Pop & Rock News

The bands final studio album (1983) featured the guitar talents of John Sykes and was a return to the harder rock Roots the band were famous for.
This vinyl reissue is on 180gm vinyl (with download code) with replica artwork

The exciting re-release of a unique brand of heavy psychedelic rock with folk instruments! The region of Epirus is famous for it's landscape of mammoth mountains and holy rivers - and now experimental heavy rock. Villagers of Ioannina City are deeply influenced by Greek nature and cosmic phenomena and infuse their unique brand of heavy psychedelic rock with folk instruments such as bagpipes, flutes and didgeridoos. Their second album, Age of Aquarius - originally released in September 2019 - will now be reissued by Napalm Records. Epirus may become the unlikely epicentre of the heavy rock universe: A mantra for the new Age!

The sophomore release from Mike Patton (Faith No
More, Mr. Bungle) and Australian composer Anthony
Pateras.
 ‘necroscape’ synthesizes a lot of territory: odd-time
rock, musique concrète, otherworld grooves, soul,
industrial noise, microtonal psychoacoustics…
seemingly strange bedfellows on paper, yet in the ears
they surprisingly coalesce into 13 songs which
playfully challenge our notions of sonic logic and make
you move at the same time.
 Five years in the making, ‘necroscape’ mushroomed
organically from Pateras’ production based on tape
loops, analogue synthesis and rarified keyboard
instruments in combination with Patton’s dense vocal
arrangements, Erkki Veltheim’s exploratory violins and
drummer Will Guthrie’s unique percussive strategies.
The result is a handmade, kaleidoscopic tour-de-force
which re-imagines songwriting as something other.
 Packaging features noted artist Talitha Kennedy’s
sculpture work, packaged in super gloss digipak (CD)
and embossed extra glossy gatefold sleeve (white
vinyl).
 The track ‘Funerale’ is a cover of the Ennio Morricone
classic.
 Shows to be announced for 2020.

Iron & Wine performed and recorded an absolutely captivating live set of songs in the Blue Room venue at Third Man Records in Nashville. Armed with spartan set-up of a guitar, microphone and his minimal backing band in front of a soldout audience, Iron & Wine’s Sam Beam ambled through his discography, on touchstones like Naked As We Came from classic album Our Endless Numbered Days, The Trapeze Swinger from Around the Well and Winter Prayers from Ghost on Ghost. It was a heartfelt experience without sacrificing any charm, personality or gestalt crowd connection.

In 1986, after almost 30 years on Columbia Records, Country music legend Johnny Cash released his first album on Mercury Records – Class Of ’55, in collaboration with fellow Sun Records alumni Roy Orbison, Jerry Lee Lewis and Carl Perkins. Seven years later, his last recording before signing with Rick Rubin’s American Recordings would be another collaboration, “The Wanderer”, with U2.

In the years that span those recordings, Johnny Cash released a total of six albums for Mercury. Despite significant focus and attention around his Columbia and American recordings, his Mercury catalogue has never been revisited… until now. UMe / Mercury Records are proud to announce that April 2020 will see the release of Johnny Cash: The Complete Mercury Studio Albums 1986-1991, it's a 7xCD / 7xLP boxed set featuring newly remastered audio for the very first time, using the original Mercury master tapes.

Notably, the album Classic Cash: Hall Of Fame Series is presented in a 2LP format for the very first time. All the LPs are pressed on 180g vinyl for the highest quality audio fidelity and the box includes a MP3 download voucher. With brand new liner notes by music writer Scott Schinder, Johnny Cash: The Complete Mercury Studio Recordings 1986-1991 represents the very first deep dive into the Country music legend’s Mercury catalogue, and reveals its importance as the bridge between his better known catalogues on Columbia and American.

*INFORMATION TRACKLIST:

Disc 1: Carl Perkins / Jerry Lee Lewis / Roy Orbison / Johnny Cash – Class Of ’55: Memphis Rock & Roll Homecoming (1986), Disc 2: Johnny Cash Is Coming To Town (1987), Disc 3: Water From The Wells Of Home (1988) Disc 4: Classic Cash: Hall Of Fame Series (1988), Disc 5: Classic Cash: Hall Of Fame Series (Early Mixes) (1987), Disc 6: Boom Chicka Boom (1990), Disc 7: The Mystery Of Life (1991)


Source: Johnny Cash - Complete Mercury Albums 1986-1991 |
Blues Magazine *Company: Virgin EMI


































































































zt 11. The Wanderer (with U2) [Long version from the Faraway, So Close! Soundtrack album]


































































































[zt] 11. The Wanderer (with U2) [Long version from the Faraway, So Close! Soundtrack album]

The SAY Award-nominated Glasgow quartet Catholic Action will return with their sophomore album Celebrated by Strangers in March 2020.

New single One Of Us packs a fuzzed-out stomp alongside masterfully giddy melodies that sees lead singer and guitarist Chris McCrory recount “the welfare son of a welfare son”, taking aim at the billionaire-owned media and their Bullingdon Club ilk who shirk responsibility for sowing the division we see in the UK.

It sets the tone for a record that asks both searching questions of the self, while pointing the finger at inaction in the wider world. Through a procession of skittish, off-kilter riffs and squawking saxophones, Celebrated by Strangers doesn’t just call for action, it demands it. Fizzing with invention, accusation, self-belief and creativity, it never stutters under the weight of its own message.

The album was produced by lead singer and guitarist Chris McCrory (SPINN, Walt Disco) at Hermitage Works in London and at Shady Lane Studio in Erskine, and mixed by Rich Turvey (Blossoms, Cabbage, The Coral) at Parr Street Studios in Liverpool.

“Britain’s best band” - Kerrang! “The champions of stadium rock” - The Guardian! Over 2 million UK album sales! Mercury & Brit nominated! Kerrang, NME & Q Award winners! Headliners of Reading & Leeds, T In The Park & Radio 1 Big Weekend. Sell out arena tour on last album...

Biffy Clyro can announce that their eagerly anticipated new album
'A Celebration of Endings’ will be released on 15 May. It follows the band’s previous two studio albums – ‘Ellipsis’ (2016) and ‘Opposites’ (2013) – both of which went straight to #1.

The band’s approach to opus eight was simple. Keep things fresh and maintain the wide-eyed wonder of what they do. Surprise themselves and each other. Push things to their furthest extremes. Their first building block in embracing the new was to turn to an old friend. In came Rich Costey, producer of ‘Ellipsis’.

“This is a very forward-looking album from a personal perspective and a societal perspective,” explains frontman Simon Neil. “The title is about seeing the joy in things changing, rather than the sadness. Change means progression and evolution. You can retain everything you loved before, but let’s lose the bad shit. It’s about trying to take back control.”

That idea manifests itself in various ways. On a personal level that might be a relationship which has reached a point where it’s in both parties’ interest to separate. And on a wider scale, it’s about standing up for what you believe in.

Sonically, Biffy Clyro playfully push the outer reaches of their sound to the extreme – often in the case of the same song. Opening track ‘North of No South’ hits hard before finding the space for the Johnston brothers to unleash some soaring Queen-style vocal harmonies, before ‘The Champ’ throws piano, cinematic strings (conducted by Bruce Springsteen collaborator Rob Mathes at Abbey Road) and Biffy’s prototyped jagged rhythms into the mix without ever losing any of it's sleekness.

Other songs are far more direct. ‘Tiny Indoor Fireworks’ is the best direct rock anthem they’ve ever written, somehow snappy, melodic and light on its feet while feeling so natural you could imagine it was conceived in minutes. Meanwhile, ‘Space’ is a natural successor from previous lighters-in-the-air highlights ‘Many of Horror’ and ‘Rearrange’. It’s a sincere message of reconciliation for someone you love, and Biffy’s most tender, unguarded moment from the sweet spot of their catalogue.

How can you conclude an album of such esoteric diversity? Biffy launch headfirst into ‘Cop Syrup’. There’s the rush of ‘The Vertigo of Bliss’, a detour into Sub Pop-style grunge and manic shrieks which wouldn’t sound out of place on a Liturgy record. But then it contorts again, first into ethereal orchestration and then with a final burst of violence. It’s an ending to celebrate.

To coincide with the album’s launch, Biffy Clyro have today shared the new track ‘End Of’. The aggression is old school Biffy, but the out-of-nowhere piano break and a final rally of rampaging riffs matches their current unpredictable flair.

Biffy Clyro are confirmed to play Radio 1’s Big Weekend in Dundee
in May.

“Britain’s best band” - Kerrang! “The champions of stadium rock” - The Guardian! Over 2 million UK album sales! Mercury & Brit nominated! Kerrang, NME & Q Award winners! Headliners of Reading & Leeds, T In The Park & Radio 1 Big Weekend. Sell out arena tour on last album...

Biffy Clyro can announce that their eagerly anticipated new album
'A Celebration of Endings’ will be released on 15 May. It follows the band’s previous two studio albums – ‘Ellipsis’ (2016) and ‘Opposites’ (2013) – both of which went straight to #1.

The band’s approach to opus eight was simple. Keep things fresh and maintain the wide-eyed wonder of what they do. Surprise themselves and each other. Push things to their furthest extremes. Their first building block in embracing the new was to turn to an old friend. In came Rich Costey, producer of ‘Ellipsis’.

“This is a very forward-looking album from a personal perspective and a societal perspective,” explains frontman Simon Neil. “The title is about seeing the joy in things changing, rather than the sadness. Change means progression and evolution. You can retain everything you loved before, but let’s lose the bad shit. It’s about trying to take back control.”

That idea manifests itself in various ways. On a personal level that might be a relationship which has reached a point where it’s in both parties’ interest to separate. And on a wider scale, it’s about standing up for what you believe in.

Sonically, Biffy Clyro playfully push the outer reaches of their sound to the extreme – often in the case of the same song. Opening track ‘North of No South’ hits hard before finding the space for the Johnston brothers to unleash some soaring Queen-style vocal harmonies, before ‘The Champ’ throws piano, cinematic strings (conducted by Bruce Springsteen collaborator Rob Mathes at Abbey Road) and Biffy’s prototyped jagged rhythms into the mix without ever losing any of it's sleekness.

Other songs are far more direct. ‘Tiny Indoor Fireworks’ is the best direct rock anthem they’ve ever written, somehow snappy, melodic and light on its feet while feeling so natural you could imagine it was conceived in minutes. Meanwhile, ‘Space’ is a natural successor from previous lighters-in-the-air highlights ‘Many of Horror’ and ‘Rearrange’. It’s a sincere message of reconciliation for someone you love, and Biffy’s most tender, unguarded moment from the sweet spot of their catalogue.

How can you conclude an album of such esoteric diversity? Biffy launch headfirst into ‘Cop Syrup’. There’s the rush of ‘The Vertigo of Bliss’, a detour into Sub Pop-style grunge and manic shrieks which wouldn’t sound out of place on a Liturgy record. But then it contorts again, first into ethereal orchestration and then with a final burst of violence. It’s an ending to celebrate.

To coincide with the album’s launch, Biffy Clyro have today shared the new track ‘End Of’. The aggression is old school Biffy, but the out-of-nowhere piano break and a final rally of rampaging riffs matches their current unpredictable flair.

Biffy Clyro are confirmed to play Radio 1’s Big Weekend in Dundee
in May.

(Record Store Day 2020)

Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.

"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.

The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.

In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.

However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.

Limited edition of 600 copies, on solid white vinyl.

A sequel to the cult 1975 Australian Space Rock album 'Monster Planet' by Steve Maxwell Von Braund.

Previously unreleased tracks from the Cybotron founder.

Will appeal to fans of Krautrock and Cosmic Electronic music.

100 random copies of coloured vinyl.
A Blue and Yellow 'Cosmic Joiker' colourway.

Artwork by Andy Votel from Finders Keeperss.

A sequel to the cult 1975 Australian Space Rock album 'Monster Planet' by Steve Maxwell Von Braund.

Previously unreleased tracks from the Cybotron founder.

Will appeal to fans of Krautrock and Cosmic Electronic music.

100 random copies of coloured vinyl.
A Blue and Yellow 'Cosmic Joiker' colourway.

Artwork by Andy Votel from Finders Keeperss.

Neben den 8 bereits veröffentlichten Studioalben enthält die Box
ein 9tes Album mit 9 bisher unveröffentlichten Studio- und Liveaufnahmen.

I’m terrible at describing how my music sounds. But this is definitively more AOR than indie. At last you can say that – retro is still king. The above quote is Mats Mentzen Wang’s humble attempt at describing the sound on his upcoming album Rock Omelette, the follow-up to 2018’s EP Scuzz. The young songwriter was unwittingly booked to a handful of showcase festivals in 2015, based on a few bedroom demos. And that’s how Mats Wawa was born – he needed a band. Now, four years later, Wang is older, and so are his musical tastes. Call it AOR, slacker soul or just classic rock – let the listener decide. Whatever you call it, the album is chock full of tunes. From a short rock opera about French & Moland (two Norwegian mercenaries imprisoned in DR Congo), via the song “Canned Heat” which sounds like…and to the first single “Sparkly Eyes”, some of the most beautiful blue eyed soul you’ll hear this year, with strings imported from 70’s Philadelphia. It shouldn’t surprise anyone that this record has become an eclectic collection of songs, as the following influences are named: Elton John’s Tumbleweed Connection, Laura Nyro, Lee Hazlewood, The Byrds and Jessica Pratt. Maybe that’s what Rock Omelette means. Still, the innocent naiveté that’s been Mats Wawa’s calling card, permeates the entire album, fronted by Wang’s characteristic voice which keeps it all cohesive.

Run With The Devil” ME AND THAT MAN, Adam Nergal Darski’s dark folk/blues solo project, has released a new single, “Run with the Devil“, featuring Jørgen Munkeby of Norwegian Blackjazz collective Shining. Munkeby’s distinctive vocals and soulful saxophone contributions weave throughout the foot-stomping blues-rock anthem’s upbeat tempo and indelible hook.

Run with the Devil himself and join the black church! “Burning Churches” ME AND THAT MAN evokes a feeling of desert desolation with their new beautifully macabre single, “Burning Churches”.

The Americana-influenced ode overwhelms with a haunting outlaw country atmosphere, enhanced by the compelling vocals of Mat McNerney of Finnish post-punk project Grave Pleasures. Lean back, put your boots up and sip on your finest glass of whiskey while getting lost in the smoke of “Burning Churches”.

Ltd. Deluxe black 10LP Box Set - die brandneue Box von Devin Townsend beinhaltet insgesamt 4 Shows aus London -
zum ersten Mal auf Vinyl!

MOV Übernahme.

'Gentle Giant's self-titled first album was an impressive and unique debut that combined rock, blues, classical, and 1960s British soul. Although the recording quality is sub-par, the music transcends the medium and presents the listener with a variety of musical styles. Comparing Gentle Giant the album against the next several releases, it's amazing how much they were able to refine their sound, expand their musical palette, and take advantage of the broad range of skills and backgrounds of their members. Gatefold sleeve, featuring the haunting image of that dude.

“In 1976, the Asociaux Associés (antisocial associates, TN) led by Philippe Doray (Rotomagus, Ruth, Crash), recorded the first of the two albums under their own name: Ramasse-Miettes Nucléaires. On synthesiser, Doray fires off his disturbing poetry over psychedelic pop, voodoo rock, off-kilter krautrock, approximate swing … But if the music is iconoclastic (bringing to mind as much Hendrix as Areski, Ash Ra Tempel as Berrocal…), one thing is certain: Ramasse-Miettes Nucléaires is one of the best albums of obscure experimental song ever recorded.

It is no surprise that, on the Nurse With Wound List that Steven Stapleton inserted in the first album of his legendary musical project, the name of Philippe Doray can be found between that of the Doo-Dooettes and Jean Dubuffet: his music is genuinely original and, what is more, ahead of its’ time.

It was in 1977 that the first album by Philippe Doray, Ramasse-Miettes Nucléaires, was published on Gratte-Ciel, a label created by the journalist from Rock & Folk Jean-Marc Bailleux and run by Jean-Marc Patrat and José Serré. Encouraged by his wild experience in Rotomagus, a formidable rock band which swept through Rouen, for sure, but also further afield – as Julian Cope was himself inspired, years later, by their explosivity – Doray brought a team to this album which was both untamed and ready to fight to defend it’s terrible (and trembling) poetry.

Backed by his ‘Asociaux Associés’ (antisocial associates, TN), our man from Rouen let his fantasy run wild and cried out again: “sing with me, and don’t be afraid to clap your hands!” And so, much of French popular music was shaken: the ball in Doray’s pinball machine had struck Jimi Hendrix then Alain Goraguer, then Ash Ra Tempel and onto Areski, then T-Rex followed by Jac Berrocal…

As far as the texts are concerned, just take a listen. Doray’s poetry is schizophrenic: nurtured in the Normandy countryside, it relates paranoid tales of booby-trapped towns, Levis jeans, Prisunic supermarkets and plastic dolls… Crumbs of reality which he sucked up to create the album that Souffle Continu and Thierry Müller, mastering (with Ruth, Crash, and Illitch too) spit out again fifty years later, with many good memories.

First ever vinyl reissue
Remastered from the master tapes
Obi Strip + Textsheet Insert”

“Between 1978 and 1980, the Asociaux Associés (antisocial associates, TN) recorded the second of the two albums which appeared under their name: Nouveaux Modes Industriels. Philippe Doray, with the help of his 'Associés', evermore iconoclastic and numerous, backs up his anguished poetry with customised krautrock, hallucinatory pop and rock Suicide. Much more than a memory of the then surprising (and disturbing) Swinging Rouen, this album is an intergalactic ambush.

Following the publication, in 1977, of the first of two albums under his own name, Ramasse-Miettes Nucléaires, on the label Gratte-Ciel, Philippe Doray didn’t waste any time before writing new obscure and experimental songs. As proof, between May 1978 and January 1980, with his Asociaux Associés (antisocial associates, TN), he recorded ten of them in the farm in which he lived (and shared) close to Rouen.

In 1980, Nouveaux Modes Industriels was published thanks to the support of Invisible, the label of the Société Coopérative d'Ouvriers-Producteurs Artistiques (S.C.O.P.A., the Cooperative Society of Artistic Worker/Producers,TN) run by, amongst others, the ex-manager of Crium Delirium Jacques Pasquier. This meant that Doray had free rein for his electric poetry, his personal delirium, to be heard. He had already shaken up French music with his mix of pop, krautrock and free jazz; a few months later he would undergo a change which would be the precursor of his future projects.

Before collaborating with Thierry Müller under the names Ruth and Crash, Doray let loose one last time, with his Asociaux Associés, his anguished poetry into the face of the urban labyrinth, his nuclear dynamite… It is no coincidence if the album cover is similar to those by Urban Sax, the spirit of the times was anguish as a creator of beauty. Doray’s version had the advantage of still knowing how to sing.

Never forgetting his interest for dance, the musician gets Cluster moving to a boogaloo, foments a Suicide on synthetic jaw harp or invents elevator music for tower blocks… All of which hotchpotch feeds into his Nouveaux Modes Industriels. If the last track of the album states “no after-sales service”, it is simply because there is no need.

First ever vinyl reissue
Remastered from the master tapes
Obi Strip + Textsheet Insert”

US Progressive Metal pioneers and innovators PSYCHOTIC WALTZ finally return with their highly anticipated 5th studio album and first new music in 23 years. Regrouped with all five original members, “The God-Shaped Void” was mixed/mastered by Jens Bogren (Opeth, Devin Townsend, Symphony X) and comes with artwork by longterm visual design partner Travis Smith (Katatonia, Riverside, Nevermore). Featuring their trademarked dual guitar harmonies/leads and distinctive vocals, the album effortlessly picks up right where PSYCHOTIC WALTZ left off, blending accomplished musicianship, a mystical lyrical bent, and a sound that captures the best elements of both vintage and modern eras. “The God-Shaped Void” is available as limited Mediabook CD including patch and bonus track, Gatefold 2LP with bonus track and the entire album on CD as bonus and also as standard Jewelcase CD. Look out for more PSYCHOTIC WALTZ activity following soon…

black LP+CD, 180 gram

Limited gold vinyl version + insert. Three years after the release of his magnum opus 'Sciencing', Tim Vanhamel is back with new album 'APPLZ ≠ APPLZ'. Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Public Enemy, Jimi Hendrix... Consider this a tribute to those kinds of records, with a tongue in cheek nod and celebratory flavour.

When the band "Trees Speak" is coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in more than less 30 min.) that 'Soul Jazz Records' decided to release their album almost immediately.

Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to
release it. The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.

The album ‘OHMS’ sounds at times like a tripped out & moody JOHN
CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia.

Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians rom the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

The album includes an exclusive bonus 45 single (the white label of which sold out so fast) that will only be available with the first order of this amazing and ground-breaking new album.

Limited first pressing on rose coloured vinyl. Exactly ten years after the release of their debut 'Wild Eyes' Flying Horseman is announcing its sixth offspring: 'Mothership'.It is a concise, pared down album consisting of eight adventurous, colourful songs with a deep heart and a wide-open mind. Produced by Jasper Maekelberg (Faces On TV, Balthazar, Warhaus)

[k] Backing Vocals [Additional] – Gary U.S. Bonds