Pop & Rock Новости

Papivores, which could be literally translated as “Paper Eaters”, is the new project that has blossomed from the minds of French violinist Agathe Max and British musician and producer Tom Relleen - half of the duo Tomaga and member of The CAN project.

Their debut release ‘Death And Spring’ is based around an intriguing experimental compositional approach, taking their inspiration from a novel by Catalan writer Mercè Rodoreda. The text functions both as a fantastical, magic-realist reverie and as an address to oppressive, authoritarian government. Natural images are juxtaposed with a series of increasingly violent human rituals which ultimately weave together into a self-imploding folk tale about life and death.

Taking different aspects of the varying symbolism as starting points, the two musicians conjure expansive sound worlds that veer between evocations of the natural world and dark psychological states. Their individual voices exist in subjection to the themes of the novel and the feelings inspired by it. The result is a remarkably profound and refreshing conceptual album.

Peanut Rubble was a power trio from Buckinhamshire, a rural area a few miles northwest of London. This Radio Luxembourg Studios recordings were made back in 1968, being an early sample of british heavy music one year before Led Zeppelin released their first album.

They used to play in college/university circuit, airbases and youth clubs with 100w Marshall stacks, being too loud for some of those clubs. They supported bands such as Status Quo, The Pretty Things, Arthur Brown or Pink Floyd.

The single contains three remastered songs of pure loud heavy blues, with a smooth drum playing and a thick fuzzy sound, being now released for the first time. It includes an insert with the story of the band.

VHF presents the first time on vinyl for Pearls From The River, the all acoustic epics album from the “classic” Pelt trio lineup of Jack Rose, Mike Gangloff, and Patrick Best. Recorded in a single March 2003 session in Virginia by Mikel Dimmick, this was a superb distillation of their interests at the time (both alone and together—Rose’s first solo records, the emergence of the Black Twigs as a busy working band, etc). “Up the North Fork” is a trio for banjo, baritone banjo, and cello—after the snakey bowed introduction, the fast thwacking of the banjos and forcefully strummed cello take over and whip up a storm. The other two tracks are lengthy ragas (one in C, one in D) with the virtuoso modal guitar of Rose front and center. The title track features Rose on twelve-string, dueling with Mike Gangloff on esraj. Best’s thick, sonorous double-bass bowing anchors the duet between the lightning thrumming / plucking of Rose’s guitar and Gangloff’s arcing, sharply bowed half-time melody. “Road To Catawba” has Rose on six-string, with Gangloff moving to tamboura. Best’s bass is again the foundation, with whistling overtones rising from his bow over the low drone. Liner notes by Byron Coley.

“Join Pelt in celebrating the ecstatic joy that results from refusing to accept the alleged primacy of shit-culture. It does not exist if we will not believe in it. And we must refuse it on all levels always. The proof of its surrender is at hand. Yr hand. Right now, motherfucker!” - Byron Coley

There are two versions of Perennial: the adventurous art-punk modernists, layering British Invasion pop, 60s soul, 90s Dischord post-hardcore, electronic music, and free-jazz, and the live three-piece whose bombastic 20 minute sets have become a “must-see” in the New England music scene. What started in 2015 as an all-encompassing art project has since grown into an honest-to-goodness word-of-mouth phenomenon, with over 300 shows played in the last six years (including shows with Guerilla Toss, Bully, Calvin Johnson, Jon Spencer, Sheer Mag, Teenage Halloween, and Downtown Boys) and multiple pressings of both of their full-length records. Perennial formed the band they always wanted to hear, and when they play, they're the band they always wanted to see. Perennial’s breakthrough 2022 LP, In The Midnight Hour, was their first time working with producer Chris Teti (The World Is A Beautiful Place & I Am No Longer Afraid To Die), a collaboration that garnered rave reviews from BrooklynVegan, Under The Radar, Post-Trash, Pop Matters, NPR Music and more, and marked a new creative benchmark. Feeling inspired, the band once again worked with Teti on 2023’s 7” EP The Leaves Of Autumn Symmetry, which earned more high praise from Stereogum, Paste, Consequence, Alternative Press, and Bandcamp Daily. Their latest release is the adventurous, experimental mod punk LP Art History, available June 7 via Ernest Jenning Record Co. and Safe Suburban Home.

Zeit und Freiheit sorgen für Innovationen. Ohne Kompromisse einzugehen konnte das für den GRAMMY® nominierte Quintett Periphery - Misha Mansoor [Gitarre, Programming], Jake Bowen [Gitarre, Programming], Matt Halpern [Drums], Spencer Sotelo [Vocals], and Mark Holcomb [Gitarre] - ihren ureigenen Progressive Alternative Metalsound auf dem 2019er Album Periphery IV: Hail Stan [3DOT Recordings] um neue Facetten ausweiten.

Zum ersten Mal in ihrer 13jährigen Karriere konnte die Band den neun Tracks des Albums ein komplettes Jahr widmen. Sie agieren komplett unabhängig und veröffentlichen das erste Periphery Release auf ihrem eigenen Label 3DOT Recordings. Der 16minütige Opener »Reptile« beweist bereits ihre Vorliebe für das Progressive mit überraschenden Wendungen zwischen unbarmherzigen Grooves, verzwickten Fret-Feuerwerken und melodischen Atempausen, alles eingebettet in einen laut Mark »satten, aggressiveren und düsteren Ton als auf den letzten Alben«. Das frenetische »CHVRCH BVRNER« beschreibt er als den »spastischsten Song, den wir bisher geschrieben haben«. Für das abschließende, 10minütige »Satellites« setzten sich alle Bandmitglieder mit ihren Proberaumamps in einen Raum – eine Art und Weise aufzunehmen, die sie bereits mit »Lune« von Periphery III: Select Difficulty praktiziert haben. Die erste Single »Blood Eagle« gibt den Ton an – »es ist der unbarmherzigste, kompromissloseste, härteste und zornigste Song auf diesem Album«, grinst Mark. »Ein ›Blood Eagle‹ war eine Form der Folter bei den Wikingern.«

Indem sie sich die notwenige Zeit gönnten, erreichten Periphery mit Periphery IV: Hail Stan ein neues Level. »Einige der Songs sind sicher nicht das, was man von uns erwartet«, erklärt Mark. »Es wäre großartig, wenn wir für ein gewisses Maß an Unberechenbarkeit bekannt werden würden. All unsere Lieblingskünstler schreiben Freiheit groß und folgen ihren eigenen Musen. Man merkt, wenn eine Band diese Qualität verkörpert. Ich hoffe, wir tun es auch.«

Pierced Arrow's first record! Fred And Toody Cole's post Dead Moon band with Legendary rocker Kelly Haliburton on drums. Most musicians get softer with age, but Fred and Toody brought a harder edge to Pierced Arrow's than their earlier bands. A legendary record back in print for the first time since it initially came out in 2008. A killer!

“Musical hybrid, rooted in multiple territories, Pixvae was born in 2015 from the intention to confront the traditional musics from the Pacific coast of Colombia, with the European jazz stream and its rock and noise sonorities. After the release of a first album in 2016, and two years of intensive touring through Europe (Glastonbury, Les Vieilles Charrues, Milhoes de Festa, Womex...), the band is embarking on the creation of a new opus. Wishing to continue their reinterpretation of Colombian music, and interact with those who live and incarnate these traditions, they will go and record their new album in Colombia, in the city of Cali, counting on the participation of various local musical figures.

The album will be released in april 2019, on Buda Musique & Bongo Joe Records. On this occasion, the band will be touring in Europe from april to beginning of may, joined by Israel Quinones (voice) and Juan Carlos Arrechea (percussions).”

Heading up the new crop of Toronto outfits, these ignoroids blaze through ten tracks of rough buzzsaw scorch with speed and hooks to spare— think ‘77 (Dils, Weirdos) meets ‘82 (Angry Samoans, Zero Boys) with a healthy side Lazy Cowgirls and early Humpers. Members of Career Suicide and Flesh Rag, so you know what’s up. Cut loud at 45 for maximum impact, one-time pressing of 500. This record is utterly KILLER.

Don't You Turn On Me ist das zweite Album der Poison Boys. Gestarted mit "Out Of My Head" in 2019, ist das 2. Ablbum ein großer Schritt in Richtung Punk und der Fähigkeit, knallharten Punk der späten 1970er Jahre zu schreiben mit einer großen Portion Rock 'n' Roll. Es reicht von sleazy Hits der frühen bis Mitte der 70er Jahre bis hin zu glühenden Punk-Tracks, von Instant-Punk-Klassikern bis hin zu Johnny Thunders Garage Rock. Ganz anders als viele andere Bands, die zu viele moderne Einflüsse in ihrem Streben nach Punk hinzufügen, bringen dich die Poison Boys mit diesem neuen Album zurück ins Jahr 1977 und versetzen dich in eine Zeit und an einen Ort, an dem du vielleicht noch nicht einmal existiert hast, aber auf jeden Fall wünschtest, du wärst da gewesen. Gegründet im Jahr 2014 von Matt Dudzik und Mike Lippmann, der tragischerweise an einer Überdosis verstarb, bleibt die Band den Klängen der späten 1960er / frühen 1970er Jahre Protopunk-Bands wie den Stooges, den New York Dolls und den Flamin 'Groovies treu und mischt sie mit New Yorker und britischen Punkbands der späten 1970er Jahre wie The Heartbreakers, Dead Boys, Vibrators und Slaughter and The Dogs, hinzu kommt noch ein Dosis Hanoi Rocks Glam. In der aktuellen Besetzung der Poison Boys spielen Sänger und Gitarrist Matt Dudzik, Gitarrist Steve Elfinger, Bassist Nico Bones und Schlagzeuger Matt Chaney. Poison Boys tragen die Rock'n'Roll Fackel glorreich weiter.

Das schwedische All-Rock-Trio »Port Noir« verbindet Old-School-Rock mit modernem Pop, R&B und Hip-Hop zu einem kreativen und minimalistischen Sound. Das Trio ließ sich von Bands wie Rage Against the Machine, Death from Above 1979, The Weeknd, Daft Punk, Queens of the Stone Age inspirieren und bildet so eine neuen und interessanten Zuwachs für die Rock-Szene.
Energiegeladene, intensive Klangwelten ziehen den Zuhörer fest in ihren Bann und so lässt »The New Routine« keine Wünsche offen.

»Wir haben uns mit der Musik beschäftigt, mit der wir groß geworden sind und so versucht heraus zu finden, was uns dazu gebracht hat, eine Band zu gründen. Zusammen mit diesen Erkentnissen und der Musik, die uns heutzutage beeinflusst haben wir dann unser neues Album geschaffen. Es ist bis jetzt das beste, was wir jeh veröffentlicht haben. Das ist ›The New Routine‹.«

Last year’s Pools having taken up a sizable chunk of Castle Face’s cold dark hearts, the label was delighted to hear that LA post-industrial trio Prettiest Eyes have a new gang of crowd-stirrers. None too early, either; once one’s become accustomed to their clanging synthetic orbit, it’s hard to find other tunes that truly scratch the same itch. Volume 3 bursts at the seams with chrome-dipped timbres and surprise sharp edges, alien klaxon-calls and wailing dissonance offsetting the ziplock’d grease of their insistent drum and bass grooves. Prettiest Eyes are one of the most exciting live bands going on right now, and Volume 3 catches them in fine fettle.

**ON RANDOM COLOUR VINYL** PRIMITIVE RING consists of Bert Hoover (bass/vocals), Charles Moothart (guitar/vocals), and Jon Modaff (drums). The Los Angeles power trio formed in September 2024 when Hoover and Moothart came together seeking a new creative outlet. In 2025, the band released four 7"s on four different labels (Greenway, In the Red, Reverberation Appreciation Society, and Fuzz Club UK). They hauled amps and drums into bars to hone the sound of the newfound brotherhood that is Primitive Ring. Rock and roll is in its essence a primal experience, and the name reflects that. Three individuals collide and egos rattle, shedding layers and growing new limbs. Archetypes flash to the rhythm of a freight train and the crown is passed hand to hand like a good luck charm, symbolic and communal. Rock and roll is for the people and Primitive Ring is for the taking. At least it will be when the band's debut LP is hurled into the future via In the Red Recordings. Primitive Ring is 11 tracks coming in just under 42 minutes. It was recorded by Mark Rains in December of 2025 at The Station House in Echo Park. The album is the genesis story of a lightning bolt flashing in the eternal drama of creation and destruction. The album showcases the distinct writing styles of each member, but the overall aesthetic is a woven tapestry demarcating the timeless meridian. The record is the spawning of a collective vision. This is something we all share, and we must remind one another how electric humanity can be.

Thundering over the horizon out of Perth, Australia, the psyche-rock capital of the Universe,Psychedelic Porn Crumpets are taking the World by the

horns. Having spent 2018 slaying sold-out audiences in US, UK and Australia with their blistering live shows, the band have thrown down the

gauntlet with their new album, ‘And Now For The Whatchamacallit’.

The new album marks an exciting new chapter for Psychedelic Porn Crumpets. Recorded between frontman Jack McEwan’s bedroom and Tone City Studios in Perth,

mixed by Michael Jelinek (Gunns)and mastered by John Davis (Gorillaz, The Killers), And Now For The Whatchamacallit is representative of the development in the band’s huge sound,

and their most anticipated release yet. “The original concept was to take a 1930’s carnival that had been re-imagined for future generations, a collage of Punch and Judy, Carousels and coconut

shy’s that progresses in musical concepts and travels with the listener. Then as we started traveling I was swept off into my own kind of circus, the odyssey of

touring life. Large nights out, larger characters, drunken recollections of foreign cities and rabbit hole-ing into insanity.” The 10-track record is punctuated by the singles

‘Social Candy’, ‘Keen For Kick Ons?’ and ‘Bill’s Mandolin’, all perfect slices of manic Psychedelic Porn Crumpets fury. This new album positions them more than ever as a band ready

to explode with exciting energy and is a continuation of the musicianship fans have seen bolden over live shows and recent releases.

The Perth-based psychedelic rock n roll machine rip through a full platter of their high-speed tunes, shot in two locations and heralding their new LP, Night Gnomes. Crunchy riffage, addictive melodies and no-holds barred psychedelia is on tap. Get it at the link below! "Thank you Levitation for getting us out the house! Absolute pleasure to be asked to collaborate on something together. There’s a brilliant story involving an angry local and a bulldozer if you’re won-dering why the location changes, but for the minutes we were filming it was magical. Gnomes till we die! Thanks to Jelly, Tay, Jared, Dima, & the McEwan crew for helping us put this together, love you all." – PPC

Psychedelic Speed Freaks is a new power trio led by Munehiro Narita, founding member of Japan's legendary High Rise and easily one of the wildest, most original guitarists in rock history. Blazing in total hyper-saturated glory, Psychedelic Speed Freaks centers on the raw, unrelenting attack of Narita's "motorcycle fuzztone guitar" and a rhythm section driven by a pair of untamed LA acid punks. Recorded deep in-the-red and punched into overdrive, Psychedelic Speed Freaks is a full-throttle adrenaline shot into the 21st Century.

An unissued 1985 studio recording of a WILD-ASS cover of the filthy-lyric 1981 country novelty by Showdown, plus an unissued 1987 rehearsal room blasting raver original. Comes with a 4-page 6.7” x 6.7” booklet tribute to singer/lyricist Michael Chandler, who passed away on April 23 2018.

the MUSIC? ripping, absolutely ripping ROCK and ROLL music. and, i must say, RODEO SONG is simply the most JOYOUS, most goddamned FUN fucking song of 2019.



NYC, Feb 1983: Chandler and guitarist Michael Tchang started their duo Tchang & Chandler. In 1983 Chandler was roped in to a 2nd gig as lead howler for ’66 garage cover band The Outta Place, recording a mini-LP for Midnight Records. On February 4 1984 Tchang ‘N’ Chandler, with two extra cats, Vince Brnicevic on drums and George Sulley on bass, became the RAUNCH HANDS and burst onto the “stage” at NoSeNo. Mike Mariconda then joined up on guit for his first RH gig on St Patrick’s Day, March 1984. The Raunch Hands had their vinyl debut, ”Tiger Guitars”, included on “Back From The Grave 3” in June 1984 and soon after their first two 7” singles (the 3-cut “Stomp It” 1984 EP on Egon Records, the self-released 1984 “Ford/Stroll” 7”). In late 1984 they recorded 6 cuts that got them signed to rather large indie Relativity as 1985’s mini-LP “El Rauncho Grande”. “El Rauncho” and 1986 LP “Learn To Whap-A-Dang” on Relativity allowed the band to really start hitting the road, playing 185 shows across the USA and Canada in 1985-1986, including, bizarrely enough, 10 shows opening for Siouxsie & The Banshees, as Siouxsie’s stage crew were huge fans of the filthy lyrics and raw sounds. In late 1986 they faced the misfortune of losing Tchang and Vince and their manager/booker and getting dumped by Relativity. The Hands took on a new drummer and guit/sax man and continued playing, rehearsing and writing new songs and joined up with Crypt in July 1988. Crypt asked the RHs if they wanted to do an alb, and “Payday” was recorded in October at Coyote Studios in Williamsburg and released in Jan 1989. In May 1989 the Raunch Hands flew over to Madrid to self-book 27 gigs in 60 days of bare-bones struggle thru Spain-France-Germany-Holland-Italy-Switzerland-Austria. Crypt moved to Hamburg in January 1990 and began booking a slew of three more European RH tours (22 gigs in 1990, 35 gigs in 1991, 42 gigs in 1992) and a Japanese tour in 1991 - and the releases of “Have A Swig” LP (1990, Crypt), a live-in-Barcelona LP “Fiesta!” (1990 on Spanish magazine Ruta 66),“Million Dollar Movie” EP (1991, Crypt) and “Fuck Me Stupid” (1992, Crypt).

A particularly succinct 1985 quote by Byron Coley sums the RHs up: “The Raunch Hands are an American band. On that you can rely. Their recorded legacy is as American as a mattress damp with Iggy’s night-piss steamin’ in the trailer park. What can ya do in the presence o’ this sorta mojo-genius but fall on your bruised knees and ask how the hex such a great band never happened in just this way before? What’s required t’get genius movement o’ this sort going is a few guys who know a lot more about records than most people, decidin’ they’ve GOTTA have a band, right NOW. They take every trash lick you’ve ever like, throw it in a whinin’ blender and serve it as the official drink o’ some state you’d sure as hell love t’live in. Part Punk, Part Surf, Part Soul, Part Country, Part ‘Billy, it can be all these at once. All without falling into any tagable “bag” you could hang on your wall. Truly this’s the heart of the transcendent white trash experience, laid NEKKID for all the world to see. Some of the rockin’est best, hard-ginchin’ spew that New York City’s ever hocked up. They fuckin’ rule.”

Reigning Sound’s Memphis in June is a document of Greg Cartwright and the original Memphis lineup of his garage/soul group in the pocket and on their home turf. Live from the Harbor Town Amphitheater, right on the river, they forcefully knock out a dozen songs across the band’s catalog with their friends, many of whom appeared on 2021’s A Little More Time with Reigning Sound. The live album is pressed on neon orange vinyl, exclusively for Record Store Day 2022.

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Wiederveröffentlichte 2024er Pressung dieses unglaublichen Garagenrockwerkes! "The Ultimate Gospel Blues Trash experience recorded in 2001 London on the EMI Redd 17 desk (Abbey Road Studios) by Liam Watson this is pure Dirty ,your parents would not like it' Primitive Rock'n'Roll swearing and blood spiting preaching Raw Garage punk mixed up LO-FI Trash out of control Blues Trash at its best" - RBM, VVR Nach der Trennung vom Wrestling Rock'n'Roll Project Lightning Beat-Man musste der Beat-Man ins Krankenhaus und sah mit eigenen Augen den Tod. Jetzt, Jahre später, ist er zurück mit neuen Kumpels und einer neuen Mission: der Gospel Blues & Trash Mission. 1983 begann er als Ein-Mann-Band, für dieses Album heuerte er die Un-Believers an (Gery Mohr und Robert Butler von den Miracle Workers, Janosh von den Monsters und Gringo Starr, der auch bei den Never Heard Of'Ems, Lightning Beat-Mans Backing Band, spielte) und ging zusammen mit Liam Watson (Bristols, Masonics, Headoats_) in Londons berühmtes Toe Rag Studio, um diesen speziellen Swamp-Blues-Sound auf die Platte zu bekommen. Predigtlieder, Lieder über das Töten von Nachbarn, Predigten über das Abschneiden von Fingern, Lieder über den Gang ins Gefängnis, den Gang aus dem Gefängnis und sogar über das Verlieben und den Gang in die Hölle. Mach dich bereit für eine Menge Slide-Gitarren-Action und Mundharmonikagedröhne, Blues im Stil von Howling Wolf und Gun Club-ähnlichen Trash-Rock'n'Roll. Schwarze LP, Insert, Download Code

Die polnischen Rock Meister Riverside melden sich mit längst überfälligen Vinyl-Neuauflagen ihrer Alben Nummer zwei, drei und vier zurück: »Second Life Syndrome« (2005, 2-LP), »Rapid Eye Movement« (2007, 2-LP + Bonustracks) und »Anno Domini High Definition« (2009, 1-LP) sind jetzt erhältlich mit dem Standard-Album als Bonus-CD.

Die polnischen Rock Meister Riverside melden sich mit längst überfälligen Vinyl-Neuauflagen ihrer Alben Nummer zwei, drei und vier zurück: »Second Life Syndrome« (2005, 2-LP), »Rapid Eye Movement« (2007, 2-LP + Bonustracks) und »Anno Domini High Definition« (2009, 1-LP) sind jetzt erhältlich mit dem Standard-Album als Bonus-CD.

Die polnischen Rock Meister Riverside melden sich mit längst überfälligen Vinyl-Neuauflagen ihrer Alben Nummer zwei, drei und vier zurück: »Second Life Syndrome« (2005, 2-LP), »Rapid Eye Movement« (2007, 2-LP + Bonustracks) und »Anno Domini High Definition« (2009, 1-LP) sind jetzt erhältlich mit dem Standard-Album als Bonus-CD.

Composer, producer, multi-instrumentalist and co-founder of Black
Rebel Motorcycle Club, Robert Levon Been, announces his forthcoming
album, ‘Original Songs From The Card Counter’.

Levon Been composed several original songs as well as a majority of the
score for writer and director Paul Schrader’s new film, ‘The Card
Counter’, starring Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem
Dafoe and executive produced by Martin Scorsese.

“Ironically this entire project began by working the last scene of the film
first,” says Levon Been. “Paul had reached out asking if I would write an
original song for a very intimate final scene he had been struggling with.
As tempting as the concept was, I must admit that kind of composing is
also my biggest fear - to write directly to picture with such precision that
it takes over the narrative in a substantial way, which I knew Paul never
shies away from. It also turned me into a nervous wreck because I know
just how easy it is to quickly ruin a movie with merely a single lyric at the
wrong time. Thankfully for ‘Mercy Of Man’, I had S.G. Goodman there in
NY singing with me to help experiment with how to create a fairly
unconventional duet of sorts that is intended to evoke the emotions of
the two characters in that final scene.”

‘The Card Counter’ marks the fifth collaboration between Schrader and
Scorsese, who previously worked together on ‘Taxi Driver’, ‘Raging Bull’,
‘The Last Temptation of Christ’ and ‘Bringing Out the Dead’.

Robert Levon Been is a producer, composer, singer songwriter and
founding member of the band, Black Rebel Motorcycle Club, with whom
he has released eight albums and toured the world with since 2001. With
a dedicated following across Europe, the US, Australia and Asia, their
record ‘Howl’ has ranked many top album lists.

In 2013, Black Rebel Motorcycle Club were featured in Dave Grohl’s
Grammy-winning documentary, ‘Sound City’. 2021 marks the 20th
anniversary of the release of Black Rebel Motorcycle Club’s self-titled
first album.

Robert is currently producing and writing for multiple projects, dividing
his time between Los Angeles and Vienna.

Gatefold LP, with initial copies featuring spot gloss on sleeve. (Once this
format has sold out, a standard gatefold sleeve edition - EPZTC001LPR
- will be made available.)

Heavy Machinery Records and Tee Pee Records are very excited to announce 'Tales of Torment', the new record from Melbourne horror rock juggernaut Rot TV, out February 18, 2022. The record is led by first single 'Ready To Die', a relentless, loud n' proud rock number with "just the right ratio of headbangery to boogie woogie".

Rot TV are lovers of all things freakish and gritty - be it a demented old Lovecraft tale, or a BÖC tune on full blast. Their debut vinyl release FDA/Transylvanian Nights was a hard n’ heavy double feature of howling, riff-crazy horror rock, and their brand new debut LP Tales of Torment delivers all this and more. Rot TV have described their forthcoming album as a delightful journey to hell and back dedicated to ALL maniacs - and that means YOU.
credits
released February 18, 2022

Harriet Hudson-Clise - lead vocals
Graham Clise - guitars, percussion & vocals
Robert Muiños - guitars, percussion & vocals
Zac Holly - bass, synthesizer & vocals
Lee Parker - drums, percussion & vocals

Recorded, mixed and produced by Robert Muiños at Sauna Studios, Collingwood in 2021
Mastered by John Davis at Metropolis Mastering
Front cover painting by Chris Grande
Logo & handwriting by Harriet Hudson-Clise
Design and collage by Luke Fraser at Grin Creative
Project coordination by Amber Arizono
Series curated and produced by Miles Brown

Lo-Fi-Indie-Garagen-Punkrock aus Wien! Nach dem 2023 erschienenen, großartigen Debütalbum "Goods for Conversation" (Bachelor Records) hier nun die erste 7"-Single des Wiener Trios. 60s Garage gewürzt mit einer Prise Surffeeling. On Top gibts noch den absolut charismatischen Gesang des umtriebigen Felix Schnabl aka Salamirecorder. Minimalistisch, schnörkellos, auf den Punkt. Nichts Aufgewärmtes. Alles frisch zubereitet. Ein top Doublesider der Lust auf mehr macht! Wenn man SALAMIRECORDER beschreiben müsste, wäre es wahrscheinlich wie ein schräger, leicht genervter Außenseiter, aber mit einem schmelzenden Herzen für Liebeslieder. Ein perfekter Mix aus 60s Back from the Grave Garage Punk und einer kleinen Prise frühen Trash Freakbeat Powerpop. oder so. Schräger, lauter, rocknrolliger Lärm halt.

Usually, some type of change is evident between a first and second album, regardless of the group that we're talking about. That's not the case here. There's precious little difference between the two Salvation albums. Gypsy Carnival Caravan's "In the Evening" might as well be from the first LP.

The closest they get to "growth" comes out sounding more like gimmickry. This is most evident on "Salvation Jam", a nine-minute mess where Art Resnick's atonal keyboards struggle to pass for "inspiration".

Svart Records proudly presents: Finnish prog-psych quintet Sammal sheds skin and changes into a power trio, new album announced Sammal have since their 2013 debut cemented their reputation as one of the leaders of the Fenno-Ugrian neoprogressive and psychedelic scene and also raised some waves internationally, performing at the well-respected Roadburn Festival in 2015 and garnering a series of raving reviews around the world of psychedelia and progressive rock fandom, such as “Truly amazing and otherworldy music” or “Earnest, vibrant music specked with impressive nuance”. A few years have passed since the successful Suuliekki album, and since then two of their five members have left the fold. Guitarist and songwriter Jura Salmi decided, however, that Sammal must continue in some form or another. “During the spring of 2020 I would spend time alone recording new demos with the guitar. The remaining three Sammal members had already decided that if the band was to continue, we would not seek another keyboard player.I had bought a guitar pedal that can simulate keyboard sounds and it opened a new world to me. I realized we can perform fine as a power trio without a bass or a keyboard player”, comments Jura Salmi. “Sammal has always been a melting pot of all music we like. If in the past we used to be heavily into bands lke Camel, Dungen and Opeth, when working on this album we’d liste to everything from Bo Hansson and Iron Butterfly to Type O Negative and Whitesnake”, laughs Salmi and continues, “We’d also pick the language of a song’s lyrics based on what we felt would fit the mood of the song. This album has songs in Finnish, Swedish and English.” Sammal’s unexpected prog-psych-boogie epic Aika laulaa will be released on November 18th on all platforms as well as on CD and LP.

Svart Records proudly presents: Finnish prog-psych quintet Sammal sheds skin and changes into a power trio, new album announced Sammal have since their 2013 debut cemented their reputation as one of the leaders of the Fenno-Ugrian neoprogressive and psychedelic scene and also raised some waves internationally, performing at the well-respected Roadburn Festival in 2015 and garnering a series of raving reviews around the world of psychedelia and progressive rock fandom, such as “Truly amazing and otherworldy music” or “Earnest, vibrant music specked with impressive nuance”. A few years have passed since the successful Suuliekki album, and since then two of their five members have left the fold. Guitarist and songwriter Jura Salmi decided, however, that Sammal must continue in some form or another. “During the spring of 2020 I would spend time alone recording new demos with the guitar. The remaining three Sammal members had already decided that if the band was to continue, we would not seek another keyboard player.I had bought a guitar pedal that can simulate keyboard sounds and it opened a new world to me. I realized we can perform fine as a power trio without a bass or a keyboard player”, comments Jura Salmi. “Sammal has always been a melting pot of all music we like. If in the past we used to be heavily into bands lke Camel, Dungen and Opeth, when working on this album we’d liste to everything from Bo Hansson and Iron Butterfly to Type O Negative and Whitesnake”, laughs Salmi and continues, “We’d also pick the language of a song’s lyrics based on what we felt would fit the mood of the song. This album has songs in Finnish, Swedish and English.” Sammal’s unexpected prog-psych-boogie epic Aika laulaa will be released on November 18th on all platforms as well as on CD and LP.

Hailing from Detroit, Shadow Show is an uncompromising power trio that combines elements of 60’s garage-psychedelia into a 21st century modern pop-art incarnation. Sleek and spellbinding, the music sweeps you up into frenetic grooves and dazzling harmonies. Their music pushes the boundaries of what can be, yet remains deeply rooted in the raw, untouchable Detroit sound. Three years ago, Shadow Show released their debut album, “Silhouettes,” in the US (Burger Records) and UK (Stolen Body Records). Since then, they have dedicated themselves to writing, arranging, and producing their epic masterpiece, “Fantasy Now!”, while occasionally taking breaks for full length US, UK, and EU tours, as well as obtaining support dates with bands like Automatic, Death Valley Girls, The Nude Party, and the 5.6.7.8’s, to name a few. “Fantasy Now”’ is a huge step forward from their debut LP, reaching a more ambitious Sgt. Peppery psychedelic vision that includes swirling pop melodies, fuzz guitar hooks, flutes, tympani, backwards surprise twists, and a magical medieval acapella interlude. Shindig Magazine says Shadow Show "transport the listener down a spiral into the mind's eye.” Allmusic praises their "kaleidoscopic explosion of tremolo guitars and mod pop vocal harmonies.” The band has recently completed a USA tour, and full USA and European dates are being booked for Spring 2024. Shadow Show’s transcendental triumph, “Fantasy Now!” was written, recorded, and produced by Shadow Show in Detroit, MI, with the exception of “Aunt Maizy,” recorded live in London, UK. Mastered by Warren Defever (Third Man Records, His Name Is Alive). The album will be released worldwide February 16, 2024 on Little Cloud Records (US), Stolen Body Records (UK), and Water Room Records (JPN).

Manchmal geht einfach alles POP! Fall in Love Again with "Balloon Balloon Balloon"! Unterwerfung. Das ist das Wort, das mir in den Sinn kommt, wenn ich mich mit Kai Slaters Sharp Pins auf den überwältigenden Pop-Planeten begebe. Das Universum funktioniert nur, wenn man sich unterwirft: sich der Liebe unterwirft, sich der Rockmusik unterwirft. Sich der Kraft zu unterwerfen, die von einem Jungen ausgeht, der seine Gitarre schwingt, um makellosen Gitarrenpop zu kreieren, der ins Pantheon der Idole gehört, zu denen er mit diesem Album aufsteigt. Natürlich ist es verständlich, dass man zunächst wütend ist. Alle waren wütend auf Big Star, weil sie den Beatles zu nahe kamen. Und alle werden wütend auf Sharp Pins sein, weil sie dasselbe tun und dann noch Guided by Voices mit ins Spiel bringen. Wie kann er es wagen? Diese Überheblichkeit. Welcher 20-Jährige glaubt, er könne Robert Pollard übertrumpfen? ,Queen of Globes and Mirrors?" Ein Verbrechen. Mit dem noch schlimmeren Verbrechen, Songs zu schreiben, die so rätselhaft zeitlos sind, dass man glauben könnte, sie seien aus einem verlorenen Beatles-Band gestohlen worden. ,I Don't Have the Heart" und ,(I Want to) Be Your Girl" lassen einen wirklich im Unklaren darüber, wann und wo sie entstanden sind. Aber wenn der Lo-Fi-Noise-Pop von "Balloon Balloon Balloon" uns an etwas erinnert, dann daran, dass nur Kai das kann. Mit seiner 12-saitigen Gitarre und seiner unermüdlichen Besessenheit von Popmusik ist Slater einzigartig ausgestattet, um nicht nur von Pollard und Chilton das Erbe anzutreten, sondern auch den Byrds, den Temptations, den Four Tops und allen anderen Künstlern nachzufolgen, die versuchen, die wahre Liebe auf Band zu bannen. Er wendet die Taktik ,um Vergebung bitten, nicht um Erlaubnis" an, wenn er sich bei diesen Größen bedient, und uns bleibt nichts anderes übrig, als Slater zu vergeben, dass er uns diese Rock'n'Roll-Juwelen schenkt, die er aus der Vergangenheit in eine Zukunft katapultiert, die so melodisch makellos und doch kantig und aufrichtig ist, dass wir ihm auch dafür danken müssen, dass er das Genre vor der Bedeutungslosigkeit bewahrt hat. Denn was Slater hinzufügt, ist ganz und gar sein Eigen. Eine unbeschreibliche Sensibilität für das Songwriting, die trotz der zahlreichen Anleihen nur ihm gehören kann. Am Ende des Albums schluckt man jegliche Wut oder Ungläubigkeit, die man vielleicht hatte, und akzeptiert, dass Sharp Pins wirklich so gut sind. Auf diesem umfangreichen, aber niemals überladenen Album erschafft Slater eine Welt voller kleiner Pop-Perlen, die so einfach und dumm gut sind, dass sie uns daran erinnern, dass eine andere Welt möglich ist. Denn es ist nicht nur so, dass die Songs unmöglich aus dem Kopf gehen, was sie auch sind. Es ist Slaters eigene Hingabe an dieses Streben nach dem perfekten Popsong, die uns glauben lässt, dass dies nicht nur möglich ist, sondern auch ausreicht, um dem Leben wieder Form und Farbe zu geben. Fall in Love Again ist keine Empfehlung, sondern eine Verpflichtung. Nicht nur gegenüber einem schönen Mädchen, von denen es auf dem Album viele gibt, sondern gegenüber der Welt selbst. Vielleicht ist es dann möglich, die Zukunft zu erreichen, von der der 20-jährige Slater selbst träumt, aber bis dahin haben wir seine Liebesbriefe an den Rock'n'Roll und die Welt um ihn herum, die uns Gesellschaft leisten.

Shawn Phillips' first major album, recorded in 1968 with help from the members of Traffic, among others, is a condensation of a far more ambitious studio original that was intended to fill three LPs. The range of sounds on this record is shockingly diverse, from breezy folk-rock ("Man Hole Covered Wagon") to pieces incorporating classical guitar and phantasmagoric lyrics ("L Ballade" finds Phillips' at his most Donovan-like, but with a better voice), and, in between, bouncy throwaways ("Not Quite Nonsense"), bejeweled sitar-ornamented pieces ("Withered Roses"), and topical songs ("For RFK, JFK and MLK"). If Contribution had come out in 1968 when it was recorded, it probably would have been lost in the shuffle of ambient psychedelia; as it was, it was so quiet and different from the noise of most of what was released in 1970 that critics took notice. Contribution is a superb debut, mixing progressive rock and folk sounds in a manner unique to its time

Pioneering Dutch quartet Sandy Coast formed in the town of Voorburg, near Den Haag, in 1961.

Early work found release on a series of singles on the Delta label during the mid-1960s. referencing

an American pop-rock sound, framed by choral harmonies; soon, the evolving close harmony of

songs like “We’ll Meet Again” saw them edging towards the realm of the Moody Blues, while

“Milk And Tranquilers” was based more strongly on a rhythm-and-blues framework. Moving to the

Relax label in 1967, they began issuing spacious psychedelic songs such as “Capital Punishment,”

and their debut album From The Workshop was thoroughly in psychedelia mode. Larry Page

issued sophomore album Shipwreck in 1969, the disc an early concept album focussing on a

lengthy suite that recounted a doomed voyage, captained by one Derrick Holmes in 1779. Much

of the rest of the album recalls the spacey sounds of King Crimson, but there is also raw blues,

psychedelic pop-rock, and an individual reading of Paul McCartney’s “Eleanor Rigby.”

Berlin-based psychedelic sludge and dark postmetal heavy weights Shovel are gearing up for the
release of their self-titled, first full length album.
Ever since their first gig, Shovel create an immediate
connection with the vibrant scene of Berlin and,
following their first demo in 2019, they managed to
establish themselves within the heavy music
underground.
The four piece connect the immediacy of an intense
riffage, existential screams and the elusiveness of
experimental sounds and otherworldly atmospheres.
Emerging from the mud of sludge, doom and post
metal, their intense music travels through the
openness and freedom of psychedelic textures to
end up crawling in black metal claustrophobia and
despair with an unconventional and distinct sound.
Shovel’s album was recorded at Big Snuff Studio,
Berlin by producer and engineer Richard Behrens
(Kadavar, Samsara Blues Experiment, Elder). The
album was mastered in The Atomic Garden Studio
(Oakland, California, USA) by Grammy-nominated
producer Jack Shirley (Amenra, Deafheaven,
Oathbreaker).
For fans of EyeHateGod, Iron Monkey, Grief,
Unearthly Trance, Crowbar, Soilent Green, Cavity,
Buzzoven.
LP pressed on clear green coloured vinyl.

This beautiful Shuggie Otis album went largely overlooked at the time of its release in 1974. Which is a shame, because it’s one of those albums that you hear new things in every time it’s on the platter. Shuggie played every instrument here himself, giving us a look into his psyche: soothing, subtle, harmonious and elegantly funky. Some say the album is ahead of its time - so much so it would fit into the Trip Hop genre with ease. We’ll let you decide, all we know is we can’t stop playing it!

Inspiration Information 45th anniversary limited edition is available as 1500 individually numbered copies on flaming (yellow & orange marbled) vinyl.

“This set was recorded and filmed at the CEMES laboratory, in Toulouse, south of France. The place is called "La Boule", and the structures you see behind us are the top of an old particle microscope. The sound turns infinitely in this sphere of aluminum. We wanted to confront our songs with this environment full of endless echoes and noises. Thank you very much to our crew, LEVITATION, and all the good people at CEMES, it was an intense sonic and physical experience for us, we hope you'll enjoy watching it. Can't wait to play for ya'll in real life, but until this day arrives... We salute you, from the deep space and the night !” - SLIFT

Anyone who’s overcome mental, physical, emotional, or spiritual barriers will relate deeply to Soraia’s music. Their instrumentation and lyrics showcase tragic romance, awakened passion, fiery desire, and lost identity - yet their message is ultimately filled with a consistent foreboding of hope. It's the band's drive to empower the listener to make the change they choose that helps Soraia stand apart, defining them not simply as a rock n' roll band, but even more: a hard-rocking force of nature.

Mit drei eigenen Alben auf dem Konto entschloss sich Simon Collins, Sohn des legendären Musikers Phil Collins, etwas zu tun, was er schon immer tun wollte. Da er auf Touren mit Genesis groß geworden war, hatte Simon eine seltene und einzigartige Perspektive zur Musik entwickelt, die ihn schließlich inspirierte, seine eigene Karriere zu starten.

Das Debütalbum „Dimensionaut“, ist ein Konzeptalbum über einen dimensionalen Zeit- und Raum-Reisenden namens Dimo, der sich auf einer Mission befindet, die Grenzen der menschlichen Erfahrung zu erweitern. Das Album enthält eine große Bandbreite an Stilen und Dynamik – von dunklem, mysteriösem Progressive Rock bis zu nostalgischem Classic Rock, energiereichem Alternative und von Sci-Fi-Film-Scores inspiriertem „Space Rock“.

Mit drei eigenen Alben auf dem Konto entschloss sich Simon Collins, Sohn des legendären Musikers Phil Collins, etwas zu tun, was er schon immer tun wollte. Da er auf Touren mit Genesis groß geworden war, hatte Simon eine seltene und einzigartige Perspektive zur Musik entwickelt, die ihn schließlich inspirierte, seine eigene Karriere zu starten.

Im Kern besteht Sound Of Contact aus Simon Collins und Co-Produzer/-Produzent sowie Keyboarder Dave Kerzner (Sonic Reality, Kevin Gilbert), ergänzt durch solch großartige Co-Writer wie Matt Dorsey und Kelly Nordstrom sowie Hannah Stobart (Rocket Moth, Wishing Tree) als Special Guest im Studio.

Das Debütalbum »Dimensionaut« ist ein Konzeptalbum über einen dimensionalen Zeit- und Raum-Reisenden namens Dimo, der sich auf einer Mission befindet, die Grenzen der menschlichen Erfahrung zu erweitern. Das Album enthält eine große Bandbreite an Stilen und Dynamik – von dunklem, mysteriösem Progressive Rock bis zu nostalgischem Classic Rock, energiereichem Alternative und von Sci-Fi-Film-Scores inspiriertem »Space Rock«.

Nachdem es seit Jahren nicht mehr als Vinyl erhältlich war, bringt InsideOutMusic »Dimensionaut« zurück: als Doppel-LP im Gatefold plus dem Album auf CD als Extra.