Pop & Rock Novedades

11 brand new songs - Majestic Hard Rock at it`s best. High class limited edition digipak (incl. bonus live CD) and double gatefold LP.
So what exactly are the unmistakable criteria of a typical Magnum song First of all of course founder members' Bob Catley's charismatic vocals and guitarist Tony Clarkin's melodic, relentlessly driving, rocking songwriting. In addition, the British band's compositions all ooze a magic that's difficult to describe, an enchanting ambience created by Clarkin`s poetic lyrics that create sonic images in their fans' minds. No doubt about it: it's the interplay of a number of different elements that have made Magnum one of the most charismatic British rock acts for more than forty years and have their music stand out to this day. Their latest album Lost On The Road To Eternity, scheduled for release on Steamhammer/SPV on 19 January 2018, sees Magnum
celebrate an impressive anniversary: it's their 20th (!) studio recording.
Lost On The Road To Eternity features a number of haunting melodies, be it the stalwart opener ´Peaches And Cream` or ´Storm Baby` with its a powerful rock riff. The first single to be released will be ´Without Love`, which is based on a substantial groove, and the collaboration with Tobias Sammet on the title track, a kind of artistic thank you by the Edguy /Avantasia frontman in appreciation of Catley's guest stint on a number of Sammet's releases, is by no means less spectacular. 'Lost On The Road To Eternity' is additionally enhanced by atmospheric arrangements courtesy of the Wolf Kerschek orchestra. The album ends with a song called ´King Of The World`, which is dominated by a bluesy guitar - a worthy finale to a richly coloured
album.
You don't have to be a prophet to realise that Magnum fans will love Lost On The Road To Eternity. Especially since the CD features, along with the brilliant cover artwork by Rodney Matthews, a total of four live bonus tracks (´Sacred Blood - Divine Lies`, ´Crazy Old Mothers`, ´Your Dreams Won`t Die` & ´Twelve Men Wise And Just`), recorded at Magnum's 2017 performance at the Leyendas Del Rock festival in Alicante, Spain. To cut a long story short: there's no way Magnum will get lost on the road to eternity!
Artwork by well known fantasy artist Rodney Matthews (Nazareth, Asia)
Magnum will embark on a huge UK and European tour in 2018
Massive ad campaign in all relevant January / February magazines!

Sole release by this Colombian band that surfaces briefly after the Speakers, Young Beats, Ampex and Time Machine era comes to an end. The band boasts an Italian jazz-rock drummer Roberto Fiorilli and legendary Genesis Bassist Humberto Monroy. The record consists of one theme divided into two long experimental progressive ventures (Viaje I and Viaje II) of fierce, fluid and free collective improvisation with spacey feels and a rich texture of Hammond organ, guitar, bass, tenor sax, percussion and drums that takes the listener on a trippy psychedelic krautrock-sounding out there' voyage.. First performed live at the Festival de la vida' in Bogotá in 1970 with an audience of close to ten thousand, Siglo Cero's concert was then recorded in the legendary Ingeson studio with the same musicians and same production as the live gig. This concert became a pivotal and highly influential experience for an entire generation of soon to be Colombian rockers who tuned-in to the irreverent breaking of boundaries that this music showcased. Comes with liner notes From Zodiaco co-founder Álvaro Díaz Manrique.

This fully licensed album is released in high quality heavy paste-on gatefold cover, limited to 500 copies in black vinyl

The very first recordings by the BLEU FOREST happened after they played a show at the "Hey You Coffeehouse" in Ventura, CA. Jimmie Haskell decided to have them come to Hollywood and record on the spot at his place. His intention was to capture how the band sounded live, and this is what you get in Ichiban: Two mics, the band, a recording machine, no retakes, spontaneity and raw energy, a time-capsule direct From Jimmie's place in 1967. The sound and the style reminiscent of what was happening in San Francisco around 1966/1967 is captured in these recordings. ichiban mirros the pinnacle days at Haight-Ashbury, echoes of the summer of love, "Turn on, tune in, drop out"!
Available for the first time on Vinyl through Golden Pavilion records and on CD through Gear Fab records.

limited to 400 copies in black vinyl. Comes in gatefold cover, including unseen pictures, back story and lyrics

The first single from the forthcoming Jack White 2018 full-length album on Columbia/XL.

An Edible Body, Wind Atlas' new album, marks a turning point in the band's trajectory. Their third record builds a new space for the band to experiment and play with new sounds and electronic rhythms. Strangely, An Edible Body is the band's most experimental album and at the same time the most accessible.

After a change in the band's formation at the end of the Lingua Ignota (BFE, 2015) tour, Wind Atlas take a break from performing as to discover new sounds and work on a new album. Without a bass player, the band turns to electronic music as an answer for mixing their ritual ways with new intensities and rhythms never explored by them before. If their first albums, the EP Fen Fire (BPR, 2012) and The Not Found (BPR, 2013), were essentially influenced by 4AD's eighties bands like Cocteau Twins or Dead Can Dance, with Lingua Ignota, Wind Atlas discover an array of possibilities beyond the bands initial reverb-pumped folk songs. Opening up to post-punk, primitive sounds and spiritual chants, they begin to include post-industrial hints that would later crystallize in the form of this new album, An Edible Body.

In search of this new sound, the band decide to record the album in New York with Sean Ragon, main figure of the current post-industrial scene, leader of the band Cult of Youth -whom they meet after performing together in Barcelona- and occasional guitarist of Psychic TV, seminal band of the industrial music scene: the chemistry in the studio was immediate. An Edible Body was recorded in just two weeks, one freezing month of February in 2017, at Sean Ragon's basement studio in Maspeth, Queens, New York.

The album experiments not only with new sounds but also with new forms of speech. That's why 'Desertor'opens the album, a crude and simple song, in which the voice finds itself almost alone, in the aridity of a desert, threatened by a noise in the background. Interferences interrupt the words and the voice goes out of tune due to tape manipulation.

That interference foretells what is to come, the anticipation of a new affirmation called 'Shedding Light'. The drum machine blends with the acoustic drums and metal plates, the synthesizers stand out and the voice sings ironically to a new reality, built in a more assertive and cruder way than in previous albums.

Despite the apparent distance between songs, An Edible Body sounds oddly solid. The dark ambient sound of 'Camino de la cruz' is far from 'How to Liquify' or 'Ruins', the most unabashed pop song the band has composed to date. In a way, Sean Ragons production gives unity to an eminently heterogenous album. The eastern influences of Lingua Ignota reappear in 'Herencia de Jade', with a danceable industrial beat that takes on more significance when performed live.

'En la cruz' is a techno tribute to San Juan de la Cruz and probably, one of the central tracks on the album. The new version of some of the verses from his Cántico espiritual combined with a dense rhythm that culminates in a polifony of voices affirming the existence of the force of the invisible, product of Sean Ragon's magic in the studio thanks to the sound processors used on bands like Coil or Chris and Cosey.

On the other extreme we find 'Under these Waters', a sound poem that sings to a theme present in the band's imaginary from the start: the uncanniness of water. 'Under these Waters' is a song with a strong sexual component built through hipnotic cadences and suggestive synthesizers.

'To Clarice' is a post-industrial ballad, fundamental to understand Wind Atlas' new vibe. Again, the influence of poet Leopoldo María Panero is reflected in the lyrics, which speak of a cathartic encounter. 'To Clarice' is also an offering to writer Clarice Lispector, as well as a recognition of one's body and the foreign body, its senses and its meanings.

Frío y Vacío is a band based in México City, formed in 2015 by the prolific Angel Kauff (vocals, guitar, synths, drum machine) and Jon Gil (bass, drum machine). Angel also created his more synth orientated Stockhaussen and Isotropía projects, Jon is also half of the Identik Fact project, the other half being his twin brother Jeremy Key who in turn is the guest vocalist in Frío y Vacío's song 'Autodestrucción'.What Frío y Vacío do is a reflection of their name, meaning 'Cold and Void'. They have been influenced by different music genres, from post-punk and goth rock to cold wave and synth punk, all with a classic 80s sound. The lyrics are a consequence of Kauff's personal experiences and feelings. The music, a maelstrom of fast rhythms, sharp guitars, thumping baselines, everything to create an oppressive atmosphere, charged with a high load of electrostatic power that is released in almost every song. Pure, dark energy.The first published material by Frío y Vacío was a 6-song digital only ep available from their Bandcamp site. The release was named 'Nueva Era De Comunicación'. Another song was added and the title was eventually changed to 'No Somos Máquinas'. At this point the first physical release saw the light in form of a 7-song cassette. More songs were added to the artist's Bandcamp, including two collaborations with other bands. 'Autodestrucción' was recorded with fellow Identik Fact vocalist Jeremy Key and 'Ansia' was co-written and sung by Makaria from the city of Rosario, Argentina.So 12 songs now complete the first album by Frío y Vacío, an album that we have remastered entirely from the original mixes, exclusively for our vinyl release and are glad to present on a limited, hand numbered edition of 265 copies including download code, housed in a matt finish sleeve with insert (lyrics and credits).

LP 1: FRESH CREAM Mono Album
LP 2: Session recording - mono mix, The Mono Singles and The Mono French EPs
LP 3: FRESH CREAM Stereo Album
LP 4: Session recordings - stereo mixes and new stereo mixes:
LP 5: FRESH CREAM Early versions, outtakes and alternate mixes:
LP 6: THE BBC SESSIONS (November 1966 - January 1967):

Bob Dylan and Tom Petty formed one of the most legendary live pairings of the 1980s. On this superb set, live together at the Entertainment Centre, Sydney Australia in 1986, broadcast on KSAN-FM, Petty's band, the Heartbreakers, are polished to brilliance, while Dylan's delivery is flawless on every song. Taking in a cross-section of classic material by both headliners, it's presented here in superb fidelity, and comes with background notes, images and a bonus CD.

Legendary second solo studio album by American recording artist Lou Reed.
Produced by David Bowie and arranged by Mick Ronson, the album was released in November 1972 by RCA Records. Pressed on standard black vinyl.

Coney Island Baby is a 1976 solo studio album by Lou Reed, released in January by RCA Records. The album has been described as perhaps the most romantic album of Reed's career .' Many of the album's songs were inspired by and dedicated to Reed's girlfriend and muse at the time, a trans woman named Rachel. Pressed on standard black vinyl.

Street Hassle is the eighth solo studio album by American musician Lou Reed, released in February 1978 by Arista Records. Richard Robinson and Reed produced the album. It is the first
commercially released pop album to employ binaural recording technology. Street Hassle combines live concert tapes (with overdubs) and studio recordings.
All of the songs on Street Hassle were written by Reed, including "Real Good Time Together", a track that dates back to his days as a member of the Velvet Underground.
Pressed on standard black vinyl.

The Blue Mask is the eleventh solo studio album by singer-songwriter Lou Reed. Released in 1982 near Reed's 40th birthday, and covers topics of marriage and settling down, alongside themes of violence, paranoia, and alcoholism.
Pressed on standard black vinyl.

Third solo studio album by American musician Lou Reed, released in July 1973 by RCA Records. The album is a tragic rock opera about a doomed couple, Jim and Caroline, the concept was created when producer Bob Ezrin mentioned to Lou Reed that although the stories told by Reed's songs had great beginnings - they never really had an ending. Specifically, Ezrin wanted
to know what happened to the couple from Berlin - a song from Reed's first solo album. Pressed on standard black vinyl.

Coney Island Baby is a 1976 solo studio album by Lou Reed, released in January by RCA Records. The album has been described as perhaps the most romantic album of Reed's career .' Many of the album's songs were inspired by and dedicated to Reed's girlfriend and muse at the time, a trans woman named Rachel. Pressed on standard black vinyl.

Tom Petty's greatest hits from performances in 1989 and two bonus tracks from 1986.

Tom Petty was at the peak of his career and fast becoming a cornerstone of American blue-collar rock as well as an MTV regular. Tom Petty and the Heartbreakers' 1989 Strange Behaviour tour found the band in somewhat troubled territory promoting what was Petty's acclaimed debut solo album Full Moon Fever, a collaborative effort that involved most of The Heartbreakers and ELO's Jeff Lynne. To add to the discomfort, Petty and Lynne were also cavorting to great success as the Travelling Wilburys with Roy Orbison, Bob Dylan and George Harrison.
The Heartbreakers gave an energetic and charged performance showing that the band were still very much intact and in control, teasing the crowd with a selection of their revered repertoire spanning eight albums and thirteen years of all-American appeal.
Rox Vox proudly presents Tom Petty's Greatest Hits, featuring tracks performed live at the Dean E. Smith Activity Center, Colorado on 13th September 1989, originally broadcast on WBCN-FM, providing an abundance of well-known hits to satisfy even the most hardened spectator with, Refugee, Breakdown, The Waiting, Don't Come Around Here No More, Free Fallin', an acoustic take on Even The Losers and his then current single, I Won't Back Down. This release celebrates the blistering career and life of the late Tom Petty as well as highlighting two bonus tracks performed live with the legendary Bob Dylan from 1986, All Along The Watchtower and Knockin' On Heaven's Door in 1986. It's presented here in superb fidelity and comes with background notes and images.

The ninth studio album from Calexico, The Thread That Keeps Us is a timely snapshot of the Arizona-bred band: a family portrait capturing their stylistic variety and unpredictability while still finding solace in limitless creativity. In bringing the album to life, vocalist/guitarist Joey Burns and drummer John Convertino found a spiritual home in unusual surroundings—not in Arizona, but on the Northern California coast in a home-turned-studio called the Panoramic House. Built from debris and shipyard-salvaged timber—and dubbed The Phantom Ship' by the band—the grandiose house and its edgeof-the-world-like ambience soon made their way into the songs.

The specter of California also had a powerful effect: as both dream state and nightmare, its infinite duality is mirrored in the music, giving Calexico a new direction and new edge. With less polish and more grit than ever before, The Thread That Keeps Us both honors enduring traditions and reveals Calexico's confidence in songwriting, ultimately setting a whole new standard for the band

The ninth studio album from Calexico, The Thread That Keeps Us is a timely snapshot of the Arizona-bred band: a family portrait capturing their stylistic variety and unpredictability while still finding solace in limitless creativity. In bringing the album to life, vocalist/guitarist Joey Burns and drummer John Convertino found a spiritual home in unusual surroundings—not in Arizona, but on the Northern California coast in a home-turned-studio called the Panoramic House. Built from debris and shipyard-salvaged timber—and dubbed The Phantom Ship' by the band—the grandiose house and its edgeof-the-world-like ambience soon made their way into the songs.

The specter of California also had a powerful effect: as both dream state and nightmare, its infinite duality is mirrored in the music, giving Calexico a new direction and new edge. With less polish and more grit than ever before, The Thread That Keeps Us both honors enduring traditions and reveals Calexico's confidence in songwriting, ultimately setting a whole new standard for the band

Following the resounding success of their two-volume, Yin-and-Yang song cycle Occult Architecture, the Portland psych heroes in Moon Duo return with a limited edition 12" paying tribute to two of their musical heroes — Iggy Pop and Alan Vega. Moon Duo's versions of these classic songs push them into bold new sonic territory, and show that Ripley Johnson and Sanae Yamada's expansive musical imaginations are still firing on all cylinders.

We started playing 'No Fun' after BBC6 Radio asked us to record an Iggy song for his 70th birthday. We added it to our set to work it out for the session and kept playing it every night because everyone loves that song. We worked up a version of 'Jukebox Babe' because our sound engineer Larry got it stuck in his head and was singing it all the time. We figured, we may as well play it if we're going to hear it all the time.

The Stooges and Iggy, and Suicide/Alan Vega/Martin Rev, are all huge influences on us. But we never want to do faithful covers of great songs, because what's the point So we tried to push both of the tracks in less obvious directions, incorporating other influences, like California psych and cosmic disco, giving them more of a summer vibe. We knew Sonic Boom was working outside of Lisbon, so we asked him to produce the tracks, recording them in August for maximal summer heat.'

Following the resounding success of their two-volume, Yin-and-Yang song cycle Occult Architecture, the Portland psych heroes in Moon Duo return with a limited edition 12" paying tribute to two of their musical heroes — Iggy Pop and Alan Vega. Moon Duo's versions of these classic songs push them into bold new sonic territory, and show that Ripley Johnson and Sanae Yamada's expansive musical imaginations are still firing on all cylinders.

We started playing 'No Fun' after BBC6 Radio asked us to record an Iggy song for his 70th birthday. We added it to our set to work it out for the session and kept playing it every night because everyone loves that song. We worked up a version of 'Jukebox Babe' because our sound engineer Larry got it stuck in his head and was singing it all the time. We figured, we may as well play it if we're going to hear it all the time.

The Stooges and Iggy, and Suicide/Alan Vega/Martin Rev, are all huge influences on us. But we never want to do faithful covers of great songs, because what's the point So we tried to push both of the tracks in less obvious directions, incorporating other influences, like California psych and cosmic disco, giving them more of a summer vibe. We knew Sonic Boom was working outside of Lisbon, so we asked him to produce the tracks, recording them in August for maximal summer heat.'

Our fourth release in the Document series, where we aim to highlight artists and music scenes from around the world that we've fallen in love with, but aren't necessarily already part of the Saddle Creek family, is the YMCA Pool 7-inch from Boston's Palehound.

Led by fierce vocalist and prolific creative force Ellen Kempner, Palehound formed in 2014 and has since taken their plainspoken, techniqueheavy indie rock from the basements of Boston to festivals around the world.

Kempner described the origin of the tracks found on YMCA Pool in saying, "I've had these songs laying around forever and could never really find a place for them on a record. After we toured with Bully, Alicia Bognanno offered to record some stuff for me at her house in Nashville, which seemed like a great opportunity. We spent two days hiding from the heat in her house recording... and also at Dave and Buster's. I love Alicia she is truly the best."

Channelling the feeling of youth on the fringe, Chastity focuses on the earnest connections found amongst the pent up suburban blue-collar. Living in Whitby Ontario, Brandon Williams creates music in a space of urgency, melody and chaos - an artifact of youth culture that bridges isolation and collectivity. Chastity is a protean temperament in punk, in recent history sharing the stage with Priests and Fucked Up, the project carries in the ethic of solidarity, antagonistic to the status quo.

Chains is a brief but loaded EP that takes the bull by the horns. Each track is crafted with the very mindfulness Williams finds so essential. It's a level of creative intent that has defined Chastity since the project's inception, but is perhaps most palpable to date on Chains - a progression in intensity resulting more from a rapidly changing world than the artist themself. Williams explains, when I'm drawn to write I'm either sad or I am pissed. The world has changed since writing my last release, and both the sad and pissed feelings have since increased.'

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- LIMITED EDITION OF 1000 NUMBERED COPIES ON RED COLOURED VINYL

Roll On is the second album by Australian rock band The Living End. Musically, the album marked a change from the sound of their debut album, The Living End (MOVLP1568). Roll On had a notably more polished sound as compared to the more garage-y sound of the previous album. Horn sections are featured on numerous songs, such as Uncle Harry' and Killing The Right'. Whereas the previous album had displayed punk and rockabilly influences (by artists such as Green Day and Stray Cats), Roll On showed more Australian rock influences, particularly artists of the 80s Pub Rock era. The album even garnered comparison to seminal punk band The Clash by a few critics.

Roll On is produced by Nick Launay, who also worked with artists such as Silverchair and Midnight Oil. The album's first two singles, Pictures In The Mirror' and the title track, peaked into the top 20 on the ARIA Singles Chart. Roll On' peaked at No. 33 on the Billboard Alternative Songs Chart and appeared in the top 150 of the UK Singles Chart.

The trio received US-wide coverage by playing on both Conan O'Brien's and David Letterman's late-night variety shows. The album included Carry Me Home', which appeared on the Guitar Hero II soundtrack.

Strictly limited, the first 1000 individually numbered copies are pressed on red coloured vinyl!

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD EMBOSSED GUITAR' SLEEVE
- 4 PAGE BOOKLET WITH LINER NOTES AND PHOTOS
- HIGH QUALITY PVC PROTECTIVE SLEEVE
- CAREER SPANNING SELECTION FEATURING PICTURES
OF MATCHSTICK MEN', ROLL OVER LAY DOWN (LIVE)',
DOWN DOWN', THE WANDERER', IN THE ARMY NOW'
AND MANY MORE
- NEWLY REMASTERED AUDIO FOR VINYL
- LIMITED FIRST PRESSING OF 4.000 INDIVIDUALLY
NUMBERED COPIES ON PURPLE VINYL

South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar †2016), and after several band members changes are still performing today in a revamped line-up.

In 1968 their first hit record Pictures of Matchstick Men' was released and the debut album soon followed. The subsequent years Status Quo, or simply Quo, enjoyed a multitude of hits, Mean Girl', Down Down', Rockin' All Over The World', The Wanderer', In The Army Now', Roll Over Lay Down (Live)', all climbed the charts in different countries.

During the years Status Quo developed their own signature style of heavy rhythms, a few guitar chords, straightforward, accessible lyrics and collected a huge and loyal fan base. In 2006 NME magazine named Status Quo The Most Successful UK band' as they achieved more chart hits than any other British band.

The 2 LP Collected compilation is an era spanning selection of Status Quo including the hits, 4 original mono recordings Pictures Of Matchstick Men', Ice In The Sun', I (Who Have Nothing)' by The Spectres, Almost But Not Quite There' by Traffic Jam and is newly remastered for vinyl.

This limited edition is pressed on purple vinyl, includes a 4-page booklet with liner notes and is packed in a limited gatefold embossed guitar' sleeve. Once the first pressing is sold out, the Collected album is available on black vinyl.

The Levellers decided they wanted to do something a bit different with their back catalogue to kick off celebrations for their 30th anniversary year in 2018. They brought in a string section and enlisted legendary producer John Leckie (Radiohead, The Stone Roses) to help develop new acoustic arrangements for eight of their previous singles including Liberty, Hope Street and One Way which they recorded straight to tape at the world-famous Abbey Road Studios.

They also recorded two brand new songs 'The Shame' and 'Drug Bust McGee' and the result is 10 track album 'We The Collective' which will be released on Deluxe CD and Vinyl on 09 March 2018 on the band's own On The Fiddle Recordings label. Lead singer Mark Chadwick says The different musicians, producer and the studio combined to make something really special'.

Levellers head out on a full Acoustic Tour in the Spring where they be playing the new arrangements, with guest musicians, starting at Glasgow's Celtic Connections festival. They will play at the Roundhouse in London as part of the In The Round festival as well as a number of theatres and concert halls around the country. Support on the tour comes from Ginger Wildheart on all dates except Glasgow & London. Despite only just being announced, the tickets for Preston, Milton Keynes and Winchester have already sold out.

180 gram audiophile vinyl

Gatefold sleeve with deluxe spot varnish

includes insert

Includes the hit singles "Let It Be", "Rain Down On Me", "So Glad You Made It" and "Hold On To The World"

First time on vinyl

Limited edition of 500 numbered copies on transparent blue vinyl

Kane started in The Hague in 1998, when Dinand and Dennis met each other in a beach cafe where they were both working at that time. Both had a passion for music and it did not take long before they were discovered in a small cafe where they performed for a very small audience.Throughout their career, Kane has had several number 1 hits and they received multiple awards, including TMF awards, MTV Europe music awards and 6 Edison awards.

Their critically acclaimed second album So Glad You Made It is now available on vinyl for the first time. The album originally reached the top 3 in 2001 and spawned the hit singles "Let It Be", "Rain Down On Me", "So Glad You Made It" and "Hold On To The World".

The first pressing of the 2LP-set So Glad You Made It is available on transparent blue vinyl, strictly limited to 500 individually numbered copies. The gatefold has a special spot-varnish effect.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- REMASTERED AUDIO

Good Times is the seventh album by Shocking Blue, originally released in 1974. It was released at the tail end of their career. Shocking Blue's performance of the Easybeat classic ( Good Times') is as incisive and invigorating as it is fitting as a sendoff.

The record contains six covers and six originals. Good Times was the last studio album by this great Dutch band.

The Poodles have released seven full-length studio albums and one live album over the past ten years and had discussed the possibility of doing an album featuring songs from other artists for several years. They finally decided that it was time! The title, PRISMA' is meant to reflect the difference in perspective that the band brings to the songs on the album. The decision was made early to stay away from genres close to the band's own, but other than that, any song could come into question for making the cut. In collaboration with up-and-coming producer, Dino Medanhodzic at Radionica Studios, the band came up with a slate of songs that span some 40 years of music, from the 1970s up to the 2010s! The deciding factor was the quality of the song where a strong hook and a driving riff were key ingredients. Fans of Elton John, Fleetwood Mac, Depeche Mode, Blondie, and The Swedish House Mafia are in for a treat, as The Poodles put their unique stamp on classic tracks by these and other artists! -The Poodles is one of Sweden's biggest bands in their genre -The Poodles will tour EU under 2018 2017-11-24

Tiny Moving Parts are back! Following the success of their fourth record 'Celebrate' in 2016, the trio from Benson, Minnesota bring you their brand-new record 'Swell' in January 2018! 'Swell' sees the band build on their sound from Celebrate, with the band mixing impressively complex instrumentation with infectious melody and killer hooks to create a tight, mathy post hardcore, power pop punk combination that's hard to resist. An established touring act, their eclectic sound has seen them share stages with a range of bands from Touche Amore, PUP, The Fall of Troy and LetLive through to The Wonder Years, Modern Baseball and Knuckle Puck. Their live show is frenetic, and their musical prowess is impressive - the complexity of their songs making it difficult to believe there are only three of them onstage. Swell is released 26th Jan on Big Scary Monsters/Triple Crown Records.

Waterparks are gearing up to release Entertainment - produced by Benji Madden and Courtney Ballard (All Time Low, 5 Seconds of Summer). The album serves as a follow up to their 2016 debut Double Dare which sparked their career, landing on numerous Billboard Charts including Top New Artist, where it charted for eight consecutive weeks. Since the release of Double Dare, the band has remained on the road, touring with the likes of All Time Low, Sleeping With Sirens, Mayday Parade, and The Maine - not to mention their most recent completely sold out UK tour in October 2017. With the release, Waterparks became press darlings, landing them on the covers of magazines such as Alternative Press, Kerrang and most recently Rock Sound in May 2017. Radio personalities such as Daniel P Carter & Clara Amfo have come forward as fans - premiering a song from Double Dare on BBC Radio 1 as well as flagging the track Royals as the Rockest Record In The World. With such monumental growth on their debut, great things are expected of this three-piece from Houston, TX.
The follow up to their chart topping 2016 debut Double Dare come the Benji Madden and Courtney Ballard (All Time Low, 5 Seconds of Summer) produced "Entertainment"
RIYL: Neck Deep, State Champs, With Confidence,
Lead single "Blonde" premiered by Dan P Carter on Radio 1 Rock Show + added to Kerrang Radio evening playlist + Matt Richardson's Record of the Week (Virgin Radio) w/c Nov 6th, Radio 1 Huw Stephens play Nov 7th. Kerrang magazine feature confirmed. Full UK tour + EU dates TBC Q1 2018

Southern Californian hard
-
rock legends FU MANC HU have announced plans to release their 12th studio album, Clone of the Universe , on February 9th,The upcoming record will be their first in 4 years, following the 2014 release of Gigantoid . In addition to the album news, FU MANCHU has also announced a world tour in support of the record. Dates are listed below. Clone Of The Universe marks a new chapter for the fuzz rock' pioneers as they mix the straight ahead blistering rock with the unexpected time shifts, featuring tracks like the roaring cuts Don 't Panic' and (I've Been) Hexed' and the dynamically complex Clone of the Universe' and Slower Than Light.' The centerpiece of the album is IL Mostro Atomico,' an 18 minute 8 second, side long epic featuring a special guest performance by Alex Lifeson, guitarist and songwriter of the legendary band RUSH. Heavier than anything they've ever done and broken into 4 distinct sections, it's new ground for a band that's been pushing the boundaries of fuzz and wah'
since its formation in 1990.The band will be playing 2 album release shows in Southern California before hitting the road in Europe in March of 2018 and returning to the US in May of 2018. Additional 2018 shows will be announced in the coming months. We are excited to get out and play this stuff, especially Il Mostro Atomico,' says founding guitarist, Scott Hill. We think it's some the strongest music we've ever done. We really love the overall sound of the album and having Alex (Lifeson) play on it is just incredible.
It gives it that special vali dation for the idea that we had to try something like a side long song.' The album was recorded and produced by FU MANCHU and Jim Monroe at The Racket Room in Santa Ana, CA with additional recording by Andrew Giacumakis at SUSSTUDIO in Simi Valley CA and will be released worldwide for streaming and on vinyl and CD on the band's own AT THE DOJO RECORDS. FU MANCHU is Scott Hill (vocals, guitar) Bob Balch(Guitars), Brad Davis (Bass) and Scott Reeder (Drums and Percussion).

Leeds-based post-metal six-piece Hundred Year Old Man follow up their stunning debut single Black Fire with Rei, a three track EP, released via Gizeh Records and Wolves & Vibrancy on January 26th.

Pushing even further into the abyss, this new work opens with Sun & Moon and a monstrous slab of heaving guitars fall out of the atmospheric beginnings. Paul Broughton's vocal erupts and the track explodes into life, destroying everything in its path until the shadows return to close, leading the way into an interlude that corrodes and drifts before joining these two monolithic pieces together. The title track demonstrates the staggering ambition that Hundred Year Old Man posses. Ripping into a cathartic sludge reminiscent of Neurosis at their best, it's a towering, immersive, nine minute journey that refuses to loosen its grip until the dying moments.
Rei is released as a limited 12' vinyl with an etched b-side in an edition of 300. With a debut album due for release in 2018, this EP is the perfect offering to stoke the fires for a full-length whilst comfortably holding its own as a stand-alone piece of work.

2 tracks from the post-MA sessions. More music for blind observers.. Limited stamped 10"

(en) The record will be released in a limited edition of 500 numbered copies. For each 100 copies the silk-screen printed cover will change its colour.
F.S.K. (Freiwillige Selbstkontrolle) is an art school band from Munich that formed in 1980 in the editorial office of the underground magazine Mode & Verzweiflung and issued disturbing slogans of a new dissidence like: Wir sagen Ja zur modernen Welt (we say yes to the modern world) and Heute Disco, morgen Umsturz, u¨bermorgen Landpartie (disco today, coup tomorrow, a country outing the day after). The Italian Futurists' idea to flood Venice was joyfully appealing to them so they made the serious demand to convert theaters into parking garages (Theater zu Parkha¨usern). The futuristic development of so- called noisemakers (a productive modification of the sounds of industrialized cities as well as the completely new war machines of World War I) carried a key moment of deviant pop music into its emerging discourse: clipping, distortion, Bring the Noise.
The hedonistic partisanship of the band F.S.K. particularly affected its eclectic zigzags (from post punk to rhythm & blues, country & western to techno soul) and morphed into yet another new, postmodern shape in the 1980s in England (where John Peel was a prominent promoter of F.S.K.) and in the 1990s in the US, where their music faced the transatlantic feedback of the songs of American occupying forces. Back in Germany their music took on more abstract forms that were described as Cubist with the last album Akt, eine Treppe hinabsteigend (nude descending a staircase): aesthetic lines that move from Luigi Russolo and Iannis Xenakis, Sun Ra and Larry Heard to the glitches of the latest bass music. In the traditional lineup of a rock and roll band, today F.S.K. musically executes all of these threads.
Their piece Ein Haufen Scheiß und ein zertru¨mmertes Klavier (a pile of crap and a shattered piano) developed for Berlin's Haus der Kulturen der Welt (HKW) explores productive axes between destruction and deconstruction (paying tribute to Luigi Russolo).
(de) Die Schallplatte wird in einer limitierten Auflage von 500 nummerierten Exemplaren veröffentlicht. Die Farben des im Siebdruckverfahren hergestellten Covers wechseln alle 100 Exemplare ihre Farbe.
F.S.K. (Freiwillige Selbstkontrolle) ist eine Art School Band aus München, die 1980 in der Redaktion des Underground Magazins Mode & Verzweiflung zusammenkam und verstörende Losungen einer neuen Dissidenz ausgab wie: Wir sagen Ja zur modernen Welt, oder: Heute Disco, morgen Umsturz, übermorgen Landpartie. Die Idee der italienischen Futuristen, Venedig zu fluten, fand bei ihnen fröhlichen Anklang. Und also erhoben sie die seriöse Forderung, Theater zu Parkhäusern umzuwandeln. Die futuristische Entwicklung sogenannter Lärmtöner (in produktiver Abwandlung der Geräusche der industrialisierten Großstädte, aber auch der völlig neuartigen Kriegsmaschinen des Ersten Weltkriegs) trug ein zentrales Moment der abweichenden Popmusik in deren aufkommenden Diskurs: die Übersteuerung, die Verzerrung, Bring the Noise.
Das hedonistische Partisanentum der Band F.S.K. wirkte sich besonders in ihrem eklektischen Hakenschlagen aus (Postpunk to Rhythm & Blues, Country & Western to Techno Soul) und fand in den 1980er Jahren in England ... sowie in den 1990ern in den USA, wo ihre Musik im transatlantischen Feedback der G.I. Songs US-amerikanischer Besatzungssoldaten stand, zu einer abermals neuen, postmodernen Fasson.
Zurück in Deutschland, nahm ihre Musik abstraktere Formen an, die sich mit dem aktuellen Album Akt, eine Treppe hinabsteigend, als kubistisch bezeichnen ließen: Ästhetische Linien, die über Luigi Russolo und Iannis Xenakis, Sun Ra und Larry Heard zu den Glitches aktueller Bass Music führen. In der klassischen Besetzung einer Rock and Roll Band setzen F.S.K. heute all diese Threads musikalisch um.
Die Band besteht nach wie vor aus den vier Gründungsmitgliedern Justin Hoffmann, Thomas Meinecke, Michaela Melián und Wilfried Petzi, Carl Oesterhelt kam 1991 dazu.
Ihr für das Haus der Kulturen der Welt entwickeltes Stück Ein Haufen Scheiß und ein zertrümmertes Klavier lotet dabei (in einer Hommage an Luigi Russolo) produktive Scharniere zwischen Destruktion und Dekonstruktion aus.

With their unique mix of experimental rock, drony post-folk and deep, dark blues, Flying Horseman is an ongoing, growing sensation.


The band's new album, 'Rooms / Ruins', is a collection of eleven devastating songs from a highly intriguing and beguiling band.


Since the band's formation in 2010, the Antwerp based quintet have developed a rich, organic sound that is truly their own. The rich interaction of deep souled vocals, incisive lyrics, hypnotic bass, obscure guitars, floaty synths and tribal drums create a melancholic atmosphere that grabs the listener by the throat. Musically, they are situated somewhere between the dark princes Mark Lanegan and Nick Cave, with outbursts of lyricism and tribalism and always keen to experiment.


Fronted by the multi-talented Bert Dockx, 'Rooms / Ruins' is the result of a seven-week residency at deSingel, Flanders' chief venue for the arts. The run ended with an incredible live performance which was followed by seven more shows across Belgium and the Netherlands before the band went into the studio to record the material that would eventually become the band's new album.


Across 'Rooms / Ruins', Flying Horseman convey an emotional depth and soul-lacerating atmosphere that characterises the band's sound. It is a whimsical, vibrant and at times a strange affair that will send you inwards before catapulting you into omission. It is focused and purposeful, as much as it is dreamy and ambivalent. Is it a reflection of an intangible reality or a society gone astray, or a break-up album with apocalyptic dimensions


Tracks like new single 'Reverie', a decidedly minimalist number, reveal a calm surface with a vibrating darkness that lurks beneath while 'Deep Earth' is hypnotising folk noir that is both urgent and uncompromising.


In recent years, the band have honed their sound, introducing new textures and sound through analogue electronica and sequencers, highlighted on tracks such as 'Stars' that blend hypnotic soundscapes with tender female backing vocals, but it's tracks like 'Bright Light', an all-out rock assault, that suggest a band at their most devastating.