Pop & Rock News

Originally released on CD in 2008 as part of a co CD/DVD release with ‘Live in the LBC’, ‘Diamonds In The Rough’ from Avenged Sevenfold is now released on vinyl for the first time.

A compilation of b-sides recorded during the making of the band’s self-titled 2007 debut, rarities, covers and other non-album tracks, this version of Diamonds In The Rough also features a never before heard track. ‘Set Me Free’ is lifted from the band’s sessions for their UK Number One album ‘Hail To The King’.

The album also includes another 4 tracks (‘4:00 AM’, ‘St James’, ‘Lost It All’ and ‘Paranoid’) that didn’t appear on the original CD release.

American hard rock band Blue Öyster Cult reissue “Cult Classic”. Originally released in 1994, the album includes updated recordings of the band’s biggest hits, including such classics as "(Don't Fear) The Reaper,” "Burning for You,” “Astronomy,” and “Godzilla,” among others. This reissue is remastered and comes with updated artwork. A widely recognized pioneer in the hard rock/heavy metal genre for their use of sci-fi and occult imagery. Blue Öyster Cult is often cited as a major influence by acts such as Metallica.

Peter Howell joined the BBC Radiophonic Workshop in 1974, coming from a career in various psychedelic folk bands, which saw him record five albums with fellow musician John Ferdinando. He composed his first Doctor Who output in ’75 in the form of some incidental music for “Revenge of the Cybermen” and special sound for “Planet of Evil”. In 1980, he was asked by the programme’s then new producer, John Nathan-Turner, to update the iconic Doctor Who theme. The new arrangement appeared on that year’s “The Leisure Hive”, continuing to be used through Tom Baker’s remaining series as the Doctor and throughout Peter Davison’s. It was replaced during Colin Baker’s tenure in 1986 with a new version by Dominic Glynn.
“Through A Glass Darkly” was released in 1978 as a standalone studio album by Howell in collaboration with the BBC Radiophonic Workshop. The six original instrumental compositions (one of which is 19 minutes long) flaunt a prog rock influence as well as the distinctive electronic sound of the RWS. “The Astronauts” (track 5, side 2) appeared again as a B side to the 1980 single release of his version of the Doctor Who theme.

Recorded on October 17, 2014 at the Hard Rock Casino in Northfield, OH, this live performance offers a comprehensive and exciting look at the Blue Öyster Cult repertoire. With over 2 hours of music, the band is on fire, performing some of the finest and most beloved songs from their history, while not forgetting some deeper cuts which will make longtime fans of the band quite happy.

With a history spanning three decades, Blue Öyster Cult has a long history of success. They’ve sold more than 24 million records worldwide, including 7 million in the United States alone. Songs like "Burnin' for You,” “Godzilla,” “Astronomy” and "(Don't Fear) The Reaper,” are true classics and staples of the classic rock genre. Often cited as a major influence by some of the biggest names in hard rock and heavy metal (including Iron Maiden and Metallica), Blue Öyster Cult’s sound has evolved through the decades, touching hard rock, heavy metal, progressive, and psychedelic rock. Sometimes referred to as “the thinking man’s heavy metal band,” due to their often cryptic lyrics, literate songwriting, and links to famous authors, Blue Öyster Cult here offer the first of a series of upcoming live releases which are going to be released during 2020.

In 1992 Mudhoney left Sub-Pop and signed with Warner Brothers’ subsidiary Reprise Records. Having already worked on a batch of songs, we set out to demo what we had. My buddy from high school, Rolf Bertieg, and his friend Jim Collier had set up a studio in the basement of Jim’s house in the Wedgwood neighborhood of Seattle, where, armed with a few tunes and several cases of beer we made these recordings.
The songs on this record would eventually be re-recorded and released on our album Piece Of Cake, except “Knock It On The Head” which has remained unreleased until now. (Maybe there’s a reason for that, but I’ll leave it up to the listener to make that judgment.)
The energy and the vibe of these recordings reflect how we wish the final Piece Of Cake would have sounded. Hope you enjoy this archaeological dig through our past.
Cheers!

The blending of Don and Phil Everly’s voices is truly one of the great sounds of post-war American popular music. Recorded for the Cadence label in Nashville in 1958, their second album “Songs Our Daddy Taught Us” could be termed an early concept album. The twelve songs (none of which were hits) were Old School country – as the title says, songs known to Don and Phil’s father – which celebrated the timeless quality of the music in an era when such celebrations might have been regarded as a retrograde step. It also anticipates the US Folk Revival that was soon to come.This LP rounds up the Cadence singles A- and B-sides that didn’t feature on their debut album, and is thus home to these perennially-popular worldwide hits, most of which went Top 10 in the US and UK: All I Have To Do Is Dream, Claudette, Bird Dog, Problems, Devoted To You, Take A Message To Mary, (‘Til) I Kissed You, Let It Be Me, Poor Jenny and When Will I Be Loved. The inner sleeve features annotation by Alan Robinson. The record is pressed on 180 gram blue vinyl.

The blending of Don and Phil Everly’s voices is truly one of the great sounds of post-war American popular music. Recorded for the Cadence label in Nashville in 1958, their second album “Songs Our Daddy Taught Us” could be termed an early concept album. The twelve songs (none of which were hits) were Old School country – as the title says, songs known to Don and Phil’s father – which celebrated the timeless quality of the music in an era when such celebrations might have been regarded as a retrograde step. It also anticipates the US Folk Revival that was soon to come. Don Everly explained why they chose to record the album: "I knew we would be leaving Cadence, and I wanted the last album to be something musically that I loved, but I didn't want them to have any possible singles which they would have kept releasing (to) interfere with our career. I suggested ‘Songs Our Daddy Taught Us’, and everyone went for it. It touched what folk music ought to be – country folk music, songs people would sing sitting on the porch. It's got class and it ages really well." In 2013, Green Day front man Billy Joe Armstrong teamed up with Norah Jones to rerecord ‘Songs Our Daddy Taught Us’, released under the title Foreverly, highlighting the generationspanning appeal of these songs. Issued in a faithful reproduction of the original LP sleeve, the inner sleeve features annotation by Alan Robinson. The record is pressed on 180 gram red vinyl.

Le Butcherettes are known for their expressive nature and desire to defy rules. They stand apart from all of their peers, and it has continued to work to their advantage. They’ve toured with Jack White, At The Drive In, Deftones and more. Their music has been heard on HBO’s True Detective and was the theme for the 2015 World Series opener. DON’T BLEED is the band’s latest effort, and arguably their best. The EP was produced by Violeta Félix, and brings Le Butcherettes into an entirely new light. The band tapped into a new, more mainstream pop element, while still remaining true to themselves and their sound. These songs are sure to please fans, while simultaneously bringing appeal to new listeners.

Hailing from Cape Cod, Highly Suspect is an incendiary, 3X Grammy-nominated trio comprised of Johnny Stevens (guitars/vocals), Rich Meyer (bass/vocals) and Ryan Meyer (drums/vocals). The band released its acclaimed debut album, ‘Mister Asylum’ in July 2015 and sophomore album, ‘The Boy Who Died Wolf’ in November 2016. MCID is a manifesto full of lead singer Johnny Steven’s private confessions, packed to the brim with themes of self-loathing, body image issues, substance abuse, addressing his complicated past and trying to change his future. There is also a sprinkle of his outspoken anti-Trump political stance, and stories of heartbreak and hope. It’s not surprising that his most vulnerable collection of songs is addressed directly to his chosen family, his followers, and his comrades. MCID is not just the third full length project from three guys who approach the rock genre with a hip hop ethos, but it’s a family meeting and an apology from singer Johnny Stevens whose lyrics demand accountability from himself and urge him to be more honest and to conquer the demons that made him who he is.

Having successfully outlasted their self-described ‘guaranteed real teenagers’ tagline when they first burst into earshot in 1994, ASH announce the release of Teenage Wildlife: 25 Years Of Ash.

Ltd. Edition of 500 Copies - PART OF THE ACCESS ALL AREAS SERIES.

One thing‘s for sure: There aren‘t many bands with a history as long and eventful as Kreator‘s, who fascinatingly succeed in exploring new horizons while challenging and reinventing themselves time and again.That was perfectly illustrated by their latest record ‘Gods Of Violence’ in 2017. With this 14th studio album of their impressive career, the thrashers from Essen, Germany crafted a work of art of utmost vigor, drawing its unfailing power from the pounding heart of one of the greatest, most versatile metal bands of all time.

Mainman Mille Petrozza’s influences range from Hannah Arendt, Pink Floyd and Tocotronic to Slayer, even though he was born and bred in the metal scene. Nevertheless, he is and always has been open to inspiration from various sources, which is why his lyrics are by no means merely based on corny genre templates but offer trenchant observations of our time combined with a witty aside to long-standing cliches: One of the best songs on ‘Gods Of Violence’ is really called ‘Satan Is Real’.

Formed in 1982, Petrozza and ‘Ventor’ – the only two remaining founding members – have come a long way from playing in a small-scale student band. “In my history book, Kreator didn‘t really exist until 1985“, says Petrozza, laughing. “Although we had already started jamming together in `82, we only entered the stage two or three times up until `85. Back then, our set list consisted of five original tracks and five heavy metal cover songs, we went through several line-up changes and didn‘t really find ourselves until ‘Endless Pain’.Over the years, Kreator, the leaders of the German ‘Big Four’ of thrash, have sold more than two million albums worldwide and have played countless shows all around the globe. It is one of these shows that is captured on ‘London Apocalypticon’. Recorded in December 2018 at London’s legendary Roundhouse venue, headlining a bill with US hardcore pacesetters Hatebreed and Norwegian Black Metal legends Dimmu Borgir. Kreator’s explosive set was quite rightly heralded as “a demonstration of consummate musicianship and stagecraft” by Metal Hammer magazine.

Originally released in 1971!

In 1969 at Woodstock a relatively little-known band from San Francisco, led by a young guitar virtuoso named Carlos Santana, wowed audiences with their new breed of Latin-tinged rock. The festival catapulted Santana's self-titled debut album to the number one spot on the U.S. charts and onto superstardom. However, before
Woodstock, Santana had been playing around the Bay Area for almost two years. Tiger's Head' is a collection of live tracks recorded during Santana's early period of 1968/69, presented as a deluxe limited edition on white vinyl.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

CLASSIC 80's CATALOGUE / 180 GRAM VINYL : 2012 RHINO REMASTERED PRESSINGS!

The blending of Don and Phil Everly’s voices is truly one of the great sounds of post-war American popular music. Derived from Folk and traditional styles brought to the USA via immigrant communities, their seamless vocal harmonies had its precursors in mid-twentieth century duo / family Country music acts such as the Louvin Brothers, Delmore Brothers and many others. The Everlys, however, were able to bring the fraternal harmony approach into the mainstream pop market of the late 1950s by dint of their youth, good looks, and that other, far more elusive quality – timing. Recorded for the Cadence label in Nashville in 1957, their first album “The Everly Brothers” features the singles “Bye Bye Love” (US # 2, UK # 6) and “Wake Up Little Susie” (US # 1, UK # 2). Issued in a faithful reproduction of the original LP sleeve, the inner sleeve features annotation by Alan Robinson. The record is pressed on 180 gram white viny

Brill Building: Best Of The Original Recordings 1968-71.

YES 50th ANNIVERSARY NEON ORANGE - LIMITED TO 6500

YES 50th ANNIVERSARY NEON ORANGE - LIMITED TO 6500

AFTER MORE THAN 35 YEARS, TEN STUDIO ALBUMS, AND EIGHT GRAMMY AWARDS, METALLICA HAS MORE THAN ITS PROVEN POWER AS ROCK’S PREEMINENT METAL GROUP. THEY ARE ONE OF THE MOST INFLUENTIAL HEAVY METAL BANDS OF THE ‘80S AND’ 90S, INSPIRING GENERATIONS OF ROCKERS WITH THEIR EARLY THRASH AND LATER HARD ROCK SOUNDS BEFORE SETTLING INTO THEIR ROLES AS A POPULAR LEGACY ACT IN THE 2000S. RESPONSIBLE FOR BRINGING THE METAL GENRE BACK TO EARTH, THE BANDMATES LOOKED AND TALKED LIKE THEY WERE FROM THE STREET, SHUNNING THE USUAL ROCK STAR GAMES OF METAL MUSICIANS DURING THE MID-’80S POP-METAL RENAISSANCE. IN THE MANY FACES OF METALLICA, WE WILL REVIEW THEIR CATALOG VIA TRIBUTE PERFORMANCES BY BANDS THAT HAVE BEEN HEAVILY INFLUENCED BY THE QUARTET FROM LOS ANGELES, CALIFORNIA. METALLICA SONGS FROM THEIR FIRST ALBUM IN 1983 THRU ST. ANGER FROM 2003. ALSO INCLUDED ARE MANY OF THE BANDS THAT HELPED SHAPE THE SOUND OF METALLICA INCLUDING MOTORHEAD, SAXON, VENON, BLITZKRIEG AND BUDGIE. WITH FANTASTIC ARTWORK AND REMASTERED SOUND, THE MANY FACES OF METALLICA IS AN ESSENTIAL ADDITION TO OUR MANY FACES COLLECTION, AND, REMEMBER THAT THE ALBUM IS NOT AVAILABLE ON STREAMING PLATFORMS!

Glass Beach’s debut album the first glass beach album is the first album from glass beach. That’s a good place to start, but the album’s plain & descriptive title does little to explain exactly what goes on in the hour-long adventure contained therein.

The first glass beach album was initially self-released by the band in Spring 2019, but it’s roots date back to as early as 2015 - songwriter & band leader j mclendon started demoing songs for the album when they first moved to Los Angeles & spent three years polishing those first demos into these songs with bassist Jonas Newhouse & drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk.

The songs that make up the first glass beach album are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach’s talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j’s stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.

Americana singer Danny Vera released his debut album For The Light In Your Eyes in 2002. The album’s single “My Confession” reached the first spot in the Turkish single chart. This first Vera record consists of mainly slow and acoustic songs.

In 1999 Danny formed his first band, Till Dawn, with which he won the Grand Prix price in 2000. During that period Vera was also one of the very first students of the new Rock Academy in Tilburg, just like classmates Jacqueline Govaert (Krezip) and Floor Jansen (Nightwish). In 2002, Vera received a solo contract from Universal Music, after which he released several successful albums.

• 180 GRAM AUDIOPHILE VINYL
• DEBUT ALBUM, FIRST TIME ON VINYL
• INCLUDES THE SINGLES “MY CONFESSION”, “LOVE ME TONIGHT”, “I WAS MADE FOR LOVING YOU” AND MORE
• INSERT WITH SONG LYRICS AND CREDITS
• LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON GOLD VINYL

Paul Young and his band, tagged The Royal Family, appeared live on Rockpalast in Essen on 30th March 1985. With the finances and backing to bring together a band capable of serving as the perfect foil to his tried and tested white soul/pop amalgam the Rockpalast shows Young, brimming with confidence and at the peak of his pop powers. With a nine-piece band (Young included) they exude a stylish and classy delivery that includes all the hits and album tracks of the period that allowed him to reach a peak of popularity where his boyish and youthful good looks helped propel him into the mainstream pop world. Listening and watching back today three-decades (plus) on it’s obvious he already learned his trade.

• 180 GRAM AUDIOPHILE VINYL
• LIVE IN GERMANY (ESSEN, 30TH MARCH 1985)
• GATEFOLD SLEEVE
• INSERT
• FIRST PRESSING OF 1000 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

“‘yours truly.’ is about my personal pursuit of happiness,” says Super Whatevr lead vocalist Skyler McKee. “I am singing to myself, like hey Sky, you literally pushed out bad relationships and are slowly forgetting the past trauma, why are you still not happy? I learned that there is more to emotional growth than just cutting off toxic people, it takes healing those wounds in order to be genuinely glad.” “I used to have to say I was happy,” admits McKee. “But now I actually am.” It’s taken the Orange County-based songwriter a long time to get to this place. When his parents’ marriage unravelled, the cascading effects permeated virtually every piece of McKee’s psyche, resulting in one of the darkest periods of his life. At times, the personal and spiritual growth ultimately found on Super Whatevr’s sophomore album ‘don’t you wanna be glad?’ seemed completely out of reach. Produced by Courtney Ballard (Good Charlotte, Waterparks), the 12-song album follows the band’s 2017 ‘Good Luck’ EP and 2018’s ‘Never Nothing’ in both in time and theme. Composed as a linear narrative tracing McKee’s path from unrest to inner peace, ‘don’t you wanna be glad?’ calls back lyrical elements from Super Whatevr's previous albums to create as cohesive and deeply personal record as the duo - McKee and drummer Chase Vernon - have ever made. “This album is about the pursuit of joy,” McKee adds. “I had to spend time deconstructing what it is that makes me glad.” For fans of Waterparks, AJR, Twenty One Pilots.

Shopping return with their new album ‘All Or Nothing’, a record that speaks about commitment, leaps of faith and tests of courage. “A lot has happened in our personal lives since we last recorded and we knew this album was going to reflect that exciting and scary feeling that comes with change, heartbreak and personal evolution,” the band explain. Since their last record the band are now spread across the globe with Billy in LA and Andrew and Rachel in Glasgow and the songs were written in a two-week intensive period while they were all
together. Taking a bold leap towards pop with their most vibrant and punchy production to date, mixed and produced by Nick Sylvester. For fans of ESG, Bodega, Priests, Squid, Public Practice, Sacred Paws, Sault, Dry Cleaning. LP in gatefold sleeve.

Squirrel Flower - the moniker of Ella O’Connor Williams - announces I Was Born Swimming, her debut album, out January 31st 2020 on Full Time Hobby, and presents the lead single, “Red Shoulder.” The album’s title was inspired by Williams’ birth on August 11th 1996 - the hottest day of the year - born still inside a translucent caul sac membrane, surrounded by amniotic fluid. Throughout the 12 songs, landscapes change and relationships shift. The album’s lyrics feel like effortless expressions of exactly the way it feels to change — abstract, sad and hopeful. Squirrel Flower’s music is ethereal and warm, gushing with emotional depth that the listener can step into like a warm bath. The band on I Was Born Swimming plays with delicate intention, keeping the arrangements natural and light. The album was tracked live, with few overdubs, at The Rare Book Room Studio in New York City with producer Gabe Wax (Adrienne Lenker, Palehound, Cass McCombs). The musicians were selected by Wax and folded themselves into the songs effortlessly. At the heart of the album lives Williams’ massive, haunted vibrating voice and melancholic, soulful guitar. The sounds expand and contract over diverse moods, cutting loose on the heavier riffs of “Red Shoulder.” “‘Red Shoulder’ is a song about destabilization and dissociation,” explains Williams. “Something soft and tender becomes warped and sinister, turning into sensory overload and confusion. How can something so lovely turn painful and claustrophobic? The song ends with a heavy and visceral guitar solo, attempting to reground what went awry." Williams comes from a deep-rooted musical family tree. Her grandparents were classical musicians who lived in the Gate Hill Co-op, an artistic cooperative from upstate New York that grew out of Black Mountain College. Ella’s father, Jesse Williams, spent most of his life as a touring jazz and blues performer and educator, and lends his bass playing to the album (listen for his smooth solo on “Headlights”). Growing up in a family of hard working musicians fostered a love of music and started Williams down her own musical path. As a child, Williams adopted the alter ego of Squirrel Flower. A couple years later, she began singing with the Boston Children’s Chorus while studying music theory and teaching herself to play the guitar.

Santana’s thirteenth studio album Shangó is named after one of the dominant religions in Latin America and the Caribbean. This is a must own Carlos record reaching number twenty two in Billboard 200 album charts, and the single “Hold On” reached number fifteen in the U.S. Billboard Hot 100 singles chart. Santana is on fire and along with Alex Ligertwood’s soulful vocals they created some fine and versatile songs. The songs are close related to the contemporary pop music, but it also ranges from Latino songs and jazz influential pieces.

Santana gained public attention by appearing at the Woodstock festival in 1969. The Latin influence has always been an important part in their music, although the band also created some blues rock and pop classics. Even after all those years frontman Carlos Santana is still actively performing.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• FEATURING THE SINGLES “HOLD ON”, “NOWHERE TO RUN” AND “NIGHT HUNTING TIME”

Modern Artillery is the third album by the Australian punk rock band The Living End. This is a sunnier pop influenced punk rock album compared to its predecessor. The album peaked at number 3 in the Australian charts and “Who’s Gonna Save Us?” was released as the album’s single. The band have been nominated 27 times for the Australian Music Awards and have won five of them.

• 180 GRAM AUDIOPHILE VINYL
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON RED COLOURED VINYL

On 26th May 2016 The Flaming Lips performed their universally acclaimed 1999 album ‘The Soft Bulletin’ in its entirety with the Colorado Symphony at Red Rocks Amphitheatre in Morrison, Colorado. This particular event has been regarded by those in attendance as one of the most awe-inspiring, moving and magical moments of a lifetime. For the Lips and their fans, perhaps the apex of a magnificent interpretation that will remain as rewarding and emotionally-charged as it was that night in 2016.
The Flaming Lips performed the 12-track album in its original sequence with new arrangements accompanied by a 69-piece orchestra and 56- strong chorus. The performance was conducted by
the internationally celebrated conductor Andre De Ridder.
Now, the resulting live recording is being released to celebrate the 20th Anniversary of ‘The Soft Bulletin’. The album was the band’s breakthrough moment and featured the hit singles ‘Race For The
Prize’ and ‘Waitin’ For A Superman’.

Now available on double vinyl featuring digital download code.

Field Music’s new release is ‘Making A New World’, a 19 track song cycle about the after-effects of the First World War. But this is not an album about war and it is not, in any traditional sense, an album about
remembrance. There are songs here about air traffic control and gender reassignment surgery. There are songs about Tiananmen Square and about ultrasound. There are even songs about Becontree Housing Estate and about sanitary towels.
The songs grew from a project for the Imperial War Museum and were first performed at their sites in Salford and London in January 2019. The starting point was an image from a 1919 publication on munitions by the US War Department, made using ‘sound ranging’, a technique that utilised an array of transducers to capture the vibrations of gunfire at the front. These vibrations were displayed on a graph, similar to a seismograph, where the distances between peaks on different lines could be used to pinpoint the location of enemy armaments. This particular image showed the minute leading up to 11am on 11th November 1918 and the minute immediately after. One minute of oppressive, juddering noise and one minute of nearsilence. “We imagined the lines from that image continuing across the next
hundred years,” says the band’s David Brewis, “and we looked for stories which tied back to specific events from the war or the immediate aftermath.” If the original intention might have been to create a mostly instrumental piece, this research forced and inspired a different approach. These were stories itching to be told.
The songs are in a kind of chronological order, starting with the end of the war itself; the uncertainty of heading home in a profoundly altered world (‘Coffee Or Wine’). Later we hear a song about the work of Dr Harold Gillies (the shimmering ballad, ‘A Change Of Heir’), whose pioneering work on skin grafts for injured servicemen led him, in the 1940s, to perform some of the very first gender reassignment surgeries. We see how the horrors of the war led to the Dada movement and how that artistic reaction was echoed in the extreme performance art of the 60s and 70s (the mathematical head-spin of
‘A Shot To The Arm). Then, in the funk stomp of ‘Money Is A Memory’, we picture an office worker in the German Treasury preparing documents for the final instalment on reparation debts - a payment made in 2010, 91 years after the Treaty of Versailles was signed. A defining, blood-spattered element of 20th Century history becomes a humdrum administrative task in a 21st Century bureaucracy.

LP format pressed on 180g transparent red vinyl in a gatefold sleeve with digital download code.

Radical No Wave pioneers UT to reissue their critically acclaimed In Gut's House album. Their second studio album originally released in 1988 on Blast First Records now fully remastered with original cover artwork, song lyrics and band photos.

The 2020 remastered reissue of IN GUT’S HOUSE will feature the original cover artwork, as well as song lyrics and photos of the band. The vinyl release will be in the same original two 45rpm EP format (with metallic ink).

Teener is a noise rock band from Detroit, Michigan. Formed in 2016, they set out to make loud music without emulating any style or artist. So far, the result is a sound that walks a line between New Wave, Noise Rock and Hardcore.

The lead A-side song, titled The Ladder, kicks off with perforated, ascending drum and guitar and a vocal shitstorm interspersed with melody-driven guitar solos. Though the kicker and the song’s namesake, is the final 30 seconds, where vocalist Ollie Dodt reenacts what sounds like an all too familiar one-sided conversation - a young person having to push and push and push for the opportunity to have a foot on the professional ladder.

The second song on the first side, Market Value, is a heavier chugging number slamming the effects of Detroit’s fracking and toxic matter “processing”, bubbling down into only vocals and feedback by the end. B-side Flavor begins with frenzied, booming toms and chainsaw guitars, only to break down about a minute in to a post-punky, drony haze. And suddenly, the clap of the toms and guitars return for a hyperkinetic finale.

In the spring of 2019 ShitKid - Åsa Söderqvist and Lina Molarin Ericsson - headed over to the US for a couple of shows at the SXSW festival in Austin, TX but ahead of the festival they managed to squeeze in a couple of days in the studio – first in LA with the legendary the Melvins and then in Austin with Paul Leary of Butthole Surfers. The new album Duo Limbo/”Mellan himmel å helvete” collects the recordings from these two sessions, half of which are ShitKid’s first recordings in their native Swedish – with a set of four songs to start with the band set out to record them in both English and Swedish, clocking in at just over 26 minutes. It’s ShitKid’s finest work yet with the duo backed by an all star line-up of Buzz Osborne (Melvins) and Dale Crover (Melvins, Redd Kross) on half of the album and Paul Leary and Josh Freese (NIN, Devo, The Replacements etc) on the other half.

The latest title in the successful T.REX Alternative singles catalogue. Presented in the new T.REX House bags this one being red on white as opposed to blue. Both tracks audio cleaned and mastered for Vinyl. Taken from Marc’s own recordings and mastered in 2019 they are not mixed or re mixed or tampered with in any way. All royalties got to the Light of Love Foundation The Marc Bolan School of Music & Film.

New project produced by Ripley Johnson of Wooden Shjips and Moon Duo fame. Packaged in a deluxe double gatefold package with original art by D. Norsen. Features special guest John Jeffrey on drums.

The album is described by producer Ripley Johnson: “The band was aiming to capture a timeless, natural sound, not quite of the present, past, or future, but phasing in between the consciousness of now and the stoned dream-state of the eternal. Sort of a back porch jam just as the shrooms are starting to kick in. Handmade and human, but also cosmic and transcendental. The goal is to let the music speak for itself and hopefully find a weird and wonderful audience somewhere out there.”

That description feels right for an album which seems perfect for those soft ephemeral moments and softly wraps you in the feeling of walking at twilight. Mellow but upbeat, it’s easy to imagine the leaves changing colours. It’s psych rock and difficult to describe without getting poetic, dreamy and insular - it’s easy to get lost in this album.
Produced and recorded by Ripley Johnson and mixed by Chris Cohen (Captured Tracks, Deerhoof), the album finds its niche in the hazy sonic landscape of private press country and psych records, alongside artists like Relatively Clean Rivers, Jim Sullivan, Kenny Knight and countless other explorers of the pastoral underground.

“The record’s a psychedelic crossroads that’s not being traversed as much these days, and as usual Johnson’s created a record that’s absorbing as its own little world. Once this hits the turntable you’re set to repeat endlessly” - Raven Sings The Blues

Invada Records announce the release of Mark Jenkin’s drone-heavy score to UK film ‘Bait’.
Mark Jenkin amazingly directed, edited and composed the score himself for the resolutely DIY yet hugely successful film. ‘Bait’ has since received four British Independent Film Awards nominations for Best Indie Film, Best Director, Breakthrough Producer and Best Editing and is one of the highest grossing and most successful indie films of 2019.
The score is pressed on blue vinyl and comes housed in an extra thick deluxe spined sleeve with double sided heavyweight card printed insert, featuring stills from the film. There is also a digital download card included.
Jenkin: “I started playing around with some drone ideas as a distraction from the editing of the film; something to take my mind off the cutting,” he says. “I was experimenting with delays and reverbs and decay and I began to feel that there was a nautical theme to the
sounds that I was making.
“An original drone was created very separate to the film but then I realised it might work as a score. From there I created a set of about 12 drones (eight of which are on the album) which were mostly variations on a theme and I began to place them in the edit to match the score. The drones work very well with the sounds of the sea, which is pretty much omni-present throughout the film and makes
it easier to embed a drone without it being a big ‘musical’ statement.”