Pop & Rock Vinyl New Releases - News

450 copies numbered and signed by the members of the band, with a booklet of 12 pages.

Albert Puig, Andreu Ferreres, Joan Pujol, Miquel Griño and Xavier Amela, five friends from Barcelona, shared their talent to create Los Jemax in the mid-sixties. They played their own songs and covers of the bands they listened to the international radio stations, such as The Beatles, The Rolling Stones, The Kinks, Bob Dylan, The Animals, Wilson Pickett... Their gigs in clubs and discotheques (San Carlos Club, Gogo, Peter's Club...) were amazing and full of energy. They became a very popular band in their city, specially when they were the winners of a contest hosted by Radio Barcelona. The prize was a contract with Columbia to release two singles. They recorded four songs under the direction of José María Solá, the musical boss of the label. There were published three postcards to promote the upcoming 7's. But all of them were never released because of intern changes in Columbia. Los Jemax played alongside Los Canarios, Lone Star, Los Sirex, Tete Montoliu, Palito Ortega, Micky y los Tonis... and in several TV commercials. With a repertoire of almost 100 songs that they recorded in the rehearsals at the attic of Joan's family house, the tapes have been ketp in a drawer for 50 years. Now, Madmua Records shares these gems with you. The dreams of these boys have become real.

The Strawberry Alarm Clock's unique sound—full of beautiful, day-glo pop surrounding jagged, fuzzy guitars and organs, among other garage-rock influences—is explored through a number of dreamlike gems contained in these three volumes, all presented as originally issued! Their smash Incense and Peppermints,' which reached #1 in late 1967 and remained in the Billboard pop chart for 16 weeks, is included on The Best of Strawberry Alarm Clock, and Wake Up...It's Tomorrow and The World In A Sea Shell contain fan favorites (and '60s psych gold) like Love Me Again,' Sea Shell,' Barefoot in Baltimore,' Sit With the Guru,' and many more—all mastered from the stereo UNI reels in definitive 180 gram editions!

Wake Up...It's Tomorrow, The Strawberry Alarm Clock's second album, is what many fans consider the most ambitious musical statement of the band's career. Includes Tomorrow,' Sit with the Guru,' and the haunting Pretty Song from Psych-Out,' theme from the cult-classic film of the same name, on 180 gram vinyl.

All three LOOP John Peel sessions collated on one vinyl album from 1987 - 1990, these are some of the best recordings by LOOP. Remastered by Kevin Metcalf when the CDs were reissued in 2008, REACTOR has decided to reissue the famed WOLFFLOW 2LP for RSD 2017. In a new / updated sleeve, with new printed innerbags. Wolf Flow captures LOOP in their ascendency in the the late 90s, featuring tracks from all three of their albums, a cover of Rocket USA and the track Sunburst (b-side of Arc Lite)...theres a 10 minute version of Straight To Your Heart! Essential!! Recorded live at MAIDA VALE STUDIOS.

Take the 14 tunes of this platter, add a band named The D-Men, and you've got a driving, shaking demonstration of US mid 1960's british invasion influenced Garage Rock and Roll. The D-Men are best remembered today for their minor hit success with 45's such as I Just Don't Care' or So Little Time'. Their biggest success and recognition though, came in 1967 under their new name The Fifth Estate' when they charted nationwide with their baroque rock adaptation Ding Dong! The Witch Is Dead'. But it's the 1964 - 66 recorded tracks on this platter which were first played to the neighbourhood kids and then to wild fans which often brought the house down. Included are Boom Boom," "Hi Heel Sneakers," and their unreleased demo recording of The Stones "Empty Heart". This punctuates its garage rock beat, with a fuzz­ing deep guitar riff and sing­ing with the sinister resentment that certifies the track as Nuggets ready. But the band had much more to provide than just cover material. With a gift for writing hooks and catchy melodies a string of excellent originals exposes the hidden side of The D-Men perfectly. "Like I Love You" recaptures the Anglopop charms of the British Invasion, even self-consciously sprinkling Fab Four-isms. "Don't You Know," is a song laced with the organ and guitar interplay ideally suited to take on The Animals, The Searchers, and The Dave Clark Five. More Beatlesque notions are provided in "Love Could Show Me", "I Just Don't Care" and "Don't You Know," tracks that typify the group's early Merseybeat style. A long lost punk rock gem such as "When I'm Gone" explodes with all the subtlety of The Kingsmen's "Long Green" mugging The Kinks' "Till The End Of The Day," as Paul Revere and The Raiders' "Just Like Me" gets ready to pounce. The outstanding So Little Time', earned meager attention beyond the regional market. In truth, it deserves a place among the great, if overlooked, slices of hard-edged East Coast folk rock. All these tracks make up a significant part of the group's legacy. A legacy that will only be complete with such recordings as "It's Cruel," the psychedelic "Night On Fire," and the explosive live recording of "I Wanna Shout". This collection has the flamable stuff of the mid 60s beat generation - it's something the kids could shake it up to. If you didn't do then, do it now!

16 track collection of rare & outstanding US boss 60s punk, teen garage coolness & excellent moody winners. All contributions for the first time on vinyl - 12 out of 16 tracks compiled for the first time.

LP ct: Sir Kenneth & Yorkshire Coachmen, Cole & The Embers, Colours Of Night, Centuries, Dave & The Stone Hearts, Sensational Sleepers, Disturbers, Fugitive Five, Barons, J.T. & The Three Wise Men, Castaways Five, Zero End and more

Cool cover w/coloured label reprints on the back and all tracks painstakinly remastered. A release for the real garage connoisseur.

Nearly half a century has passed since the day I first heard the Damnation Of Adam Blessing. In 1969 their stunning psychedelic anthem "Cookbook" became a big hit on local AM radio in Louisville, Kentucky where I grew up. It sounded dangerous. Songs with blatant messages concerning the adventure and enlightenment possible through drugs and mind expansion were still a relatively scarce thing on mainstream pop radio. "Cookbook" not only suggested taking the psychedelic journey, it dared you to do it. You can hear it in the singer's attitude. You can hear it in the first guitar break which rips in right after the first verse, they just couldn't wait to smoke you. That dare stands. "Cookbook" is a dose with no expiration date. It is the opening track on the band's first album and it sets the scene. Once you hear it you need more. Hooked. These first ever exact vinyl reissues taken from the original master tapes guarantee the full trip. You get to see inside the earliest days of hard rock, when the more optimistic psychedelic trends had largely run their course, reality and rock music both taking a turn towards a darker and heavier mood. Still somewhat psychedelic but much less interested in being pretty, cosmic and reflective. Turn up the guitars and go on offense. Feed your mind.
Unearthed proto-metal gem remastered from the original 1969 tapes and repressed on Vinyl- includes a printed insert with liner notes by Doug Sheppard. Remastered from the Original 1969 Tapes - Linear notes by Doug Shepphard of Ugly Things Magazine

The Raunch from Ossining, N.Y. were one of countless mid sixties groups born into a healthy local garage scene, living the classic story of local bands for two years and then almost forgotten for the last five decades. In the short time of their existence, the Raunch released a legendary 7', made it with one track onto the collectable Battle Of The Bands' LP on the regionally active Ren-Vell Label and in 1967 recorded another until now unreleased pair of tracks. Both sides of their sole single on Bazaar Records, are good examples of classic 60s garagepunk. A Little While Back' is a crude heavy fuzz punker with a blistering guitar solo perfectly backed with I Say You're Wrong', a tough 'n' moody song with the classic garage girl-treats-boy-bad lyrics on the flip. While both sides of the 7' were group originals written by Sandy Katz, their LP contribution for Ren-Vell was a cover of Paul Revere & The Raiders' Hungry' - played by the group in their unique raunchy style' of course. Even more unique is the treatment the boys gave to their unreleased recordings of Hey Joe' and Tobacco Road'. Again recorded at Ren-Vell in 1967, both covers are unbelievable ultra heavy fuzz killers with a wild brand of slashing and uncompromising guitar playing. By all accounts, the studio engineer ran into the cellar to escape the loud, fuzzy noise! Despite losing several battle of the bands contests, their ultimate victory comes in the shape of this one-sided Break-A-Way release. Five tracks with the excitement and power for two LP sides, all of which are 60s savage Garage Punk and once heard, unforgettable

LONG OVERDUE VINYL REPRESS ON WHITE VINYL 500 COPIES ONLY!! Strap in for travels beyond the galaxy, to tranced-out cosmic bliss! Sick Thirst presents Vol 2, the second compilation of hard-to-find Wooden Shjips tracks. Vol 2 digs deep to collect the band's Sub Pop and Mexican Summer singles, two self-released European tour singles, and a track from Yeti magazine, for nearly 44 minutes of fuzzed-out psych jams. Not just for completists, Vol 2 contains the essential live standards Loose Lips, Death's Not Your Friend (live), and I Hear the Vibrations (the E-Z Version), plus savage covers of Neil Young's Vampire Blues and Serge Gainsbourg's Contact. Wooden Shjips is a trance-rock quartet from San Francisco, consisting of Omar Ahsanuddin (drums), Dusty Jermier (bass), Nash Whalen (organ), and Ripley Johnson (guitar and vocals). Their sound is something akin to the icy garage rock of early Echo & The Bunnymen crossed with the sun-bleached tremolo-punk of the Scientists. There are hints of krautrock, the trance-inducing organ haze of Suicide, Velvets-style dance-drone, classic desert-fried garage psych and the mysterious, obscure Japanese lysergic-rock band Les Rallizes Denudes, all mixed into one explosive whole. Wooden Shjips has released two acclaimed LPs and a previous collection of rarities on cult fave record label Holy Mountain. Their recordings and performances have received praise from well-regarded tastemakers, such as Tom Lax, Byron Coley, John Mulvey and David Fricke. In 2010, Wooden Shjips will embark on a March tour of Australia and New Zealand, including appearances at Lost Weekend Festival (AU) and Golden Plains Festival (AU). An April tour of the UK and Europe will be followed by festival appearances at ATP curated by Pavement (UK) in May and Roskilde Festival (DK) in July.

Dazed’ is the new single by recent FatCat signings and Netherlands power trio, Abdomen.

Sometimes described in the Dutch press as ‘postgrunge garage’, Abdomen themselves are keen to avoid any pigeon-holes or genre labels: “We’ve been influenced by so many things. Right now punk, post-punk, and noise are important inspirations, but there are a lot, lot more. Rap, hip hop, electronic music, IDM, electro, and techno, for instance.”

‘Dazed’ is heavy, heavy hypnotic groove, with a chanted vocal and wall of phased, psychedelic shredding. There are echoes of outfits such as Loop and Spacemen 3 - their stoned / stoner aesthetics, albeit turned up to 11.

It began as a demo set at a frantic pace before producer Rasmus Bredvig suggested slowing it down - “Something like 5 times” - morphing, mutating, the track into an epic, melodic, psyche mantra.

A head-banging, trance-inducing, transcendental raga, with its sights set on spiritual lift-off, the piece aims to create a path away from the negative toward a more positive way of life.

Hallelujah Mystic Garden Part Two contains a new deep-pocket groove disco version of fan favorite "Pink Lady Lemonade". Side two is a slick kosmiche-electro-disco number that unfurls over a period of 20 minutes and is periodically punctuated by Makoto Kawabata's unruly soloing. Recorded at Acid Mothers Temple, June 2016-March 2017; produced and mixed by Kawabata Makoto.

Personnel: Cotton Casino - voice, astral mama; Kawabata Makoto - guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru; Higashi Hiroshi - synthesizer, noodle king; Mitsuko Tabata - guitar, guitar-synthesizer, voice, kisses and hugs; Satoshima Nani -drums, another dimension; S/T "Wolf" - bass, tapes, space and time.

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

Acid Tongue is an American garage band heavily influenced by classic soul, punk & psychedelic rock. Formed in a damp Seattle basement in 2015, the band immediately hit the road, extensively touring the US & Europe and refining their unique brand of rock & roll. The brainchild of singer/songwriter Guy Keltner, the band also includes numerous touring & studio musicians scattered between Paris, New York, London, Mexico City, & Los Angeles, with a rotating roster that seems to grow larger by the day. In 2015, Acid Tongue established their own label, Freakout Records, and in 2017 the band released their debut album, aptly titled BABIES. The album is a soulful, stoney, heartfelt approach to modern psychedelia. Their 2020 sophomore album, BULLIES, expanded upon the themes of their debut, cementing the band as the Pacific Northwest's most unique garage-rock proprietors. For their third studio album, ARBORETUM, the band recruited veterans from the psychedelic rock scene during production, resulting in first-rate collaborations with artists such as Death Valley Girls, Naked Giants and Canadian singer Calvin Love. Acid Tongue's fourth full-length, ACID ON THE DANCEFLOOR, showcases their now signature sound and a back-to-basics approach to rock music. Incorporating elements of glam, R&B and post-punk, the album is a loud, funky and chaotic acid trip that redefines "the Seattle sound". Acid Tongue's latest album, SCARS, is the band's most personal release to date. The record is moody, atmospheric and overflowing with the psychedelia and punk rock characteristics that have defined the band's sound over the past decade.

Adrian Younge presents Jack Waterson is an ode to the mind-expanding albums of the psychedelic `60s. Both colorful and dark, the album forces listeners to get lost in the impressionistic worlds of prog, krautrock, mellotrons, and fuzzed soundscapes. Laced with hip hop breaks and acid rock, their intention is to subvert the designation of what is black vs. white music. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

Cardinal Fuzz and Little Cloud Records are delighted to bring to you for your listening pleasure – Alien Mustangs – ‘Beat Of The Earth’.
Emanating sonically (and physically) from Thessaloniki, Greece, the band has been crafting its unique blend of '60s-flavored, hypnotic, space-psych trippiness since 2013, releasing their debut LP "Alienation" in 2018 (on the always great Sound Effect Records) - this follow up 'Beat Of The Earth' is a shimmering wash of the most lysergic, cosmic and melodic music to have reached out ears so far in 2020.
Their mutant psych / space hybrid is deeply rooted in sixties garage, and while still paying tribute to their influences,(((Loop))), Spacemen 3, The 13th Floor Elevators and The Stooges, ‘Beat Of The Earth’ has a Teutonic beauty that brings to mind Harmonia.
Opening tracks ‘Sound Of No Future’ and ‘Fairy Meadows’ are both super- kosmische space rock epics where Alien Mustangs create an alluring, thick miasma that practically invites you to lose your bearings in their incandescent, the hallucinogenic cosmic glory.
On the flip over and we get Alien Mustangs in a fuzzed up Stooges pounding strung out guitar grind, where tidal waves of guitar drones detonate in your mind, Hawkwind inspired freak flag wildness flies with an added dose of motoric krautadelia. ‘Beat Of The Earth touches down gently with he lilting ‘Waiting The Dawn’ – a track that shimmers and glides with serene beauty as you melt blissfully into the ether of its serene beauty

Take the freaked-out punked up soul of The Stooges and MC5 mix that with 60s garage trash, blend in Sabbath, AC/DC and heavy rock n roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that The Angered Wrecks were located - in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll.

Lucky for us the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock’n roll at it’s finest, delivered with pure dereliction, and always a side of extra sleaze.
Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and ‘Purple Jesus’, weed and often speed and hot dogs) keep these boys fuelled long enough in sub zero temperatures to keep pumping out the rock’n roll savagery.
The last show they played was in the fall of ’81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House).

They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc…insane. The bug shack had come to an end and shortly thereafter, The Angered Wrecks.
That these tapes have survived to this day is all thanks to John Westhaver’s archival hoarding (even though the loss of a 90 minute session of the Angered Wrecks still haunts John to this day).
So CRANK these tracks as loud as you can – these audio tapes are not for the faint of heart

British psychedelic band Apple was formed in the industrial powerhouse of Cardiff, north Wales, in 1968 by guitarist

Robbo Ingram and bassist Jeff Harrad. Joined by drummer Dave Brassington, keyboardist Charlie Barber and singer

Dennis Regan, their debut single “Thank U Very Much,” arranged by session guitarist Big Jim Sullivan, sparked the

interest of Larry Page, who signed them to his Page One label to cut the debut album An Apple A Day with producer

Caleb Quaye (the son of the multi-instrumentalist Cab Quaye and older brother of future singer Finley Quaye).

Unfortunately, Apple’s mixture of pop, psychedelia and heavy blues was probably a bit too ahead of its time; the album sold

poorly on release and the group proba bly would have been totally forgotten, if not for belated critical acclaim, especially

for Harrad’s haunting “The Otherside.” With rare originals incredibly hard to find, regularly selling for thousands of

pounds, this reissue is long overdue.

This album is a brilliant blend of psychedelic edged rock that was very popular at the time. When you listen to this album it has a maturity that is unexpected from a group of guy's this age. The album contains songs ranging from psychedelic to Latin flavors along with some rapid fire double bass pedal kicks that are popular today some 4 decades later. Add in some scorching guitar riffs all wrapped up in a sweet melodic sound that gives this album a world wide appeal and yet keeps the songs tied together so it almost has that concept album feel.

Often hailed as one the hard psych masterpieces to come out from Spain in the early 70's, "The Beginning Of The End" was the vinyl debut of Atila, a trio formed in 1973 by Eduardo Niebla -guitar- Joan Punyet -drums- and Francisco Ortega -keyboards. Originally released in 1975 by the obscure New Promotion label in a alledged tiny pressing of 100 copies the album has reached "monster" status between die-hard collectors worldwide, sometimes reaching the 1000€ tag.



"An incredible progressive tour de force, Atila combined the typical classical learnings with fierce guitar leads and dark keys all over in the best european tradition of the era (think italian prog)."



We have repressed 500 copies of our long deleted reissue of this Spanish hidden treasure. This new edition comes with a bonus CD that features an alternate take of the album .



The Wah Wah release comes with remastered sound worked from the original master tapes, as usual marvelously treated by sound wizard Denis Blackham @ SkyMastering. It has an expanded 8 page booklet with liner notes by Fermí Puig and many photos.

New vinyl repressing of our long sold out edition of the glorious second LP by this killer Spanish hard prog psychedelic band.



INTENCIÓN, the sensational second LP recorded by Atila, has never fetched the high amounts their debut album THE BEGINNING OF THE END (Wah Wah LPS022) does exchange hands for in the collectors’ market, but it is still a mega rare LP hardly seen below the 400 euros tag, and is considered by many to be better than their previous output.



At the time of recording this album, the band was already considered one of the top stage acts from Spain, which led to their signing for the BASF label, where they were had access to a better production, which not only resulted in a better sound but also in a much more visually attractive full colour gatefold sleeve, which the Wah Wah reissue will reproduce to perfection and outgrade to a gorgeous 8 page booklet full of info on the band.



Originally issued in 1976, INTENCIÓN is the perfect follow–up to THE BEGINNING OF THE END, with Atila offering further pieces led by the strong guitar licks of Eduardo Niebla, Benet Nogué’s organ & Moog, and Joan Punyet’s drums melting in top progressive freakouts, plus the addition of wordless vocal parts and even some catalan sung parts, besides adding a symphonic edge to the general sound. Side A offers three killer tracks in that vein, while B side is a new recording of the bands’ signature theme EL PRINCIPIO DEL FIN, with updated overtones, Moog passages and a much better recorded sound than the one appearing on their debut LP.



The Wah Wah release comes with remastered sound worked from the original master tapes, as usual marvelously treated by sound wizard Denis Blackham @ SkyMastering. It has an expanded 8 page booklet with liner notes by Fermí Puig and many photos.



Limited repressing of only 500 copies.

One of the most important progenitors of the Louisville scene, a soulful take on an urgent garage punk sound, Babylon Dance Band released very little during their incarnation. These two tracks ‘Someday’ and ‘Rubbertown’ made up their second single, released well after they broke up in late 1981.

Backyard Babies' selbstbetiteltes Album wurde 2008 in weniger als 90 intensiven Tagen aufgenommen und enthält die Instant-Klassiker 'Nomadic' und 'Abandon'. Das von Jacob Hellner produzierte Album erreichte Platz 1 in den schwedischen Albumcharts.

13 tracks of fuzzed-out, psyched-up southern garage rock and roll. Bad Spell is a three-piece garage rock & roll combo hailing from Atlanta, GA. Members Bryan G. Malone (The Forty-Fives), Shane Pringle (Tiger! Tiger!, Go-Devils), and Pietro Digenarro (The Booze, Midnight Larks) produce an electric and driving rock & roll sound that draws from a variety of influences such as early Stones, Sonics, Remains, Roky Erickson, MC5, Dead Moon, Moving Sidewalks, Scientists, Howlin' Wolf, and Chuck Berry. Having formed in 2016, the band soon found themselves being asked to perform in venues all over the Southeast with acts such as Guitar Wolf, NoBunny, Cynics, and Subsonics. The approach was simple: A fuzzy guitar, a booming baritone, and a madman on drums playing catchy songs with a more than a hint of hell-bound attitude and plenty of reckless abandon. Their psyched-out, over-the-top live show has endeared them to the Atlanta music scene and beyond. "Bad Spell's energy level kicks the needle into the red..." - Michael Toland Bonus Materials includes download code. Limited 150 units Press Quotes: 'Bad Spell's energy level kicks the needle into the red...' _Michael Toland, Bad Spell has recorded 13 songs of high-volume, high-energy rock n' roll. Do yourself a favor - listen to Don't Go Out Tonight with the volume cranked to 11, and let it restore your faith that rock n' roll is alive and well. _Gary Schwind, The MC5/Seeds influenced opener 'Gotta Put You Down' sets the hard-rockin' agenda for 13 soul-driven songs in 30 minutes, and every one of them is a true nugget for the 2000's! _Jack Rabid, The Big Takeover

Die Italo-Prog-Legende Banco del Mutuo Soccorso (in der Kurzform gerne Banco oder BMS genannt) ist zurück und präsentiert mit »Transiberiana« ein absolut beeindruckendes Konzeptalbum, welches nicht nur eine, laut Gründungsmitglied Vittorio Nocenzi, sowohl inhaltlich als auch musikalisch autobiografische Reise darstellt, sondern auch die Zukunft der Gruppe definieren wird.

Nach dem Unfalltod des charismatischen Sängers Francesco Di Giacomo 2014, ist das eine ziemliche Überraschung, doch wie das exzellente neue Line-Up - neben Nocenzi (Piano, Keyboards, Gesang) sind das Sänger Tony D’Alessio, die Gitarristen Filippo Marcheggiani und Nicola Di Già, Basser Marco Capozi und Drummer Fabio Moresco - live bereits bewiesen hat, sind Banco 2019 absolut bestens aufgestellt und verstehen es perfekt, den Vibe von 70er-Klassikern wie »Darwin!« (1972), »Lo Sono Nato Libero« (1973) ins Hier und Jetzt zu transportieren.

Wie einst finden sich auf »Transiberiana« nicht nur Einflüsse britischer Prog-Helden, sondern auch die Folk-, Jazz- und Klassik-Elemente, die ihren Stil damals spannend erweiterten, doch »retro« klingen möchte Nocenzi nicht, für ihn ist progressive Musik auch nach fünf Jahrzehnten vor allem eins: künstlerischer und kreativer Fortschritt! Das Booklet enthält Fotos von den Aufnahmen, die italienischen Lyrics, dazu englische Übersetzungen sowie Liner Notes in beiden Sprachen.

From Chile now Rotterdam comes that extraordinary One Lady Rock'n'Roll Orchestra giving you the most obscure Covers of the Cramps, Motörhead or the Drifters, Recorded in Peru and the NL Ladies & Gentlemen welcome to violence, der künstlerischen Gewalt der emotionalen Kraft, Sinnlichkeit und grenzenloser Stärke... Willkommen in der Welt von Bang Bang Band Girl, der allmächtigen ein Damen-Band, die dieses fabelhafte Album komponiert und gassenhauer neu um-komponiert, spielt, singt und produziert. In Chile geboren, dann auf der ganzen Welt gelebt und jetzt im niederländischen Rotterdam heimisch, ist das Album ein echtes Sonic-Meisterwerk, das wie eine Jukebox die grandiosen Hits unseres Bang Bang Band Girl spielt. Eine wild abgespacte Wand aus Fuzz gitarren, Theremin, Reverberation-Feedback und einer warmen, gefährlichen und doch süßen Stimme bringt Ihnen die Hits von The Troggs (Wild Thing) Wanda Jackson (Funnel Of (trash) Love) Hasil Adkins (No More Hot Dogs) Nancy Sinatra (bang bang) Motorhead (the Watcher) The Drifters (Up On the Roof) Dave Diddle Day (Blue Moon Baby) The Heartbreakers (All By My Self) Elvis Presley (Heartbreak Hotel) the Cramps (Call Of The Wighat) alles selbst aufgenommen und gespielt in Rotterdam oder Lima, Peru, ausgenommen Walter Daniels (daddy long legs, Oblivians, john schooley etc) spielt Saxophon in Blue Moon Baby und Veronik spielt das Theremin in Heartbreak Hotel, wir können nur aufstehen mit den Füssen stampfen und laut applaudieren und eine weitere Münze in die Jukebox werfen, nur um in den Tiefen der Nacht zu tanzen. (Frank Zwiler) Vinyl-LP mit DLC, Poster-Booklet-Inlay und Gratistrip ins All, CD in Karton-Digisleeve inklusive 12seitigem Insert, kein Kunststoff bis auf die CD

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

The original line up of all women featured Sally Sweet of Minneapolis garage bands THE CAVEGURLS and THE BLUE UP. After some time the original line up morphed into a mixed band of men and women and the group released a 45 on Ramo Records. This caught the attention of Boston record label RUM BAR RECORDS, who would release the BEEBE GALLINI album 'Pandemos', a collection of material made during the worldwide pandemic. A well-received collection ranging from garage nuggets to 60's BEE GEES' hit and original material.

For their next project producer and drummer for the group Travis Ramin brought the group into the legendary Kay Bank Studio in Minneapolis. A studio rich in musical history where everything from DAVE DUDLEY's Six Days on the Road and THE FENDERMEN's Muleskinner Blues to THE TRASHMEN's Legendary Surfin Bird and all of Soma Records' Big Hits Of Mid America were recorded. The early GUESS WHO recorded there and decided on their name in the building even ... the list goes on and on!

Travis' idea for a record was to re- record some Minnesota garage classics that were originally recorded there in the same room and invite some of their garage rockin' friends to join them. Run Run Run by THE GESTURES and Why by THE ACCENTS would feature on lead guitar Keith Patterson (formerly of THE FUNSEEKERS, THE SPECTORS, and THE CONQUERORS). I Believe from THE HIGH SPIRITS would feature Melanie Vammen of THE PANDORAS organ solo and Russell Quan famously of THE MUMMIES, FLAKES and DUKES OF HAMBURG would take lead vocal on THE KAN- DELS raucous Cry Girl. The session was so successful that it expanded into the full- length album "Begged, Borrowed and Stealed" and batch of material expanding beyond the Minnesota borders, with tunes from DAVE DEE, DOZY, BEAKY, MICK & TICH, OTIS REDDING, BEEBE themselves and more! Recording in the sacred space made for a special rock and roll party album which also features the artwork of legend Cliff Mott! So, get ready for an all-star cast and a little dose of Minnesota Garage Rock and Soul!

Bella and the Bizarre is a high-energy Berlin-based band that blends the raw intensity of garage rock with a silky soulful flow. A wild fusion of garage punk, sixties rock’n roll and a touch of RnB soul, with its own gentle smokiness. Combining a broad spectrum of influences - from Wanda Jackson to the Remains, Eartha Kitt to the Ramones, they are ready to set you in trance! Known for their vibrant stage presence and infectious energy, Bella and the Bizarre deliver performances that are as captivating as they are unpredictable.

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

These newly remastered editions of Bill Fox’s second album are the first since its 1998 release, including the first-ever vinyl pressing. Listeners will hear a wider soundstage, more detail, and improved listenability. Recorded on 4-track cassette, the fidelity belies the sophistication and nuance of the songwriting, This adept remaster by John Golden Sr helps bring definition to the intimate, at-home feel of the album. It sparkles.Very similar in feel and quality to Fox’s debut album, much of Transit Byzantium draws from the same group of recordings. It has the same feel of musical inevitability, that the songs exist beyond time itself, their eventual manifestation guaranteed by Apollo. He could’ve given them to the Everly Brothers, or the Byrds, or the Who, but instead they were channeled through an everyman from Cleveland with an aversion to the limelight. And while a traditional folk influence colors several songs, even those possess the indelible stamp of Fox’s charismatic voice and personality. Although nearly entirely acoustic and with minimal percussion, these eighteen songs cycle through a remarkable variety of textures and moods.While much has quite rightly been written about the god-tier songwriting here (“Song of a Drunken Nightingale,” “My Baby Crying,” “I’ll Give It Away” for starters), it should also be noted that this is a guitar player’s record, though more in terms of conception than flash. Lines of harmony and counterpoint wander between parts, sublime in their invention though sometimes crudely documented.

Dieser Tage erscheint das Ted Kessler Buch "To Ease My Troubled Mind: Die autorisierte unautorisierte Geschichte von Billy Childish". Als die Idee für das Buch die Idee für das Buch aufkam, wollte Billy ein prägnantes Doppelalbum zusammenstellen, das die 47 Jahre seines musikalischen Schaffens zusammenfasst. Dies ist das Ergebnis. Mein Name ist William Ivy Loveday, alias Steve Hamper, alias Guy Hamper, alias Jack Ketch, alias Billy Childish. Ich wurde in Medway, Kent, geboren, wo ich immer noch lebe. Ich verließ die Schule 1976, als ich 16 war. Da ich keinen Schulabschluss hatte, wurde ich von der Kunstschule abgelehnt und ging in der Werft von Chatham als Steinmetzlehrling arbeiten. Später schaffte ich es, aufgrund meiner Bilder in einen Malkurs an der St. Martin's School of Art aufgenommen zu werden. Ich, Bruce, Big Russ und Little Russ gründeten 1977 The Pop Rivets und machten unsere ersten Aufnahmen. Unsere Inspiration war Punkrock, TV21 und The Swinging Blue Jeans. Ich lernte Gitarre zu spielen und arbeitete 1979 vier Wochen lang im Oakwood Mental Hospital als Pförtner, dann gründeten ich, Mick und Bertie The Milkshakes. Unsere Inspirationen waren Link Wray, die Beatles-Live-at-the-Star-Club-LP, der Song "Gotta Get the First Plane Home" von den Kinks und unser Hass auf die New Romantics-Szene. Dann wurde ich von der St. Martin's School of Art verwiesen, weil ich etwas geschrieben hatte, das als "die schlimmste Art von Toilettenwand-Humor" bezeichnet wurde. Ich verprügelte meinen Vater, als er aus dem Gefängnis kam, wo er wegen Drogenschmuggels gesessen hatte. Wir haben uns bei The Milkshakes nie selbst bezahlt und das ganze Geld in die Herstellung unserer eigenen Platten gesteckt. Ich bewahrte das Geld auf einem Bankkonto unter dem Namen Kurt Schwitters auf. Ich lebte 12 Jahre lang von der Sozialhilfe. Im Jahr 1985 gründeten wir Thee Mighty Caesars. Unsere Inspiration waren Bo Diddley und The Troggs. Ich wurde Mitglied von Greenpeace. 1989 gründeten Bruce und ich Thee Headcoats. Unsere Inspiration waren Son House und Downliners Sect. 1999 gründeten ich, Wolf und Johnny Barker The Buff Medways. Unsere Inspiration war Jimi Hendrix in Beatle-Stiefeln und The Who, bevor Roger Daltry anfing, die Vorhänge seiner Oma zu tragen. Etwa 2008 gründeten Julie und ich The Musicians of the British Empire. Daraus wurde dann CTMF. Daraus wurden dann die Chatham Singers. Unsere Inspiration basierte auf uns selbst. Als Nächstes war es an der Zeit, dass Neil und ich die Spartan Dreggs gründeten, inspiriert von Homer und A. E. Housman. Andere Gruppen entstanden und zerfielen - damit niemand wusste, wer wir waren oder warum. Im Jahr 2019 entstand The William Loveday Intention - inspiriert von Hollis Brown und den Mississippi Sheiks. Das Guy Hamper Trio tauchte noch einmal auf, zusammen mit Jamie an der Hammond. Einige dieser Gruppen sind geblieben, viele haben sich zu fernen Ufern mit scharfen, versteckten Felsen aufgemacht. Hauptsächlich male ich und schreibe Gedichte und Romane. Zusammen mit der Musik, die ich spiele, ist nichts, was ich tue, jemals besonders modisch gewesen, aber genau darum geht es auch. Schon 1977 haben wir gerne Nein gesagt. Dann, als der Punk sich in New Romantic verwandelte, fielen wir in den frühen Rock 'n' Roll und den Blues zurück. Bei The Milkshakes sagte man uns, dass wir zu viele LPs veröffentlichten und damit kommerziellen Selbstmord begingen, also brachten wir an einem Tag vier verschiedene LPs heraus. Ab und zu kommt jemand Berühmtes vorbei und ein kleiner Krümel rollt über den Tisch und spritzt in unsere lauwarme Suppe. Ein anderes Mal eifern uns Unbekannte nach und erweisen sich nur als besser. Ich liebe Pop, aber keine Popstars. Ich interessiere mich nur für Klang und Farbe und das in einem kleinen Maßstab zu sein. Ich verstecke mich nicht hinter Lautstärke und Off-Stage-Mixing. Ich brauche keine Show zu spielen, weil ich lieber daheimsitze und eine Tasse Tee trinke. Meine Arbeit gehört nach unten, zum Instinkt und zum Elementaren, und ist nahe am Boden. Ich glaube an selbstgemachte Musik, selbstgemachte Kunst und selbstgemachtes Kochen. Die Musik war über die Jahre hinweg ein lohnendes Hobby. Ich habe viele gute Freunde getroffen und mit ihnen gearbeitet, und Gott hat mich vor dem Ruhm bewahrt. Ich möchte die Straßenbahn und das Pferd zurückbringen.

BILLY CHILDISH veröffentlicht seit 1979 Platten, HOLLY GOLIGHTLY seit 1990; 1999 taten sie sich für ein gemeinsames Projekt zusammen, das ursprünglich in den USA bei Wabana Records erschien. IN BLOOD ist ein großartiges Album, das bei der ersten Veröffentlichung in Europa so gut wie ignoriert wurde. Der Untertitel von IN BLOOD lautet ONE CHORD! ONE SONG! ONE SOUND!. Aber es ist so viel mehr als das: Tracks wie ,Demolition Girl" und ,Step Out" dröhnen aus deiner Stereoanlage - wirklich großartige, dreckige Ein-Akkord-Blues-Songs (mit vielen Noten), mit Gesangswechseln, klirrenden Gitarren und begleitet von der Medway Delta Review, zu der Bruce und Johnny von Thee Headcoats sowie Johnny Gibb von den Wildebeests gehören. Während Einfachheit, Wiederholung und purer Rock-'n'-Roll-Minimalismus das Herzstück des Albums bilden, verliert IN BLOOD nie an Reiz. Es macht einfach süchtig! Diese Neuauflage erscheint auf schwarzem Vinyl.

This blue coloured vinyl is exclusive to Indie stores, very probably including a DLC as extra bonus. The classic third album from the Black Lips, originally released in 2005 and now back on vinyl and part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. 16 tracks of grimy and chaotic punk, scuzzy and raw, and catchy as hell. The band at their trashy best, more melodic but every bit as psychotic. If The Royal Trux had listened to the Troggs instead of the Rolling Stones, they might have recorded this album. This baby is a masterpiece. Unapologetic southern-fried twang, crunching through the gears in a blitz of grimy bravado. Their music twitches with an engaging, wired vigour." **** Uncut - "Their strongest effort to date." All Music

Exklusive Vinyl-Sammlung mit Demos, Skizzen und Outtakes vom neuen Album "Season Of The Peach" von Black Lips. Mit einem Feature von King Khan sowie alternativen Versionen und Mixen und exklusiven Songs aus den Sessions. Gleichzeitig mit ihrem richtigem neuen Album "Season Of The Peach" wird die Outtakes-Sammlung "Bebop Armageddon (Detours & Offcuts From Season Of The Peach)" veröffentlicht, ein wildes, limitiertes Kompendium: Demos, alternativen Versionen und klingende Missgeschicke der jüngsten Sessions zum neuen Album, für echte Fans auf Vinyl gebannt. Wenn "Season Of The Peach" eine farbenfrohe Halluzination ist - teils Garagenrock-Fantasie, teils verbranntes Americana-Land - dann ist "Bebop Armageddon" sein zerfetzter, magnetischer Schatten. Diese 14 Tracks nehmen einen orientierungslosen Weg durch dasselbe Terrain und bieten mutierte Skizzen, wunderschöne Trümmer und freakige Umwege, die vor rohem Charme und chaotischer Erfindungsgabe nur so strotzen. Es gibt alternative Mixe (,Kassandra"), Demoversionen (,Judas Pig", ,Zulu Saints") und schwindelerregende Neuinterpretationen wie ,The Illusion Pt. 1 (dream mix)". Das Exklusive ,Colt 44" (mit King Khan) rattert wie ein Güterzug, der zu entgleisen droht, während ,Satan" und ,Back To Kiev" gleichermaßen versengten Psych, Saloon-Gospel und gespenstische Front-Porch-Melodien bieten. Alle Tracks wurden auf Analogband im Sound At Manor Studio von Oakley Munson in den Catskills aufgenommen. Bebop Armageddon fängt den Geist der Sessions in roher, ungekünstelter Form ein. Keine sauberen Linien. Keine Wiederholungen. Kein Glanz. Das ist das Chaos unter der polierten Oberfläche des Mutteralbums - die Black Lips, die sich nicht benehmen wollten. Limitiertes klassisch schwarzes Vinyl (1000 Stück weltweit) mit DLC dabei.

After years spent living on opposite sides of the Atlantic world events threw Laura Mary Carter and Steven Ansell of Blood Red Shoes back together into what has become the must fruitful era of their 17 years together.

“It’s been a loooong time since we both lived in the same city”, explains Steven. “I mean we actually wrote this album in LA at Laura’s place, then came to the UK to record it…and then everything went nuts”.

Realising very quickly that they wouldn’t be able to release the album or tour until the world returned to some kind of normality, the band found their energies quickly spilled over into other projects. Laura-Mary started a podcast, Never Meet Your Idols, with her best friend in LA, interviewing everyone from Zack Snyder to Mark Lanegan to CHVRCHES. It is now about to start its third season. Steven started applying his love of electronic music by writing and producing other alternative artists like Circe, ARXX, Aiko and XCerts, racking up millions of streams in the process.

Having worked together on Laura–Mary’s forthcoming solo mini album Town Called Nothing and restless from the lack of touring, the duo started jamming out in rehearsal rooms, which led to the light-speed writing, recording and release of the impossibly-titled Ø EP in the summer of 2021. Which concludes what the band call an “off year”.

And that brings us back to GHOST ON TAPE. It appears that like David Lynch’s The Lost Highway, nothing is linear in the world of Blood Red Shoes. Written and recorded before their most recent EP, GHOSTS ON TAPE is a huge jump into new terrain for the band. Musically and emotionally their most mature work, it is a complex, imaginative, and very gothic development on their sound. Musically, it leaves almost no trace of their former selves.

"Bloodshot Bill, the Canadian hickup rockabilly Trash LoFi King of One-Man-Bands meets Gerard Van Herk from the legendary Deja Voodoo duo to create music that comes direct out of a rotten crypt and smells like an obscure trashed up rock'n'roll bad-ass delinquent." -VVR Bloodshot Bill ist eine Ein-Mann-Band aus Quebec in Kanada. Keine Computer, keine Overdubs, einfach nur seine Gitarre mit Kickdrum und ein Hi-Hat, 2020 war er Gewinner von ,Ameripolitan Rockabilly Male Of The Year". Bloodshot Bill sei ,wie Roy Orbison mit einer Kopfverletzung", sagt Reg isseur John Waters. Er hat in den letzten 20 Jahren eine Menge Musik veröffentlicht (Norton, Goner, Squoodge etc und wurde auf Platz 8 der Top 10 Rock-Gitarristen des Vintage Rock Magazine gewählt. Gerard Van Herk, Gründer und Frontmann des legendären Duos Deja Voodoo aus Montreal in Kanada, veröffentlichte seit 1981 viele Platten auf u.a Midnight Records oder What Wave. Sie waren Pioniere in Kanada und schufen ihr eigenes Musikgenre Slugabilly. 2024 trafen sich die zwei Musiker und nahmen die vier Songs dieser EP auf. ,Shot of Blood" und ,Crawl" von Gerard Van Herk sowie ,She said no" und ,Shish Taouk" von Bloodshot Bill. Die Tracks gingen verloren und es wurde nur eine dünne MP3 gefunden die dann von Matt von den Ouside Inside Studios versucht wurde wiederherzustellen. Hören Sie selbst!!!