for obscure psychedelic albums with weird names like Harumi, Phulph, Bohemian Vendetta…

They were championed by Greg Shaw (Bomp!) who chose one of their first recordings, the killer Return To The Psychedelic, as the opening track for the seminal Battle Of The Garages LP compilation (1981). They also appeared in another famous compilation, The Rebel Kind (1983).

Anything Goes!, their first 45, saw the light in 1984, self-released on the band’s own label, U.S. Fidelity Sounds, and featuring members of the Association on backing vocals (no kidding!). In 1986, they caught the attention of the Bam Caruso label from the UK, where they released their only album, Introducing: the United States of Existence, in 1986.

The Psychedelic Yesterdays Of Tomorrow compiles all the material released by United Sates of Existence, including their Bam Caruso album along with various single / compilation tracks, as well as a few previously unreleased tracks and alternate mixes.

“Surround sound not required – these stereo recordings will transport the listener to the proper state of existence. Recorded in the band’s basement and mixed down on a picnic table - because that’s where it was all happening.”

October 16th sees the release of an expanded version of Tom Petty’s seminal album Wildflowers. Entitled Wildflowers & All The Rest, this release finally gathers together all 25 songs from the original recording sessions - the 15 songs from Wildflowers, plus All The Rest - the 10 songs that were left off the original release.



The deluxe editions of the CD and vinyl also adds the Home Recordings disc which includes 15 intimate demos of the songs recorded solo by Tom, plus Wildflowers Live - 14 songs played live by Tom and the Heartbreakers from 1995 to 2017.

"“Als das Kind Kind war, wusste es nicht dass es Kind war” the opening words of “Himmel über Berlin (Wings of Desire)” by Wim Wenders are so incredibly simple and innocent that they strike you down like the most murderous thunderbolt: “When the child was a child, it didn’t realize it was a child”. Are these words the fantasies of an adult or are these words the adult cogitations of a child’s brain?

We Are Vinyl label reissue as part of the 'Guitar Heroes' series. First studio album from legendary British guitarist, originally released on Epic Records in 1975. A 9 track instrumental album pressed on limited orange vinyl. Marketing activity.

We Are Vinyl label reissue as part of the 'Guitar Heroes' series. Ninth studio album from JJ Cale, originally released in 1990. A 14 track instrumental album pressed on limited mimosa coloured vinyl. Marketing activity.

Portland and Beirut rub shoulders again as Beacon Sound and Ruptured reveal their second co-release, the new album by Lebanese ensemble Kinematik entitled Murur al-Kiram. Kinematik hails from the mountain village of Reyfoun. Formed in the summer of 2014, they recorded their debut album Ala' in the spring of 2017 and released it on Ruptured (RPTD 017CD/LP). The band is known for the elaborate visual setup of its live shows and has collaborated with a variety of different artists over the years in an effort to carefully craft each of its performances. Kinematik has toured extensively in Lebanon and Europe, re-scored Carl Theodor Dreyer's 1930's classic film Vampyr for the the 23rd European Film Festival in Beirut, and contributed soundtrack pieces for Lebanese filmmakers Ghassan Salhab's Une Rose Ouverte (2019) and Sarah Kaskas' Underdown. Murur al-Kiram uses electronics, intricate double-drumming, guitar, and bass to construct ambient soundscapes and hypnotic, propulsive rhythms -- conjuring the ghosts of a diminishing future as well as an unresolved past. Subtle in both angst and joy, the album celebrates small victories in the face of great defeats, echoing the band's conflicted mindset towards life in their country and community.

The record was recorded over a period of two months, and features Teddy Tawil joining the band as second drummer. Whereas Ala' saw Kinematik's four core musicians confining themselves to one instrument and/or role within the overall sonic construct of the band, these new compositions see each musician playing and equally at ease with several instruments, adding intensity, cohesiveness, and a sense of fluidity to the proceedings. The intent was to make a record that would sound like a single traveling shot, beginning with the musicians' childhood in their hometown, through their adult lives weighted down by the corruption and theft endemic to the Lebanese political system, until they are buried back in their place of birth. The salutary presence of Sary (newborn son of synth player Rudy Ghafari) that became the "raison d'être" of the record. Murur al-Kiram is the story of an important chapter in the band's history, one marked by uncertainty and hesitation, yet solid and vibrant in spite of the latter. With the recent mass protests against dire, still unresolved social conditions, a vision of a democratic and post-sectarian Lebanon has come into view. Recorded by Fadi Tabbal at Tunefork Studios in Beirut.

Reissue on vinyl of the first PJ Harvey studio album in the Island Records catalogue, and her second studio album.

Produced by Steve Albini and originally released in May 1993, Rid Of Me features the singles ‘50ft Queenie’ and ‘Man-Size’. The album charted at number 3 in the UK.

Reissue is faithful to the original recording and package, cutting by Bob Weston at Chicago Mastering under the guidance of Steve Albini.

The American heavy metal band Lamb of God have been blazing mercilessly away at the forefront of heavy music for the last 20 years, upholding metal’s intrinsic values of honesty, intensity and creativity while also daring to push boundaries and think outside the heavy box. Their sixth album Wrath achieved a number 2 position on the Billboard 200 chart, and achieved worldwide success. In some of the pieces they are just as raw as they could be, while at other moments they’re grooving there way up. The madness of their music is a modern metal mayhem in which they’re showing their crafted skills. Besides it demonstrates their creative song writing and their desire to innovate.

Available as a limited edition of 2000 individually numbered copies on gold coloured vinyl and the package includes a 4-page booklet.

Black Stone Cherry’s third album Between The Devil & The Deep Blue Sea offers another amount of the fully loaded southern rock from the group that was awarded the Best New Band at the Classic Rock Awards in 2007. The opening statement “White Trash Millionaire” refers to the celebrity culture and all the things that will come with being famous. The stomping riffs and country turn of their music is mixed all over the album. They’re bringing something a little bit dirty, but it never get’s too much of the good thing on this record. The melodic compositions, great vocal work and outstanding rhythms makes this another worthy release by the band.