Pop & Rock News

- 180 GRAM AUDIOPHILE VINYL
- 1970 UK PROGROCK ALBUM

Music On Vinyl proudly presents a re-issue of the much sought after debut (and only) record from 70's prog-rocker Titus Groan.

All the clichés that represent prog are present: 11-minute songs, schizophrenic changes, and the addition of medieval-inspired woodwinds. Hints of the Pretty Things' SF Sorrow are to be heard in some of the vocal arrangements, and the poppish elements of It's All Up With Us' are indeed very good.

A must have for the die-hard prog fan.

Blindsmyth ist ein musikalischer Weltenbummler. In verschiedenen Bands erkundete er Klangspektren von Metal und Postrock bis zu Electronica. Während seines Musik-Studiums tauchte er dann noch tiefer in die unterschiedlichsten musikalischen Genres und Produktionstechniken ein, kombinierte verschiedenste Instrumente mit elektronischen Produktions- und Performance-Techniken und fand so, auch durch viele live-shows, zu seinem eigenen Sound.
Das Debütalbum von Blindsmyth ist eine Entdeckungsreise zwischen tiefen elektronischen Klanglandschaften und experimenteller Popmusik. Alle Tracks wurden mit analogen Instrumenten, organischen Drum Sounds und eigenen field recordings produziert. Es ist impulsiv, groovig, experimentell und verträumt. Die Stimmung changiert zwischen House, Folk und langsamen Techno - kombiniert mit Atmosphären aus Ambient, Dub und Post Rock.
Der Album Opener - Wacklige Brücken bringt den Tanz zwischen Freiheit und Sicherheit zum Ausdruck. Dynamische Beats, eine energetische Bassline und eine schwebende Bassklarinetten-Melodie runden den hypnotischen Refrain aus einem Chor gepitchter Stimmen ab. "Wir tanzen auf wackligen Brücken und umarmen den Asphalt . - Secret Walls  bewegt sich zwischen tiefen, groovigen Klängen und experimenteller Popmusik, gekennzeichnet durch seinen charakteristischen Gesang. Der Track basiert auf Samples, die Blindsmyth in einem Bunker aus dem zweiten Weltkrieg aufgenommen und zu elektronischen Sounds verarbeitet hat. Entscheidungen treffen, versagen, sich verlieren um sich sich dann wieder zu finden. In - Stuck singt Blindsmyth über die Höhen und Tiefen des Lebens auf einem Bett von weichen Gitarrenakkorden, die von abstrakten hölzernen Perkussions getragen werden. Melancholisch und zugleich hoffnungsvoll. 

1972s Psychonaut, by the Swiss-based Brainticket, is early seventies space rock at its finest. While the bands debut album, 1971s Cottonwoodhill, was a heavily acid-laden affair dominated by droning organ, disturbing vocals and a collection of cacophonic sound effects (causing it to carry a warning label and be banned in several countries) for their second effort, band-founder Joël Vandroogenbroeck brought in a completely new line-up and changed the bands sound dramatically. While Psychonaut still takes listeners into the realm of altered consciousness -- making heavy use of a droning Hammond, sitar, tablas, etc.-- this time the vocals are more melodic and the music itself is more song-oriented. This is by far Braintickets most accessible album, and perhaps their most timeless. Fully remastered from the original master tapes!

When Imarhan released their self-titled debut album in 2016, they stepped into a genre already flooded with talent and exposure, but still managed to rise to the top and be heralded as the new wave Of Tuareg music . It is with much anticipation that the band from Tamanrasset, Algeria have announced the details of their second album Temet, due out February 26 on City Slang.

Temet is a huge leap forward in production, as well as creatively for Imarhan. Whereas their debut was anchored in the meditative Desert Blues tradition, Temet eclipses such notions, finding bounce and drive by stirring their sound with funk, fuzz, disco and rock. This is not a novel concept to the band, as anyone who has seen them play will attest. Imarhan's experience as a touring band has reinforced the focus and meaning behind their music.

With Temet, Imarhan have firmly established themselves as a band to reckon with. Rather than being distracted by meddling around with big producers or famous guests, they've focused this release on their inherent strength of songwriting, using the eternal bonds in their community, families and friendships as a blueprint not only for an amazing standalone album, but as a reference for generations to come. We hope that Imarhan will allow the younger generation to become aware of the fundamental importance of friendship. As long as someone is by your side supporting you, asking for your friendship, what more could you want out of life You will want for nothing.'

Produced by XTC's Andy Partridge (who also plays most of the drums), Martin Newell's first solo album, The Greatest Living Englishman, was hailed by Rolling Stone magazine as a rock classic upon release. Originally released in 1993, it has all the hooks and melodies of Cleaners from Venus and Brotherhood of Lizards and then some. With Partridge's immaculate production, it's something rather more again. They don't make albums like this anymore... 

We're ecstatic to bring this album back in print to celebrate it's 25th Anniversary! This reissue includes a 10-page Booklet with Updated Liner Notes by Martin Newell and is restored to original Tracklist as envisioned by Martin Newell and Andy Partridge. 

- 180 GRAM AUDIOPHILE VINYL
- RE-ISSUE OF HIS DEBUT FOLK ROCK ALBUM

Roy Harper's first solo album was originally released in 1966, The Sophisticated Beggar, and by 1970 he had met up with Pink Floyd manager Peter Jenner and re-released his debut as Return Of The Sophisticated Beggar.

Roy Harper's music can be best defined as progressive folk, but as his work is so varied there are many instances where his music transgressed these genre confinements.

He worked alongside greats like Jimmy Page of Led Zeppelin, David Gilmour of Pink Floyd, The Nice, Kate Bush and Ian Anderson of Jethro Tull. Roy Harper is also recognized for his vocal contribution on Have A Cigar', the third track on Pink Floyd's 1975 album Wish You Were Here.

Virginia Trance first LP, the solo project of Scott Ryan Davis (formerly of Images and Psychic Ills), after a self-released 7 single Your Guru' presents this debut album following the same loose-jointed, rambling expedition through mercurial guitar and lilting, Neil Young-esque vocals that are joined by steady bass and dynamic percussion. Sounding lighter but groovier, songs with expressive drumming, reverb-dipped vocals, and dewy guitar.
Ryan-Davis says The album was recorded and  mixed in three sessions during the Summer 2014 - Winter 2015 in Brooklyn, NY with my friend RJ Gordon. I had recently moved back into town after spending time out in Arkansas to be with my now wife. We were in a small town located between Memphis, Tennessee and West Memphis, Arkansas on the Mississippi River. There were soybean fields outside my bedroom windows. The idea for the sessions was to lay down a few songs I had been writing. Everything is loose, rambling, and slightly fried. The album takes cues and titles from recent history. Outside of RJ (who also plays in the bands Baked, Titus Andronicus, etc) I was fortunate to have longtime bassist Jarred Joly playing on a few tracks like Lunar Son, and Booker Stardrum (who also plays his own stuff, in Cloud Becomes Your Hand, etc) on drums for a few tunes includingNew Attitude. So we kept everything stripped down with minimal production and there you go'. 

Young Jesus, an indie rock quartet from Los Angeles, looks to communicate the tensions between proximity and distance, chaos and order. On their upcoming record S/T, to be released by Saddle Creek, the band focuses on seemingly small moments in everyday life: phone calls with Mom, landscapes along the highway, crows in a tree. Yet with time these strange intimacies add up to a life. A life full of anxiety, confusion, sadness, joy, boredom, and ultimately wonder.

Young Jesus mixes the emotional intensity of bands like Slint, Pile, and Built To Spill with the quiet contemplation of Yo La Tengo, Mogwai, and Laughing Stock-era Talk Talk. They give themselves to moments of aggression and volume, balanced alongside near-silence.

Influenced by the writings of Donna Haraway, Timothy Morton, Wang An-Shih, Wang Wei, Joy Williams, and Marilynne Robinson, singer/songwriter John Rossiter hopes for a making-do with what we have, a sometimes wide-eyed learning process. Life may be too massive to grasp, but that does not mean we should shy away from it. Rather, Young Jesus tries to look toward the complexity and imperfection. As ever, the questions Rossiter and co. raise are too big to expect any sort of clear answer, but Young Jesus offer a model of coping, a way to remain hopeful and human within their jaws' (Various Small Flames).

Rossiter states, the ethos is to push each other to express things that are not common-- like ideas of love and trust within friendships-- through being extremely vulnerable and making mistakes. Hopefully those mistakes become framed as an important and necessary part of process. It's about communication between four people. Hopefully it is the sound of four very good friends who want to let other people into that space.' These may be small things, but observed with thought and care they come to make the world of Young Jesus

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDES 4 PAGE BOOKLET
- FIRST TIME ON VINYL
- 5TH ANNIVERSARY EDITION
- FEATURING THE HIT-SINGLES HERE'S TO NEVER GROWING UP', ROCK N ROLL' AND LET ME GO'
- LIMITED EDITION OF 3.000 INDIVIDUALLY NUMBERED
COPIES ON SILVER & BLACK MIXED VINYL

Avril Lavigne is the fifth studio album by Avril Lavigne. It was released in 2013.

Lavigne collaborated with numerous producers including Martin Johnson, Peter Svensson, David Hodges, Matt Squire and her then-partner Chad Kroeger. The album features a more pop and upbeat sound combined with power and piano ballads. Avril Lavigne also incorporates electronic music, industrial and punk rock. The album features two vocal collaborations: Kroeger and American industrial metal singer Marilyn Manson.

The album debuted in the Top 5 in album-charts of the US, Canada, Japan, China and many other countries.

Five singles were released from the album. Its lead single Here's To Never Growing Up' peaked at number one on the in Taiwan and The Philippines. Other singles, including the duet with Chad Kroeger Let Me Go', Rock n Roll', Hello Kitty' and Give You What You Like' became succesful international hits.

Avril Lavigne received two award nominations, The Juno Award for best Pop Album and World Music Award for World's Best Album.

2018 marks the 5th Anniversary of Avril Lavigne. The album is now available on vinyl for the first time. This first, limited edition run is pressed on 180 gram silver and black mixed vinyl. Only 3.000 copies are available.

Bonsai Superstar is the second album from the band Brainiac, released in 1994. It is the first album on which guitarist John Schmersal appears. Originally released through Grass Records, and long out-of-print, the album was recorded in Brooklyn, New York with engineering and production done by Girls Against Boys bassist Eli Janney. While the album received little critical attention upon its initial release in 1994, today it is considered one of the best recordings by the band.

Described by Clash Music as one of America's best songwriters', Brendan Benson has consistently unfurled unparalleled melodies and lyrics in his acclaimed career. Over twenty years in, he's still wowing folks and Half a Boy, Half a Man' is a powerful dollop of power chords wrapped into a tale of split personalities. Backed with an astute cover of Jules Shear's Big Kid Face' from his 1989 album The Third Party' in which Benson helps shine a light on this oft-overlooked but seminal songwriter.
Best known as half of the songwriting team at the heart of the Raconteurs (along with Jack White) Brendan Benson's career has never slowed across six solo albums, two Raconteurs full-lengths, countless collaborations and placements and a seat as one of the most respected and reliable writer, performers, producer, engineer and musical jack-of-all-trades.

Punk Slime Recordings are proud to present the debut album from London based Chemtrails. Founded/fronted by romantic and musical partners Mia Lust and Laura Orlova, they make catchy, fuzzy, lo-fi pop music, somewhere between The Pixies, Black Lips and Blondie, with lyrics that are surreal yet earnestly meaningful. Chemtrails made their debut in September 2016 with the single 'Aeons', and have since released two EPs.
The first, Love in Toxic Wasteland, tells stories of savagery and spirituality in a post-apocalyptic world, with melodic songs built out ofraw, heavy guitars and dreamy, reverb-soaked Farfisa body. The second EP, Headless Pin Up Girl, has a more pop-up feel to it, with Mia Lust's lyrics getting deeply personal as she openly reflects on her place in the world as a transgender woman.
The debut LP sees the band exploring wider territoryy and includes some their most unusual psychedelic power-pop songs
yet, as well as their heaviest, most aggressive garage rock numbers

If you want to make it easy, the basic theme of the new, fourth album "Being Empty: Being Filled" could be the reference to all the outstanding personalities being presented on it. But it's not that easy, of course. Listener have become louder, the guitars more rocking, sometimes more angry. Kris hits the drums as if there is no tomorrow. But this is just the musical side. The other is poetry and Dan sings, or should we say, talks, about life, with its edges, with the big moments, the many questions and the many failures, like no other singer in this world. No pathos, no false
theatricality obscures the view of the content of the narrative. This way Dan recounts his stories, which may be our stories, makes Listener by a long way one of the most interesting bands of today. It is these analogies that best describe our time and let us understand them. This pointing out the contradictions without lifting your finger. This warmth, which in the end still gives hope, makes their music unique.

The 'Furies ' are the ancient Greek Gods of vengeance and violence,' says Mark Ryan of the title of his latest album. The Furies were tamed,' he continues, but in my story, they are waking up and the ancient chaotic ways are resurfacing.'Ryan (The Marked Men,High Tension Wires,Radioactivity ), alongside Peter Salisbury (Baptist Generals) on synth and Mike Throneberry (The Marked Men) on drums, lead this modernistic, machine-like and cinematic version of the story of the Furies and have churned out something furious in return, this is their most electronic album yet . Gone are any notions of Ryan's former project the Marked Men and its style of winningly bombastic garage-pop. Since 2012's Meltdown Mind Spiders have been perfecting an aggressive, relentless,
frenetic and melodic style of punk that is a long, dark shadow of DEVO but carries something much more sinister in its jaws as it slinks its way through the ears, illustrated by their lone, intensified cover of Grauzone's 1980 hit, Eisbaer.' It's a sound for the new dark ages , emboldened by urgency and sped along by some good old fashioned panic.

Refrigerator's eleventh full length record High Desert Lows was recorded over a week in Omaha, Nebraska. Produced by Simon Joyner (who plays and sings on a number of songs on the record, along with members of his Ghosts band), the new record calls out to the more pastoral sounds of their Comedy Minus One album, with viola, cello, vibes, slide guitar and wurlitzer dotting the edges of nearly every song, a stark contrast to the loud squall of preceding record Temple City. The album begins with a song penned by drummer Chris Jones, bending to Barstow, and then bleeds into songs that skirt a number of counties from Apple Valley to Victorville before closing with a minor chamber orchestra and a vocalist shutting down the town. Twenty-seven years on, with all the original members (plus Daniel Brodo who joined in 1995), the band is still improvising and communicating without bowing to commerce.

Shogun is the fourth studio album by American metal band Trivium. The album was originally released in 2008 and received critical acclaim.

Shogun largely features a continuation of the thrash metal style featured on The Crusade (MOVLP1989), however, it also marks the return of Matt Heafy's screaming vocals and is also the band's first album produced by Nick Raskulinecz (Foo Fighters, Rush, Mastodon, Deftones).

The group did not want to make an album where all songs had the same singing style and decided to just let their music flow naturally and unbiased. Unlike The Crusade, which had some songs focusing on famous and controversial murders/crimes, this album has a few songs that deal with ancient Japanese military customs and several regarding Greek mythology, some serving as metaphors to be interpreted by the listener.

Since its release, Shogun has sold over 300,000 copies worldwide. The album debuted at number 23 on the Billboard 200 chart in the USA and the top 100 in 18 other countries, including number 1 on the UK rock charts and number 4 on the Australian charts.

The album includes the singles Kirisute Gomen', Into the Mouth of Hell We March', Down from the Sky' and Throes of Perdition'.

Finally available again on vinyl after the original release 10 years

Since its inception, the music of Portland, Oregon's 1939 Ensemble has always explored the relationship between rhythm and melody. On the quartet's new EP Beats & Saints, that connection—between pulse and phrase—is turned inside out. The record finds vibraphonist José Medeles, percussionist David Coniglio, trumpeter Josh Thomas, and guitarist Knate Carter in a loose, playful mode, interpreting songs by Charles Mingus, Björk, the Breeders, and Stereolab, alongside two new Ensemble originals. Melodic, surprising, and rhythmically dense, this EP finds the band teaming with experimental music legend
Ralph Carney , known for his work with Tom Waits, Bill Laswell, Jonathan Richman, and Martin,Medeski, and Wood, and many more, along with Josh Klinghoffer (Red Hot Chili Peppers, Tinariwen). Demonstrating the band's inside humor, a Korg Rhythm 55 drum machine also receives a guest' credit. Hunkering down in the 1939's own B-Sides Studios, the band and guests indulges in the time-honored tradition of musicians simply blowing off steam, seeing what happens when combustible elements are combined. The record is an example of open collaboration. It was such a great energy,' Medeles says of the band's collaborations with outside musicians. It was really about friendship and energy as much as anything.' Since 2013's Howl & Bite , recorded by Coniglio and Medeles as a duo in 2010, 1939 Ensemble has expanded its parameters with each release, adding members like Thomas and Carter as time's gone on. This EP finds that expansion playing out stylistically, tying together and ultimately transmuting disparate threads of groove, noise, and rhythm . It's a casual assemblage, a nice collage of songs,' Medeles says, but a picture of a band recording music in their own space—in their own terms.' The resulting recording is a demonstration of that sonic vocabulary, used to stun and wow.

Reissue of killer album from 1980 - the album's first reissue on vinyl, it will include a booklet with various documents, as well as previously-unreleased recordings !
Originally released in January 1980, the second album from (Crammed founder) Marc Hollander's band was the first record bearing the Crammed logo (although the label only really started to exist at the end of that year). More intense and experimental than the first Aksak Maboul album (yet often as playful), containing complex written section, free improv, and a wild variety of elements, "Un peu..." was recorded with a band comprising revered UK musicians Fred Frith & Chris Cutler, and is described by All Music Guide as a pinnacle of the RIO movement (RIO being Rock In Opposition, the late-'70s radical, pan-European coalition of bands, of which Aksak Maboul was part). "Un peu de l'âme des bandits" reached #3 in the NME's top ten European albums of 1980 (after Yello and The Nits, before Steve Reich and Faust!).

First ever reissue of this rare Swedish psychedelic hard-rock & progressive album from 1975. Powerful guitar / organ and great melodic vocals, featuring ex-LIFE member Anders Nordh on guitar.

The Bättre Lyss project was born during 1973-74, when mutual friends Rolf Hammarlund (vocals, bass) and Christer Palmquist (vocals, acoustic guitars, piano) started to write songs sung in English. Soon after, the lyrics were changed to Swedish and another friend, drummer & songwritter Rolf Johansson joined in. That's when they decided to record an album. Helped by some talented friends, including THREE electric guitar players (among them Anders Nordh of LIFE fame) and a flute / sax player plus an organist, they registered Till Den Sträng...' on a 2-track machine at a state-of-the art studio. The result was stunning and was released as a private pressing in 1975.

*Master tape sound, insert with liner notes and photos.

*Includes download coupon.

"PARKA" was the fourth album by Turkish legend CEM KARACA, originally released in 1977 and which was a compilation of singles released in Turkey between 1969 and 1976, featuring Dervisan, Kardaslar, Apaslar and Mogollar.

You can expect the usual dose of powerful and deep vocals by Karaca backed by great Anatolian arrangements.

Now presented in a shrink-wrapped 6 panel fold out card wallet on CD, on heavyweight double vinyl in a gatefold sleeve. Digitally re-mastered by John Rivers at Woodbine Studios, November 2017 August 1988, Spacemen 3 embark on one of the strangest events in the band's already strange history. Billed as "An Evening of Contemporary Sitar Music" (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders' film 'Wings of Desire'. Spacemen 3's proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the "Sweet Sister Ray" of '80s Britain. Their signature sound is at once recognizable and disorienting - pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3's classic 'Playing With Fire' album. 'Spacemen Jam,' featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects.

Spiny Normen were an incredible mid-'70s Houston hard rock, progressive, psychedelic rock band that featured mellotron, Vox Jaguar, crunchy, heavy guitars, flute with echo effects, and lots more. A totally lost relic, this self-titled album was recorded at a community college and never released. The recording is very English, dark, mysterious and proggy, but also very acid-drenched.
Circa 1976, Gerry (Diaz) and I would skip class, smoke whatever scrap of contraband we could scrape together and meet in the high school auditorium where there was a piano and bang out crunchy rhythms. Gerry was playing guitar, listening to Alice Cooper, hair down to his back and about the only MexicanAmerican in a white bread school. He was cool! So when he said one day, 'Hey man we should jam some time,' I was stoked. I found an ancient Vox Jaguar that had belonged to Fever Tree and a Kustom amp that I blew out just right, that made the most beautiful distortion, accompanied by a beloved phase shifter. Over the next three years we began to experiment, spending months penning intense, bizarre, surreal and mind-affecting pieces influenced by King Crimson, Pink Floyd, film soundtracks, Van Der Graaf Generator, and the like. I was collecting keyboards: a mellotron, a single-key-play Moog... Gerry was adding echos, early guitar, synth and tons of pedals. I learned the flute. In we went with a hired stand-up bass player and little engineering knowledge to the community college 8-track recording studio and just played like psychedelic Mozarts. Timpani, live effects, sound effect records, backward echo, violin bow on guitar and plenty of echo. Gerry and I on vocals. What came out was still, to this day, in my humble opinion, some very complex, untouched territory, holy-what-the stuff. We were all about 19.' —Steve Brudniak (cofounder of Spiny Normen)

A repress of the very limited RSD single from 3 years back. Two New Tunes On Burger Records!!! The Legendary Rock N Rollers' First New Single In 30 Years!!! Epic, Kama Sutra, Sire, Bomp and now Burger!!!

Northern psychedelic punks The Lovely Eggs return with a mind-melting new album. The Lovely Eggs are one of the most unique, innovative and genuine bands on the British Underground music scene. Heavier and more in-your-face than anything they've done previously, Holly Ross (guitar/vocals) and David Blackwell (drums) bring together a fierce DIY ethos, surreal sense of humour and kitchen-sink realism. Working with a producer for the very first time, Dave Fridmann (Mercury Rev, The Flaming Lips) lends his magic dust to bring out the best of The Lovely Eggs' explosive blend of motoric krautrock, 60s psychedelia and punk rock attitude. They create their own world and invite us to join them in Eggland. The album title is a cheeky nod to Shane Meadows' series, This Is England. It is a comment on the current state of modern Britain. The album is about being an outsider and doing things differently, eschewing society's conventions as they have done. Since having their son in 2013, the pair have taken him on tour with them, racing round the UK with 2 fingers up to conventional family life firmly out of the window. They have also remained in their hometown of Lancaster, despite its cultural and geographical isolation. As Holly explains, On this album we're saying it's OK to live life differently, we're doing it and you can do it too! Living up here in Lancaster is kind of mad. It's a bit like the Twin Peaks of Great Britain.' The town has a rich history of the witchcraft, notoriously it was where the Pendle witches were hanged'. For the first time ever, the pair worked with a producer on the new album, welcoming in legendary Grammy award winning engineer Dave Fridmann to their world. We received an email from Dave Fridmann. He had got our answerphone message, listened to our stuff and wanted to work with us. It was just totally bizarre!' The album was self-recorded at Lancaster Musician's Co-op and the Eggs' own house. Dave Fridmann then produced it remotely. They then went out to Dave's Studio in New York State, for mixing. The result is a gratifyingly rich sounding record, which still retains the raw energy of the band's sound but harnesses a real power and dynamism. It's much heavier than anything they've done before. As Holly says: It's pretty relentless. It kind of sounds like a chip shop on fire. We still write about everyday life and the stuff that goes on in our world, it's just the new album is more fierce'. The Lovely Eggs have been nudging towards a heavier sound with their previous album This Is Our Nowhere, which was praised by the NME, who called them, One of the country's most beloved underground bands.' Having formed in Paris in 2006, they named themselves after a pigeon laid two eggs on an abandoned nest on the windowsill.To celebrate their 10th anniversary last year, they reissued their first three albums on coloured vinyl. The band have built up a cult following, selling out gigs across the UK, as well as gaining support from 6 Music and Radio One. This Is Eggland is a giant leap forward in their wild-ride of a career. The album is like listening in on The Lovely Eggs' own secret world, with philosophical songs about the mysteries of the universe ( Hello I Am Your Sun'), to abandoning the grass is always greener' mentality ( Wiggy Giggy'), to being on the wrong side of society or the music industry ( I'm With You') and several inspired by local witchcraft. Unashamed to be themselves and have fun while they're at it, The Lovely Eggs weave an intoxicatingly magnetic magic spell and we're helplessly and willingly falling under it.

Vinyl version includes CD.
At the end of the 70s, The Monochrome Set were part of the first wave of 'post punk' bands. Right from the beginning, the band earned a solid reputation as purveyors of fine pop, gaining praise from 80s contemporaries such as Morrissey and Edwyn Collins. Importantly, in later years this praise has continued with artists such as Franz Ferdinand, The Divine Comedy and Graham Coxon, all citing the band as a key influence on their own work. The Monochrome Set sound has often been described as
'timeless', and that alone explains why, over the years, the band has continued gaining admirers.

Congratulations on owning this fine quality product.
Maisieworld is distilled from the pungent flowers of artistic mischief and represents the acme of sonic consummation.

Welcome to Maisieworld!
Your host, Maisie, will guide you through a succession of songs that highlight the volatile, capricious and ultimately unstable nature of The Monochrome Set. New doors lead into hitherto unexplored corridors, where saxophones, trombones, and trumpets claw at you from the Harlem-brownstone walls which pulsate with the ceaseless beating of animal skins.
Echos from a bygone era of expertise race around you as you careen down these sewers of sound, lead guitar solos leap with rusty scimitars, strange organs slither over you on the damp roof, a growling bass snaps at your ankles, a misshapen banjo scuttles across your path, and, all the while, barbarians shake the seed-filled skulls of the dead.
Playful vocals sing of your frail organic nature, the sad dreams and hopes that you entertain, and the dismal decisions you make. Scenes of a different imagination tear you like brittle canvas and rearrange your portrait into another's fantasy.
Upon your exit from Maisieworld, you will be pleasantly surprised to find that your vessel is now filled with abnormal thoughts.
Caution : May contain nuts. And bolts.

Everyone associates Liverpool with the beat boom - and that particular wave was led by groups, not solo artists.
But Billy Fury is the shining exception. He was very much in tune with the American rock'n'roll that had turned the music world upside-down and, in the late Fifties, was a very credible response to 'authentic' American stars like Eddie Cochran, Buddy Holly, Ricky Nelson and Elvis. This LP illustrates the two sides of Fury - the dedicated rock'n'roller whose music stood up to comparison with the American pioneers, and the pop-chart act his record label wanted him to be.

If you gave rock & roll another name, it would be Chuck Berry' according to John Lennon - and he should know! The Encyclopedia Of Popular Music agreed: Berry's stature as an essential figure in the evolution of popular music cannot be overestimated'. Any remaining doubts will be quickly dispelled by listening to the 16 tracks on this Greatest Hits compilation - which gathers together all of Chuck's classic singles, from 1955-1961,
to paint a comprehensive, and still thrilling, picture of the zest and excitement that rock & roll can offer.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES 4 PAGE BOOKLET
- FIRST TIME ON VINYL
- LIMITED EDITION OF 2500 NUMBERED COPIES ON BLUE & WHITE MIXED VINYL

A Change of Seasons is an EP by progressive metal band Dream Theater, originally released in September 1995. It comprises the 23-minute title track and a collection of live cover songs performed at a fan club concert at Ronnie Scott's Jazz Club in London, England in January 1995. A Change of Seasons was the first Dream Theater release featuring Derek Sherinian on keyboards.

The song A Change of Seasons' was originally written in 1989 and was intended to be a part of Images and Words, but at almost 17 minutes, it was deemed too long for studio placement. It had nevertheless been performed live by the band, who continued to revise it through the years. Fans around the world put pressure on the band to officially release the song. The petition was successful, and the group entered BearTracks Studios in New York in May 1995 to rewrite and record the now 23-minute-long song.

Although the song includes audio samples from the 1989 film Dead Poets Society (as well as quotes from the 1648 Robert Herrick poem To the Virgins, to Make Much of Time'), the lyrics were not inspired by the film.

Although the record is labeled as an EP, its running time of 57:30 makes it significantly longer than a standard EP, and even many LPs, including Dream Theater's first two albums. As it was important for the band and label for it not to be perceived as the latest studio record, they tagged it an EP.

Music On Vinyl proudly presents A Change of Seasons on vinyl for the very first time. The first 2500 individually numbered copies are pressed on coloured (Blue & White mixed) vinyl. Strictly limited!

ORCHESTRA OF CONSTANT DISTRESS Are :

Joachim Nordwall (The Skull Defekts, iDEAL Recordings)
Anders Bryngelsson (Brainbombs, No Balls)
Henrik Rylander (The Skull Defekts, Union Carbide Productions)
Henrik Andersson

In the field of music or any contemporary cultural terrain, concepts like development dynamics and progression are used as aesthetic judgement. To any musician or composer, the idea of musical build up comes with a crisis, any attempt towards formal pleasure calls for suspicion that this desire is never one's own.

In the case of Orchestra of Constant Distress this deadlock manifests itself in an impulse of refusal directed against any evolution and the result is the extreme generic and the absolute distress of normative noise and improvisation. Members with such experiences from The Skull Defekts, Union Carbide Productions, Brainbombs and No Balls are joined in assemblage of catatonic sounds, obstinate riffs and rigid rhythms.

"Just when you think something is about to happen, it doesn't." (taken from a review of their self titled debut album from 2017)

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT WITH LYRICS AND CREDITS
- FEAT. THE SINGLES HEADING FOR A FALL', TIME
FLIES' & SO LONG AGO'
- TOP 10 IN SEVERAL COUNTRIES, GERMANY,
NETHERLANDS, SWITZERLAND, AUSTRIA, NORWAY A.O.
- FIRST PRESSING OF 750 NUMBERED COPIES ON
TRANSPARENT VINYL

Vaya Con Dios was founded in 1986 by Dirk Schoufs, Dani Klein and Willy Lambregt. Their 1990 album Night Owls became their global breakthrough album, including hits such as Nah Neh Nah' and What's a Woman

In 1991, Schoufs and Klein fell out badly, resulting in Schoufs' departure from the band. He died a few months later, on 24 May 1991, at the age of 29, of a cocktail of medication, alcohol and drugs.

Dani, left playing with just Gielen and various musicians, continued to record a new Vaya Con Dios album, while at the same time doing more and more international performances, due to ever increasing popularity. In 1992, Time Flies was released, produced mostly by Klein herself. Three singles were released from the album, the dramatic Heading For a Fall' doing well in several countries. The other two being Time Flies' & So Long Ago'.

The album did very well in Europe, reaching number one in Switzerland and The Netherlands and getting platinum certification in four countries, eventually proving to be the most successful Vaya Con Dios album. In 1993 it was followed with the first Vaya Con Dios world tour. Due to the tragic circumstances surrounding the unfortunate passing of Dirk Schoufs, Time Flies became a somewhat more melancholic album and is more blues and soul oriented.

As part of the Brewed In Belgium campaign, Time Flies is now available as a limited edition. 750, individually numbered, copies on transparent vinyl are available.

Following the two Marc Riley Session albums released for The Wedding Present in 2016/17 Hatch Records is proud to present this 10" from the band's alter-ego, Cinerama, featuring 4 tracks recorded for the same legendary DJ in July 2015.'

* RRR was Hey Colossus's seventh album, originally released back in 2011 by Riot Season on CD and ridiculously limited LP. This reissue has the original LP plus it comes with a bonus LP containing different takes and versions and a cut that didn't make the first press. It is housed in a single 350gsm fat spined printed sleeve with insert and download code.

* THE STORY: The band had a weekend booked in at The Dropout Studio, Camberwell, the winter of 2010. They were going to do 'some recording'. The Friday of the weekend the six piece played a show at The Windmill in Brixton, home to the roof dog. The show was a typical (of the time) debauched affair, in the post show glow the band asked Jon (Notorious Hi-Fi Killers) and Leon (Shit+Shine) to come down to the session the following day: BRING GUITARS, WHAT CAN GO WRONG. By noon they hadn't shown up so they got called: WHERE ARE YOU Neither believed the offer to be true, by 1pm they showed up with guitar + synth in tow. An hour later RRR was being recorded by the now 8 piece band, lights down, volume up. Over 48 hours it was done. Not a single idea was brought to the table but somehow it all fell into place, assuming you think 'falling into place' sums up RRR (it totally does).

* Legendary reviewing man, Peter Kemp (RIP), had this to say: "The record starts off with slow guitars and screaming ghostly voices like from a horror film, this first track ends with some talking and then goes into the next song which sounds like they are swinging the guitars around their heads and banging them on the floor....there are dark voices screaming ARRRRRRRRGGGHHHHH ARRRRRRRRRGGGGHHH ....The next song does sound a bit more Spanish as it starts with a guitar which sounds like a Spanish church bell and a deep voice which sounds like somebody praying and another voice which sounds like somebody dying....The closing song is faster and has talking in it and what sounds like a priest in the background and then lots of loud guitars come in - it is a good way to finish the record. Overall I think this was very good record by a brilliant band and I would give it ten out of ten."

* The original vinyl sleeves were all handvpainted in Somerset by an artist called Chav, they took three months to do with each one being totally unique. The gatefold sleeves, all the inners were incredible works of art. The front and back were stencilled. The paint was blagged from a car spray paint firm, they sent three pallets to get the job done. A begging letter was sent to them and it fell onto some welcoming ears. Christ knows how it all came together. These copies are almost impossible to come by, rarely appearing anywhere. They sold out instantly.

* Riot Season is re-releasing it on March 2nd 2018, there will be 500 copies, 2xLP. It won't get repressed again so for those who bought the original keep it safe and buy this one for the bonus record. For those new to the band following the record triple LP drop over the last couple of years on Rocket Recordings tuck in, but be prepared.

Few Traces surveys a near decade of Mark Renner's scarcely released and unreleased material from 1982 to 1990, embracing and evoking the timelessness of his artistic statement: a wordless translation of the individual's musical experience, met with the poetic expression of being here.

Mark Renner first encountered punk while a teenager in Upperco, a country town in rural Maryland. Growing up on his family farm, he became a young acolyte of the British exports hitting not-so-distant Baltimore record store shelves in 1979 / 1980 and was baited by an area musician-wanted ad declaring Ultravox a primary touchstone.

This nascent band and a pair of other group experiments flamed out under the typical totem of despotism. In their ashes Renner began recording independently around 1983 with a portable four-track, electric guitar, and classic Casio CZ101 synthesizer. Aside from John Foxx-era Ultravox, Renner's process was inspired by the period's electronic pioneers venturing into deeper, romantic pop pastures: Yellow Magic Orchestra, Bill Nelson, The Associates.

With his tools and teachers in place, the blueprints for Renner's sound were laid out - metronomic, skeletal rhythms built on sturdy yet singular drum machines supporting luminescent guitar and synth lines, Renner's reverent voice guiding the fables and construction.

Most directly influential, Renner's enthusiasm for Days in Europa, the third album by Scottish new wave band Skids, would lead to a correspondence and long-distance tutorship with Stuart Adamson. Before Adamson would achieve worldwide success co-founding the group Big Country, a chance friendship with Renner would impart great confidence in the young musician from Maryland, who, after a visit in Edinburgh, would then travel to London to demo an early version of Half A Heart' featured in its final form on Few Traces.

The sum of Renner's music is one-part literary, one-part painterly. The artist cites the individualism of Herman Hesse as a guiding force, and there are overt references to W. B. Yeats and John Greanleaf Whittier among other authors. Lyrical themes evoke the presence of the ancient past, much like early Felt songs or the spiritual visions of Van Morrison. (Tellingly, Renner cites Morrison's 1980s albums made between Inarticulate Speech of the Heart and No Guru, No Method, No Teacher as musical influences.)

Apart from his writing, Renner explored music as a complement to visual language: many of the dream-like instrumental passages presented across Few Traces were originally implemented as sound elements for exhibitions of his paintings. Renner pursued wordless music as a pure aesthetic in its own right, pristinely balanced segues and open-ended compositions that lead to pasture but not without shepherd.

Compiled three decades after the music was originally put to tape, Few Traces collects Mark Renner's early music but strives not to simplify or reframe it. (Mark is still active making music and painting) The instrumental explorations remain on par with the great ambient adventurers of the period (Brian Eno, Harold Budd, Roedelius), while the vocal and guitar-centric songs crystalize across similar terrains being transversed by Cocteau Twins and The Chills.

Few Traces highlights in intuitive sequence gems from Renner's scarce discography and archive: the self-released debut All Walks of This Life (1986), the aptly titled follow-up Painter's Joy (1988), plus early singles, compilation tracks, and exemplary songs that saw no original release. The collection allows an intimate look at an artist growing into their sound and surroundings, finding the in between echoes and spirituality of the individual.

Motörhead's first live album, recorded in early 1978 at The Roundhouse, less than a year after the release of their groundbreaking, self-titled debut. This is vintage, 'take-no-prisoners' Motörhead, and the band (playing a mix of originals and a few speedfreak versions of early R&B, country and British blues songs) is a fast and furious machine. Punk rock step aside...this is Motörhead!