Buscar:monster

Hardcore Aube-joie style, but more in a Gabba vibe... It had to be done : As an eye-blink or... much more... like a BIG UP !!

Enjoy this restroom monster :)*

From 180 to 140... find you crazy way !

"Immense Intense Suspense" war und ist immer noch ein Meilenstein des Death Metal, heute noch genauso relevant wie 1994!Was erhält man, wenn
man Demilich, das erste Album/EP von At The Gates und Nocturnus in einen Mixer gibt, um sie in ein gewaltiges, abscheuliches Monster zu
verwandeln, das die Majorsciences zum Weinen bringt und sie sich fragen lässt, warum man etwas erschaffen hat, das sie so herausfordert? Nun...
dies. In der Tat scheint dies das Einzige zu sein, was einer auditiven Form von Cthulhu nahe kommt... Das Full-Length-Debüt dieser
Doom/Avantgarde-Metal-Band bietet sowohl Originalität als auch Integrität und wird als klassisches Album angesehen.Phlebotomized begannen als
Grindcore-ähnliche DeathMetal-Band und veröffentlichten ihre frühen Demos, die so klangen. Irgendwann beschloss die Band, ihren Stil zu ändern,
denn "Immense, Intense, Suspense" legt Wert auf Melodien und symphonische Passagen. Das tat der bösen, bedrückenden Stimmung, die sich durch
die Musik zieht, keinen Abbruch. Das Album nimmt auf, was Demilich auf "Nespithe" geschrieben hat und baut darauf auf.

Doom (2005) is a science-fiction film based on the iconic video game series, starring Karl Urban and Dwayne Johnson. The film is centered around a group of marines sent on a rescue mission to a facility on Mars, which quickly turns into a game of survival when the team encounters demonic creatures. This release marks the first vinyl release of Clint Mansell's score, which comes as a 2-LP gatefold set pressed on Black Ice vinyl, with original artwork and a poster by illustrator Micha Huigen.

It has now been four years since our return to earth in "2020 back to earth". There we had found a cold and inhospitable place, humanity was inexorably channeled on the path to extinction. We therefore decided to flee immediately in search of another planet where we could dwell.
We therefore came to New Babylon, a planet inhabited by humanoids but also by monstrous and ravenous creatures. There are "giants" that march about raising immense clouds of dust, stealing and plundering everything from people. Giants much like our corporations, they know no defeat and have no weaknesses, at least apparent ones.
There are old warriors like jarek who wait for war to feel like heroes, to feel alive. They find their dimension within the battle, where the line between hero and assassin magically blurs.
There are pyramids erected by men who think they are gods and turn the things life gives them into weapons and death, changing their use and meaning. Little men who think themselves omnipotent, burying knowledge of how life works under piles of lies.
We find a myriad of slaves, surrendered to live in huge troughs. They toil at nothing and find meaning in nothing. They prefer a convenient lie to an inconvenient truth.
In short, we realize that we have arrived in a world very much like earth. We are aliens but in a certain way we feel at home. We want to know, to understand, to evolve. We don't recognize ourselves in this deceived humanity, we don't give in, we believe. Nature, life is wonderful but when one thing loses its usefulness life gently explains to it that it is time to make room for something else. This existence has already explained to the dinosaurs.
Kayleth continue their journey, never stopping because who seeks will find itself.

"New Babylon ranks next to Space Muffin as Kayleth’s best album for me and one that contains some of their best grooves of their career to date." - Outlaws Of The Sun
"Sit down and really take in We Are Aliens as it’s a joy to listen to, but are the aliens we think exist, just like us? Let Kayleth take you on their journey of discovery." - The Sleeping Shaman
"On this album the Italian five manage to translate heroism into wild and wonderful sounds, often sounding even more like a grungier, metal version of Monster Magnet, mixed with mix a definitive love for Kyuss, Orange Goblin and a prog rock outfit like Riverside." - Stoner Hive
"It’s a call to arms for the dreamers and the rebels, a reminder that no matter how dark the journey, there is always light to be found. This album is a must-listen for anyone into psych stoner rock!" - Witching Buzz
"New Babylon is a triumph. It’s an album that demands to be listened to in full, each track a journey through heavy riffs and cosmic themes." - Iron Backstage
"Listening to a piece like 'New Babylon's Wall,' you can appreciate the richness and sonic fertility of the group, with beautiful melodies enriched by the right amount of electronics, starting from a psych conception of the stoner sound, and there is no lack of prog elements, all with beautiful melodies. As mentioned earlier, a sci-fi band in both approach and essence." - InYourEyesEzine
"KAYLETH doesn't reinvent anything, but they absolutely crush it by the rules!" - Rock'N Force
"Stoner rock has rarely sounded as original, diverse and intoxicating as it does here!

OH TELEPHONE haben ihren Ursprung in den tiefen Tälern des Glarnerlands, wo sie dank dem Veka Club bestens sozialisiert und resistent gemacht wurden gegen jegliche Mainstreameinflüsse. Bookingagenturen schiessen nur so um sich mit Bands mit Psych in der Bezeichnung welche gerne die nächsten Oh-Sees wären und dabei ihren Sound grausig radiotauglich modellieren. OH TELEPHONE hingegen sind "the real shit", Garage-Psych wie er momentan von keiner Band besser gespielt wird. Ihre Schreie wirken nie berechnet sondern wie ein spontaner Ausbruch der Leidenschaft, ihre Gitarren durchlöchern jedes Trommelfell und wenn am Boden so einige Effektgeräte rumstehen wird nicht Shoegaze sondern Steptanz betrieben. Nun haben die beiden Masterminds hinter ihren früheren Bands SHOUTIN' MOE und THE OUTTA MIND ihren Wohnwagen nach Bern gebracht und dort die perfekte Mischung ihrer beiden früheren Bands gezüchtet, zusammen mit Gael am druckvollen Post-Punk Bass und dem kalifornischen Import Timothy U. am effizienten Schlagzeug. Für diese Aufnahmen auf dem Album sind sie ins Tiefe Süd Frankreich gefahren um mitLo Spider in sein Swamp lands Studio (the Monsters, the Spits, Scanners, the Lullies etc) dieses album einzuspielen den schluss fix hatt dann noch Jim Diamond dazu gegeben (The Dirtbombs, Electric Six, The White Stripes, The Sonics, The Devils) Aufgepasst! Abfeiern! (wicked wiggler)

Zum 20-jährigen Jubiläum erscheint das Debüt-Album einer der erfolgreichsten Indie-Pop- Bands der 00er Jahre erstmals auch auf Vinyl. 2004 waren Schubladen noch wichtig. Popmusik war noch nicht dieses eklektizistische, sich aus universell verfügbaren, entkontextualisierten Quellen speisende Internet-Monster. Wer also beispielsweise deutschsprachigen Gitarrenpop spielte, musste sich positionieren: Bewegte man sich eher in der diskursverliebten, kopflastigen Tradition der Hamburger Schule und hoffte auf "Indie-Credibilität"? Oder wollte man Teil der immer größer werdenden Deutschpop-Industrie werden, vornehmlich repräsentiert von "female fronted" Bands wie Mia, Juli oder Silbermond (nicht zu vergessen die stets gut gelaunten Jungs von von Sportfreunde Stiller), die - mal mit eher studentisch-intellektueller Grundierung, mal mit eindeutig schlagerhafter Geste - das Gefühlige in den Focus rückten. Es gab aber auch Acts, die sich nicht entscheiden wollten. Auf der Insel hatten es die Bands der Britpop-Welle schließlich vorgemacht. Hier ging es mit cooler Haltung, jeder Menge Subversion, aber eben auch goldenen Melodien und echten "Hits" in höchste Popstar-Gefilde. Wieso nicht auch in Deutschland Anspruch, Originalität und Gefälligkeit miteinander in Einklang bringen? Hier kommen nun also Anajo ins Spiel, eine 1999 gegründete Band aus dem provinziellen Augsburg, die 2004 mit ihrem Debüt-Album "Nah bei mir" genau diesen Sprung zwischen die Stühle wagte - und dafür mit sehr viel Liebe bedacht wurde, auch wenn die Indiepolizei nicht immer einverstanden war. "Nah bei mir" ist eine durch und durch leichte Platte, die mit catchy Sounds und Melodien bisweilen gewichtige Themen verhandelt: Überwindung tiefer Trauer ("Der Vorhang geht auf"), Entfremdung ("Einmal noch schlafen"), bittere Enttäuschung ("Die Tränen sind immer noch meine") - immer aber präsentiert mit einem süffisanten Lächeln auf den Lippen. Als wahre Meister beweisen sich Anajo auf dem Album in der schwierigen Disziplin der unblöden Partysongs: Auch nach 20 Jahren überkommt einen beim Hören so skurril-absurder Feger wie "Monika Tanzband", "Honigmelone" oder "Ich hol dich hier raus" noch diese unbändige, mitreißende Freude.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

Haunted Presence ist ein bis zum Rand gefüllter Kissenbezug mit köstlichen Halloween-Leckerbissen aus dem Numeroverse und eine unterhaltsame Mischung aus schaurigem Garage-Rock, skelettartigem Soul, mutiertem Protometal und gruseligem 60er-Jahre-Kitsch. Mit einer Spannweite von 20 Tracks wird diese Doppel-LP mit Sicherheit jede Kostümparty, Séance oder Monster-Mash beleben. Warnung! Längerer Genuss kann Gehörschäden verursachen.

Haunted Presence ist ein bis zum Rand gefüllter Kissenbezug mit köstlichen Halloween-Leckerbissen aus dem Numeroverse und eine unterhaltsame Mischung aus schaurigem Garage-Rock, skelettartigem Soul, mutiertem Protometal und gruseligem 60er-Jahre-Kitsch. Mit einer Spannweite von 20 Tracks wird diese Doppel-LP mit Sicherheit jede Kostümparty, Séance oder Monster-Mash beleben. Warnung! Längerer Genuss kann Gehörschäden verursachen.

Arguably the biggest and most in-demand electronic artist in the World, James Hype, puts his spin on Toolroom’s classic ‘Feel My Needs’. James needs little introduction, attracting more than 12 million listeners to his music monthly, accumulating over a billion streams and selling out arena’s all over the globe including his weekly residency at Hi, Ibiza.

The record is a peak-time monster and has become the ‘ID’ everyone is asking for on his social media and in his DJ sets! James has taken the essence of the original and added trademark tough drums and bundles of energy, very much akin to the vibe of his DJ sets.

Included on the flip is the unmistakable original from Weiss.

Greasy Mike präsentiert 18 Scheiben Rott n' Roll-Platten aus Weirdsville, USA. Rockabilly, Garage, Psych, Surf, Horror, Swamp, Weirdo, Exotica - von Vampiren, Werwölfen, Ghostridern, Hexern und Monstern. "Hier ist niemand außer uns Monstern!", rief ich verzweifelt. "Monster? Hier sind keine Monster!", kam die Antwort aus der Dunkelheit, "Das sind meine Kinder! Meine Babys!!" Ich drehte meinen Kopf zurück und schrie die schattenhafte Gestalt an, die ich zurückgelassen hatte: "Das ist Hexerei, du verrückter Vollidiot! Du durchgeknallter, schizoider Abschaum!" Und damit verschwand ich durch die Leere und in die Nacht.

In the early 1990s, before the era of social media dominance, skateboarding culture found its voice through magazines and VHS video releases, notably from brands like Santa Cruz and Powell Peralta. These videos not only shaped the skateboarding world but also influenced creativity across various industries worldwide.

In 1988 and 1989, two groundbreaking videos, "Shackle Me Not" and "Hokus Pokus," emerged from the fledgling skateboard company: H-Street, unleashed a seismic shift in street skateboarding. These videos are revered as iconic masterpieces, celebrated for their innovative skateboarding sequences and unforgettable soundtracks.

“What’s particularly interesting about Hokus Pokus was its soundtrack, largely comprised of demo cassettes, unsigned artists, and bands with loose ties to the brand. Some of the songs were goofy, others almost anthemic, and few sounded of their time. Perhaps it was the repetition or the fact that Matt Hensley could have skated to the sounds of a broken oven and it would have been iconic, but the songs in Hokus Pokus became a secret handshake for the hardcore—people who really gave a shit about skateboarding’s culture not just the act”.

Artless / Anthony Pappalardo

“When we were filming for Shackle Me Not we were still a brand new company and hardly anybody knew who we were and it was so brand new. I was so busy skating and I noticed there was like a movement in skateboarding, you could feel there was a change in the way, in the tide, not just white H-Street but with every company. I think that video, the H-Street video was saw raw, with the crazy music, and you know, just the wackiness of all of it, I think that feeling went out into the world, and kids everywhere understood you don’t need to live 20mn away from Del Mar to actually be part of what’s happening. I think that just opened up the world of skateboarding to more people”

Matt Hensley – Pro skater and Floggin Molly band member.

Fast forward 35 years, and H-Street, in collaboration with Paris (France) based label Stereo Ronin Records, embarks on a momentous project to release special edition vinyl soundtracks from these seminal videos. This exclusive release features meticulously remastered tracks, including new versions and previously unreleased gems on vinyl, making it a treasure trove for any skateboarding enthusiast.

Curated from bands like Kirk & The Jerks, Sub Society, Wonderful Broken Thing, Voluntários da Pátria and The Cry, representing the golden era of skateboarding music, this album promises an unparalleled experience for fans of Punk Rock, Indy Rock, and of course, skateboarding.

Working alongside RTM Studio in Paris, Stereo Ronin Records has undertaken a remastering journey, ensuring that this vinyl edition delivers a truly unique sonic experience, capturing the essence of a bygone era while resonating with contemporary audiences.

Ein Album wie eine Nacht in Paris: Eli & Fur zwischen Introspektion und Euphorie.

Das in London gegründete und in LA lebende Duo Eli & Fur gehört zur Speerspitze der modernen House- und Techno-Szene. Ihr zweites Album 'Dreamscapes' entfaltet sich in den introspektiven und doch transformativen Räumen, die zwischen der Dämmerung und dem Morgengrauen lebendig werden. In diesem nächtlichen Zwischenspiel wird der Schleier zwischen dem Selbst und der Umgebung dünn und die Zeit steht plötzlich still. Wenn die Außenwelt verblasst, stellt sich ein Gefühl von Trost und Zuflucht ein, das dem Gewöhnlichen den Weg zum Außergewöhnlichen öffnet. 'Dreamscapes' ist ein elektrisierendes Werk, das das komplizierte Zusammenspiel von Gedanken und Emotionen anregt. Es ist eine Hommage an die kathartischen Grübeleien unserer einsamsten Wanderungen durch alle Ecken der Nacht und die Blitze dazwischen, mit 15 Tracks.

Dieses neueste Werk, das über das traditionelle Hörerlebnis hinausgeht, bestätigt Eli & Furs unvergleichliche Fähigkeit, verschiedene musikalische Elemente mit universell verbindenden Themen in Einklang zu bringen. 'Dreamscapes' ist mehr als ein Album, es ist ein Gefühl. Es ist das durchschlagende Gefühl einer Nacht in Paris, die man in Erinnerungen an die Sterne schwelgt. Es ist die Aufregung und die Beklemmung, wenn man sich fragt, was einen am nächsten Horizont erwartet. Es ist die anhaltende Euphorie, wenn man jemanden vermisst, den man liebt, und es ist eine Solo-Taxifahrt nach einer durchzechten Nacht, bei der man dem Sonnenaufgang hinterherjagt, während das erste Licht der Morgendämmerung naht.

- Ltd. Col. 2LP: (White Vinyl)

Klara Lewis' latest offering is undoubtedly a heartfelt tribute to her friend, mentor and former label boss, Peter Rehberg.

The opening track Thankful resides as a direct tribute to the track recorded under his PITA moniker, the timeless 'Track 3'. A track of which the impact has been vast and deep, still rattling the walls of the now enormous worldwide experimental electronic scene. Countless new youth carve and project wildly distorted melodic digital matter which all falls back with a knowing or unknowing wink back to this original ground zero monster. Klara's take on this is one that resides as a tribute to Rehberg with a cascading emotional melody gradually succumbing to a euphoric digital abyss. Thankful also comes across as a farewell gesture to her deceased friend with its beautiful, almost funerale tone. The abrupt ending is not only a method Rehberg would have relished but also a signifier of a life suddenly cut short.

Lewis was 21 when her first album Ett was released by Editions Mego in 2014. Now at 31 years of age Editions Mego is very proud to present Thankful, a profoundly mat

Limited to 500 copies! No repress! Transparent red vinyl! Hype sticker on front! 1961 schwappten die ersten Tropfen der neuen Surf-Welle in den Äther. Eine Gruppe kalifornischer Teenager namens The Belairs veröffentlichten mit "Mr. Moto" das ersten lupenreine Surf-Instrumental und viele weitere sollten folgen. Es war ein Lebensgefühl, es ging um Freiheit, Rebellion gegen die miefigen 50er, um Party und natürlich um die nächste Welle. All das spielte sich vorzugsweise im sonnigen Kalifornien ab. Der erste Hit des Genres war "Misirlou" von Dick Dale, das 1962 veröffentlicht wurde. Der Track stellt deutlich die drei Hauptkomponenten des Surf heraus: ein tragendes Gitarren-Thema (eben kein Gesang!), exotische Harmonien und Akkordfolgen sowie ein gehöriges Maß an Wildheit und Lautstärke! Leo Fender entwickelte dann für Dick Dale zwei Innovationen, ohne die die Surf-Musik nicht das geworden wäre, was sie ist: Den Fender Reverb - ein separates Federhall-Gerät - und den Fender-Showman-Verstärker. Dieses Equipment gehört gerade für Puristen auch heute noch zur Grundausstattung eines Surf-Gitarristen, der seinen Job ernst nimmt. Natürlich gab es jede Menge Bands, die nur eine oder zwei 7"-Singles veröffentlichten, die lokal verteilt oder bei Gigs verkauft wurden. Man braucht schon einen Mann mit Spürnase, um die Juwelen rauszupicken und die entsprechenden Preise für das Kleinvinyl zu zahlen. Unser Mann heißt DJ Crille, seinerseits Resident im Komet! Club in Hamburg (nahe Reeperbahn), und anerkannter Surf-Spezialist. Nebenher ist er auch für die Vocal Group Madness! LP und die Born To Hula Doppel-LP in der DJ Set Serie -beide auf Stag-O-Leeverantwortlich. Surfin Burt"s Surfin Safari! - Vol. 2 ist praktisch die perfekte Welle.

Die wohl kalifornischste aller deutschen Streetpunkbands kommt aus Stuttgart. Obwohl die Schwaben nicht mit Anleihen bei den Dead Kennedys geizen haben sie ihren eigenen, schnörkellosen Stil entwickelt. Nach nur 3 Tagen hatten die 4 Jungs das Album "Waterfront" im Kasten, so erfrischend rough und dreckig wie der Fluss der durch ihre Heimatstadt fließt. Das düstere Cover ist Programm: ein kloakiger Fluss vor nächtlicher Stadt voller Qualm und Rotz. "Fuck The World" ist ein bissig-ironischer Text über den Raubbau an unserer Mutter Erde, die sich verzweifelt wehrt. Wenn der texanische Sänger "Mother gets angry" raushaut erinnert er an die bitterbösen Zeilen etlicher Jello Biafra Songs. Bei "American Devolution" gehts weiter mit einem 100% DK-Intro. Desillusioniert stellt sich die Frage wieso Werte wie Toleranz und Freiheitsliebe verschwunden sind. Die Hommage an Cock Sparrer "Where Are They Now" haut in dieselbe Kerbe. Wo sind die geblieben, die mal von Anarchie, Kampf und Zusammenhalt geredet haben? Mit "Here We Go" wird bei hämmernden Drumsticks und toughen Gitarren der hauseigene Stil der Band blankgelegt. Das biestige "Crazy Axe Wife" erzählt von einem Typen der seinen Kopf verliert weil seine liebende Ex-Frau ihn davon per Beil befreit. Viel schaffen für nix ist Thema von "Ghost Lights", nochmal mit Anklängen an die toten Kennedys. Kurz und knüppelig darf der Leckt-mich-am-Arsch Saufsong nicht fehlen bevor am Ende nochmal abgehottet werden darf. Also Daumen raus und ab auf den Roadtrip nach Necka(r)lifornien.

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

" The myths of our Western tradition have often captivated me, whether they be Greek, Roman, or Judeo-Christian. Myths are a transcendent collective narrative; a buried memory, not intellectual but spiritual, alive to all the senses of another world. These stories often describe forbidding passages guarded by terrifying monster-like creatures, which, if conquered, give access to other planes. 'Door 1 - Door 2' are two of these planes, opening to prophecy and kingship." (Christopher Chaplin)

Following the release of his powerful and dark album trilogy "Je suis le Ténébreux", "Paradise Lost" and "M", British avant-garde composer Christopher James Chaplin has unveiled his latest project in 2021: "Patriarchs", released to critical acclaim. This project is a musical exploration of the Antediluvian patriarchs, from Adam to Noah, and is another captivating and daring work of art that straddles experimental electronic music and the avant-garde. Chaplin has also been wowing audiences with his live performances, releasing the concert album "Patriarchs Live" to shorten the wait for his new studio album "Door 1 Door 2", which will be released on September 20, 2024.

It is another powerful work of art, located between electronic music and avant-garde. Once again, Christopher Chaplin breaks genre boundaries and manages to condense experimental and colorful electronics in chamber music in a unique way, transporting the listener into mental and spatiotemporal intermediate states. A completely unique musical microcosm that can also be experienced in his impressive solo live performances.

Ein neues BLUTGOTT Album steht in den Startlöchern: Freut euch auf "Dracul Drakorgoth" und 10 Songs im Balgeroth-Stil!

Im Laufe von 2 Jahrzehnten hat Thomas Gurrath ein ganzes Banduniversum geschaffen, bestehend aus den Bands Debauchery, Blood God und Balgeroth.
Diese Trinity of Blood Gods hat sich nun unter dem Namen BLUTGOTT zusammengeschlossen. Die einzelnen Bands decken alle unterschiedliche Musik- und Gesangsstile ab, es gibt stampfenden Death Metal (Debauchery), Metal mit deutschen Texten (Balgeroth) und Hard-Rock-angehauchten Metal (Blood God).
Die Geschichten, die Gurrath in seinen Texten erzählt, sind alle mit Gurraths eigenem BLUTGOTT-Metal-Universum verknüpft.
Dieses Album handelt von Dracul Drakorgoth und der Trinity of Blood Gods. Die meisten Texte handeln von Balgeroths Krieg am Ende des zweiten Zeitalters der Menschheit.

"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music

“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian

July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.

“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.

THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.

Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
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On Chastity’s upcoming, self-titled fourth record, Williams decided to write a fully non-fiction work. Out Friday, September 13 2024 on Deathwish (US), Dine Alone (Canada), and Big Scary Monsters (UK/E) ‘Chastity’ is a 13-track record about the things that have always run through the band’s records—struggle, death, despair, redemption, darkness, and light—but this time, the songs ascend to new depths of intensity and desperation, new heights of resolution and power. “It’s really about the first nosedive that I did as a young person,” says Williams. “It’s a record about struggle, about the missing years. It’s also a thank you to some people in my life.” The record hurtles through melodic hardcore, shoegaze, and emo, all magnificently and enormously rendered thanks to slick work from John Paul Peters (Propagandhi, Comeback Kid), who engineered and mixed the record. Chastity’s first three full-length records—2018’s Death Lust, 2019’s Home Made Satan, and 2022’s Suffer Summer—formed a trilogy that defined a 4-year arc of the band’s contribution to outsider music. Each record was informed by Williams’ life, but each was also conceptual and interpretive, refracting his experiences through a level of remove. On the self-titled record there’s a beautiful and affirming ending to it’s closer, centered on the band’s first and enduring idea: life is less shitty if we live it together.

Zak Olsen, the creative force behind the guitar riffs of Australian doom psych band Orb, is set to release his highly
anticipated solo album, Ghost Notes, under his Traffik Island moniker. 12 Esoteric Instrumentals for Ethereal Beings
feels like going on an acid trip through a haunted house, where folk melodies merge seamlessly with jazz rhythms and
psychedelic textures. Creating freakout moments such as the track ‘Pandemoniom!’ featuring Kenny Ambrose-Smith of
King Gizzard and haunting folk horror moments on ‘winds’ Fans of esoteric instrumentals and spooky soundscapes alike
will find much to love in this haunting collection. Frank Maston of Maston captures the essence of Ghost Notes perfectly:
“Olsen has created a monster - channeling Joe Meek, Goblin, and Broadcast in this cursed disc of groovy fugues. Traffik
Island may be alive and well in these tracks, delivering premium melodies with ease, but the undead certainly had their
say. Mixing terrifyingly sick beats with warped organs, sinister synths, and spooky found sounds, this is the horror movie
soundtrack we deserve. An instant Halloween classic.”

Warehouse Find!

Swedish DJ/Producer Christian Nielsen debuts on Maceo Plex's Ellum imprint with the ‘Love Struck’ EP this May.

The four track EP continues a strong start to 2020 with releases from Raxon and Avision and, true to the label’s form, is all about weighty, characterful cuts from Nielsen, an artist who has previously chalked up releases for the likes of Kompakt, Of Unsound Mind and Play it Down.

The titular opener of ‘Love Struck’ is a swaggering, low slung affair with a growling bassline underpinning a pitch shifted vocal refrain and piercing rave stabs - a mutant beast which fuses techno, Garage and rave aesthetics in anthemic style. The skeletal rhythms and gritty acid flair of ‘For Myself’ follow in a track that, through some nifty builds, manages to pull off a big room energy as much as it does a basement vibe. ’Switch’ is next up and, with a rock solid groove, vocal sample and subaquatic tones, displays just how well Nielsen can create a monster with few elements. The heaviest track, ‘Pulse’, rounds off ‘Love Struck’ with a huge, padding kick drum and resonant percussive lead doing the heavy lifting while counterpointed by judiciously employed warm, cossetting jazz flute licks

Cardinal Fuzz and Feeding Tube Records are proud to present to you the 2nd LP from TOMOYUKI TRIO (Tomoyuki Aoki, Mike Vest & Dave Sneddon) following their debut LP ‘Mars’ on the esteemed Riot Season Record Label. Tomoyuki Aoki is the founding member and lead guitarist of the legendary Tokyo Psych Monsters UP-TIGHT. Of all the Japanese psych-rock groups that emerged in the late nineties and early noughties, Up-Tight are the most reverent, the most directly plugged into the source, from their name (Velvet Underground) with knowing referential song titles like “Sweet Sister” to their extended heavy, dark black clad acid fried one chord psych melters -- we're talking bands like Fushitsusha, White Heaven, Kousokuya, Shizuka, and the grandaddies of 'em all, the deservedly-legendary, Les Rallizes Denudes. Shitsuren If anything has got an even heavier, dronier edge than what we heard on the last one. Super fuzzed guitars, sad ballads, grinding distorto epics and numbed, narcotic rhythms. This is one to play at maximum volume so that you can soak up its molten magik as over 2 sides of Shitsuren’s grueling guitar hypnotics you uncover the darker side of the ensembles personality to find them digging deep to drag the audience with them into the shadows of stoner psyche. If you can picture Okhami No Jikan, Asahito Nanjo. Musica Transonic & Toho Sara then you’re close to the outrageous levels of psychedelic excess captured here, a riotous concoction of ferociously brooding, locked down heavy bearing intensity of fierce/brutal speaker battering in the red levels.

Mr Bongo’s Brazil 45’s series serves up another pair of Brazilian classics in the form of Rita Lee & Tutti Frutti ‘Agora É Moda’ and Pete Dunaway ‘Supermarket’.

'Agora É Moda' is a psychedelic, disco-boogie-groove monster brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on Rita Lee’s 1978 album Babilônia LP on Som Livre, this sublime track is drenched in squelching guitar licks, funk drums and sensuous cosmic vocal flavours.

Lee was the lead singer of Brazilian psychedelic rock band Os Mutantes and a hugely important figure in the Tropicalia movement. She sadly passed away in 2023 but her legacy well and truly lives on, loved both in and out of the music world.

On the flip side, Pete Dunaway’s ‘Supermarket’ is a rare groove/AOR masterpiece with a killer bassline, swaggering guitar and luscious string section layered with a perfectly delivered English vocal.

Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi-instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals.

Remastered with refreshed artwork.

Another pair of home hitters, slamming out 2 tropical flavoured monsters ready to bring the fire to any dancefloor!

1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata

A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case


We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!

Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.

Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!

The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!

Multi-Blues Music Award-Winner Albert Castiglia Assembles All-Star Cast of Righteous Souls on His New Gulf Coast Record Album including Joe Bonamassa, Josh Smith, Danielle Nicole, Christone "Kingfish" Ingram, Popa Chubby, Ally Venable, Kevin Burt, Monster Mike Welch, Gary Hoey, Rick Estrin, Jimmy Carpenter and Alabama Mike.

"During last year's "Blood Brothers" tour, Mike Zito informed me that it was time for me to do another solo album. At that moment, I felt I was ill prepared for the task. I had been constantly touring with Mike for the last two years, doing very little writing so I didn't have a lot of original material. My last two studio albums were quite thematic. With 'Masterpiece' the album centered around the discovery of my daughter. 'I Got Love' was fueled by my life during the pandemic of 2020. What would be the thing that fuels the next one? It concerned me because if I'm not living the songs, it'll never work. It had to mean something to me. Mike suggested we make it an album with guests, my friends so to speak. I was concerned my friends wouldn't have time to devote to the project. I was wrong, so wrong. Joe Bonamassa, Josh Smith, Kevin Burt, Gary Hoey, Ally Venable, Popa Chubby, Rick Estrin, Kid & Lisa Andersen, Alabama Mike, Jimmy Carpenter, Kingfish Ingram, Danielle Nicole, Monster Mike Welch, Jerry Jemmott, D-Mar Martin, Jon Otis, Jim Pugh and others stepped up for me. My daughter, Rayne even participated which was the cherry on top. Suddenly, the theme became clear. It's about friends and family. It's about 'Righteous Souls'." - Albert Castiglia

Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.

Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.

Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.

Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.

Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.

Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.

Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.

Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.

Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.

Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.

Black Metal, Symphonic grandeur and Deathcore brutality collide in the majestic new album from A WAKE IN PROVIDENCE. 'I Write To You My Darling Decay' is a swathing monster of a record, citing influences from all across the heavy spectrum. As one of the established veterans of the Blackened Deathcore movement, AWIP are now here to set their sights on total domination as they rise to the upper echelons of the genre.

Post Historic Monsters by Carter The Unstoppable Sex Machine, released 23 August 2024.

The perfect soundtrack for celebrating Halloween with novelty rock'n'roll. For fans of deep 1960s vintage Halloween themed tunes: witches, werewolves, monsters, devils, aliens, and zombies set the stage for a camp and entertaining holiday bash. Features the super-rare 1962 Bettye LaVette track, "Witchcraft in the Air," and the trailer to the 1959 Vincent Price spooktacular, House on Haunted Hill.

From the furnaces of Stoke-On-Trent comes the super-limited debut EP from Formal Sppeedwear, a wonky new wave teacup ready to be sipped.

Taking creative cues from Brian Eno’s Oblique Strategies and Conny Plank’s experimental recording techniques to flesh out synthpop-oriented melodies, the EP stomps along with Scary Monsters-era Bowie guitar lines, early 80s Numan basslines and surreal lyrics - “Ready, set on my mark: Tesco Extra, Marks and Sparks” cries Clewlow on 6 Lofty Ash. There’s a versatility to the tracks; with the jolting staccato of The Line counter punched by EP closer and highlight Dismount’s soaring synth slow burn.

Defying the seas of young musicians moving to London and Manchester to find their path, Beck Clewlow (Bass, Vocals, Synthesisers) Charlie Ball (Guitar, synthesisers), and Connor Wells (Drums, Guitar, Synthesisers) stuck it out in Stoke, using the city as a blank canvas - devoting their spare time to writing and experimenting, building their own studio out of charity shop finds and cash-converter synths and recording equipment.

Out in the creative wilderness of Staffordshire there’s a healthy DIY scene brewing with bands waiting to make their mark; fly posting their own shows, making one-off merch for each gig, sharing lineups with one another. “There is no sense of geographical confinement here, there’s a wealth of talent who act indifferently to their surroundings. It’s particularly nice that some of our friends from here are starting to receive attention from elsewhere” say the band. As fellow locals University and Christian Music start to garner attention from the rest of the UK, it’s time for Formal Sppeedwear to follow suit.

Stoke-on-Trent might not be the first place you’d look to find your favourite new band - The Bootleg Beatles are one of its finest exports if you ask Google - but Formal Sppeedwear are here to show you the kilns are alright.

Die neue AOTN 12" präsentiert zwei sehr unterschiedliche Dancefloor-Monster, die beide die seltene Disco-45 der New Yorker Band Sass von 1977 samplen: "Where Is the Love". Side A ist ein super-deeper, druggy Disco-Knaller von East Coast Love Affair. Als Gegengewicht wird die Flip von Kevin McCullagh (BDK) im Disco-House-Stil der späten 1990er definitiv ein paar Hintern in Bewegung bringen.

Die atemberaubend schöne, aber auch manchmal etwas deprimierend miefige Idylle des schönen Bodensees ist die Kulisse für das kommende Sommerloch-Album von Schmutzki. In ihrer alten Heimat haben die drei Punkrocker aus Stuttgart 13 herz- und hirnerweichende Anekdoten aus dem mockenden Schlamm des ,Schwäbischen Meers" gezogen. Mal heiter, mal nachdenklich werden hier so einige Wurzeln ausgegraben, die man längst abgestorben glaubte. Doch als Kind vom See kannst du soweit wegrennen wie du willst, irgendwann holt er dich ein und es heißt: Bodensee Calling!

After the success of her breakout EP, 'Water-Based Lullabies', a playful, Zodiac-inspired odyssey through life and love, Mancunian fan favourite Abbie Ozard is back with a bang. The last release hinted at an evolution in sound, and in the soon-to-drop album 'Everything Still Worries Me', we see all that potential realised as Ozard's musical and personal growth is laid bare.

Growing pains and the overwhelm of those first steps into adulthood of stand out as overarching themes in this more serious, introspective body of work, in which Ozard explores beyond her bedroom-pop origins and lays bare the vulnerabilities that will resonate with so many young women becoming adults in a complex, confusing and ever-changing world. Even without the transcendent vocals that could belong to no one else, Ozard is present in every second of this album - from musical performances from close friends to samples of old family videos, she is enshrined in this spellbinding debut that could not be more authentic to its creator.