Pop & Rock News

2019 Re-Issue

2017's Once & Future Band' landed upon our brains like the birth of a starchild - fully formed, otherworldly, yet comfortingly familiar in its contours...Floyd, ELO, Queen, Steely Dan, and Beach Boys rearranged into an unapologetically poignant pop moment, underpinned by 4 guys that could play their way out of a Faustian bargain. While we await whatever warlock's potion they are brewing up next, they've pulled a maxi-EP Brain from the vaults for a moment in the sun. All of the mastery you've come to expect is at play here, enough chops to make a vegetarian's mouth sweat, songs that tug at the heart while they play tricks on your mind, and with the steady hand of a of studio wizard sprinkling stardust around the edges just so. It's out on Castle Face Records March 9th.

* 180 gram audiophile vinyl
* Inclusief insert met songteksten
* 20-Jarig jubileum uitgave
* Voor het eerst verkrijgbaar op vinyl
* Gelimiteerde editie van 1.000 individueel genummerde stuks op transparant vinyl

Het Nederlands muziekduo bestaande uit Thomas Acda en Paul de Munnik heeft met hun popliedjes een grote schare fans opgebouwd. Het tweede studioalbum genaamd Naar Huis heeft daar zeker aan bijgedragen. Met de pakkende teksten van nummer als "Het Regent Zonnestralen" en "Niet of Nooit Geweest" drongen ze in 1998 de hitlijsten binnen. De harmonieën en begeleidende arrangementen vormen ook op dit album weer een geslaagde mix van emotionele verhalende nummers en slimme grappige passages. Zelfs een bluesy gitaarsolo gaan ze niet uit de weg, zo blijkt uit het aanstekelijke "Zitten voor de Blues". Alle nummers tezamen maken het tweede album ook weer tot een evenwichtige en fascinerende muzikale rit.

Acda en de Munnik is een van de succesvolste duo's van Nederlandse bodem. Met een muzikale diversiteit en teksten die ingaan op de het strand, de jeugd en het leven weten ze de luisteraar te raken.

Naar Huis is verkrijgbaar als gelimiteerde editie van 1.000 individueel genummerde stuks op transparant vinyl.

180gr Doppel-LP im Klappcover mit 60x90cm Poster & Textbeilage, limitiert auf 1.000 Stück, signiert von Chris Farlowe!
Chris Farlowe war einer der angesagtesten britischen Künstler aus der R&B Clubszene der 60er Jahre. Zu seinen absoluten Fans gehörten Tom Jones und Mick Jagger. Farlowes Band, The
Thunderbirds bestand aus erstklassigen Musikern, darunter der Gitarrist Albert Lee und die Keyboard-Legende Dave Greenslade.
Der Livesound dieser Band ist hervorragend auf diesem 2LP-Set festgehalten. Die historischen Radioaufnahmen aus den Archiven der BBC eigenen sich hervorragend Songs wie Rockin
Pneumonia' & The Boogie Woogie Flu', Mr. Pitiful', Think', Ride On Baby' und Paint It Black' nochmal aufleben zu lassen. Grosser Dank geht hier an die BBC, der selbst für damalige
Verhältnisse hervorragende Live-Mitschnitte gelungen sind.

* 180 gram audiophile vinyl
* 4-page insert

Awake is the third studio album by American progressive Metal/Rock band Dream Theater and was originally released in 1994. After the success of Images And Words (MOVLP780), Dream Theater was eager to work on fresh material and retreated to the studio in May 1994. John Purdell and Duane Baron produced, engineered and mixed the album. The album's cover was designed by the band and features numerous references to the album's lyrics. The album peaked at 32 on the US Billboard 200.

Awake was the last Dream Theater album to feature keyboardist Kevin Moore, who announced his decision to leave the band during the recording of the album. Dream Theater auditioned for keyboardists to replace Moore for the upcoming Awake world tour and eventually hired Derek Sherinian.

"Lie", "Caught in a Web" and "The Silent Man" were released as singles. There is no title track on the album, but the lyric "Awake" appears in the songs "Innocence Faded" and "The Silent Man".

* 180 gram audiophile vinyl
* Insert
* Gatefold sleeve

It's a known fact that Dream Theater is an experience you should undergo when the band plays their compositions live on stage, especially when there is an entire orchestra behind them. Such a performance is recorded on this 4LP set, as part of the band's 20th Anniversary World Tour.

The Score: 20th Anniversary World Tour was first released in 2006. The live performance of Dream Theater classics are no less than thrilling, the first two LP's contain the band's exquisite renditions of classics like "The Root Of All Evil" or "Another Won".

The second half of this 4LP serving consists of the band's performance with The Octavarium Orchestra. The classic "Six Degrees Of Innocence" is spread out over two sides and album closer "Metropolis" finishes the Dream Theater experience in due style.

2 fantastische Live-Shows von The Electric Flag zum Höhepunkt ihrer Karriere. Die erste Show wurde im berühmten Whisky A Go-Go, West Hollywood, in Kalifornien im September 1967 aufgenommen, nur eine Woche nach ihrem Support-Gig im Fillmore West für Cream.
Die 2. Show fand im legendären Carousel Ballroom, San Francisco, ebenfalls in Kalifornien im Mai 1967 statt. Dem Original-Line Up gehörten Mike Bloomfield, Nick Gravenites, Buddy Miles, Barry Goldberg, Harvey Brooks, Herbie Rich, Doubleday und Peter Strazza an.

Singer/Songwriters I'm Kingfisher , aka Thomas Jonsson kehrt im April mit seinem neuen Album Transit zurück, welches von dem neu gegründeten Fading Trails Recordings Label herausgegeben
wird.
Durch vorherige Unterstützung von internationalen Publikationen wie Uncut, sowie durch die Hilfe von Ryley Walker, Richmond Fontaine und vielen mehr wurde I'm Kingfisher zu einem der gefeiertsten skandinavischen Künstlern in seinem Genre neben The Tallest Man on Earth, First Aid Kid und Daniel Norgren.
Transit ist seine bislang beste und intensivste Darbietung.

Spezial-Edition zum 20-jährigen Jubiläum von KiTTiE mit ihren grössten Hits - live aufgenommen und neu gemischt und remastert!

Zum erstenmal in ihrer Karriere veröffentlichen KiTTie ein Live-Album, das über den Zeitraum von 18 Jahren bei verschiedenen Live-Konzerten aufgenommen wurde. Origins/Evolutions Live bietet beste Livequalität, gepaart mit Power rauen Riffs, die den Rock'n Roll dieser Frauenband ausmachen.

- Audiophiles 180g Vinyl
- Inkl. Einleger
- Inkl. der 5 Singles: Superman's Dead, Clumsy, Automatic Flowers, Carnival & 4am
- Limitierte Erstauflage von 500 nummerierten LPs auf WHITE/BLACK MARBLED Vinyl!

Clumsy ist das zweite und mit über 2 Millionen verkauften Tonträgern gleichzeitig das erfolgreichste Studio-Album der kanadischen Alternative-Rockband Our Lady Peace. Die
Veröffentlichung dieses mit Spannung erwarteten Albums fand in der zweiten Hälfte der 90er Jahre statt, als der Alternative-Rock die wichtigsten Elemente des Grunge-Sounds für sich in Anspruch nahm. Dieses Follow-Up Album zum Debüt Naveed von 1994 konzentriert sich inhaltlich auf die In-Live-Erfahrungen sowie die persönlichen Ziele und Ansichten der Band.
Our Lady Peace werden als eine der erfolgreichsten Bands Kanadas für ihren einzigartigen Sound und ihre verschiedenen musikalischen Ansätze bis heute gefeiert. Nach 25 Jahren ist die Band immer noch aktiv, so dass die Rock'n'Roll Show auch nach den vielen Auszeichnungen, die sie im Laufe ihrer Karriere bekommen hat (darunter 4 Juno's und 10 Much-Music Video-Auszeichnungen) weiter geht.
Clumsy ist als limitierte Auflage von 500 nummerierten LPs auf weiß/schwarz marmoriertem Vinyl erhältlich.

In Search of Lost Time liefert vielseitigen, harten (Stoner-)Rock.
Die zwölf Songs vibrieren vor Witz, Melodie und der nvergleichlichen Verbundenheit der beiden jungen Frauen Josee Caron und Lucy Niles.
Als Einfluss nennen Partner Bands wie Weezer, Ween und Dinosaur Jr, doch niemand spielte mit derselben freudigen Offenheit.
Wenn In Search of Lost Time eine Sache beweist, dann, dass es befreiender und wahrscheinlich auch mit mehr Spass verbunden ist, die Zielscheibe des Witzes zu sein.
Viele der weltbesten Rock‚n'Roll Musiker haben diese Schamlosigkeit vorgetäuscht,aber war einer dieser ordentlichen, weißen, männlichen Millionäre so mutig wie Partner

Jenseits ausgetretener Pfade der derzeit vorherrschenden, eindimensionalen Retro-Rock Welle hinterlassen RADIO HAZE ihre eigenen Fußstapfen auf der Landkarte der heutigen Rockmusik.
Gespickt mit einprägsamen Riffs, mehrstimmigen Gesängen und in bester DIY-Manier präsentieren die drei Musiker aus Abensberg/Regensburg/Nürnberg ihren zeitlosen - Haze-Rock mit gelegentlichen Blue-Notes und psychedelischen Ausflügen.
Abermals live eingespielt - dieses mal im neuen - Slash Zero Studio von Produzent und Bassist Hubi Hofmann - knüpfen RADIO HAZE da an, wo der Vorgänger - Momentum aufgehört hat.

Diese Split Serie verschiebt tatsächlich die Grenzen!!

Chapter 8 (Kapitel 8) der hoch gepriesenen Split Serie von Ripple Music fährt damit fort mit jedem Release besser und besser zu werden.

Punk Slime Recordings are proud to present the return of Sibille Attar! Five years after her acclaimed debut album Sleepyhead (Pitchfork, nominated for the Swedish Grammys etc) the Swedish pop artist Sibille Attar is back with new music. A prominent artist on the Swedish indie scene for the past 15 years, Sibille Attar's solo debut was one of 2013's biggest Swedish albums and Paloma's Hand carries on the torch, showcasing a slightly darker and more ominous take on her brand of psychedelic pop, with the songwriting and melodies intact.

* 180 gram audiophile vinyl
* Gatefold sleeve + lyric sheet
* Featuring Jools Holland on piano in "What A Woman"
* Limited pressing of 500 individually numbered copies on blue vinyl

On October 10, 2010, Solomon Burke passed away at Amsterdam Schiphol airport on his way to perform a gig with his Dutch collaborators De Dijk. What was supposed to be a release party for their album Hold On Tight then became a celebration of the life of the one true King of Rock 'n Soul.

De Dijk, heroes of the Dutch music scene, and Solomon met and shared the stage while on tour in 2007, and they came up with the idea to record an album together. King Solomon was true to his word, De Dijk adapted a number of songs from their back catalogue for Solomon to sing, and they dove into the studio for what sadly turned out to be Solomon's last album.

De Dijk's bluesy spin on soulful hard rock turned out to be a sweet musical match with Burke's powerful vocals, Hold On Tight is one of the truest Rock & Roll projects he worked on. As allmusic com puts it: 'an impressive finale to a genuinely remarkable career'. The album features a contribution of Jools Holland on piano on "What A Woman".

SUMS is the collaborative project of French electronic producer Kangding Ray and Mogwai multi-instrumentalist Barry Burns.

develop a new group that brought together different elements of both Kangding Ray and Barry Burns' musical traditions. Adding drumming savant Merlin Ettore, the pair devised a musical world that crafts post-rock soundscapes and structures using the sound-language of contemporary techno and experimental electronic music.

After a grand debut performance during the 2013 edition of the festival, the group decided take the project into the studio. Over a two-year period, working with a range of range of instruments, SUMS began to produce tracks that achieved an organic fusion of spatial electronics and rousing post-rock sounds that manages to seamlessly blends the best of the musical legacies of Mogwai and Kangding Ray.

The first action of this new phase of the project comes in the form of a 3 track EP on Berlin Atonal Recordings. A new live show will be shown first at Rewire festival on April 2nd.

- Audiophiles 180g Vinyl
- Gatefold Sleeve
- Inkl. der Song-Highlights:
Stil In Mij, Stap Voor Stap, Dromendief, Alles Of Niets & Mijn Held Zijn
- Limitierte Erstauflage von 500 nummerierten LPs auf ROTEM Vinyl!

Die Rock/Pop Band Van Dik Hout ist seit fast 30 Jahren in der niederländischen Musikszene aktiv und belegt mit ihrem self-titled Debüt Album aus dem Jahr 1994 durchaus hohe Positionen in so
mancher Best-Album-Rangliste. Diese Zusammenstellung Het Beste Van 1994-2001 kann als ein Rückblick auf die sehr erfolgreiche erste Schaffens-Phase der Band gesehen werden und gibt somit einen vollständigen Eindruck der ersten Jahre von Van Dik Hout.
Mit ihren beliebtesten Songs wie dem schönen Stil In Mij oder Alles Of Niets gewannen sie schnell eine große Fangemeinde , welche die schöpferische Qualität und Handwerkskunst der Band bis heute zu schätzen weiß.
Der Weg der Band verlief zunächst vom ersten Treffen der Musiker in den 1980er Jahren in einer Schule in Den Helder über jahrelanges Spielen von u.a. The Rolling Stones und The Eagles Cover Versionen in den frühen neunziger Jahren. Der Neustart und Kurswechsel zur niederländischen Musik brachte 1994 mit ihrem Hit Stil In Mij schließlich den Durchbruch. Eine neue niederländische Hit-Gruppe war geboren.

Originally released in 1997, 'Open Road' was Gary Barlow's debut solo album. It rocketed to the top of the UK Charts, spawning two No.1 hit records, his first as a solo artist, 'Forever Love' and 'Love Won't Wait'. Now, 21 years on, the completely re-mastered album is being released to celebrate its 21st anniversary with previously unreleased demo versions and live sessions of some of his biggest solo hits.. Released on 13th April 2018, Open Road will also be available for the first time ever on vinyl.

With an enviable career spanning three decades, Gary is one of Britain's most successful singer-songwriters, having written 14 Number One singles as well as being a six-time recipient of an Ivor Novello Award. Aside from his achievements with Take That, he has also co-written and produced music for other renowned artists including Dame Shirley Bassey, Sir Elton John and Robbie Williams.

Gary's last solo record 'Since I Saw You Last' sold more than 700,000 copies and was the ninth biggest selling album that year. In more recent years, Gary has also turned his attention to the world of theatre, composing the score for the hugely successful production 'Finding Neverland', working alongside screenwriter Tim Firth to write the music and lyrics for musical 'The Girls' and also working alongside his Take That band mates to produce 'The Band' a record breaking musical featuring the music of Take That.













 

Megadeth spent the majority of 1995 on tour. It was their insane, four continent spanning Youthanasia Tour promoting the album of the same name that had been released in November of 1994. By the time they hit São Paulo, Brazil in the beginning of September they had already played more than 100 shows that year and were a band displaying prowess and tightness that only comes from honing chops every night. An absolutely stunning set in front of a massive Brazilian crowd, some of the greatest metalheads on earth! Essential live broadcast from one of metal's most important acts.

Psych-Folk album of the 21st Century... for the first time on Vinyl (contains CD).
Limited edition of 400 copies.
Originally released on CD format in 2007.
If you like Incredible String Band, Gorky's Zygotic Mynci... from Wales: Soft Hearted Scientists.

Debut album from Glasgow indie rock quartet that channel Kleenex and The Smiths, featuring members of Golden Grrrls (Slumberland / Night School). Following on from the band's two cassettes of demos on Comfortable On A Tightrope and their sold out and well regarded 7'.
RANDOMLY PACKED YELLOW OR BLACK 180GM VINYL WITH POSTER AND DL. 500 ONLY.

Playing their first shows in Glasgow in 2015 during a summer that never threatened to show up, Vital Idles' origins are closely tied with a tireless underground culture, a culture that informs the band's refusal to take it easy. Matthew Walkerdine, Nick Lynch and Higgins are responsible for Glasgow DIY publishing institution Good Press - an independent volunteer-staffed zine and art book shop - while Guitarist Ruari MacLean's pedigree stretches back to breakneck-indie-pop group Golden Grrrls and the Rose McDowall band.
Following two self-released demos and a sold out debut 7', Vital Idles arrive on Upset The Rhythm with 'Left Hand', a bare manifesto layered with meaning and non-meaning. The group can conceivably be called artists, or Artists, but in approaching their debut album Vital Idles have stripped away all extraneous ornamentation to sculpt an incredibly life-like, vibrant pop music completely détourned and re-thought.
For a conglomerate of art outsiders and aesthetes, Vital Idles are primitive, whimsically brutal. Sculpting a skeleton from a body already lean, there's a thrilling minimalism that runs through every beat and strum, a sparseness that feeds Jessica Higgins's surreal, oblique vocal delivery all the nourishment it needs.
Following practice room and bigger-budget recordings with Glasgow engineer Andy Monaghan, Vital Idles took complete control of their debut album, with Edwin Stevens (aka recording artist Irma Vep) providing an outside perspective on the hermetically sealed group's music. Engineered by Stevens and MacLean, 'Left Hand' crackles with a raw, punk approach to writing warped pop songs that don't just talk of disorder but often actively demonstrate it. At the heart of 'Left Hand', the beating pulse in the tool box, is a conflict never resolved. Higgins manages to create dialogues that she narrates both parts of, Dada-ist songs that seem obfuscated by layers of meaning that, when taken on their own terms as evocative mini-worlds, reveal themselves to be pieces that have an internal melancholy and logic. Like Gertrude Stein growing up on Dunedin pop groups, peel away the deliberate awkwardness and 'Left Hand' reveals itself to be a book of complex, literary short stories at pleasing odds with the wired, no-frills melodic thud MacLean, Lynch and Walkerdine serve.
At times a perilous journey into the unknown and at others an immensely enjoyable foray into form deconstruction, lyricist Higgins repeatedly builds narratives out of mis-hearings, peons to doing things wrong, sideways-glances at conventional narrative. The delivery tightrope-walks between deadpan epithets and a Smiths-ian pop singing which gives many of the lyrics bite, pathos, and a surprising amount of surrealistic positivity. With Chains' Troggs-ist chug stomping, Higgins flips the symbolism of the Chain into something to be tendered, cared for, is it a warped metaphor for the future, is a chain an aspiration There's an existential friction at the heart of Cave Raised that sees the narrator attempting escape, perhaps, unsure of themselves, 'a poorly appointed project manager who says the best part is bowling around, which is a little like knocking around' that breaks into a melodic reprieve that feels like an unexpectedly romantic pay-off in the middle of 'white space,' 'Let's tread the tides of time, to live it down, we'll stretch these shores of mine to steal away.' Like many of Vital Idles songs, it can be read as a mini treatise on the song itself, or enjoyed as a visceral song that never does what you want it to.
Like fellow Glaswegians Life Without Buildings, Vital Idles make the oblique sound essential. On Like Life, Higgins is at her most precarious with straight-up emotion; MacLean's melodic bassline seems to duet with the vocal as it seems, for once, to be straightforwardly vulnerable. After telling us 'I don't really care but I could, I should' our narrator begs the listener 'Don't leave me at home with all the people I lost and all the things I forgot. For all the people I lost, I care.' Whether it's a slip of the artist's mask of distance or a deliberate trick to fool us into caring, we care. It's indicative of the tension in Vital Idles: pop songs unwilling to bend to convention, chart hits in the alternative timeline where Messthetics compilations are Now That's What I Call Music, endlessly inventive linguistics that reveal emotional depth, a dry, punk minimalism able to turn on a dime into a mouldy, witty kitchen sink story narrated by Samuel Beckett. It's a tension that threatens to fall apart into dissonance or resolve into sweetness but thankfully does neither, rather it keeps Vital Idles moving forward, never standing still, never taking it easy.

"It could be argued that this is one of the greatest rock n' roll records of all time! Straight from Zambia, we have My Ancestors. A tough rock and roll masterpiece like no other. Over ridden Fuzz guitars, pop melodies and even a Black Sabbath-esque number. Comes in an old school "tip on" cover. Must be heard to be believed."

Hear Nothing, See Nothing, Say Nothing, the debut album from Discharge originally released in 1982, is widely considered to be a defining statement of hardcore and punk in general. Coming on the back of several well recieved EP's and singles, with this album Discharge laid down the blueprint for a new sound in punk rock. The songs are short, played at a constant high speed, abrasive and minimalist. Riffs were a near constant wall of ferocious strumming, aided by a constant, monotonous percussion that would become quickly known as 'D-beat'. Lyrically Discharge were leftist in nature, dealing with anarchist and pacifist morals that, when coupled with Cold War era fear, created nihilistic and alienating themes. Discharge were true originals on the punk scene who are now credited with helping to the shape the sound of everything from thrash metal to crust punk and grindcore. Another 80s UK punk classic reissued on Radiation!

o Mirage is the 3rd full-length album from Chicago cinematic-rock trio To Destroy A City.

Limited Edition 180gm Oxblood LP w/DL/Gatefold CD.

This follow-up to 2014's post-rock paragon SUNLESS has an added immediacy due to the soaring nature of guitarist Michael Marshall's step toward the mic. Yes... There are vocals! Post-rock for the most part, has mainly utilized vocals as a texture or afterthought. Yet, To Destroy A City have adeptly included vocals into their cinematic tapestries with ease, and in the process added another layer of melody, modesty, and a surprising sense of hope to their already affecting guitar-driven compositions.

There is an air of instant grati- fication with Go Mirage. It seems to push you forward to the next horizon, much as its title might suggest. Idealists might bark that To Destroy A City can't continue to fly the post-rock flag with such a vocalic album.

The enlightened will find that the addition of vocals places the band as contemporaries to artists such as Caspian, Mogwai, and Album Leaf which have effectively used vocals as key components in their music.

In the vapor trail of How Does It Make You Feel,' the first track on this self-titled full length, one can smell the burnt ozone of a seventies-full-orchestra-nebula-pop-odyssey, the flakes floating down and landing like snow, giving grave-chills ... the ash of a masterpiece pop song. Once And Future Band: this incredibly accomplished cabal of total prog wizards has circled the earth, but then, these are the accomplished gentlemen of many former pursuits (the formidable Drunk Horse among them) and all of them comets themselves.

The very mid-'70s vibe at work here surpasses pastiche, and crests that lovely anachronistic conceptual peak: a fully realized and meticulously arranged psych record, meant to be listened to from top to bottom, with the lights down low and in a comfy chair perhaps, or while gazing out the window of your life pod. The Dark Side of the Moon feel, with shades of early Yes's technicality, a dash of Steely Dan's vocal prowess and effortless sheen, and some seriously outsized hooks that call to mind the mighty ELO, Le Orme and, yes, even the unsinkable Queen powered on Brian May's tape echo jet fuel and sequined power cells.

This is a head record in the classic sense but utter fealty to The Dark One insures both being trapped and infected by the pop-parasite. That it is largely self-produced (with tracking / engineering on three of the songs by Phil Manley at El Studio) makes it all the more jaw dropping. Making prog cool again, again, and then slightly more complicatedly, again.

Chicago-based experimental rock trio RLYR (pronounced Relayer') present their sophomore album Actual Existence on The Flenser, a new four song full-length that distills and expands on the explosive energy and anthemic catharses of the band's 2015 debut Delayer.

This album represents a step forward in complexity for the instrumental band. Comprised of Steven Hess (Locrian, Cleared, etc.), Colin DeKuiper (Bloodiest, ex-Russian Circles), and Trevor Shelley de Brauw (Pelican, Chord, etc.), RLYR have fine-tuned their MC Escher-esque song structures while preserving the indelible earworm melodies that are their hallmark.

"This is uncommonly optimistic post-rock, then, deliberately using the strength of the style's sound to summon something more than temporary fury." - Pitchfork

In summer of 2015 Seattle's doom fixtures Bell Witch released Four Phantoms' on Profound Lore Records, the highly anticipated doomed follow up to the band's now classic debut full-length Longing' (2012). But Longing' was not the band's first effort. Bell Witch first appeared in 2011 with a well-received demo that was simply titled Demo 2011.' At 37 minutes this recording was a massive statement of purpose which far-eclipsed the "demo" status implied by the name. It was recorded by Brandon Fitzsimons (Wormwood), the same engineer that worked on the band's debut Longing.' Demo 2011 showcased Bell Witch's minimalist depressing sound that has proven to be timeless, relevant, and undeniably sad. The band is heavy. The Flenser is proud to unleash this new pressing of a classic moment in contemporary US doom history. Artwork by the band's own Adrian Guerra (RIP) presented with an updated layout and in a more sustainable package than the initial pressing.

In summer of 2015 Seattle's doom fixtures Bell Witch released Four Phantoms' on Profound Lore Records, the highly anticipated doomed follow up to the band's now classic debut full-length Longing' (2012). But Longing' was not the band's first effort. Bell Witch first appeared in 2011 with a well-received demo that was simply titled Demo 2011.' At 37 minutes this recording was a massive statement of purpose which far-eclipsed the "demo" status implied by the name. It was recorded by Brandon Fitzsimons (Wormwood), the same engineer that worked on the band's debut Longing.' Demo 2011 showcased Bell Witch's minimalist depressing sound that has proven to be timeless, relevant, and undeniably sad. The band is heavy. The Flenser is proud to unleash this new pressing of a classic moment in contemporary US doom history. Artwork by the band's own Adrian Guerra (RIP) presented with an updated layout and in a more sustainable package than the initial pressing.