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Abstrack Records is back with a new EP, putting the emphasis on instrumental music. Angers based band Auroboros, whose paths crossed on numerous time with Abstracks, largely on the occasion of infamous Freaks Pop festival, delivers twenty minutes of a progressive and cosmic, rocky jam.
«Camel» feels like a pursuit, a chase after an uncatchable vanishing point. The relentless acceleration of the tempo and the increasing power of the instruments feel like they’re leading us to an inconcei- vable paroxysm.

During the breakdown, everything strangely feels faster and calmer at the same time, we think we’re catching a glance at this horizon, even believing we’re reaching it as drums are fading away. But the ascent starts again and the trance is non negotiable. The power stream of the instrumental energies washes over the immobiles and the sceptics.

On the B side, two very different reworks complete the picture. Romain FX distills the dancefloor essence of «Camel». With a cosmic, almost oriental approach. The original piece gives birth to a proper peak-time banger, pure leg shaking material.

Mytron gives us a more playful and trippy remix. Seven minutes of a vibe that seems to be spinning and drifting, without ever breaking the patiently settled groove, filled with tribal spirit and sometimes even humour.

In über 35 Jahre haben Vibravoid 22 Studio Alben, zahllose Live Alben, Singles und EPs veröffentlicht, die Spitzenpositionen erreichten. "Live At Finkenbach 2015" schaffte es auf Platz 2 der offiziellen Vinyl Verkaufscharts. Bereits im Jahre 1988 gründete Psych Aktivist Dr. Koch die Light Show Society Düsseldorf. Bereits in den frühen 1990er Jahren entwickelte sich Vibravoid als einflussreichste neue Gruppe aus Düsseldorf. Zum Beispiel wurde Vibravoid in der Frühphase des Stoner Metals und der damit einsetzenden falschen Benutzung des Begriffs "Psychedelic" zu vielen Stoner- Festivals geladen. Zum Erstaunen des Publikums präsentierten Vibravoid Songs von Syd Barrett´s Pink Floyd, Silver Apples, CAN oder den Beatles, die den Stoner-Jüngern zu dieser Zeit nicht bekannt waren und als Songs von Vibravoid interpretiert wurden. Vibravoid hat es immer abgelehnt als "Stoner Band" vereinnahmt zu werden. Als Kinder der Flower Power Generation haben Vibravoid von der ersten Welle des Psychedelic und Kraut Rock gelernt, denn was heute als "Psych- und Krautrock" vermarktet wird,gab es damals noch nicht und musste von Bands wie Vibravoid erfunden werden. Im Jahr 2008 nahmen Vibravoid mit dem legendären Flower Power Erfinder Sky Saxon (The Seeds) nicht nur sein letztes Album auf, sondern zugleich auch das Testament einer ganzen Generation.Die Karriere von Vibravoid ist einzigartig, denn trotz ihres Erfoges ist Vibravoid immer noch Underground.

WRWTFWW Records is wonderfully proud to announce the long anticipated official reissue of Chrysalide (1978), the sole album from French multi-instrumentalist and enigmatic genius Michel Moulinié. The krautrock/ambient/minimalism paragon is available as a limited edition LP with one never-heard bonus track. It is sourced from the original reels and housed in a heavy 350gsm sleeve.

Originally released in 1978 on Ange and Jean-Claude Pognant's mythical prog rock label Crypto,
Chrysalide is a fusion of minimalist meditations, cosmic soundscapes, and ambient with a human warmth, carried by a profoundly beautiful and unique use of twelve-string guitar, bass, and violin.

Ideal for an introspective listening experience, the hypnotic Kosmische Musik of Michel Moulinié belongs to the same psychedelic family as Manuel Göttsching’s Inventions For Electric Guitar, Mike Oldfield’s Tubular Bells, early Tangerine Dream, and Steve Hillage’s innovative guitar mastery. WRWTFWW listeners might also be reminded of the label’s seminal French release, Dominique Guiot's L'Univers de la Mer, which makes a great spiritual pairing with Chrysalide.

Escape into the vast universe inside yourself :

First-ever release of the long-lost original full length versions of tracks from Sheena’s 1985 hit collaboration with super producer Nile Rodgers. Remastered from the original master tapes and pressed on orange coloured vinyl with brand new artwork including full lyrics and rare photos.

Features the previously unreleased uncut versions of singles ‘Jimmy Mack’ and ‘Magic Of Love’, original alternate ‘Break Mix’ of ‘Do It For Love’ and 7 minute+ take on the rock-funk
workout ‘Don’t Turn Your Back’
This orange vinyl ‘Uncut Nile Rodgers Sessions’ edition of 1985’s dance-R&B orientated ‘Do You’ features eight previously unreleased full-length versions of tracks from the hit album.

‘Do You’ finds Sheena Easton hooking up with Nile Rodgers at his imperial 1980s superproducer peak - following mega hit productions for the likes of David Bowie, Madonna and Duran Duran. Easton fully embraces her new upbeat, pop-funk direction on tracks like the Top 30 US dance hits ‘Do It For Love’ and classic Motown cover ‘Jimmy Mack’, as well as sensual groove ballads like ‘Magic Of Love’ and ‘When The Lightning Strikes Again’.

Presenting 3+5, the long-awaited eighth album from Tokyo-based noise-rockers Melt-Banana on their own A-Zap label! The album showcases the duo’s visionary musical approach and extraordinary abilities as performers: Yasuko Onuki’s giddy, hyperactive vocalizing and Ichiro Agata’s glitchy, cyberpunk guitar, delivered at dizzying speed, bathed in aggressive electronic sounds. Their aesthetic approach is exultantly experimental, fusing diverse genres imbued with chaotic energy. As on their previous works, the music on 3+5 is unpredictable, always filled with surprises and excitement. 3+5 synthesizes elements of a variety of extreme music, hyper-pop, classic punk, vintage metal, and noise. It partakes of Japanese culture overall, especially the subcultures of gaming, anime and underground music. Melt-Banana seek to offer possibilities to musicians who won’t start a band if they can’t find a drummer, young women afraid to express themselves in their own unfiltered and unique voices, bedroom musicians and egg punks seeking to blend electronic noise with live instrumentation. 3+5 provides a fresh experience and perhaps inspiration for all. While Melt-Banana hasn’t explicitly explained the meaning behind the album’s title, 3+5, prime numbers symbolize mathematical integrity and independence, which could represent the band’s uniqueness and freedom. Why “3+5” and not “1 + 7”? One is left to ponder.

Legions Of Doom, die Doom-Metal-Supergroup mit Mitgliedern von The Skull, Trouble, Saint Vitus und Corrosion Of Conformity mit einer brandneuen, limitierten 7inch auf Tee Pee Records. Ursprünglich für das dritte The Skull-Album vorgesehen, begannen die Arbeiten an 'All Good Things' vor dem Tod von Eric Wagner (Ex-Trouble) im Jahr 2021. Es übernahm Karl Agell (Lie Heavy, C.O.C., Blind) die Vocals, unterstützt von The Skulls Ron Holzner (ebenfalls Ex-Trouble) am Bass, Lothar Keller an der Gitarre und Henry Vasquez (Druma), wobei Scott Little an der Gitarre und David Snyder (Trouble, BlackFinger) noch mit an Bord waren. Texte über Hoffnung und Geduld krönen einen flüssigen, schweren Groove und ein knackiges Refrain-Riff in aufrichtiger Metal-Manier. Auf dem Deep Purple-Cover 'Into The Fire' auf der B-Seite verleiht die Band einem Klassiker ihren eigenen Stil - Rock und eine Hommage an die Wurzeln des Doom im Swing-Groove der frühen 70er. Black & Purple-Splatter-Vinyl.

Bubblegum XX features features members of Queens of the Stone Age, PJ Harvey, Greg Dulli, Izzy and Duff from Guns & Roses/Velvet Revolver, among other assorted rock luminaries. When Bubblegum was released, Mark chose to let it speak for itself and didn"t have much to say aside from within the small handful of interviews he did at the time. In 2017, he released a book of lyrics and writings called I Am The Wolf and wrote about the album then. Shared here are some of his words about the record. Song favorites include "When Your Number Isn"t Up," and "Strange Religion," a love song I wrote in a Tokyo hotel room. While many of the songs came from a place of dejection and ennui at the end of a tempestuous relationship, "Bombed" in particular came about when, after I had written and recorded it in just a few minutes, I put a microphone in front of Wendy Rae Fowler, my soon-to-be-ex-wife, and had her sing along while simultaneously hearing it for the first time. I loved the result as it reminded me of Royal Trux, a band I liked. When I insisted on using the first and only take of the song, it made her slightly unhappy, but to be fair, that was just one of many things I did that had that effect.

Eine berauschende Reise durch kopfnickende Grooves, mit fetter Instrumentierung und schrulliger Brillanz, die 70er Prog und moderne Stoner-Riffs vereint! Mammoth Volume melden sich mit einem neuen Album zurück, auf dem sie die Genres des 70er Jahre Progressive Rock und des modernen Stoner-Riffings perfekt miteinander verbinden. Das Ergebnis ist eine fesselnde Reise durch kopfnickende Grooves, fette Instrumentierung und schrullige Brillanz, die fesselnd ist. Mammoth Volume haben es sich zum Markenzeichen gemacht, unerwartete Orte aufzusuchen und immer wieder reizvolle Wendungen einzuschlagen, wenn wir denken, wir hätten sie durchschaut, und Raised Up By Witches ist ein nahtloser und aufregender neuer Trip, bei dem sie im Grunde das einzige Fahrzeug auf der Straße sind. Vielfarbiges Vinyl sowie Digipack-CD!

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

Sara May grew up on a dirt road just outside a small Ontario town known for its Honda plant and Potato Festival. Over the course of ten indie-leaning, alt-country tracks on 'Legacy', her latest album as Falcon Jane, she expounds on that origin story through the great archetypes of country music: the drinker, the vagabond, the absent father. She presents these characters with a clarity and empathy that feels almost transgressive-a loving touch that crosses our rural / urban divides. But these are Sara's stories too: her rural childhood, her move to Toronto, her current home in the working class town of Shelburne, and her life on the road. She comes by it honest. And the transformation on 'Legacy' isn't just lyrical. Alongside producer José Contreras (By Divine Right), Falcon Jane refine their sound-pushing toward folk and country like contemporaries Waxahatchee and Angel Olsen. May's voice, the one constant from 2015's 'Alive n Well' EP, through the dream pop of her 2018 debut album 'Feelin' Freaky', to the sprawling indie rock of 2020's 'Faith', is more powerful here, sitting atop the warm, Nashville-leaning production. The result is both striking and blindingly obvious: Sara May has found her way back home.

Sara May grew up on a dirt road just outside a small Ontario town known for its Honda plant and Potato Festival. Over the course of ten indie-leaning, alt-country tracks on 'Legacy', her latest album as Falcon Jane, she expounds on that origin story through the great archetypes of country music: the drinker, the vagabond, the absent father. She presents these characters with a clarity and empathy that feels almost transgressive-a loving touch that crosses our rural / urban divides. But these are Sara's stories too: her rural childhood, her move to Toronto, her current home in the working class town of Shelburne, and her life on the road. She comes by it honest. And the transformation on 'Legacy' isn't just lyrical. Alongside producer José Contreras (By Divine Right), Falcon Jane refine their sound-pushing toward folk and country like contemporaries Waxahatchee and Angel Olsen. May's voice, the one constant from 2015's 'Alive n Well' EP, through the dream pop of her 2018 debut album 'Feelin' Freaky', to the sprawling indie rock of 2020's 'Faith', is more powerful here, sitting atop the warm, Nashville-leaning production. The result is both striking and blindingly obvious: Sara May has found her way back home.

Little Hag zeigt das breit gefächerte Songwriting von Avery Mandeville, deren bissige und nachvollziehbare Songs eine Welt beschreiben, die so kompliziert ist wie die, in der wir leben. Mit Hilfe von 8 Produzenten aufgenommen, in Wohnungen von Freunden bis zu den Headroom Studios in Philadelphia, liefert sie Punkrock-Knaller, tiefe Disco-Tauchgänge, Fackellieder, Folk-Balladen und vieles mehr. Die Bandmitglieder sind seit ihrer Teenagerzeit befreundet und haben sich gemeinsam zu einer wilden Rockband entwickelt.

Reject 2 is Conway the Machine’s second solo mixtape on Griselda Records and is a sequel to his first mixtape The Devil's Reject.

The mixtape is produced entirely by Buffalo producer Daringer and boasts features from Westside Gunn, Benny The Butcher, Mach Hommy, Nes, Roc Marciano and Skyzoo.

The third album from beloved Nashville indie rockers The Medium, City Life is the first they’ve produced on their own. Recorded in their homes with the help of a few friends, this grassroots approach to recording captures them simultaneously at their most relaxed as well as their most airtight. Ironically, City Life presents the quartet sounding their most country yet – sonically embracing some of the musical territory of their hometown as well as lyrically wrestling with the challenges of its rapid changes. The band’s penchant for saccharine harmonies, hypnotic riffs, and earnest ballads cohere everything into a uniquely relevant take on a classic 70’s rock sound. The record envisions ‘city life’ as a call for a better world – a society driven by care over productivity; by community over profiteering.

Compiled with the assistance of the band in 2007, Some Furtive Years - A Ned's Anthology collects 16 tracks from the high energy, post ""Madchester"" alternative rock outfit Ned's Atomic Dustbin. A tad shorter than 2003's superior Terminally Groovy: The Singles compilation, Furtive Years dutifully covers all the highlights like ""Grey Cell Green"", ""Kill Your Television"" and ""Until You Find Out"", proving what an underrated band Ned's Atomic Dustbin was. For the first time, Some Furtive Years - A Ned's Anthology is released on vinyl. This 2LP is available as a limited edition of 1500 individually numbered copies on yellow coloured vinyl and includes an insert. The D-side contains an etch of the bandlogo.

Gregory T.S. Walker’s Minstrels & Minimoogs was self-published by a young, nomadic composer and virtuoso in 1988 to accompany an immersive multimedia performance at the University of Colorado Boulder’s Fiske Planetarium. Created with this outer, and other, world setting in mind, the four tracks find Walker stretching toward an ancient-to-future vision where Egyptian myths and Hieronymus Bosch-ian tableaus are rendered in a screaming three dimensional circuitry of electronic drums, synth guitars, and, of course, Minimoog. Given the musical terrains and outmoded topics traversed, and that this entirely DIY effort was originally released as a micro one-sided 12” edition, Minstrels & Minimoogs is as perplexing and euphoric a document lost-to-time as it is now found.

Born in 1961 into an intensely musical family spanning four generations, Gregory’s mother Helen Walker-Hill was a noted musicologist specializing in the rediscovery and work of historical Black female composers, while his father, George Walker, was the first African American composer to win the Pulitzer Prize for music. Both parents studied with the famed (and famously strict) Nadia Boulanger in Paris in the 1950s, and held to lofty aesthetic standards in their home life. Walker began studying the violin as a child, but when a burgeoning interest in the electric guitar and rock music as a teen manifested, it was largely verboten in the household. The rule was that the music played in the home was to be acoustic and classical. Although the elder Walkers eventually relented and allowed Gregory’s guitar to be plugged in for a brief interval on the weekends, the remaining days he settled for strumming it sans amplification.

Gregory, conditioned and eager for a life in music but looking to get out from under the influence and yoke of his famous composer father, ultimately chose to study computer music at the University of California at San Diego, where he earned a Master of Arts. This was followed by another MA in electronic music composition at that hotbed of West Coast experimental music, Mills College. Intermedia and multimedia in the arts was the rage in the 1980s, and Mills was one of the centers for it; audacious spectacle meeting visionary performance, such as one of the realizations for Anthony Braxton’s music for multiple orchestras a young Gregory performed in with his violin.

After a series of solo synthesizer concerts around California, Gregory followed a girlfriend on a mid-country move to Boulder, Colorado. After picking up yet another composition degree at University of Colorado Boulder, his life as a composer really started, writing a piece for extended technique for guitar, a passacaglia for vocoder and orchestra, as well as Minstrels & Minimoogs.

Envisioned as a multimedia performance such as the kind he’d experienced at Mills (which was all but unknown in Boulder at the time), Gregory roped in a number of college going or aged friends of varying skill levels and musical sympathies to accompany him with distorted sax or oblique spoken interludes. Confronted with a lack of finances, but driven to get his ideas captured in a complete musical package, the album was recorded in his brother’s apartment. If not every player assembled was on Gregory’s virtuosic level, so be it; it was more about capturing the spirit of his intentions and embracing the serendipity of mistakes.

An inspired attempt at world building, Minstrels & Minimoogs draws on the deep well of musical knowledge Gregory gathered from his parents and teachers, but all the while subverting that historical basis by incorporating mutant strains of prog and pop music. The work accumulated is not unlike the playful 1980s work of Gregorio Paniagua, where medieval estampies and rondeaus are wrenched into an anachronistic present where Hildegard Von Bingen and Kate Bush are contemporaries. Ars nova, new art, a 20th century minimalist jester and troubadour.

A one sided LP was the cheapest option Gregory found to have Minstrels & Minimoogs memorialized on vinyl, so somewhere between 50 to 100 copies were pressed. There was no distribution, outside of copies that were handed out to friends or sold at the performances at the planetarium. Gregory T.S. Walker’s cosmic-futuristic forays into oblique pop and baroque subversion could forever reside perfectly in both the domed simulacrum of our universe for which it was composed, in the formats it is being reintoduced now, and our own biblical firmament. For in the words of Gregory, straight from the original liner notes: “God Is A Minimoog”

Gregory T.S. Walker’s Minstrels & Minimoogs arrives again August 23, 2024 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music's outermost fringe.

Lavender Vinyl. In the late 1970s, a peculiar sound began bubbling up from the land of 10,000 lakes. Buried beneath 50 solid inches of annual snow, Minneapolis made a Sound quite different than what the pop world foresaw. It issued forth as a slick, black, technologically advanced fusion, poised to storm the charts. Never known for sizable African-American populations, the Twin Cities of Minneapolis and St. Paul in fact harbored a tight-knit community of musicians working feverishly through the late '70s and early '80s toward a radical manipulation of American dance music, coating futuristic funk with the glamorous sheen of guitar rock. Synthetic ebony and ivory met electricity, with sexed-up results sent shockingly across the pop heavens like violet lightning.

This album marks a significant evolution for Dream Division, evolving from a solo project into a full band experience. Blending the rich sounds of Italian soundtracks with psychedelic rock, Tom McDowell, the band's core member and founder of Library of the Occult Records, has assembled an all-star lineup for this collaborative record. Featuring members of The Hologram People, Garden Gate, The Psychic Circle, Miles Brown and Men From S.P.E.C.T.R.E., the album navigates through genres while maintaining a cinematic essence. From the sinister melancholy tones of 'Black Rose' to the Giorgio Moroder-esque Giallo disco of 'Technicolor Terror,' ‘A Rose in the Garden of Winter’ unfolds like a lost soundtrack to a classic '70s Giallo film.

Miles At The Fillmore - The Bootleg Series Vol. 3 features four historic perfor- mances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing jazz into the commercial rock era.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired the keyboardists Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section - bassist Dave Holland, drummer Jack De- Johnette and percussionist Airto Moreira - were the backbone of his band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles was “so excited about the music that he wanted every set, every note made available to the public...” The searing heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter’s “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of “Spanish Key” from the Bitches Brew album.

The Bootleg Series Vol. 3: Miles At The Fillmore is available as a deluxe 6-LP boxset, housed in a lift-off box. This 6LP-set includes printed inner sleeves and a 12-page booklet with extensive liner notes and rare photos.

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.

Last Summer, Daniel Foggin, guitarist, writer and chief architect of Smote, uprooted himself from his usual home in Newcastle to live and work in a farmhouse in Kelso, near the Scottish border. “Through the summer when I was working up there, myself and Rob (Smote drummer) would finish work and go sit by a small river and have a couple of beers in the sun, and it was the best thing ever” he relates “So I guess the philosophy is that to some people it looks like any other stream, but to us it was supreme happiness.” Hence came the title of the fourth Smote album proper, one largely recorded in this same farmhouse – A Grand Stream. It’s an album that’s the truest incarnation thus far of his vision for this band – a full-scale psychic voyage into the ether and a drone-and-repetition-fuelled series of incantations that takes simple, primal ingredients and utilises them for the purposes of aural sorcery, summoning spectres and revelations aplenty in its wake. Whilst the folk-tinged, ceremonial ambience that Smote have made their trademark is present and correct here, utilising Swedish classic psych heaviness and Swans textures as fuel for the ominous rhythms of ‘Coming Out Of A Hedge Backwards’ and the uplifting cadences of opener ‘Sitting Stone Part 1’, Foggin and his cohorts also waste little time exploring new more eerie and ethereal textures and dimensions. The meditative ‘Chantry’ in particular sees them gravitate towards a headspace akin to the drone-based epiphanies of Kali Malone’s ‘Does Spring Hide Its Joy’ filtered through the transcendent amplifier worship of ‘Earth 2’. A Grand Steam takes this band – one who’ve always eschewed the cliches and stumbling blocks of all contemporary psych rock in favour of their own unique and wyrd vision – into a realm in which they transcend through willpower and skill alike into something preternaturally thrilling, mapping out their own crepuscular new territory Question is; dare you step over the threshold?

Man könnte meinen, das musikalische Erbe der 1960er-Jahre sei bis zur Erschöpfung gefeiert worden (und da hätte man recht), und dennoch, und was noch erstaunlicher ist, werden die Pretty Things unter all den großen bahnbrechenden britischen Bands dieser Zeit immer noch routinemäßig unterschätzt und unterschätzt oft übersehen.Mit ihrer einzigartig rauhen Interpretation des R&B-Repertoires legten die Pretties die Vorlage für einen Sound, der später als ,English Freakbeat" bezeichnet wurde, und gingen in einer Ära der beispiellosen Pop-R/Evolution hin zu Psychedelia und darüber hinaus immer an die sprichwörtlichen Grenzen, indem sie wohl die ersten schrieben und aufnahmen und möglicherweise die beste Rockoper in ihrem Meisterwerk S.F. Sorrow (and what about Parachutes then?).In diesem Jahr jährt sich ihr Debüt ,Rosalyn" zum 60. Mal, was ein guter Vorwand zu sein scheint, ihr Vermächtnis mit einer Tribute-EP zu feiern. Doch anstatt die Klassiker abzudecken, haben sich die vier hier versammelten Psych-Pop- und Mod-nahen Künstler, Bandkollegen und Gare du Nord-Mitarbeiter dafür entschieden, in die weniger bekannten Tiefen des Pretty Things-Katalogs einzutauchen:Der Produzent und Multiinstrumentalist Andy Lewis spielt ,Walking Down The Street" aus den Electric Banana-Sessions von 1967. Der Pariser Popmeister Popincourt übernimmt ,You Don't Believe Me" aus dem Pretties-Album "Get the Picture" aus dem Jahr 1965. Dann ist da noch Ian Buttons ,Papernut Cambridge", der sich der seltsamen Stop-and-Go-Seltsamkeit des Kult-Pop-Juwels ,Defecting Grey" stellt, während Canterburys eigener kontinentaler Pop-Korrespondent Robert Rotifer ,House of Ten"von der häufig vergessenen, aber allgemein glorreichen Kammerpop-LP "Emotions" von 1967 einen Besuch abstattet.,Das ist ein großes Kompliment an die Band", schrieb Dick Taylor, Gitarrist der Pretties, als er um Zustimmung zur Veröffentlichung gebeten wurde, was alle seine Fans bei Gare du Nord Records sehr glücklich machte.,House of Four" (VÖ: 23.08.24/Gare du Nord) wird in einer limitierten Auflage von 300 Exemplaren als 10" EP mit 45 U/min (und digital) erscheinen, mit einer zusätzlichen Postkarte mit dem von Robert Rotifer liebevoll gezeichneten Puppenhaus-Covermotiv. Es ist ein anglo-französisch-österreichisches Cross-Continental kulturelles Unterfangen zu Ehren einer großartigen britischen Band, die sechs Jahrzehnte später immer noch kein bekannter Name ist (außer in den besten Haushalten), es aber immer verdient hat.Schade nur, dass Phil May nicht mehr da ist, um es zu hören ...

It's difficult to ''label'' the songs of this authoritative and necessary official reissue (after the shameful fake of 10 years ago). ''Zombi'' and ''In the Land of the Zombi'' are two electro disco-funks from 1979, therefore from three years before was born the ''Italo-Disco'' style, certainly more powerful, aggressive and more electronic than the ''Made in Italy'' disco style of the 2nd half of the 70s (Fratelli La Bionda, Pino Presti, Claudio Simonetti, Celso Valli and others.). The creation of the original 7" by Salvatore Ida, great musician and bandleader - to whom this excellent reissue is dedicated - was a sort of game for the authors of the two pieces: Federico Ida and Massimo Ida, were protagonists 4 years before of the Italian progressive rock scene with the sister Silvana Ida, Marcello Surace and Franco Vinci thanks to the immeasurable and acclaimed album ''Apoteosi''. So The Zombies were destined to pair with another easy '79 joke by the Ida brothers: ''Let's Go'' and ''Mustang'' by Sandwich, also reissued on 12inch by Best Record Italy. The Zombies comes out with the original artwork of the time, but in a full embossed picture sleeve and released in the classic black vinyl and on red vinyl with black shades (limited edition with red copies numbered manually (1/250: 2/250 and so on...) What else to add except that: the two long versions of ''Zombi'' and ''In the Land of the Zombi'' were re-edited by Massimo Berardi, always diligent and active, as well as tidy and aware of where he was putting his hands, are fundamental in order to complete this 12" fully remastered by Dom Scuteri.

Darren Hayman New Starts are a spikey, fresh sounding band recalling the poppier ends of new wave and angular guitar rock. Their influences include The Cars, Breeders, Bay City Rollers, The Velvet Underground and ZZ Top. Lead singer Darren Hayman has his own long career running from the late 90s with John Peel faves Hefner to his more recent thematic and historical albums dealing with the English Civil War, William Morris and forgotten rural idylls. “I wanted a band again,” says Hayman, “and not a band that just backed me up and played my old songs. When we form our first bands in our teens we just find some friends and work through the musical differences. I usually look for players who play in a way I’m used to. This time I looked for variance and was led by people’s personality.” Guitarist Joely Smith of South London’s noise-pop adults and recently DIY-punks Fresh was recommended by a mutual friend who said, ‘She makes everything better’. Hayman and Smith shared a coffee and agreed on the correct number of guitar pedals and decided to proceed without an audition. “There is a tendency for me to make my chords too pretty. Joely cuts against that and plays in the opposite direction.” Hayman is a fan of rules and constraints and employed a new, oblique strategy on this record. “Even though I wrote all the songs, I wanted the songs to belong to everyone during arrangement. I decided that I would say ‘yes’ to every suggestion from the band, regardless of my instinct.” This made the songs warp and bend into new shapes and ensured that the record was the product of four individuals. Bassist Giles Barrett and drummer Will Connor come from funky afro beat influenced band Tigercats. “Pretty much the only rhythm I use, left to my own devices, is the ‘road runner’ rhythm. Will takes to care to find where the drum beat can be and we always end up somewhere I didn’t expect.” More Break Up Songs is a collection of 12 Break Up songs because Darren broke up with someone. Again. “I suck’, he says, “But it’s never anyone’s fault. It makes me very sad but I do have to work through these things in song and there’s always something to learn. I try to make songs about breakups that could be understood by both parties. I’m not interested in nasty songs.” Opening song ‘Little Stone in my Heart’ blisters along with Joely’s wildest guitars. The protagonist will do anything to make things right, but nothing ever is. ‘Under the Striplights’ has driving, choppy, incessant riffs, and is about the need to be anywhere but somewhere other than here. We could be under the moon or under the strip lights as long as we have each other. Another barely kept rule that Darren instigated on this album was that each song would be a tonal equivalent to one from The Velvet Underground’s third album. To that end ‘Don’t Need Persuading’ is this record’s ‘Pale Blue Eyes’ with the narrator being unable to break free of a vortex, knowing they will stay the night against all better judgment. ‘I’ve had a long standing distrust of the guitar,’ says Darren, ‘despite it being my primary instrument for twenty years. I thought it was time I made a record with two guitars and drums and bass. I wanted it to be bright, immediate and young sounding, despite the fact I’m old. We recorded it in four days and I think this might be the record a lot of my audience has wanted me to make for a long time.’ “bold and unique" The Sunday Times. // “Hayman has hit a creative purple patch… a treat” Mojo // “uniquely intimate and very satisfying”

Second EP from Wishy, the new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. "Mana" follows and continues their debut, "Paradise", which put on full display the songwriters' musical fluency while tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze and delivered a strong introduction that was dense with melodic earworms and stirring sentiment.

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

The Rephlex alumni and all around electro legend DMX Krew channels the Minneapolis sound, boogie, and freestyle in this classic 2005 Japan-exclusive, now pressed on vinyl for the first time by the good people at Cold Blow.

Idle Race is the second studio album by British rock band Idle Race, released in 1969. This album follows their 1968 debut, The Birthday Party. Fronted by Jeff Lynne, who later became famous with Electric Light Orchestra (ELO), the album features a whimsical pop-rock style with psychedelic influences. Key tracks like ""Come With Me"" and ""Please No More Sad Songs"" showcase Lynne's melodic songwriting and playful lyrics. Despite critical acclaim, Lynn left shortly after the album release to join The Move. However, Idle Race is a cult classic, celebrated for its inventive arrangements and quirky charm. This album is a hidden gem in the late 1960s British rock scene, highlighting the band's unique blend of catchy tunes and imaginative storytelling. Idle Race is available as a limited edition of 750 individually numbered copies on crystal clear.

Doppel-LP auf rotem Vinyl, limitiert auf 2000 Stück. Das lange vergriffene Debütalbum der beliebten Indie-Rock-Band Velocity Girl aus dem Jahr 1993 ist wieder erhältlich, mit einem neuen, von der Band genehmigten Mix und einem kompletten Album mit Bonustracks, das Singles, Outtakes und die Peel Session der Band von 1993 enthält. Velocity Girl gründeten sich etwa 1989 an der Universität von Maryland außerhalb von Washington DC und setzten sich kurz darauf aus Gitarrist Archie Moore (Black Tambourine), Gitarrist Brian Nelson (Black Tambourine), Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), Bassist Kelly Riles (Starry Eyes) und Sängerin Sarah Shannon (Starry Eyes, The Not Its) zusammen. Die Band kombinierte englisch inspirierten lärmenden Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem 60er-Jahre-Pop-Songwriting. Eine Killer-Single auf Slumberland und pausenloses Touren erregten die Aufmerksamkeit der damaligen Indie-Rock-Kenner, und nach einem hitzigen Werben, das sowohl Abendessen als auch Nachtisch beinhaltete, unterzeichneten Velocity Girl in Hoboken, New Jersey einen Vertrag auf einer Motorhaube, und machten Sub Pop zu ihrer Heimat. 1992 begann die Band mit der Arbeit an ihrem Debütalbum "Copacetic" in den Easley Studios in Memphis - einst Heimat der Bar-Kays und anderer klassischer Soul-Bands - unter der Leitung von Bob Weston (Volcano Suns, Shellac), und mischte das Album anschließend mit Weston in Chicago. Obwohl das Album starke Songs enthielt - Popsongs wie "Audrey's Eyes", "Pop Loser" und "Living Well" neben ehrgeizigen Erkundungen wie "Pretty Sister" und "Here Comes" - hatte die Band wenig Erfahrung mit der Produktion und es fehlte ihr an den Fähigkeiten, im Studio "das Boot zu steuern". Infolgedessen war das Album eine eher schlichte Angelegenheit, der es an der Üppigkeit der früheren Aufnahmen mangelte. In den Ohren der Band war das ein Schock, und sie merkten bald, dass dies nicht die Platte war, die sie zu machen hofften. Bob Weston hatte genau das getan, was von ihm verlangt wurde, und die Klänge eingefangen, aber die Band hatte nicht ihren Teil dazu beigetragen, eine klare Vision zu formulieren. Aber die Zeit der Band im Studio war vorbei, und Polvo war gerade aufgetaucht, um an ihrem Album zu arbeiten, also machten sich Velocity Girl auf, um das Video zu Audrey's Eyes" zu drehen. "Copacetic" kam 1993 auf den Markt und die Leute schienen es zu mögen, aber innerhalb der Band gab es ein Gefühl der Enttäuschung bis zu dem Punkt, an dem die meisten Mitglieder es nicht mehr ertragen konnten, die Platte zu hören. Seitdem hat die Band viel über Aufnahmen gelernt, und Archie Moore eine Karriere als Tontechniker eingeschlagen, so dass die Band schließlich beschloss, sich mit "Copacetic" nochmal auseinanderzusetzen. Nach umfangreichen Ausgrabungen tauchten die 2"-Bandspulen im Haus der Mutter von Jims Ex-Frau auf, und im Frühjahr 2023 begann Archie mit der Arbeit an einem Remix. Song für Song entstanden die neuen Abmischungen genau so, wie die Band sie sich vorgestellt hatte. Der erhabene Gesang von Sarah (die am College Oper studiert hat), die klingende Leadgitarre, die saftigen, verwaschenen Rhythmusgitarren und das klare, stampfende Schlagzeug. Die Popsongs sind viel poppiger. Der Klang ist kraftvoller, und die Platte ist ein zusammenhängendes Werk, das von Song zu Song fließt. Der Ansatz war nicht, ein Album zu machen, das nach 2024 klingt, sondern sich auf das Jahr 1992 zurückzubesinnen und das Album zu machen, das die Band damals hätte machen sollen. Das Ergebnis, "UltraCopacetic (Copacetic Remixed and Expanded)", ist eine spannende alternative Geschichte von "Copacetic". Und während sie dabei waren, hat die Band den Rest ihres Studiomaterials aus dieser Zeit ausgegraben und aufgefrischt: "Ultracopacetic" enthält "Warm/Crawl" von der Velocity Girl/Tsunami Split 7", ,Creepy' von der Crazy Town 7", "Stupid Thing" von der Audrey's Eyes 7" und die unveröffentlichte Albumauskopplung ,Even Die'. Abgerundet wird das Ganze durch die komplette John-Peel-Session der Band aus dem Jahr 1993 mit fünf Liedern, darunter zwei Tracks, die seit der ursprünglichen Sendung nicht mehr zu hören waren. "UltraCopacetic" ist wirklich die definitive Version von Velocity Girls erstem Album.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

For fans of Blink 182, Green Day and Power Punk! PUMP5 is a touring rock band hailing from southern California that has kept its wheels turning for the last 10 years. PUMP5 is comprised of respected talent such as Alex Kane (Shark Island, Enuff Z’nuff, Starz, etc….) on guitar, Andre Bonter on drums, Andrew Cates on the bass and Steven Todd Barnett on guitar and vocals. PUMP5, has been touring the lower 48 and Canada, and have no plans of slowing down. PUMP5 has found its place in American rock, and represents the brand with a high energy, in-your face live show. Full Service was independently released in 2017 and boasted stand out tracks “Flight Song”, “Painted Flowers”, and “Pills”. Now it is getting its worldwide release through Deko Entertainment. Critics and fans are taking notice, “The entire group shines with exceptional musicianship, brilliant ideas, impressive creativity, and talent. All these qualities shape their catchy, familiar, but entirely unique sound that will satisfy even the pickiest fans of the genre.”

Beabadoobee announces her third studio album This Is How Tomorrow Moves, out Friday 16th August via her long standing label Dirty Hit. This Is How Tomorrow Moves finds Beabadoobee stepping up to a new level in her abilities as a songwriter, crafting arresting melodies and pushing herself to develop and explore new frontiers of vulnerability, both in her storytelling and her relationship with herself.

Produced by legendary producer Rick Rubin and long term collaborator and bandmate Jacob Bugden, Beabadoobee swaps her bedroom for his infamous Shangri-La studio in Malibu to create a deeply self-assured record with a vast sonic scope of rock and pop.

Yours Truly melden sich mit der Ankündigung ihres zweiten Albums TOXIC zurück.
Die neue Single 'SOUR' ist der Nachfolger von "Call My Name", das im Januar 2024 veröffentlicht wurde und beim australischen Radiosender Triple J
in die Rotation aufgenommen wurde und dort den Spitzenplatz als meistgespielter Track des Senders erreichte.
TOXIC ist der Nachfolger des 2019 erschienenen Debütalbums Self Care der Band aus Sydney, das auf Platz 19 der ARIA-Album-Charts landete und bei
den ARIA Awards 2021 als "Best Hard Rock/Heavy Metal Album" nominiert war. Die Band wird im August auf dem britischen Reading + Leeds Festival
auftreten.