Pop & Rock News

Muddy Waters grew up to be the undisputed Father of post-World War II Chicago blues. He excelled as a recording artist, bandleader, songwriter and showman, and enjoyed a career long enough to inspire several generations of musicians to follow in his footsteps. He was the link between old and new blues, rural and urban, even black and white, and his role in the music's development was crucial. The real proof is here in this LP set that contains all the tracks that won Muddy Waters legendary status. These classics remain as fresh and vital today as when they were cut. If they don't get your mojo working, check your pulse...

Rare warehouse stock copies for this single from 2006 from Nathaniel, 3 tracks recorded at the Money Shot studios - limited to 1000 only back then and now hard to find! Get them before they're gone forever.

This vinyl reissue of The Velvet Underground's 1969 (not to be confused with 1969 Live) compiles 1969-era Velvet Underground classics, including some rare mixes, instrumentals and alternate takes on official vinyl for the first time. Lou Reed, Doug Yule, Sterling Morrison and Maureen Tucker spent much of their time on the road in '69 resulting in the lost' live album 1969 Live. Several original 1969 mixes from this era are featured here including Foggy Notion,' I'm Sticking with You,' Andy's Chest,' I'm Gonna Move Right In,' and Ocean,' as well as 2014 mixes of One of These Days,' Lisa Says,' and more.

180 gram vinyl with digital download code.

Through URBI-FLAT, Gilbert Artman (URBANSAX, LARD FREE) invites friends from differentmusical backgrounds on a no-border musicalproject, with the intention to create mainlyelectronic music that can wether be playedin an intimist mood or in electrified places.An adventurous journey featuring Jac Berrocal,Bernard Weber and Emiko Ota among others.

José González covers a Kylie classic 'Hand On Your Heart'. Unusual but totally effective!

LP has download code

* Danny Wilson (Danny and the Champions of the World, Grand Drive), and Robin Bennett (The Dreaming Spires, Goldrush, Saint Etienne) join forces with Tony Poole (Starry Eyed and Laughing), producer extraordinaire, and king of the electric twelve-string Rickenbacker, their voices, guitars, and songwriting combining to marvellous effect in a collection of songs that began as uplifting acoustic music and grew into something far more wide-ranging and transcendent.

* Pulling on influences from the 60s pop of The Byrds, The Beatles and The Beach Boys, through to the harmonies of Crosby, Stills, Nash and Young, with dashes of Petty and Springsteen thrown in for good measure, perhaps the most remarkable thing is that what shines through all of this is the quality and originality of the songwriting. The songs deal with wide-ranging issues and personal truths, from the aptly titled opener 'Soon Enough' through the biographical tale of Danny's family in 'Wilson General Store' and the politically-charged rallying cry of 'Hate Won't Win' to the social commentary of epic album-closer 'Lifeboat (Take a Picture of Yourself)'.

* All three collaborators have had critical acclaim in their own right. Danny Wilson's credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved, Tony Poole's Starry Eyed and Laughing were hailed as the English Byrds' on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer, Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires, alongside founding two award winning festivals (Truck and Wood) and lending his multi-instrumental skills to Saint Etienne.

* But in Bennett Wilson Poole, the trio seem to have stumbled upon that rarity of the whole being greater than the sum of the parts.

This follow up to David's hugely successful first Best Of compilation CHANGESONEBOWIE, has not officially been available since the late 1980's. Featuring iconic cover photography by Greg Gorman, it was first released in 1981 and was only briefly available on CD in 1985 but has long since been deleted.
 
Drawing on material spanning from HUNKY DORY (1971) to SCARY MONSTERS (AND SUPER CREEPS) (1980) it achieved gold status in the U.K. album chart in 1982. It will be reissued on the 13th April with all tracks remastered on CD in a digipak sleeve, high-resolution 192/24 and 96/24 digital and standard digital for streaming and download,

The 180gram vinyl edition will be available randomly on its initial limited manufacturing run in black and blue vinyl before reverting solely to black vinyl.











 

 

DELUXE VINYL EDITION!!!
Tom Waits - On The Line In '89 Vol.1
Astonishing late 80's performance available for the first time on vinyl!
While an undeniable genius in the studio, Waits' onstage persona, curious charm and dry rhetoric have earned him a reputation as one of the world's finest live performers. The recording featured here, the subject of a live FM radio broadcast, is one such example. Including a wide range of tunes from right across the great man's career, this two instalment set will prove a welcome addition to the collections of Tom Waits fans everywhere.

DELUXE VINYL EDITION!!!
Tom Waits - On The Line In '89 Vol.2
Astonishing late 80's performance available for the first time on vinyl!
While an undeniable genius in the studio, Waits' onstage persona, curious charm and dry rhetoric have earned him a reputation as one of the world's finest live performers. The recording featured here, the subject of a live FM radio broadcast, is one such example. Including a wide range of tunes from right across the great man's career, this two instalment set will prove a welcome addition to the collections of Tom Waits fans everywhere.

Following the release of their hugely successful debut album in the summer of 2016, Hertfordshire, UK's The Hunna have established themselves as one of the UK's most in-demand bands. Having experienced a rapid rise that saw the band land at #13 in the UK album charts 10 months into their career, The Hunna have gone onto achieve a massive amount in the 18 months that have followed. 2017 saw The Hunna headline Camden's prestigious Roundhouse as well as a pioneering moment topping the Festival Republic Stages at Reading and Leeds Festival. 2018 is shaping up to be another huge year for The Hunna, with the release of their second studio album, 'Dare', due 25th May. Music from the forthcoming record has already made an impact at BBC Radio 1 with support from the likes of Annie Mac and Nick Grimshaw, and the band's Spotify listenership topped One Million. Having recently performed two massive nights at London's Brixton Academy, The Hunna are currently embarking on a world tour playing their debut shows in Australia before heading out to Europe and North America. Previously referred to as 'Rock's Next Big Thing' by Kerrang Magazine, singles 'Bonfire' and 'You & Me' have helped to sell over 45,000 copies of their debut album '100', making it one of the most successful releases by a UK band in recent times. The Hunna will be aiming to go one better with DARE this summer.

Following the release of their hugely successful debut album in the summer of 2016, Hertfordshire, UK's The Hunna have established themselves as one of the UK's most in-demand bands. Having experienced a rapid rise that saw the band land at #13 in the UK album charts 10 months into their career, The Hunna have gone onto achieve a massive amount in the 18 months that have followed. 2017 saw The Hunna headline Camden's prestigious Roundhouse as well as a pioneering moment topping the Festival Republic Stages at Reading and Leeds Festival. 2018 is shaping up to be another huge year for The Hunna, with the release of their second studio album, 'Dare', due 25th May. Music from the forthcoming record has already made an impact at BBC Radio 1 with support from the likes of Annie Mac and Nick Grimshaw, and the band's Spotify listenership topped One Million. Having recently performed two massive nights at London's Brixton Academy, The Hunna are currently embarking on a world tour playing their debut shows in Australia before heading out to Europe and North America. Previously referred to as 'Rock's Next Big Thing' by Kerrang Magazine, singles 'Bonfire' and 'You & Me' have helped to sell over 45,000 copies of their debut album '100', making it one of the most successful releases by a UK band in recent times. The Hunna will be aiming to go one better with DARE this summer.

The Doors had one of the most extraordinary debut years in music history in 1967, releasing a string of hit singles and two platinum albums, beginning in January with the band's self-titled debut, followed by Strange Days in September. The latter peaked at #3 on the Billboard album chart and featured classics like Love Me Two Times,' When The Music's Over,' and the title track Strange Days.'

STRANGE DAYS (50TH ANNIVERSARY DELUXE EDITION) was produced by the album's original engineer Bruce Botnick. It includes the original stereo mix of the album on CD for the first time in a decade, with sound that's been remastered for the first time in 30 years. The second disc features the album's original mono mix, which has been remastered for this set and is making its CD debut. Accompanying the set are liner notes by music journalist David Fricke, as well as a selection of rare and previously unseen photographs.

Having a larger budget for Strange Days allowed the band to spend more time experimenting in the studio. They used an eight-track recorder for the first time, which resulted in some memorable overdubs like Krieger's double-tracked guitar on When The Music's Over.' Surprisingly, the trippy keyboard sound heard on the album's title track is actually one of the earliest appearances of a Moog synthesizer in a rock song.

Strange Days mixed new songs written on the road with some written before the band's 1967 debut. In fact, the band performed Strange Days' during its 1966 residency at the London Fog in L.A., while My Eyes Have Seen You' dates back to 1965. Another early track is Moonlight Drive,' which was one of the very first songs that the band practiced together, and where the band heard Krieger's haunting bottleneck guitar playing for the first time. It's also the song Morrison sang to Manzarek at Venice Beach in 1965 when the two former UCLA film students reconnected and decided to start the Doors.

The Free Life'. The new album is a vibrant masterpiece for this fractured era as Turbowolf push back the boundaries of music with ambition in their heads and disruption in their hearts.

A transportative, transcendental voyage into the anarchic punk ethos of Turbowolf. A breakneck sonic journey of driving bass lines, immersive overdrive and cutting synthesisers, the tracks races through pounding verses before exploding into its anthemic chorus. Refusing to conform, weaving between swirling psychedelia, explosive peaks of fuzz-laden chaos, and subtle breakdowns.

On second single 'Domino' Mike Kerr of Royal Blood trades vocals with Turbowolf lead singer Chris Georgiadis amid the track's loose-wire aural pyrotechnics. Mike Kerr says of the collaboration, "I've been a fan of 'The Wolf' right from the beginning. Over the years we have become great friends but to get to sing on one their songs is a dream for me. 'Domino' is everything I want from Turbowolf as a fan, some of the best riffs money can't buy and so catchy that you feel like both of your ears are reminiscing with a dear old friend. Rock and roll's very own paramedics have done it again." 

Guitarist Andy Ghosh says of the varied collaborations on the album: These people are our friends, which means it's fun...and texturally, it's interesting. It adds extra dimension.'

B. Fleischmann, the longest-tenured solo artist on Morr Music, returns with indie-spirited, electronica-enhanced moments of bliss on his new album Stop Making Fans': Recorded with a little help from friends including vocalist Gloria Amesbauer, Markus Schneider (guitars), and Valentin Duit (drums), it's a two-part reflection on artistic self-reliance vs. fame-seeking conformism, another deeply personal, utterly idiosyncratic album by the Indietronic trailblazer.Stop it and just DO,' Sol LeWitt once wrote to sculptor Eva Hesse - and listening to B. Fleischmann's new album, he indeed does both: He slams on the brakes and stops looking at what anyone else is doing, stops pleasing, stops being restrained, and at the same time he floors the accelerator and delivers the kind of high-paced work that bursts at the seams with polyphonic energy and an urgency unique to his music.Arriving with interlocked bleeps, the hustle and bustle of an invisible grand station's atrium ( Here Comes The A Train'), Fleischmann's trademark vocals serve as a gentle reminder to resist the siren calls, to not trust the latest hype. Energy levels remain high throughout the first part of the LP - whether it's the mumbling, personal stocktaking of what feels like an underwater hymn ( There Is A Head'), the robotic, immodest pop tune It's Not Enough' (feat. Gloria Amesbauer) or the return to light-speed mode on Wakey Wakey' - the first half of this album is indeed all about letting off some steam.After the collected canter of 7-minute instrumental Hand In,' the multi-instrumentalist & his studio mates kick off the slower-paced part II with the title song: a note to self, a reminder to never buckle or water down an original vision... and indeed, it's a sonic tapestry that's impossible to compare or pigeonhole when he changes the rhythm in mid-track and turns yet another corner when you thought you had discovered a fixed pattern. That said, B. Fleischmann certainly knows how to orchestrate an entire funfair full of sonic attractions. Guest singer Gloria Amesbauer returns for soothing tunes The Pros of Your Children and "Hello Hello . B. Fleischmann guides us to his almost jazz-tinged Little Toy , and leaves behind an Endless Stunner — another typically dense and shape-shifting stream of harmonies that keeps winding its way until the very end of this album It's rare that an album is great because it does not live up to its title - but here's one. Stop Making Fans,' his first full-length release in five years, is another totally unique, and thus potentially fan-base enhancing release. But then again, it's always been like that: We're usually at our best when we care the least - look at the delightful ways of toddlers or really old people. That natural ease, those invisible shrugs of shoulders: it's what does the trick. And you can hear a lot of that on Stop Making Fans'.

-Vinyl comes in black or clear colours.-LP includes download.
-Recorded and mixed at Decade Music Studios (Car Seat Headrest, Tortoise).

* Starting in 2014 as a collaboration between visual artist Heather Gabel and percussionist Seth Sher, the Chicago based industrial duo known simply as HIDE was formed. The following three years have seen HIDE crash through with a number of aggressively rendered singles and EP's while quietly collecting the shattered pieces that would form their debut full length album, Castration Anxiety.

* Those familiar with HIDE's provocative live performances will already be accustomed to the hypnotic low-end and sinister vocal delivery that has become the band's signature. The opening track, Fall Down, sets an eerie tone that permeates Castration Anxiety until the end. Throbbing pulses swirling around Gabel's death laden mantras succumb to themes harvesting power from desperation and hopelessness.

* The first single and video for Wildfire, keeps the same repetitive, dark emphasis but delves deeper into the ideas of the physical world rejecting its inhabitants. Harkening back to the slow, brooding industrial anthems from decades before, HIDE's treatment of this sound is notably unique as it is familiar.

* Tracks such as Fucked (I Found Heaven) and Bound/Severed ratchet up the tempo with a hedonistic dance floor séance. Each song ripping apart the ideas of empowerment and autonomy, throwing them back out to the audience in the form of Sher's addictive rhythms, shattered EBM-styled samples whipped at the end of a leash, held in check by Gabel's cathartic delivery.

* Wear Your Skin unveils HIDE in a disruptive personal state. Churning electronics stepping up to anthem-styled synth melodies, disrupted sparingly by incantations of Gabel's experiences about identity and obsession, blurring those themes into prophetic feedback.

* The past few years has seen HIDE touring nationally, playing alongside related acts such as ADULT., Ceremony and Champagne Mirrors, as well as providing main support for Marilyn Manson during The Pale Emperor tour.

* Dais Records presents HIDE Castration Anxiety' on March 23, 2018 in limited edition splatter and clear vinyl, as well as standard black vinyl and digital formats. Castration Anxiety was recorded and mixed by Adam Stilson at Decade Music Studios with additional recording at Valley Recording Co. by engineer Joe Cardamone, who contributed additional instrumentation and arrangements.

-Vinyl comes in black or clear colours.-LP includes download.
-Recorded and mixed at Decade Music Studios (Car Seat Headrest, Tortoise).

* Starting in 2014 as a collaboration between visual artist Heather Gabel and percussionist Seth Sher, the Chicago based industrial duo known simply as HIDE was formed. The following three years have seen HIDE crash through with a number of aggressively rendered singles and EP's while quietly collecting the shattered pieces that would form their debut full length album, Castration Anxiety.

* Those familiar with HIDE's provocative live performances will already be accustomed to the hypnotic low-end and sinister vocal delivery that has become the band's signature. The opening track, Fall Down, sets an eerie tone that permeates Castration Anxiety until the end. Throbbing pulses swirling around Gabel's death laden mantras succumb to themes harvesting power from desperation and hopelessness.

* The first single and video for Wildfire, keeps the same repetitive, dark emphasis but delves deeper into the ideas of the physical world rejecting its inhabitants. Harkening back to the slow, brooding industrial anthems from decades before, HIDE's treatment of this sound is notably unique as it is familiar.

* Tracks such as Fucked (I Found Heaven) and Bound/Severed ratchet up the tempo with a hedonistic dance floor séance. Each song ripping apart the ideas of empowerment and autonomy, throwing them back out to the audience in the form of Sher's addictive rhythms, shattered EBM-styled samples whipped at the end of a leash, held in check by Gabel's cathartic delivery.

* Wear Your Skin unveils HIDE in a disruptive personal state. Churning electronics stepping up to anthem-styled synth melodies, disrupted sparingly by incantations of Gabel's experiences about identity and obsession, blurring those themes into prophetic feedback.

* The past few years has seen HIDE touring nationally, playing alongside related acts such as ADULT., Ceremony and Champagne Mirrors, as well as providing main support for Marilyn Manson during The Pale Emperor tour.

* Dais Records presents HIDE Castration Anxiety' on March 23, 2018 in limited edition splatter and clear vinyl, as well as standard black vinyl and digital formats. Castration Anxiety was recorded and mixed by Adam Stilson at Decade Music Studios with additional recording at Valley Recording Co. by engineer Joe Cardamone, who contributed additional instrumentation and arrangements.

The classic 1977 punk album - remastered and repackaged for its 40th anniversary. (NB this version replaces FREUDC044E which is now DELETED.)

Now with 20-page booklet in a 'remus' card gatefold sleeve with notes and lyrics.


Sole surviving Heartbreaker Walter Lure is touring 'LAMF' with an all-star line-up.


6-PAGE FEATURE IN MOJO CONFIRMED

* In 1977 this classic punk album had a sound flaw and wasn't heard properly until 1994 - after both former New York Dolls Johnny Thunders and Jerry Nolan had died. Now songs like 'Born To Lose' and 'Chinese Rocks' are acclaimed as punk anthems. The album has been remastered and repackaged to celebrate its 40th anniversary. Includes 20-page booklet with the background story of recording in punk London, and lyrics, in a card gatefold sleeve. The sole surviving Heartbreaker, Walter Lure, has been playing the album with an all-star line-up (members of Blondie, Replacements, MC5).

* "That 'L.A.M.F.', the only album by Johnny Thunders' swaggering, smacked-up post New York Dolls outfit, The Heartbreakers, is one of New York punk's defining artefacts (despite being recorded in Britain), is beyond dispute. 12 songs that put the guitarist's abiding passions - Chuck Berry, The Rolling Stones, Phil Spector and Shadow Morton girl groups, glam, garage, trash and junk - in perfect, speedy collision." - Damien Love, Uncut mag, 9/10.

- 180 GRAM AUDIOPHILE VINYL
- 30TH ANNIVERSARY EDITION OF HER DEBUT ALBUM
- INCLUDES INSERT WITH SONG LYRICS
- LIMITED FIRST PRESSING OF 1.500
INDIVIDUALLY NUMBERED COPIES ON RED VINYL

Melissa Etheridge is an American musician, singer- songwriter, guitarist and activist born in Leavenworth, USA.
Her 1988 self-titled album was a passionate rock affair with her distinctive vocals, often compared to Janis Joplin. The common thread that links all infectious uptempo songs, emotional difficulties of relationships, love, romance but also an independent spirit for a young woman. The album peaked at #22 on the Billboard 200 album chart and the first single Bring Me Some Water' was nominated for a Grammy Award for Best Rock Vocal Performance, Female.

The Music On Vinyl re-issue celebrates the 30th Anniversary of the original album and is pressed on red vinyl in a limited run of 1.500 individually numbered copies.

"Land in the Sky' is an album by architect Alfredo Thiermann (formerly of Föllakzoid) and musician Tres Warren (Psychic Ills). It is the result of an extended sonic conversation between them that developed over the course of two years while both resided in different parts of the world. It is a friendship with a strong emphasis on sonic exchanges rather than other forms of communication. It was recorded in each of their domestic spaces and studios in Santiago de Chile and New York City - separate from one another and sent via email.

The music came together without prior discussion of direction. Tres recalls: Alfredo sent me some songs and asked me to play on them. He planted the seed, but he didn't say much. I think he might have mentioned slide guitar which I was playing a lot of at that time. I was entranced by Bruce Langhorne's music from the Western film 'The Hired Hand' and to me, this was an opportunity to explore something similar to that. A formless type of music, but one that is rooted in an early American tradition. I began playing freeform patterns over his piano but soon enough the sounds begin to intertwine. Even though we weren't in the same space making this together, a strong feeling began to come through regardless.

Alfredo remembers: I was entering a new place in my life. I was leaving my band, Föllkazoid, having my first son Pedro Tristán, and starting my architectural practice. I was trying to figure out a way to keep producing music and relate it to my interests as an architect. I've always been after a kind of space between the virtual and the actual. I thought that the repetitive and pattern-based piano songs that I was making at home could be understood as a kind of space —with its rhythms, its clear geometry, and its atmosphere. Then I decided to invite Tres —with whom I had toured the US a couple of months prior— to join this space' and have a kind of conversation through it. We ended up building this together.

The four 10-minute long tracks are the traces of their exchange of various emotional and mental states. They are prolonged and repetitive meditations composed by simple shapes and forms that almost act as a primitive language. Land in the Sky' is a sonic correspondence, an experiment bridging continental distances, an intangible and immaterial space, the space of music. Similarly intangible, the cover of the album is a contribution by the photographer James Welling, known for his photo on the cover of Sonic Youth's 'Bad Moon Rising.'

ANNA VON HAUSSWOLFF's fourth album, Dead Magic, confirms her formidable reputation as the creator of a singular world, equal parts black magic and beauty. Its five solemn but never less than thrilling tracks extend over 47 uncompromising minutes full of heightened qualities, among them tension, grace and sorcery. With the stately sound of Copenhagen's Marmorkirken church organ as its centrepiece, Dead Magic calls upon an unlikely array of influences and inspirations - including Yma Sumac, Sunn O))), Gyorgi Ligeti, Swans and Nils Frahm - for VON HAUSSWOLFF's most intense collection to date.

The Gothenburg-based artist keeps her introduction to the record enigmatic as ever, stating simply:
 
Dear listeners.
This is the first track from my new album, Dead Magic!

Me, my band and Randall Dunn spent 9 days in Copenhagen recording this record. The great pipe organ you're hearing is a 20th century instrument located in Marmor Kirken, "The Marble Church", Copenhagen.

Here is a poem for you by the Swedish writer Walter Ljungquist (1900-1974):

'Take the fate of a human being, a thin pathetic line that contours and encircles an infinite and unknown silence. It is in this very silence, in an only imagined and unknown centre, that legends are born. Alas! That is why there are no legends in our time. Our time is a time deprived of silence and secrets, in their absence no legends can grow."

Following stints with Modern and Chess, legendary blues man John Lee Hooker joined forces with the esteemed Vee-Jay label out of Chicago in 1955. For the next 7 years Hooker cut some of the most explosive and legendary blues sides of his career and solidified his position as one of the greatest performers of the electric blues era. By the 1960s the folk and blues revival would make international stars of many blues performers but at the time of these Vee-Jay recordings this was music made by African-Americans mostly for the African-American market, from Chicago to the South to Los Angeles and New York and points between, and Vee-Jay was one of the first and most successful African-American owned record labels. While many of his earlier sides featured only Hooker on guitar and vocals, his Vee-Jay sides feature a full rocking rhythm section. Essential sides from one of the all-time greatest American performers of the 20th century. This second volumes spans the years 1959-1962 and includes classics like Boom Boom', Want Ad Blues', and 16 more great Hooker blues joints.

Drift is the seventh full-length by NYC rock polymaths The Men. The band's last album, the self-released Devil Music, was the sound of a band who had been through hell hitting reset and looking to their roots to rediscover themselves. On Drift, The Men return to their longtime label Sacred Bones Records and explore the openness that Devil Music helped them find.

The immediately evident result of that exploration is the experimental quality of much of the material on Drift. Songwriters Mark Perro and Nick Chiericozzi chase their muses down a few dozen thrilling rabbit-holes over the course of the album's nine tracks. The songs on Drift veer in a number of directions, but notably, almost none of them feature a prominent electric guitar. The lone exception, Killed Someone,' is a rowdy riff-rocker, worthy of the finest moments of the band's now-classic Leave Home and Open Your Heart albums. The rest of the album drives down stranger highways. Secret Light' is an improvisation based on an old piano riff of Perro's. Maybe I'm Crazy' is a synth-driven dancefloor stomper for long after last call. Rose on Top of the World' and When I Held You in My Arms' are paisley-hued, psyched-out jams with big, beating hearts.

The album was recorded to 2" tape with Travis Harrison (Guided by Voices) at Serious Business Studios in Brooklyn. A whole pile of instruments was involved — synths, strings, sax, steel, harmonica, tape loops, on top of the usual guitar, bass, and drums. Unlike recent releases from The Men, there aren't many overdubs on Drift — a reflection of the personalities of its makers becoming less frantic, Chiericozzi suggests. In fact, the band removed a lot of the additional parts they tried adding early on, giving the final product a bit of a ghostly feel. The songs on Drift took giant leaps and trips from their beginnings only to find the band returning to the first spark of creation.

- New York rock polymaths' return to Sacred Bones after their previous self-released album Most eclectic
- The Men album to date, with the broadest range of instrumentation than they've ever employed

Drift is the seventh full-length by NYC rock polymaths The Men. The band's last album, the self-released Devil Music, was the sound of a band who had been through hell hitting reset and looking to their roots to rediscover themselves. On Drift, The Men return to their longtime label Sacred Bones Records and explore the openness that Devil Music helped them find.

The immediately evident result of that exploration is the experimental quality of much of the material on Drift. Songwriters Mark Perro and Nick Chiericozzi chase their muses down a few dozen thrilling rabbit-holes over the course of the album's nine tracks. The songs on Drift veer in a number of directions, but notably, almost none of them feature a prominent electric guitar. The lone exception, Killed Someone,' is a rowdy riff-rocker, worthy of the finest moments of the band's now-classic Leave Home and Open Your Heart albums. The rest of the album drives down stranger highways. Secret Light' is an improvisation based on an old piano riff of Perro's. Maybe I'm Crazy' is a synth-driven dancefloor stomper for long after last call. Rose on Top of the World' and When I Held You in My Arms' are paisley-hued, psyched-out jams with big, beating hearts.

The album was recorded to 2" tape with Travis Harrison (Guided by Voices) at Serious Business Studios in Brooklyn. A whole pile of instruments was involved — synths, strings, sax, steel, harmonica, tape loops, on top of the usual guitar, bass, and drums. Unlike recent releases from The Men, there aren't many overdubs on Drift — a reflection of the personalities of its makers becoming less frantic, Chiericozzi suggests. In fact, the band removed a lot of the additional parts they tried adding early on, giving the final product a bit of a ghostly feel. The songs on Drift took giant leaps and trips from their beginnings only to find the band returning to the first spark of creation.

- New York rock polymaths' return to Sacred Bones after their previous self-released album Most eclectic
- The Men album to date, with the broadest range of instrumentation than they've ever employed

Im Juni 1969 löste sich die Popgruppe Manfred Mann nach erfolgreichen 5 ½ Jahren auf. Manfred Mann Chapter 3 wurde von Manfred Mann und Mike Hugg gegründet, der 1963 ursprünglich für die Popgruppe Manfred Mann arbeitete. 1969 aufgenommen, verarbeiten sie unter anderem Einflüsse von Miles Davis und Dr. John. Langsame Funk-Grooves bilden die Grundlage auf denen die Musiker mit Instrumental-Solos experimentieren.

Ursprünglich 1972 erschienen, wurde Glorified Magnified von Manfred Mann und Dave Hadfield in den Maximum Sound Studios in London produziert. - Glorified Magnified ist das zweite Studio-Album der Manfred Mann's Earth Band und wurde in der Zusammenarbeit mit Mick Rogers realisiert. Musikalisch wechselt die Earth Band virtuos die Genres: Prog-Rock, Dub, Klassik, elektronische Musik, Glam-Rock und Jazz werden in den Stücken vermischt.

Essential Debut From Counterculture Icons On 180g Vinyl LP!
Newly Remastered Audio!

Original Stereo Recording!

For many, 1967's Electric Music For The Mind And Body is the premier, defining moment when the attitude and philosophies of the emergent 1960s counter-culture were actually matched by what was in the grooves. The rabble-rousing element of much of Country Joe & the Fish's subsequent career - the "Fish Cheer," Woodstock and their sardonic musical stance - obscured the fact that the group was responsible for some of the most evocative and striking sounds associated not just with their native Bay Area, but the entire late-60s rock movement. More importantly, over the years, Electric Music has transcended the era of its creation and remains a truly bold and powerful musical statement. The linchpin release finds the group combining engaging melodies with sharp, satirical lyrics encompassing different facets of the counterculture including drugs ("Bass Strings"), sex ("Porpoise Mouth") and politics ("Superbird").

Classic Psychedelia From Counterculture Icons On 180g Vinyl LP!
Newly Remastered Audio From Original Analog Tapes!
Original Stereo Recording!

1967's I Feel Like I'm Fixin' to Die, the second album from Bay Area psych-rock band Country Joe & The Fish, followed hot on the heels of their breakout debut from earlier the same year, but it represented a major step forward in both material and overall sound achieved by Vanguard Records' producer Sam Charters. Accessible and very much in tune with the alternative culture of the mid-60s, it quickly became one of the cornerstone releases of the new 'psychedelic rock' explosion. The album is opened and anchored by the live standard "The Fish Cheer" and famous anti-Vietnam protest song "I-Feel-Like-I'm-Fixin'-To-Die Rag."

Legendary German post-rock band formed in 1971 by undisputed noise pioneer Uwe Nettelbeck, Faust garnered an immediate following due to its artistically extreme experimentations with music cut ups and other mixed sources hinging on cacophony and distortion. Don't miss their 1971 cult classic debut, now reissued with its original clear printed sleeve on 180 gram clear vinyl.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- ALBUM FEAT. SKRILLEX, EXCISION, DATSIK, NOISIA,
KILL THE NOISE, AND 12TH PLANET
- FIRST TIME ON VINYL
- LIMITED FIRST PRESSING OF 2.500 INDIVIDUALLY
NUMBERED COPIES ON COLOURED (SILVER AND
BLACK MIXED) VINYL

The Path of Totality is the tenth studio album by American nu metal band Korn. Originally released in 2011, the album finds Korn shifting gears and exploring new territory.

On The Path of Totality band collaborated with some of the leading dubstep and electronic producers in the world, including Skrillex, Excision, Datsik, Noisia, Kill the Noise, and 12th Planet. This resulted in something completely new, yet utterly and definitively Korn.

The title The Path of Totality refers to the fact that in order to see the sun in a full solar eclipse, you must be in the exact right place in the exact right time,' Korn frontman Jonathan Davis explained.

The album includes the singles Get Up!', Narcissistic Cannibal', Way Too Far' and Chaos Lives In Everything'.

The Path of Totality won Album of the Year at the 2012 Revolver Golden Gods Awards. This was Korn's first victory at the Golden Gods Awards, a ceremony that celebrates the best in hard rock and heavy metal music. Korn was also inducted into the Kerrang! Hall of Fame during the 2011 Kerrang! Awards.

Available on vinyl for the first time, the first 2500 individually numbered copies are pressed on coloured (silver and black mixed) vinyl! Strictly limited!

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- ALBUM FEAT. SKRILLEX, EXCISION, DATSIK, NOISIA,
KILL THE NOISE, AND 12TH PLANET
- FIRST TIME ON VINYL
- LIMITED FIRST PRESSING OF 2.500 INDIVIDUALLY
NUMBERED COPIES ON COLOURED (SILVER AND
BLACK MIXED) VINYL

The Path of Totality is the tenth studio album by American nu metal band Korn. Originally released in 2011, the album finds Korn shifting gears and exploring new territory.

On The Path of Totality band collaborated with some of the leading dubstep and electronic producers in the world, including Skrillex, Excision, Datsik, Noisia, Kill the Noise, and 12th Planet. This resulted in something completely new, yet utterly and definitively Korn.

The title The Path of Totality refers to the fact that in order to see the sun in a full solar eclipse, you must be in the exact right place in the exact right time,' Korn frontman Jonathan Davis explained.

The album includes the singles Get Up!', Narcissistic Cannibal', Way Too Far' and Chaos Lives In Everything'.

The Path of Totality won Album of the Year at the 2012 Revolver Golden Gods Awards. This was Korn's first victory at the Golden Gods Awards, a ceremony that celebrates the best in hard rock and heavy metal music. Korn was also inducted into the Kerrang! Hall of Fame during the 2011 Kerrang! Awards.

Available on vinyl for the first time, the first 2500 individually numbered copies are pressed on coloured (silver and black mixed) vinyl! Strictly limited!

Czechoslovakian band Máma Bubo was founded by Karel Babuljak in 1982; he put together five friends that he trusted. Having been more or less groping in the dark of music until then, Babuljak suddenly expressed a clear musical and human opinion to which the other members of Máma Bubo added theirs. A new band was born and although it had a clear face, it did not fit in anywhere, was hard to be connected with anything, and was isolated despite its openness. Máma Bubo always guaranteed an extraordinary and shocking experience which surpassed the level of entertainment. 1985: Babuljak's disenchantment with the social situation as well as with artistic futility compelled him to a more profound attitude which resulted in a totally different concept, PLANETA HAJ, for Máma Bubo; yet, the concept was short-lived as if having been born in a place it did not fit in. In 2017, 2 LP of PLANETA HAJ, a record from 1985, was released on vinyl for the first time.

Some gigs are simply meant to be out there - even if they take decades to actually make it into our hands. This is without doubt one of those concerts, recorded at the Philips Halle, D sselsdorf on the 28th March 1979

during the Live Herald Tour. Includes the only known live recording of Talking to the Sun' Released following the AIM-nominated deluxe box set from Hillage, 'Searching for the Spark', this new 'Dusselsdorf' double CD showcases the Steve Hillage Band's prowess with excellent sound quality - a quality so high that you'll forget that it's a live recording until the applause. This is a band at the height of its powers, with Steve in great voice throughout, and most obviously utterly

enjoying themselves. The vibe is completely infectious and doesn't let up throughout the entire gig. Featuring Steve's own adventurous compositions and covers of Beatles and Donovan classics, all are approached with a joie-de-vivre and high sensibility. The trademark heady combination of vibrant psychedelic rock interwoven with an irresistible full blooded groove, interspersed with the smoothest of deepspace synth/guitar trips gathers all before it in a tsunami of up-lifting music.

With the benefit of hindsight, Steve's musical trajectory from the creative space riffs of Gong to the trance and techno of System 7 is made instantly clear. This version of 'Dusseldorf' will be released as a double CD presented in

mediabook packaging complete with a 24-page booklet and 3LP gatefold pressed on to 180g heavyweight vinyl.