Suche:new blood

Decomposed recalls classic American hardcore like Bad Brains, Poison Idea and Jerry’s Kids or Japanese ragers like Paintbox, The Comes, Eiefits and Skizophrenia. But there’s also a healthy slug of classic UK and US punk and even a bit of Krautrock, psychedelia and Black Sabbath in there too. Nottingham has always been a melting pot for heavy music. For a small city, it has boasted more than its fair share of genre defining bands and artists, not to mention record labels. Bands cross-pollinate, form projects and offshoots and play one-off gigs that would result in lengthy careers and world tours if they had happened across the Atlantic. It has always been like that there. No big deal (but yet, a really big deal if you know). One such band/project/offshoot were Endless Grinning Skulls. Formed by guitarist Andy Morgan (also from Bloody Head, Army Of Flying Robots, Nadir and countless more), drummer Steve Charlesworth (Heresy, Wolves Of Greece, Meatfly, Geriatric Unit) and bassist Gords (Hard To Swallow, John Holmes, Geriatric Unit) in the early twenty-teens, they re-set the bar for the 3-piece hardcore band before (perhaps inevitably) burning out in 2018. Morgan and Charlesworth weren’t done though. They’d forged a bond in EGS and wanted to carry on playing together so - in a familiar Nottingham storyline - they recruited former Pitchshifter guitarist Stu Toolin on bass and Anmarie Spaziano (who you might know from running a famous burger joint) on vocals and formed Blind Eye. They knew Toolin was about to relocate to Portland, Oregon so they wrote and recorded an EP (released on Morgan’s own Viral Age Records). Quick-sharp. No messing about. And that – by rights – should have been that: over and out. New band please. However, the demo captured a rare intensity and vitality that more considered projects often fail to achieve. This was a band let loose, free from previous shackles and loving the noise they made. It seemed a shame to stop there. Recruiting Matt Grundy (a former bandmate of Morgan’s in both Nadir and Dead In The Woods) to the bass vacancy they went back to Stuck On A Name Studios in 2021 with Ian “Boulty” Boult at the helm again and delivered the album Decomposed.
Decomposed genuinely rocks out without losing one iota of the effervescent anger that made the demo such an essential listen. From the insistent, minimal opener Ready To Go Now via the unhinged thrash of Straw Man and the menace of the stomping Pero No Quieres, to the measured chugging and epic crescendo of closer Broken Star, this record is a fucking blast. Needle off, flip it back over, play it again. Your neighbours are loving it so much they’re banging on the walls to tell you. “I suppose the intention was to write high energy, catchy hardcore, with a nod to what has come before, but also to do our own thing,” explains Andy. “Lyrically, the album was written during the pandemic, and although it’s not ‘a pandemic album’, I think it deals with a lot of the feelings of loss, separation and isolation

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

During the summer of 2020, SACRILEGA burst from the void with their debut EP, Rites of Macabre. Although a brand-new entity, the Californian power-trio features members currently aligned with Rites of Thy Degringolade, Impure Consecration, and Invocation War among others. As such, it was not surprising that that their Impious Death Metal worship was so powerful and punishing this early on. However, SACRILEGA are set to eclipse those not-inconsiderable expectations with their full-length debut, The Arcana Spear. Recorded at Ramona Studio with Charlie Koryn, SACRILEGA's debut album is a veritable firestorm of finessed fury - malice, malevolence, and mesmerizing visions writ large across throttling death metal songwriting both classic and contemporary. Driving that propulsion is underground drum-god Paulus Kressman, whose veritable eight octopus arms create a dizzying, dread-inducing landscape for his bandmates to slay with their razor-wire strings. Their songwriting always pushes forward with a near-bestial pulse that cannot be denied; still, attention is duly paid to detail within riffing and atmosphere alike, elevating The Arcane Spear beyond a mere exercise in ultraviolence. SACRILEGA thus locate that elusive balance between the cunningly precise and rabidly maximal, placing due emphasis on the songwriting itself and allowing the execution to tell the grandiose-yet-doomed tales it so requires. Featuring suitably stark-yet-grandiose artwork courtesy of Artem Grigoryev, SACRILEGA deliver one of death metal's most stunning debuts with The Arcana Spear. Embrace the grand tyranny!

"At the end of 2021, POWERWOLF – the most successful German metal band to date – fascinated with a streaming event of unprecedented dimensions. Those who thought they had seen everything in the live sector were instantly proven wrong with unmatched audio production and visuals that can only be described as simply breathtaking. This summer, on July 8, 2022, this new benchmark for music streaming events will finally be available to view any time you crave. THE MONUMENTAL MASS - A CINEMATIC METAL EVENT will be unleashed on DVD, BluRay and many other physical formats! POWERWOLF have stood at the peak of superlative, epic metal moments for years, but what they present with this streaming event surpasses anything seen before. After months of detailed work, a story was crafted and presented in several chapters based on the stunning music and elaborately staged cinematic scenes. All show effects, actors and stage settings work hand in hand with each other and bring the medium of live music to a level never seen before. From battles with clergy to stories of nuns, monks and burning angels, cinematic images immediately capture the viewer. Each song has its own stunning set designed and is perfectly staged - the production and size alone are unparalleled. One live premiere of a POWERWOLF classic follows the next, one after another – all with impressively produced sound design.

Widespine Jacket,Black Vinyl, Black Dust Sleeves, Marketing Sticker
Shottaz 4Eva (Deluxe) is an expansion to the posthumous album, Shottaz 4Eva, from Dallas-based rapper MO3. Fusing his harmonious vocals with an almost effortless flow, the late artist quickly cemented himself as rap royalty in his hometown and well beyond. Featuring appearances from rising star Morray and Derez De'Shon, the deluxe edition gifts fans with eight new tracks that illustrate MO3's exceptional talent that was taken from us too soon. The album includes the hit songs, "Outside (Better Days) (feat. OG Bobby Billions)," & "In My Blood (feat. Morray). Long Live MO3.

Two years after his Debut EP Bloodline OTN 01, Umo returns to OpenTheNext with another 5 #neodancefloor killer tracks.

The sound of Umo is the result of almost two decades of studying frequencies, vibrations, sequences of movements, plants and ascetic substances, seeking to recover the Music & Dance´s sacred and transcendental vision to ascend and sustain higher states of consciousness.

His new EP is a slow motion rework of the Raves in the 90s´ original sounds & vibrations. Traveling to a time when the dancefloors were true places of healing , authentic liturgies where people danced in community for days with eyes closed – before the internet, smartphones and globalization would corrupt everything.

#slowravers is a sonic journey that encourages conscious breathing and movement, and allows you to empty, dilute and connect in perfect resonance with the void that binds everything together.

Produced by Heidecker, Drew Erickson, Eric D. Johnson and Mac DeMarco, High School sees Heidecker emerging as an increasingly playful and poignant story teller, infusing childhood tales with new gravity. In conjunction, he announces Tim Heidecker Live! Featuring Tim Heidecker and The Very Good Band, his first two-act tour of comedy and music. Since 2016, Tim Heidecker has chronicled the annals of adulthood on a series of supreme singer-songwriter albums. The crushing devastation of divorce and the existential malaise of middle-age, the minutiae of home ownership and the ritual of family vacation, child rearing and global warming: Heidecker has handled it all with humor and heart. But, there’s one pivotal lodestar of human development he has yet to mine that’s right, High School. First single “Buddy” is a composite of a few woebegone friends, which finds Heidecker reminiscing on the familiar tragedy of the adolescent stoner, manifesting the destiny of undiagnosed depression and parents who didn’t care much. The song itself is a jangly delight, but it’s hard not to mourn for “Buddy,” then re-count whatever blessings you may have. After initial and fruitful sessions with Jonathan Rado, Heidecker started recording tunes with DeMarco and Erickson, who had also worked on 2020’s collaboration with Weyes Blood, Fear of Death. At DeMarco’s studio, they added drum machines and synths and sidewinding solos to Heidecker’s big strummed chords. Johnson (Bonny Light Horseman, Fruit Bats) helped Heidecker finesse the tunes even more, making the music as rich as the feelings. Kurt Vile contributed to one song, as well. Through all those sessions, it slowly became clear: Heidecker was writing not only about the adventures and misadventures of life as a Pennsylvania teen in the early ’90s, but also how it felt to lose a juvenile sense of mystery and possibility as an adult. He was writing about high school and, really, the way it helped shape everything else. Back at Pennsylvania’s Allentown Central Catholic High School, Heidecker dreamed of making it with one of his many rock bands — Time and Other Things, Shaggy’s Beltbuckle, and (incredibly) The Pulsating Libidos. Two years shy of his graduating class’ 30th anniversary, Heidecker admits he had little of substance to say when he was 17, like all but the rarest of precocious minds. In college, though, he found the friends with whom he built his comedy career, largely apart from music and without much thought for his time back at Central Catholic. He was focused on his future. It is fitting, then, that as Heidecker has become such a delightful singer-songwriter and collaborator, he returns to the first scene of his time as a musician. Maybe he’s right — he didn’t have anything to say or sing about life back then. But across the earnest and amusing High School, he finds plenty to say about those weird and wonderful and ordinary times.

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

"2022 marks a year of celebration for Roxy Music. Throughout the year, each of their eight studio albums, all heralded as modern classics, will be reissued as special anniversary editions with a new half-speed cut, revised artwork and a deluxe gloss laminated finish. In addition, Roxy Music will tour for the first time in more than a decade to mark the 50th year since their groundbreaking debut album.

In May 1980 Flesh and Blood gave Roxy Music their second No’1 UK Album and peaked at No’35 in the US Billboard chart. The album was preceded by the single “Over You”, a No. 5 UK hit that also provided the band with a rare US chart entry at No’ 80. Two more hit singles followed: “Oh Yeah” (UK No’5) and “Same Old Scene” (UK No’12). Flesh and Blood also included two cover versions: The Byrds’ “Eight Miles High” and Wilson Pickett’s “In the Midnight Hour”. The albums artwork was envisaged and designed by iconic British artist Peter Saville. Each Roxy Music album has been Re-Issued with a fresh Half-Speed cut by Miles Showell at Abbey Road Studios. London. To reflect the audio, all eight of the Roxy Music studio albums have had their artwork revised and with a gloss laminated finish so that each album is not just a record it’s a piece of art."

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

Black Stone Cherry returns with a new live album, 'Live From The Royal Albert Hall..

Y'All!', available via Mascot Records.
Taken from their sold out performance at London's world famous Royal Albert
Hall on September 21st, 2021, this release marks a new milestone for the band,
and serves as a celebration of their 20 year career. Featuring songs from Black
Stone Cherry's entire catalog, 'Live From Royal Albert Hall... Y'All!' has something
for every BSC fan.

Cleveland, Ohio's Axioma create their most stunning release to date on
Clear with Black and White splattered vinyl entitled "Sepsis"!Seven tracks
of unbridled devastation intertwined with blackened post metal precision

‘Bye Bye’ is a three-track offering from Philadelphia-based
sextet Blood, that rarely stays put in one style for long.

 All three songs were recorded by the band throughout the
pandemic, providing a uniting force whilst touring remained
impossible.

 The tracks are a testament to the unforgiving and rewarding
process of self-recording. The band found great relief in
finally having the time to flesh out an experimental
atmosphere without the constraint of paid studio time.
 Blood are proud of the work they’ve made, but it is
imperative to mention that all three tracks were brought to life
in a way not formerly thought possible, by the mixing
brilliance of Nancy Conforti.

 ‘Money Worries’ finds Blood slingshotted over an open letter
to their landlord. What starts as a clear threat to an obvious
albeit deserving villain, soon caves into an acoustic respite,
in which the nightmare of financial ruin becomes lullaby.

 Blood began as a solo project of current lead singer Tim
O’Brien in the winter of 2017. After going through several
line-up changes throughout 2018, the current iteration began
making waves in the bijou punk scene of Austin. They were
considered “a live staple in their own prospective scene” and
“one of Austin’s buzziest new acts” by press nationally and
locally.

 After twice touring the US, Blood were poised for a big 2020
when plans were altered drastically by the pandemic. They
then self-released their debut EP, ‘Why Wait Til’ 55, We Might
Not Even Be Alive’, in April of that year.

 In 2021, the sextet made a move to West Philadelphia and
began recording their upcoming release, ‘Bye Bye’, while
also playing shows throughout the North Eastern United
States. At this time, the group live in a seven-bedroom house
with a converted basement for recording and rehearsing.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Diabolical Death Metal titans BELPHEGOR unleash their twelfth studio album!

With “The Devils”, long-running Diabolical Death Metal titans BELPHEGOR unleash their twelfth studio album upon the masses, which proves to be one of the strongest and most elaborate records in the group’s career. Produced at renowned Fascination Studios with Jens Bogren (Kreator, Rotting Christ, At The Gates), “The Devils” sounds absolutely crushing and dynamic, sonically pushing the immense variety of the eight tracks to new heights. Blending German and English lyrics, lead single ‘Totentanz – Dance Macabre’ is as ferocious as it gets with its insane barrage of blast beats, spiteful lyrics, and sinister guitar melodies. ‘Glorifizierung des Teufels’ (= ‘Glorification of the Devil’) and ‘Virtus Asinaria – Prayer’ offer epic, mid-paced grandeur and chanted vocals and choirs adding new shades of black to their stylistic palette. The title-track or ‘Damnation – Höllensturz’ prove to be more complex pieces, shifting moods and tempos with ease and expanding BELPHEGOR’s blasphemous onslaught with fascinating twists and turns. Rounded off by impressive artwork created by Seth Siro Anton (Septicflesh, Nile, Paradise Lost), “The Devils” marks the band’s third collaboration with one of metal’s most prolific designers. Ultimately, “The Devils” is an album that musically builds upon BELPHEGOR’s trademark sound, in essence a combination of traditional death and black metal, deeply rooted in the 90’s, yet boasts with intricate compositions and detailed arrangements underlining their outstanding position within the international extreme metal circuit. Known as tirelessly touring band, BELPHEGOR currently presents a few of the new songs during an European tour with I Am Morbid and Hate before hitting South America in May/June 2022, and an intense festival season including Wacken Open Air, Bloodstock, Sweden Rock and many more.
Mix and mastering by Jens Bogren at Fascination Street Studios Örebro, Sweden. Drum engineering by David Castillo at Fascination Street Studios in Stockholm.
Guitars, Bass and Vocals recorded by Jakob Klingsbigl at Studio Mischmaschine Oberalm, Austria.
Artwork by Seth Siro Anton

World renowned extreme Metal titans KREATOR are back. 5 Years after their incredibly successful “Gods Of Violence” album (2107, #1 in the German album charts, #4 in Austria, #7 in Czech Republic and Finland + chart entries in numerous other territories), the genre-defining band presents their most political effort to date. “Hate Über Alles” (in tradition of US punk icons DEAD KENNEDYS’ “California Über Alles”) is a bold statement against hate and the division of society in today’s world. While perfecting their signature sound of thrash metal that inspired countless other bands over the past 4 decades, KREATOR have managed to close the gap between the old and new school, still reaching new audiences, playing sold out shows to even bigger crowds as they move on. “

Hate Über Alles” features 11 tracks that once again show who’s boss in this game that many begin but only few ultimately last in. The crushing frenzy of the title track, the pounding “Strongest Of The Strong” featuring world famous vegan strongman Patrik Baboumian, the nostalgia of “Become Immortal” or the extravaganza of “Midnight Sun” make the band’s 14th album their most diverse and thrilling so far. “Hate Über Alles” will be accompanied by massive online and out-of-home campaigns, leading up to the band’s European co-headlining tour with Grammy-nominated US powerhouse LAMB OF GOD in November/December 2022. The album is available in various lavish vinyl editions featuring a beautiful, yet grim trifold artwork by famous artist Eliran Kantor (TESTAMENT, SOULFLY, HELLOWEEN, HEAVEN SHALL BURN, HATEBREED among others) as well as in a noble CD Digibook and bold box set including an extended Making-Of Book, a live album of the band’s 2021 Bloodstock Open Air appearance, an art print of the cover and a pin of the band’s iconic logo.

IATT is pleased to once again team up with Black Lion Records for the follow up to 2019's Nomenclature; our new full length album entitled Magnum Opus. We've meticulously crafted this album to leap from where Nomenclature left us thematically.
The listener is catapulted from the 1700s (Arsenic Ways) further back in time to a much darker, older world and the esoteric sciences of Alchemy. It was in this time man aimed to harness the world around him, bending the natural elements in a quest to obtain power, knowledge, control, and even immortality itself.
Alchemy was the key to unlocking the secrets of existence and elevating one's self to the pinnacle of enlightenment through transmutation and manipulation of the earthly elements. It was only through the process of Magnum Opus (the great work) that alchemists could harness the elementals in their purest form to create the Philosopher's Stone - the key to power, enlightenment, and immortality.
Just as in alchemy itself, creating this album has been a journey of transformation for us; a period of great growth as individuals and as a unit. It's through adversity, struggles, and the forging of the elements - of literal blood, sweat, and tears - we strive to transcend and elevate to our highest selves, "the great work", Magnum Opus.

Sound Like: (Immolation, Spawn of Possession, Death, Emperor, Obscura)

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Clear Vinyl

"October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.

Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries.

Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.

Physical copies include a download card with extra tracks from the impossibly rare Tour EP from the same era. These tracks are exclusive to the vinyl purchase and are not available through digital outlets.

"October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.

Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries.

Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.

Physical copies include a download card with extra tracks from the impossibly rare Tour EP from the same era. These tracks are exclusive to the vinyl purchase and are not available through digital outlets.

Vinyl now gone back to June. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

World renowned extreme Metal titans KREATOR are back. 5 Years after their incredibly successful “Gods Of Violence” album (2107, #1 in the German album charts, #4 in Austria, #7 in Czech Republic and Finland + chart entries in numerous other territories), the genre-defining band presents their most political effort to date. “Hate Über Alles” (in tradition of US punk icons DEAD KENNEDYS’ “California Über Alles”) is a bold statement against hate and the division of society in today’s world. While perfecting their signature sound of thrash metal that inspired countless other bands over the past 4 decades, KREATOR have managed to close the gap between the old and new school, still reaching new audiences, playing sold out shows to even bigger crowds as they move on. “

Hate Über Alles” features 11 tracks that once again show who’s boss in this game that many begin but only few ultimately last in. The crushing frenzy of the title track, the pounding “Strongest Of The Strong” featuring world famous vegan strongman Patrik Baboumian, the nostalgia of “Become Immortal” or the extravaganza of “Midnight Sun” make the band’s 14th album their most diverse and thrilling so far. “Hate Über Alles” will be accompanied by massive online and out-of-home campaigns, leading up to the band’s European co-headlining tour with Grammy-nominated US powerhouse LAMB OF GOD in November/December 2022. The album is available in various lavish vinyl editions featuring a beautiful, yet grim trifold artwork by famous artist Eliran Kantor (TESTAMENT, SOULFLY, HELLOWEEN, HEAVEN SHALL BURN, HATEBREED among others) as well as in a noble CD Digibook and bold box set including an extended Making-Of Book, a live album of the band’s 2021 Bloodstock Open Air appearance, an art print of the cover and a pin of the band’s iconic logo.

Black Truffle is pleased to present Landscape and Voice, a radical new work (and rare vinyl release) from major Japanese sound artist Toshiya Tsunoda. Undoubtedly one of the most influential artists working with location recordings since the 1990s, Tsunoda’s work possesses a rigorously searching quality that sets him apart from his contemporaries. Tsunoda is known to many listeners for the subtle atmospheric poetry of his early Extract from Field Recording Archive series, which focussed on vibrations recorded in various indoor and outdoor environments in his native Miura Peninsula, often inside pipes, bottles and other vessels. In more recent years, his work has explored the implications of his claim that field recording should be seen as ‘depiction’ rather than ‘documentation’. He has explored disorienting editing and processing in his works with Taku Unami, and, perhaps most radically, represented Maguchi Bay as a kind of kinetic sculpture for shaking speakers by removing all but the inaudible low frequencies from a field recording (Low Frequency Observed at Maguchi Bay).

One of the recurrent concerns of Tsunoda’s recent work, as he explains in the crystalline liner notes accompanying this release, is ‘exploring how I can establish a subjective relationship with an environment, rather than seeing it merely as an object to be recorded’. This has taken various forms, from documenting simultaneously an outdoor environment and the blood flowing through the listener/recorder’s body (captured with a stethoscope) on The Temple Recordings, to representing his own experience of the landscape as made up of ‘grains of space and time’ by inserting looped fragments into field recordings in Grains of Spring.

On Landscape and Voice, this meeting between subject and object becomes an almost mystical union between the natural and the human. As with all of Tsunoda’s work, a relatively simple concept leads to compelling, thought-provoking results. Landscape and Voice combines vowel sounds spoken by six voices with short, looped fragments of field recordings, their noise character suggesting consonants: voice and landscape thus join together in something like words. The record consists of three pieces, each using a different, richly evocative field recording, which periodically freezes, catching on a looped fragment to which is synchronised an abruptly looped spoken vowel sound. The lengths between these interruptions vary, as do the tempi of the loops. The interruption of these lushly immersive recordings of the world – bristling with bird song, rushing water, distant traffic, and clinking metal – only serves to intensify them, as if the depicted environment itself had been returned to the listener each time it abruptly reappears. At the same time, the constant interruption creates an uncannily frozen effect, as if the recorded environment were an object rather than a stretch of recorded time. When combined with the bare human presence of the vowel sounds, the result is both austere and magical. Pressed on 45RPM for maximum fidelity, in a gorgeous sleeve designed by Lasse Marhaug with liner notes from the composer, Landscape and Voice is a radical proposition from one of the deepest thinkers in contemporary sound.

Dama Scout's first full-length sees the London/Glasgow trio stretch their creative muscles, further building upon their unique, individual tastes to bring together a world that’s ever-changing, infectious and brilliantly fresh. By pushing through the barriers of genre, Dama Scout’s constantly curious dive into contrasting sonic landscapes allows them to craft new terrain that takes its cues from East Asian pop and film. Mimicking the unpredictability of playing live shows, the tension between audience and artist and the push-and-pull of creative collaboration, 'gen wo lai (come with me)' ushers in an authoritative new era for the band. Here, jolting nightmares and reality-bending dreams exist side-by-side, and Dama Scout are our guides for every unnerving, enchanting moment.

Manchester rock band Oceansize built a career and reputation of constructing sonic soundscapes from out of nowhere into the most monolithic, dynamic behemoths heard in aeons.

The band formed in 1998 and released four albums before calling it a day in 2011. They gained favourable comparisons in the press to bands like Mogwai, Tool, Nirvana, Jane’s Addiction, My
Bloody Valentine, Can and Faith No More among
others.

Oceansize challenged themselves and thus by the same token ensured the listener didn’t become comfortable while listening. And let's face it, - comfortable is, after all, boring.

‘Everyone Into Position’ was Oceansize’s second
studio album. Beggars Arkive are reissuing the
album on splattered yellow double vinyl.

Rock'n'Roll hits adapted and sung in Italiano to seduce an exotic and difficult music market. A tradition that saw many stars (Mick Jagger, Françoise Hardy...) test their pronounciation skills with swinging (but always very fun) results. Now its The Courettes' turn, to translate two of their newest songs for a special limited single 7'', released in time for their southern Europe tour and the Record Store Day 2022. Anzi, LE FAVOLOSE COURETTES, volevamo dire “the real deal” (Vive Le Rock, UK) “the real sound of now busting through your door” (Rolling Stone, USA)! “the world’s greatest two person rock n’ roll ensemble” (The Next Big Thing, UK) “Your new favourite band once you ve heard them!” (Louder Than War, UK) The Courettes. “A force to be reckoned with. Matching the garage rock ferocity of The Sonics to prime early 60s girl group, the band’s output is utterly feral in the most addictive possible way. Reminiscent of The Ronettes given a Ramones style overhaul, their evil charms arrive covered in blood-soaked glamour. Twanging guitar and raucous percussion, a wild head-long charge into the unknown.” (The Clash Magazine, UK) The Courettes is an explosive rock duo from Denmark and Brazil who found the perfect blend between garage rock, 60s Girl Group, Wall of Sound, surf music and doo wop. Like The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber. Praised by the biggest music magazines around the world, in 2020 the band signed with legendary British label Damaged Goods, putting them on the same roster as top international rock icons like Buzzcocks, Manic Street Preaches, Atari Teenage Riot, New Bomb Turks, Amyl and the Sniffers, Billy Childish, Captain Sensible and many others. Their last and third album, “Back in Mono” was released in the Fall 2021 and is a truly milestone in the career. The album brings the band in top form, showing great songwriting skills and with broader nuances, influences and sound qualities to their garage rock recipe. Their last singles, “Want You! Like a Cigarette”, “Hop The Twig” and “R.I.N.G.O.” all got airplay at BBC 6 Radio in England and radio stations in Europe and the USA. “Back in Mono” got top reviews in the main music magazines like Mojo, Classic Rock and Shindig and was featured in countless Best Albums of 2021 lists: “Exuberant third release, a giddying rush of noise” (MOJO, UK) 4 out of 5 stars “Seems like the best record you’ve ever heard. A rock n’ roll sacrament from your new favourite band.” (Classic Rock Magazine, UK) 9 out 10 stars “Sensational good album!” (Ox Magazine, Germany) 9 out of 10 stars “Just keeps getting better and better” (Shindig!, UK) 4 out of 5 stars “Fantastic album” (Louder Than War, UK) 4,5 out of 5 stars “A complete riot” (The Arts Desk, UK) 4 out of 5 stars “14 new original tracks–all killer” (Add to want list, UK) “The whole album is one long highlight” (UK Rock n’ Roll) “Exciting combination of Wall of Sound and Fuzz” (El Periodico, Spain) 4 out of 5 “A collection of perfect songs, full-blown instant classic” (Triste Sunset, Italy)

From the very beginning in 2011 the concept was simple and crystal clear.

Mad Mats & Tooli's new label Local Talk had two main focus points.
First, the actual music was to be inspired around those magical 4/4 house rhythms...and beyond.

Second, the logo! The idea was that a simple and direct visual point together with a strong dance MUSIC message would make the label stand out among other labels in their northern neck of the woods.
In Scandinavia, the main theme is electronic 4/4 rhythms (techno, tech-house etc) and with Local Talk being more inspired by black dance music this has made them the black sheep in the hometown of Stockholm.

To set the musical direction straight from the very start they released Bassfort's 'Moon Shadow' which got instant attraction from both house heads and the more open-minded clubbing community.
With its warm, melodic chords, infectious piano theme and big strings it's always been the label's fave jam from their now +150(ish) releases.
When they decided to choose a track that would define the label for their 10-year anniversary, the choice was simple.

Mats & Tooli thought long and hard about who they wanted to interpret 'Moon Shadow' and after months of discussing options they decided that the only one they could trust to give the track a quality boost was NYC legend Joe Claussell.
Back in the late 90's, Mats used to book Joe for his legendary Raw Fusion parties in Stockholm so the connection and mutual respect were already in place. The result is a +11 minute long musical house journey that builds and builds until those characteristic piano chords make an entrance and transform the dynamics into a rainbow of sounds. Epic is not a word big enough to explain this grand musical production !

But the goodness does not end there, we're only halfway in on this anniversary release. The blood brothers Javi & Luis aka Kyodai (and 2/3 of Bassfort) made their own mix on the B side track from the original release, Moonlight.
As schooled jazz musicians they diverted from the electronic soundscape and went for a live jazz-funk production.
The final product is a warm and musical version with live drums, bass, piano, strings and even vocals from the brothers themselves.
The track almost comes across as something 4 Hero would put out back in the day.

All we can say, enjoy the dance!

Jackie Mittoo, organ and piano maestro, was not only a founding member of the legendary Jamaican Ska group The Skatalites, but through the course of Jamaican music’s long history has produced a body of work under his own name and of that with his various group incarnations, The Soul Brothers, Soul Vendors and the Sound Dimension. His distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio 1's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry(guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband, and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso,this band would back all the hits coming out of Studio 1 for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!. 1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In 1967 the hits at Studio 1 were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the label’s solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line-up that included Leroy Sibbles (bass),Roland Alphonso and Cedric Brooks (saxophone),Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio 1 they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio 1's output carried his sound. Jackie Mittoo emigrated in the late 60's to Canada but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio 1's supremacy and needed his magic touch. Such producers as Bunny Lee used Jackie Mittoo on many of his sessions,Sugar Minott among others were always glad of his services.

For this release we have put together a selection of some of his finest recordings done with legendary reggae producer Bunny Lee. 1970’s cuts that feature Jackie’s numerous talents, showing his ability to embellish tracks with a feel few could better. Musical arranger, band leader and all around studio ace.

We hope you enjoy this great set with Jackie Mittoo in fine style and his organ super powered indeed…

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

„Ich folge dem goldenen Strom.“ So singt es Rosa Anschütz im Titelstück ihres neuen Albums, mit kalter, klarer, entschlossener Stimme. Darunter sirren erst goldene Störgeräusche, dann setzen mächtige Elektrobeats ein, und im Refrain künden Trompetenfanfaren vom Sieg über die Elemente. „Goldener Strom“ ist zweite Album der 24-jährigen Künstlerin, die in Wien und Berlin lebt – ein erstaunliches Werk. Man kann dazu tanzen, man kann es aber auch wie ein Konzeptalbum hören; es ist ebenso voller Beats wie voller Gedanken. Rosa Anschütz spielt Klavier, Trompete und Querflöte, zu Beginn ihrer Karriere hat sie viel mit Modularsynthesizern gearbeitet. Ihr musikalisches Erweckungserlebnis war das Atonal Festival in Berlin, später hat sie auch viel im Berghain getanzt, und der Berghain-DJ Max Kobosil remixte ihren Song „Rigid“. Ihren enorm wandlungsreichen Gesang – der vom flehenden Hauchen bis zur kalten New-Wave-Sprechstimme reicht – unterlegt Rosa Anschütz denn auch mit einem entschlossen voranmarschierenden Four-to-the-Floor-Techno; doch finden sich unter diesem immer wieder polyrhythmische Abweichungen. Es scheppert und zittert, tiefe Bässe wühlen im Boden, während hoch droben schillernde Klangschleier wehen. Rosa Anschütz schließt an die Traditionen von Dark Wave und Postpunk an, aber furcht tiefe Kerben in deren Klangbild und romantische Glätte. „Goldener Strom“ ist ein großartiges Pop-Album, voller Melodien, Sentenzen und Beats, die sich sofort im Ohr verhaken. Zugleich ist es ein Manifest künstlerischer Souveränität – kostbar und klug in unseren Zeiten der stromlinienförmigen Kunst.

Five-time Grammy Award winning blues singer Robert Cray recorded his fifth studio album Strong Persuader together with Grammy Award winning producer Bruce Bromberg. After its release in 1986, the album became his big breakthrough and made Cray a pop star, despite making a classic blues album. The 10-track album included three singles, including “Right Next Door (Because Of Me)”, “I Guess I Showed Her” and “Smoking Gun”, the latter reaching #2 on the US Rock chart and #22 on the Billboard Hot 100. Strong Persuader sold over two million copies by 1995 and earned him a Grammy Award for Best Contemporary Blues Recording.

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.