Pop & Rock Novedades

The critically acclaimed third album originally released in 1975 on the german label Brain, in the UK on United Artists Records and in the USA on Capitol. This is the re-mastered CD edition with a great 16-page poster booklet and the LP in black vinyl and in a gatefold sleeve. A co-production by Neu! and Konrad Plank aka Conny Plank.

Brian Eno:
"There were three great beats in the 70s: Fela Kuti's Afrobeat, James Brown's Funk and Klaus Dinger's Neu!-beat.

Neu! '86 presents recordings which Klaus Dinger and Michael Rother originally recorded in 1985/86, but were left unfinished back then and which were reworked by Michael Rother from the original master and multi-track tapes from July until December 2009. This is the offical CD edition with a 8-page poster booklet including rare photos and the LP in yellow vinyl featuring the original artwork front cover by Klaus Dinger.

Slashing, pummeling, deadpan yelling, and other sonic tortures left by the noise punk guerrillas who later became
A FRAMES
"TAPE2" is a collection of previously unreleased studio recordings and practice space blastings from 1998-99.

South Seattle in the mid-1990s was an industrial wasteland. On Airport Way, there was a large "diesel" sign with the last three letters burned out, leaving giant 10 feet tall red letters that said "DIE". This was the birthing grounds of Bend Sinister, a crucial step in the evolution of A FRAMES and INTELLIGENCE.

Erin Sullivan (guitar/vocals), Min Yee (bass), and Josh Turgeon (guitar) had previously tried out the names Impatiens and The Bends, playing their brand of obsessive, noise-drenched punk in some of Seattle's most notorious dive bars and clubs. In 1997, they joined up with drummer Steve Kaplan and mutated into BEND SINISTER, after a song by The Fall, a key influence.

Bonded by a love of black humor and scuzzy, dirgy, hypnotic, aggressive, punk, garage, and noise, Bend Sinister drew from a range of musical influences: The Scientists, The Fall, Stick Men With Ray Guns, Cows, Touch & Go, Halo of Flies, Pussy Galore, Scratch Acid, feedtime, X (Australia), Country Teasers, Electric Eels, The Who, The Damned, Crime, and obscure 60's garage.

They performed as a four piece for their first few shows, but then Josh left the band after a year and Bend Sinister was a trio for the next few years. Steve moved to LA after the first tour and was replaced by Lars Finberg.
When Josh returned toward the end of 1998, the band began to experiment with modes of all-out noise assaults ("Antibody"), and hyper charged punk adrenaline ("Radiation").

During this era, Bend Sinister earned a reputation as an insanely loud live band even by the standards of the Seattle punk scene. A couple gigs ended abruptly when club owners shut off the electricity and booted them from the venue.

Eventually, Josh left the band at the end of their second tour in 1999. Erin, Min and Lars changed the band name to A FRAMES and began focusing on a specific strain of art damaged punk that defined their sound over the next decade.

The only official recordings Bend Sinister left behind were two 7' singles (Spork Records, Vague Vinyl) and a self-released CD-R. For the first time, "Tape 2" presents this era of Bend Sinister - the last year before the name change, with Lars on drums, and some tracks are the 4-piece with Josh on guitar, some as just the trio.

In the spring of 1962, folk music manager Albert Grossman began to take an active interest in Dylan. He proposed that Dylan sign with the prestigious publisher M. Witmark & Sons. Dylan signed a contract with Witmark on July 12 and immediately recorded a demo of what would become his breakthrough song, "Blowin' in the Wind". Four months passed before Dylan returned to record another song, "Ye Playboys and Playgirls", but the next month, in December, he showed up with many new compositions, including three that would become classics of his, "A Hard Rain's a-Gonna Fall", "Ballad of Hollis Brown", and "Tomorrow Is a Long Time". All of Dylan's 1962 demos for Witmark are reproduced here on Wax Love.

The new Carlton Melton album Mind Minerals' will be released on February 2nd 2018.
This will be their first full length release since 2015's widely lauded Out To Sea' double opus, itself a languid drifting of drones and psychedically enhanced riffmongering. Sure, there's been some long EP releases since.. Hidden Lights in 2017 (featuring the immeasurable drone sike float on Rememory') and Aground in 2016 (a companion, the Desert Island weather beaten psych-flow follow up to Out To Sea), now its time to soak up.. Mind Minerals.
Mind Minerals finds Carlton Melton in fine fettle, all the songs were recorded and engineered at El Studio in San Francisco by Phil Manley on September 3rd and 4th 2016 (except 'untimely' - recorded at the Dome by Brian McDougall), the studio setting suits them -- a logical progression from a weekend's recording out at the Dome.
Under Manley's watchful ear/eye, Carlton Melton have created a futurescape soundtrack.., a 3001 Space Odyssey'. The drums are more pounding and direct than before, the constantly re-assuring bass creates a helping hand to propel you through the clouds of static and shards of electrifying guitar dazzling your horizon. Synths help soothe the sharp edges and lull you into some out of body experience whilst and orchestrated calamitous scree pulls you back.... This is a breathless, yet deep breathing album. It demands full immersion..

Searing guitar piercing the drone with relentless power, the core trio of Carlton Melton, Andy Duvall (drums/guitar), Clint Golden (bass guitar), and Rich Millman ( guitar/synth), have some alchemical bond that's helped them create a post -rock / psychedelic / freeform organic slab of American Primitivism / space drift , this is unashamed head-music from the melting pot of Northern California.. 5 decades ago this album would have been released on the ESP Disk Label or even Apple.. there would have been no helter skelter if the desert Hippies had locked onto these vibes, plug in, turn on, tune out..float free.. Carlton Melton can provide your own aural microdose to reset your Mind / Psyche!!

Choir Boy' was what the kids called singer/songwriter Adam Klopp in his early teens when he fronted punk cover bands in Cleveland, Ohio. An intended insult, the label seemed fair and fitting in a way, given Klopp's religious upbringing and angelic voice. After high school, Adam left Ohio for college in Utah. While his career as a student would prove short-lived, he integrated into Provo and SLC's underground music and art scene, left religion behind, and called his new band Choir Boy'.

It seemed funny to me as sort of a comical reclamation of the mocking title I received from punk' peers as a teen. While serving as a weird reflection of my childhood and musical heritage.'

Since Choir Boy's gorgeous debut LP on Team Love records in 2016, the dream-pop outfit has gained a cult following online and in underground circles. Adam's stunning vocal range, layered compositions, and heartbreaking melodies are backed by musical partner Chazz Costello on bass (Fossil Arms, Sculpture Club, Human Leather) - and along with a rotating cast of players, create the perfect blend of nostalgia-laced romantic pop music we've been waiting years to hear.

Dais is proud to announce the new single Sunday Light' b/w Madeline'. The new songs are a continuation of the strong compositions and songwriting evident on last year's album, and a showcase of Choir Boy's musical talent.

Sunday Light' is a coming of age story, and touches on the frightening aspects of religion, ritual, and secrecy through the eyes of someone discovering the truth behind the door for the first time. Strong vocals soar throughout the composition, reaching dizzying heights and diving into low and commanding tones, backed with strings and reverbed keys - it makes for majestic, but haunted nostalgia.

Madeline' is the quintessential B-side heartbreaker - ...a pessimistic commentary to an accumulative experience with love and romance. Ranging from memories of young love to hopelessness in adult relationships', this ballad impresses with beautiful and delicate arrangements, the slow motion soundtrack for a hopeless young romance.

Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English.
Luis Pérez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of pre-Columbian instrumentation.
This research that allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico. He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old. He continuously utilises these instruments in performances, concerts, lectures, exhibitions and recordings, in a sense, keeping them alive.
Following a decade playing in Mexico City's psychedelic rock scene, his early solo work was a mixture of sounds derived from his vast array of pre-Hispanic and ethnographic wind and percussions which he managed to blend with electronic devices including tape delay units, electric guitars and synthesisers. During this time, he was given the name 'Ixoneztli' (or one who makes music') by the legendary 'curandera' Pachita and her son Enrique, to whom, like Alejandro Jodorowsky before him, Luis served as assistant.

In 1981, the Mexican government became very interested Pérez work and sponsored the production of what became the first recording of the fusion of native mexican instruments with electronics - entitled 'Ipan In Xiktli Metztli,' in the Nahuatl language, or 'En el Ombligo de la Luna' in Spanish... 'In the Navel
of the Moon.' The impact of this recording and subsequent performances among media, ethnomusicologists and audiences alike established Luis Perez 'Ixoneztli' as a precursor to a new musical genre followed by a generation of young Mexican
musicians - Ethno-Rock, Ethno-Jazz, Ethno-Experimental and the like. 'El Ombligo de la Luna' reaches us from deep in the past but it also exists entirely outside of time, as Luis Pérez 'Ixoneztli''s offering to the world - the soul of Mexico channeled through the hands of a master musician.

Rock'n'roll was born in the Sun Studios in Memphis, Tennessee, then it's arguable it came of age on the street corners of New York's Bronx district where city kids like Dion DiMucci belted out songs with only their bandmates' voices for company. The influence Dion had on the Beatles and many others was recognised in 1989 when he was inducted into the Rock and Roll Hall of Fame. Those early songs (an amazing 18 Hot 100 hits in three years) ensured he could always make a living on the oldies circuit, but he continued to attempt to reinvent himself. Despite his reign as a chart-topping star may have been brief, but the influence of the doo-wop music contained on this LP was incalculable: listen, marvel and enjoy.

This is a THIRTEEN MINUTE track split over two sides and as such will be our VERY FIRST 10" SINGLE and the first time we have deviated from our 7" single format.

Starting out as a bedroom project for Swedish musician Hannes Ferm, HOLY released his debut Stabs' in 2015. Whilst that record was a thrilling mix of 60s garage rock and lo-fi pop - drawing comparisons to the work of White Fence and Deerhunter- The long-awaited second LP, "All These Worlds Are Yours", sees a much bigger production all around. For All These Worlds Are Yours, Ferm spent almost a year in Stockholm's Studio Cobra, putting much more focus on Ferm's songwriting and building creative soundscapes. Musically, All These Worlds... bursts with the youthful joy of listening to David Bowies The Rise and Fall of Ziggy Stardust and the Spiders from Mars or Todd Rundgrens A Wizard, a True Star for the first time. Underneath the layers of piano flourishes and psychedelic swirls, All These Worlds... is unmistakably and unashamedly inspired by the great glam-rock records. Taken as a whole, its a romanticised painting of the early 70s - full of Rocky Horror Picture Show swagger and Brian Eno-esque art pop. Its freaky, its theatrical, its alien - but above all
us, its decidedly human.

From high in the Rocky Mountains, Last of the Easy riders descend with Unto the Earth, its new psych-infused country-rock long-player.

Like the Denver-based band's debut, a 2016 self-titled EP, the new full-length will be issued in January 2018 by Agitated Records on vinyl, CD and digital.

While the Easy Riders' first outing exhibited the band's kaleidoscope of trippy guitar sounds and production techniques, Unto the Earth unveils the band's earnest songwriting chops and knack for genuine Bakersfield-Sound country. Though, the guys certainly didn't abandon its lysergic-leanings, especially on the mind-warping title track - which also serves as the lead single.

With no shortage of jangly guitars, piano and pedal steel, the LP no doubt echoes Clarence White-era Byrds, but it doesn't stray far from the band's Southwestern-rock 'n' roll roots. The early-'70s AM rock sounds of Free Wheelin',' the opening track, reverberates the band's nomadic lyrical tendencies, while promptly setting up the sonic road trip Unto the Earth delivers. Turn the Tide,' which closes Side A, melds brilliantly modest Tom Petty-esque guitar riffing with the Easy Riders' signature vocal harmonies - which soar across both sides of the wax.

Being the first full-length for the band, the members - whom all share songwriting credits - were able to stretch out and laydown some lengthy and tastefully-stacked arrangements. From the fiery doors-esque jamming on Woodland Echoes' to the ominous western guitar lines of Shadow Cruiser,' numerous moods freely wander across the nine-song track list.

Almost all the lyrics are intended to paint vivid picture, and give listeners a sense of place,' says the band's co-founder Christopher Minarik (guitar/backing vocals). Certain songs and lyrics really lay it on the line and say exactly how the songwriter felt, or what they were going through. It's the most personal and honest songwriting I've ever done.'

Rounding out the lineup heard on the LP is bassist/vocalist Dan Duggan, guitarist Bradley Grear and drummer Mitch Mitchum. Unto the Earth was recorded in March 2017 in Lansing, Michigan by producer/songwriter George Szegedy - who also offered up his own song for the disc, the twangy-and-wistful It Won't Be Long' After five months of mixing and fine-tuning, the Last of the Easy Riders were ready to deliver the record.

In support of the album, the band's 2018 live shows will feature new bassist Gann Matthews and Hamilton Belk, who played pedal steel on the album.

Punk Slime Recordings are proud to present ShitKid and This Is It, which will be arriving on January 19 on limited edition vinyl and digitally. ShitKid is the project of Swedish artist Åsa Söderqvist, and This Is It is the follow-up to her acclaimed debut LP Fish which arrived earlier this year to praise from the likes of NPR, Noisey, i-D, The FADER, Bandcamp and many more. ShitKid first appeared in the spring of 2016 with a self-titled debut EP and quickly rose to prominence as one of the most exciting new acts out of Scandinavia, with a unique DIY-edge and an unwillingness
to conform to what an artist is supposed to be she's been hailed as an anti-pop star and an antidote to slick radio pop.
After the success of the debut album and multiple tours around Europe, and slots at festivals like Roskilde, Way Out West, The Great Escape, ShitKid is now back with new music - her fourth collection of tracks in under two years. This Is It is ShitKid's strongest collection of tracks to date, while showcasing both a broader sound and a growth in songwriting, it retains the direct lo-fi qualities of her early recordings.

A little crunchy, slightly distorted, extremely wild, and just perfect!

Recorded at the legendary Boston Tea Party in 1969, The Remains rip through an absolute killer of a set list, featuring road tested covers of Hang On Sloopy,' Johnny B. Goode,' and their crowd-pleasing original Why Do I Cry.' Captured two and a half years after they broke up, the four original members of The Remains are in perfect form here for a one-night-only performance that was only rumored to exist- until now. From the recently discovered tapes, to pristine R.T.I. pressed vinyl!

There's Nothing else in The Remains world as wild as this one. We were on fire...on the brink...' - Barry Tashian (The Remains)

Limited Edition Yellow Vinyl

Have You ever seen this It's one of the rarest rock & roll records ever made!

"Calm Before... remains one of the finest and most important LPs by a US '60s group, never mind one that was still attending high school when it was released on the privately-pressed Remnant label. From a cache of moody ballads to highly-charged, all-out flashing teen rock, everything here is broodingly and sensationally played out, including highly-personalised covers of Love's 'Message To Pretty', 'In The Midnight Hour' and The Remains' gold-plated nugget 'Don't Look Back'. The album's mix of deep beat-pop introspection and thoroughly intense modern R&B-instigated rock remains unique among most of their peers' long-play outings, and thus played a big part in the inordinately strong pull the group would have on many young '60s-fixated longhairs in the '80s and '90s.' - Shindig Magazine


This deluxe limited edition, original mono issue of an unfathomably rare garage LP, is accurately mastered, pressed on colored vinyl and packaged with a poster in a gatefold jacket, with unseen photos from the band's personal archive!

Limited Edition Spinach Green Vinyl


The prototype of the Bosstown Sound!

Considered among the all-time classic psychedelic recordings, this '68 self titled debut is unearthed in its unfathomably rare mono form!

The unique blend of psych, jazz, rock, Gregorian vocals and Baroque instrumentation sets Ultimate Spinach apart from anything released at the time. It includes the now famous (Ballad of the) Hip Death Goddess,' an 8:12 classic featuring the eerie, haunting vocals of Barbara Hudson, an oft covered staple of the genre.

It was legendary record producer Alan Lorber that came up with the concept of The Bosstown Sound' — "The Sound Heard 'Round The World" to market and promote the best and brightest of the Bean Town sixties psychedelic scene. (Boston's key groups at the time included Orpheus, Beacon Street Union, Ultimate Spinach, Chamaeleon Church and others). Ultimate Spinach, arguably the finest of them all, produced magnificent examples of surreal psychedelic record-making, now prized by crate-diggers and outsider music fans alike.

Mojo listed this album among the top 42 psych albums of all time, saying, Leaders of the Boston psychedelic surge, Ultimate Spinach were re-crystallized from the not-quite-so hippy dippy Underground Cinema around multi-instrumentalist Ian Bruce-Douglas and singer Barbara Hudson. On their debut album they viewed the Renaissance musical landscape through rose-tinted spectacles and came up with elaborate suites like '(Ballad of the) Hip Death Goddess with its theremin solo and the folk bluesy 'Ego Trip,' all bolstered by Hudson's ethereal vocals."

'Last', the third LP by krautrock legends Agitation Free, was originally released in 1976 on Barclay in France as a posthumous LP that included tracks from '73 and '74. Agitation Free had been formed in 1967 by Lutz 'Lüül' Ülrich, Michael 'Fame' Günther, Lutz 'Ludwig' Kramer and Christoph Franke. They soon gained the residency as the house band on Berlin's Zodiac Club with their impressive multimedia stage show. By 1973 they had already released two LPs and suffered several line-up changes and the members of the band that recorded 'Last' included Michael Günther on bass, Burghard Rausch on drums, plus Jörg Schwenke and Lutz Ulbrich on guitars, plus friends - Erhard Grosskopf on loops, Michael Hoenig on sinthesizer, a.o. Although the album was first released in 1976, side one was recorded live in France in March 1973 and side two live in the studio in Berlin, February 1974. But don't be fooled by this, the whole LP sounds as a proper studio recording, no intrusive audience noises, perfect mix, outstanding audio quality.

Fans of Can, Guru Guru, Faust or Tangerine Dream will enjoy the sound of Agitation Free, where all elements of acid guitar krautrock mix to perfection with experimental sounds, kosmische atmospheres and tape looping.

The Wah Wah reissue respects the original artwork, features an insert with photos and liner notes and comes in a strictly limited edition of 500 copies only.

After the anthemic albums Something's Gotta Give', Riot, Riot, Upstart' and Dead Yuppies' you could (more or less) say that AGNOSTIC FRONT returned with a blast through the album that followed, ANOTHER VOICE'! Originally released by Nuclear Blast Records in 2004, the New York hardcore legends created furious, no holds barred, metallic-influenced mayhem, produced by Hatebreed's Jamey Jasta. Due to it's producer, who also provided some guest vocals on 'Another Voice' (as did Karl Buechner of Earth Crisis and Scott Vogel of Terror), the album leaned a bit to the 'metalcore' side of things, but it's still 100% Agnostic Front through and through!

Reissued under exclusive license from Nuclear Blast, this pressing is strictly limited to 500 copies on white vinyl and is housed in a gatefold sleeve.

Prior to AGNOSTIC FRONT's latest album The American Dream Died', the NYHC legends released MY LIFE MY WAY'. Originally released by Nuclear Blast Records in 2011, and already reissued by us in 2015, one of the band's most recent records is ready for another round, again on STRENGTH RECORDS! Both the original pressing and our reissue sold out in a heartbeat and with just another 500 copies being pressed, it will bound to sell out fast once again in 2017!

Reissued under exclusive license from Nuclear Blast, this pressing is strictly limited to 500 copies on beer-colored vinyl and is housed in a gatefold sleeve.

12 track compilation of UK & Irish progressive and psych gems from the early 70s. Featuring magnificent Cheltenham based Tapestry, Irish legends Ceathrar, Sandgate, Foister featuring a young Mark Fry of 'Dreaming with Alice' fame, bizarre psych outfit Guggenheim, Witches Brew, a rare Gnidrolog offering plus an ultra rare cut by Listen winners of a 1972 Melody Maker folk-rock contest.

Limited to just 300 individually numbered copies on heavy vinyl accompanied by detailed info on each band.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDES 5 BONUS LIVE TRACKS
- 15TH ANNIVERSARY EDITION
- LIMITED PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON BLUE & GOLD MIXED VINYL

Welcome to the sound and poetry of recovery and redemption. On Beth Hart's third album Leave The Light On, she has taken her already lean, rootsy approach to writing, scaled it back to what is essential in a song, then poured the very grain of her being into each performance. Leave the Light On is filled with songs that take no prisoners, such as Bottle of Jesus' or Broken & Ugly', with fierce melodies and burning guitar crunchiness.

This exclusive expanded vinyl edition includes no less than 5 bonus tracks (Side 1, including a duet with Barry Hay recorded in Holland) + 5 bonus live tracks (Side 4, of which 4 tracks recorded in Amsterdam). No matter what happens, this album will always sound necessary and is a vital example of classic rock.

Celebrating the 15th Anniversary of the album, 1.500 individually numbered copies are pressed on Blue & Gold mixed vinyl! Strictly limited!

Brass Hearse will be available on limited edition single sided black vinyl, with screen printed image on the B side. Download card is included with 2 extra bonus tracks. Limited to only 250 worldwide.

The goth soaked electronic rock of Brass Hearse's debut album is here to take over your dark souls and have a ball!
They are black chrome'

BRASS HEARSE is made up of WOLFMEN OF MARS (L Liberty, J Clapp, N Merryweather) and the vocalist from ICE DRAGON

When the band formed in 1966, Eric Clapton was already fairly well known by this time, having already performed and recorded with the Yardbirds and John Mayall's Bluesbreakers. But it wasn't until Cream that Clapton became a global superstar. Breaking free of the traditional rock & roll song for a more improvisational/jazz-influenced take, the band's long jams gave birth to a whole new approach to rock music. When their debut album Fresh Cream was released in 1966, it immediately became the standard by which all other bands of the era were judged. Includes 5 bonus tracks. 180 gram virgin vinyl.

Brand new studio recordings by hard-hitting 70s legends Hackensack.

'The Final Shunt' at last reunites founder members Nicky Moore on vocals with long serving bassist Stu Mills. Nicky's son Timmy serves up some scorching lead guitar work whilst Ed Collins nails a rock solid drum beat. Devastatingly heavy at times, relentlessly intense and infused energetically throughout with Nicky's unmistakably tigerish vocals.

A dozen songs that encapsulate Hackensack's vital and direct approach to bluesy, hard-rockin' music something they were renowned for in the 70s. Raunchy new renditions of 'old classics' 'Rock & Roll Woman', 'River Boat' and 'The Hustler' sit alongside the hard-riffing 'Front Page News' from Nicky's Samson days and the catchy 'Play Dirty', a newer, previously unreleased song.

The cornerstone of this new album is, without doubt, the inclusion of original bassist Stu Mills who provides a pulverising foundation for each song something sadly lacking on 'Up The Hardway'.

This is pure Hackensack music as it should be heard and will appeal to lovers of 70s bands like Free, Groundhogs and Bad Company.

300 individually numbered copies only

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE

In 1967, The Idle Race were the first major signing by the new British arm of Liberty Records. The group were well received by the music press for their melodies, whimsical lyrics, and inventive production. They often appeared on the same bill with such bands as The Spencer Davis Group, The Who, Small Faces, Pink Floyd, The Moody Blues, Status Quo, Tyrannosaurus Rex, Yes, Free, and The Move.

Influential BBC disc jockeys such as John Peel and Kenny Everett were big boosters of the group. But despite critical respect and famous admirers such as The Beatles and Marc Bolan, The Idle Race (fronted by Jeff Lynne of Electric Light Orchestra fame) failed to catch fire with the public.

Coming out of the boiling Munich scene of the sixties that also gave us the original Amon Düül (Thom Argauer had played in a dixieland band with Chris Karrer in the late 60s, actually), Siloah are one of the best kept secrets of the krautrock production. In 1972 Siloah had suffered a certain number of changes. Thom Argauer was still leading the project, but since his coleagues had left the farm in which they were all leaving he had to start again with new members Markus Krug and Florian Laber. He also looked for a more electric approach, himself moving from acoustic guitar to electric organ.

'Sukram Gurk' was the title chosen for their second LP. It was the name of Markus Krug spelled backwards. Markus' name was chosen because it was the one that sounded better phonetically to the ears of the trio. The sound of the album takes it all one step further, turning into an electric storm, yet retaining the free psychedelic improvisation feel of its predecessor.

The Wah Wah reissue is made in cooperation with Thom Argauer family, it has been cut from the original master tapes, has one bonus track not on the original LP added, features an insert with photos and liner notes and comes in a strictly limited edition of 500 copies only.


· ANALOGUE LACQUER CUT DIRECT FROM THE ORIGINAL MASTER TAPES

· ONE BONUS TRACK

· FAITHFUL REPRODUCTION OF THE ORIGINAL GLOSSY LAMINATED SLEEVE AND ORIGINAL ARTWORK

· INSERT WITH PHOTOS AND LINER NOTES

· 500 COPIES ONLY!

Live in Sweden 1991. Limited to 300 copies, no repress!

Four decades after they formed - in the white-hot summer of 1977 - The Skids are back. The post-punk pioneers, currently on a hugely successful comeback tour, will release their fifth album 'Burning Cities' on the 12th of January 2018.

'Burning Cities', produced by Verve & Primal Scream studio legend Youth, re-unites founder members Richard Jobson (vocals) and Bill Simpson (bass) with Mike Baillie (drums). Stepping in for the late Stuart Adamson is his long-time Big Country band mate Bruce Watson. Additional guitar duties are provided by Jamie Watson.

I'm incredibly excited about this album. This music is at the heart of everything our band is about: truth, revolution, loud guitars and a refusal to keep quiet as the establishment tries to smother chances for anyone other than its own.' - Richard Jobson

The new album release coincides with the fortieth anniversary of the first-ever Skids record, the 'No Bad' EP, which introduced the Scottish post-punk pioneers to a whole new audience courtesy of one of their biggest fans, Radio 1's legendary new music champion John Peel.

The Skids signed to Virgin Records in May 1978 and that same month the band recorded a session for John Peel that included songs such as 'The Saints Are Coming', 'Of One Skin' and 'Contusion' and set out an innovative template for the post-punk era. We were fearless in the beginning,' recalls Jobson, who was still just seventeen years old when The Skids recorded their first Top Of The Pops appearance for their Virgin debut Sweet Suburbia'

Released in February 1979 the band's debut album 'Scared To Dance' was a masterpiece of brooding atmospheres and anthemic lung-busting moments such as the irresistible 'Into The Valley', which gave the band their first Top 10 hit.

After a second Top 20 hit, with 'Masquerade', original drummer Tam Kellichan left and was replaced by Rich Kids / Visage sticks man Rusty Egan in time for the follow-up album 'Days In Europa' released just eight months later in October 1979. Recorded with avant-garde innovator Bill Nelson, it expanded the band's guitar-driven sound to embrace keyboards and synthesisers, spawning two further Top 40 hits 'Charade' and 'Working For The Yankee Dollar'.

Mike Baillie took over on drums for the third Skids album 'The Absolute Game' - which combined the best aspects of both their previous albums, particularly on singles such as 'Circus Games' and the brilliantly inventive 'Goodbye Civilian'. Though Adamson left to form Big Country during the initial recording sessions, the band managed one more album, 'Joy' (which itself included superb singles such as 'Fields' and 'Iona'), before dissolving.

While Adamson went on to million-selling success with Big Country, Jobson formed the much under-rated Armoury Show with John McGeoch before going on to become a hugely successful independent movie director with acclaimed cinema releases such as 16 Years Of Alcohol, The Purifiers and Wayland's Song.

Four decades after they formed - in the white-hot summer of 1977 - The Skids are back. The post-punk pioneers, currently on a hugely successful comeback tour, will release their fifth album 'Burning Cities' on the 12th of January 2018.

'Burning Cities', produced by Verve & Primal Scream studio legend Youth, re-unites founder members Richard Jobson (vocals) and Bill Simpson (bass) with Mike Baillie (drums). Stepping in for the late Stuart Adamson is his long-time Big Country band mate Bruce Watson. Additional guitar duties are provided by Jamie Watson.

I'm incredibly excited about this album. This music is at the heart of everything our band is about: truth, revolution, loud guitars and a refusal to keep quiet as the establishment tries to smother chances for anyone other than its own.' - Richard Jobson

The new album release coincides with the fortieth anniversary of the first-ever Skids record, the 'No Bad' EP, which introduced the Scottish post-punk pioneers to a whole new audience courtesy of one of their biggest fans, Radio 1's legendary new music champion John Peel.

The Skids signed to Virgin Records in May 1978 and that same month the band recorded a session for John Peel that included songs such as 'The Saints Are Coming', 'Of One Skin' and 'Contusion' and set out an innovative template for the post-punk era. We were fearless in the beginning,' recalls Jobson, who was still just seventeen years old when The Skids recorded their first Top Of The Pops appearance for their Virgin debut Sweet Suburbia'

Released in February 1979 the band's debut album 'Scared To Dance' was a masterpiece of brooding atmospheres and anthemic lung-busting moments such as the irresistible 'Into The Valley', which gave the band their first Top 10 hit.

After a second Top 20 hit, with 'Masquerade', original drummer Tam Kellichan left and was replaced by Rich Kids / Visage sticks man Rusty Egan in time for the follow-up album 'Days In Europa' released just eight months later in October 1979. Recorded with avant-garde innovator Bill Nelson, it expanded the band's guitar-driven sound to embrace keyboards and synthesisers, spawning two further Top 40 hits 'Charade' and 'Working For The Yankee Dollar'.

Mike Baillie took over on drums for the third Skids album 'The Absolute Game' - which combined the best aspects of both their previous albums, particularly on singles such as 'Circus Games' and the brilliantly inventive 'Goodbye Civilian'. Though Adamson left to form Big Country during the initial recording sessions, the band managed one more album, 'Joy' (which itself included superb singles such as 'Fields' and 'Iona'), before dissolving.

While Adamson went on to million-selling success with Big Country, Jobson formed the much under-rated Armoury Show with John McGeoch before going on to become a hugely successful independent movie director with acclaimed cinema releases such as 16 Years Of Alcohol, The Purifiers and Wayland's Song.

Limited edition, one-time pressing of 1500 for the world - comes with exclusive poster depicting a scene from Twin Peaks.

Written and recorded for the highly anticipated return of David Lynch's cult television classic Twin Peaks, Snake Eyes' effectively harkens a time when noir R&B was the de-facto soundtrack to hard liquor violence. The instrumental trio Trouble includes Lynch's son Riley Lynch on guitar, longtime music supervisor for Lynch, Dean Hurley on drums and Alex Zhang Hungtai (Dirty Beaches, Last Lizard) on tenor saxophone. The B-side to the single consists of the bonus Mother's Gone,' a menacing companion track also recorded during the band's only Twin Peaks recording session. There may never be any more music from Trouble, but this 45 serves as physical evidence of the group's continued existence in a parallel cinematic universe, grinding out late night Roadhouse gigs in the fictitious town of Twin Peaks, Washington.

* Halfway to Paradise is the Latest Exclusive to Vinyl release on Demon Records.
* 24 Classic Songs of the Fifties & Sixties Performed by the Greatest Artists of the Era
* Housed in a Gatefold Sleeve with Original Artwork & Pressed on 2x 180G Heavyweight Black Vinyl
* Timeless tracks from The Crickets featuring Buddy Holly, Bill Haley and His Comets, Chuck Berry,
Eddie Cochran, Dion, Fats Domino + more..

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- FEATURING BAD HABITS DIE HARD'
- FIRST PRESSING OF 1.000 INDIVIDUALLY NUMBERED COPIES ON RED VINYL

Death Row is the tenth studio album by German heavy metal band Accept, originally released in 1994. It was recorded at Roxx Studios.

Accept is a German heavy metal band from the town of Solingen, originally assembled by former vocalist Udo Dirkschneider, guitarist Wolf Hoffmann and bassist Peter Baltes. Their beginnings can be traced back to the late 60s. The band played an important role in the development of speed and thrash metal, being part of the German heavy metal scene, which emerged in the early to mid-80s. Accept achieved commercial success with their fifth studio album Balls to the Wall (1983), which was certified gold in the United States and Canada. That album spawned their well-known hit Balls to the Wall'.

Death Row is a typical Accept album, featuring a variety of heavy metal songs. The album reached the top 30 charts in countries like Germany and Sweden and managed to reach the top 50 in Japan. Death Row was pressed on vinyl upon its original release, but only in very limited quantities, making this album one of the most sought after Accept albums on vinyl.

The first Music On Vinyl pressing of Death Row is strictly limited to 1.000 individually numbered copies on red vinyl.

Very rare Mönchengladbach punk/wave classic from 1984 now available again. Members of this band also played in the more well known EA80. Experimental melancholic dark punk, whose original copies trade for well over 100 euros. Comes with lyric sheet.