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In den letzten zehn Jahren hat sich DANIEL DAVIES zu einem gefeierten Komponisten atmosphärischer, synthielastiger Instrumentalmusik entwickelt - für Film- und Fernseh-Musik, an der Seite von JOHN CARPENTER auf den "Lost Themes"-Alben des Regisseurs und auf Solo-Veröffentlichungen wie "Signals And Spies". In seinem früheren musikalischen Leben war DAVIES jedoch ein Rocker, der mit Bands wie YEAR LONG DISASTER und KARMA TO BURN durch die ganze Welt tourte. Mit seinem neuen Solo-Album "Ghost Of The Heart" kehrt DAVIES zu dem Alt-Rock-Sound zurück, den er vorübergehend beiseite gelegt hatte, und ergänzt ihn mit dem, was er beim Produzieren von Soundtracks und Instrumentalmusik gelernt hat. "Ein Rockalbum zu schreiben ist ein Ausdruck der Gefühle des Künstlers, während es bei der Vertonung eines Films darum geht, Klanglandschaften zu schaffen, die die Geschichte eines anderen ergänzen", sagt DAVIES. "Bei diesem Album wollte ich die schweren Gitarrenriffs aus meiner Rockzeit mit den atmosphärischen Synthesizerklängen verbinden, mit denen ich als Komponist experimentiert habe." Die Songs auf "Ghost Of The Heart" lassen sich nicht in ein bestimmtes Subgenre einordnen: Sie sind stimmungsvoll, schwer und ein wenig proggig, aber mit einer starken Pop-Sensibilität und viel Melodie. Das Album verrät DAVIES' Vorliebe für eingängige, zukunftsweisende Bands wie RADIOHEAD und BLUR, aber vor allem fühlt sich "Ghost Of The Heart" natürlich an, so als würde er etwas Grundlegendes über sich selbst als Musiker wiederfinden. DAVIES nahm "Ghost Of The Heart" im Laufe des Jahres 2023 mit dem Produzenten John Spiker auf, seinem langjährigen Freund und Mitarbeiter. Spiker steuert auch den Bass bei, während Matt Flynn Schlagzeug spielt. Alles andere auf der Platte wird von DAVIES selbst eingespielt.

Critically acclaimed, influential alt metal lifers earthtone9 return.

In Resonance Nexus, released via Candlelight/Spinefarm finds the band in fiery form. Their first new material in a decade sees the band not only harking back to their angular, chaotic, and ferocious roots but injecting an energy, urgency, and intensity beyond anything the band has released before.

The vitality of the songs is palpable, earthtone9 have both retained the essence of their musical identity, and channelled and distilled what they love about heavy music. In Resonance Nexus is a love letter to metal, a soundtrack imbued with persistence, love, pain and loss, determination and community.

Produced by Lewis Johns (Employed To Serve, Svalbard, Ithaca, Modern Error), In Resonance Nexus is a remarkable blend of stellar songwriting, crushing riffs and soaring melodies.

Critically acclaimed, influential alt metal lifers earthtone9 return.

In Resonance Nexus, released via Candlelight/Spinefarm finds the band in fiery form. Their first new material in a decade sees the band not only harking back to their angular, chaotic, and ferocious roots but injecting an energy, urgency, and intensity beyond anything the band has released before.

The vitality of the songs is palpable, earthtone9 have both retained the essence of their musical identity, and channelled and distilled what they love about heavy music. In Resonance Nexus is a love letter to metal, a soundtrack imbued with persistence, love, pain and loss, determination and community.

Produced by Lewis Johns (Employed To Serve, Svalbard, Ithaca, Modern Error), In Resonance Nexus is a remarkable blend of stellar songwriting, crushing riffs and soaring melodies.

Introducing "Shadow," our new project compilation from TNR Media. Featuring a selection of deep atmospheric tracks, each maestro brings their unique style to the table: Alexander Kowolski, Rodent, Insen and Sinistermind, Pulso and Translate.

Dive into the shadows and explore the ethereal times with this mesmerizing collection.

The music released as Amulet (or The Amulet Edition) is Peter "Sleazy" Christopherson's semi-secret testament. Originally available in exceedingly limited quantities at live shows and via direct mail-order in 2008 as a hand-assembled 4 miniCDR set housed in a circular Thai Amulet case and never properly distributed, the material finally receives the wider re-release on vinyl and CD it so richly deserves.

Only the second and sadly already the final release in his post-Coil solo guise as The Threshold Houseboys Choir "Amulet" sees Christopherson in a more playful mood than ever, don't be fooled by reviews calling this suite of songs "incomplete" or "working stage", these are rough little diamonds, often imbued with a bittersweet melancholy joy, unsurprisingly reminiscent of some of the final Coil offerings, but additionally steeped in exotica, inspired by his new East Asian home and the ghostly voices of his digitally generated choir ("a vocalist that wouldn't crash", as he would say). At times these tracks sound like a warmer, less analytically complex counterpart to the work he created simultaneously with CoH's Ivan Pavlov in the celebrated Soisong project.

Bonus tracks feature rare earlier THBC compilation tracks and a few previously unreleased exclusive sketches. Let's be perfectly clear though, "Amulet" is not some half-finished cutting-room floor left-overs, it's a genuine but very little heard fully fledged album released by Christopherson with some of the tracks performed live on his last ever tour, the unforgettable intimate Evenings with Uncle Sleaz.

The Infinite Fog edition, presented as a 3LP in a triple heavy Gatefold sleeve and a 2CD Digipak, both including a poster of Peter Christopherson in his infamous Cruella Deville coat has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Oleg Galay overseen and with additional guidance from "our man in Thailand" Peter Jenx.

When a story sees its own ending. ATOMS shows the Hamburg grown friends and instrumentalists taking a steep descent into the unmarked. Crushed arpeggios, hand layered drums and the afterthought of a nightly piano allude to an early dawn still at midnight. All six tracks are ultimately cast towards loss, since Charly Schöppner, the trio's rhythmic enigma, passed before the record was finished in 2023. But they do this unwillingly, each alone, and they materialise the persistence of beauty in different shapes and thoughts left behind. All happened through an uplift of time in a simple space, as the record was made in Schöppner's garrage, being the trio's artistic refuge at that time. A friend taking you close. – Konstantin Bessonov

Drumcode hits 300 releases as the brilliant Mha Iri returns to the label for her second EP, 'Bombay'. Since debuting on Drumcode just a year ago with 'Never Go Back To Sleep', (her contribution to the debut Elevate compilation series and one of the best-selling techno tracks of 2023), the Scottish producer has rapidly established herself as one of Drumcode's most exciting new artists. A stellar debut EP followed in September with 'The Unexpected', before 'Bell' her cut on A-Sides Vol.12 charted #1 in Beatport's techno Top 100. Due to its success Drumcode chose it for the Change The Beat remix competition, and the remix from YOZÉ is a highlight on the latest 'Elevate Vol.II'. Amidst an impressive touring schedule which will include Awakenings main stage, Junction 2, Tomorrowland and Drumcode's Mysteryland main stage takeover this summer, Mha Iri has been active at Drumcode showcases, playing Watergate in Berlin and more recently the massive Drumsheds show in London. It was there her spit-fire new EP 'Bombay' shined in the huge halls of techno. A hypnotiser of the highest order, the title track is a fully-loaded barrage of tribal techno, crushing drums and vocals that unite for arguably Mha Iri's strongest track on DC to date. We can't wait to see this one launch. Pairing beautifully is 'Existence', a galloping slice of peak-time fare elevated by a rousing vocal.

Session Victim need little by way of introduction having been releasing on Delusions consistently for the last 10 years and becoming the undisputed poster boys for the label in the process. Despite their regular appearance however, it’s always a real treat to announce a new record from the German duo and we have to say, the Screen Off EP may well find them in their finest form to date! Coming hot off their latest downtempo LP entitled Low Key, Low Pressure for Night Time Stories, you can tell Hauke and Matthias were ready to take things back to the dance-floor and have delivered an EP which looks set to become a future classic and no doubt big in the box of discerning DJ’s the world over.

Screen Off is really it’s own thing, living somewhere on the long and winding road between the Bar Kays and the Bad Brains, suffice to say that what it lacks in easily definable attributes it makes up for in sheer energy and raw attitude. Hauke and Matthias re-invite Jamaican poet and vocalist Ras Stimulant, who contemplates our screen addictions and urges us to disconnect and be present in the moment. Matthias’ rolling bassline provides the backbone, whilst hints of crunchy Moog and chopped guitar samples all bring a sense of urgency to the track.

Light The Way acts as an antidote, bringing a sense of calm melancholia in contrast to the title track’s low-end, funked-up fervour. A soft focus and almost distant drum groove draws us in whilst arpeggiating synths add a sense of optimism, reinforcing the tracks title.

Closing out the release we have Session Victim’s studio partner, good friend and all-round top producer Iron Curtis in for a remix of Light The Way. Johannes takes an interesting approach for his Illuminati interpretation, enhancing the breakbeat feel and mixing up chopped samples with classic 808 drums. A muscular bassline adds extra weight to his remix but without losing the subtle musicality and positive vibe of the original.

Being the vinyl purists they are, Session Victim and Iron Curtis top up the physical 12“ EP with the exclusive Screen Off Acapella and an additional Iron Curtis Remix Reprise.

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

Nova Vida is a unique producer's album project injecting new life into classic songs, colouring them with the broad palette that are DJ / Producer Chris Bangs’ influences from his lifetime in music. 10 classic songs have been given the distinctive Nova Vida treatment, Ritmo Da Vida features unknown vocalists and musicians Chris has discovered and incorporated into the project from around the globe. Drawing on Bangs' influences such as Sergio Mendes and the sounds of Brazil, Samba, Bossa etc thru Classic British Pop, 70’s West Coast and beyond Nova Vida fuses all of the above with ten truly classic songs taking them into new musical arenas they haven't previously graced.

The first single “My Only” ft Klei came out in July 2023 on limited vinyl, got lots of club plays , specialist radio support and spent a month on the Jazz FM A List. The album already has serious upfront tastemaker support many who are digging Empty Faces (Vera Cruz) , the sublime instrumental Affirmation and the sultry samba vocal version of Stormy. Our favourite in the BDQ office is Each and every one, its fabulous, the whole album is just perfect for summer 2024. We here at BDQ are privileged to release this album on the label, as usual vinyl will be super limited.

Compiled by label founder Dom Ore Miles Away: One is a collection of tracks that spans continents, era and genres. Rooted in soul this compilation features recordings from legendary musical figures side-by-side with perhaps lesser-known soulful gems – all beautifully bought together in one cohesive long player. Setting the tone is Idris Muhammad's spiritual-jazz recording I'm A Believer before moving into the modern soul and funk selections Miles Away have built their reputation around. We have the crossover-soul rarity Yes It's You by Eugene Smiley, the remarkable foot-to-the-floor soulful dance cut She's So Good by Solid Gold Revue, enduring soul funk explosion No Communication by True Transfusion, the gospel-infused Fantasy Ride by Uneda Dennard & the full length extended version of Superstar by Ruth Waters. Many tracks appearing here for the first time since their original release. On the second disc the compilation begins to weave a slightly different direction compared to the...

Originally released on Resound Records, a one-off subsidiary of the classic Gherkin imprint in 1990. The title track is a deep hypnotic 12 minute ride through the Chicago underground. On the flip are the smooth & emotional ‘Isolation’ and the euphoric rush that is ‘Silent Noise’. Timeless Chicago House Music. Essential EP!

Since its foundation in 2010, the newcomer quintet has brought a breath of fresh air to the scene and fans as well as the specialized press with their melange of crunchy guitars, driving drums and orchestral bombast. and orchestral bombast: the very young five-piece was was already highly praised by renowned magazines such as magazines such as Orkus and Sonic Seducer and even dubbed "heroes of tomorrow" by Metal Hammer. of tomorrow".

The debut album "Until Dawn", which was released in 2018, impressively underlined the potential that lies within the band. The official music video for the track "Born From Hope" has over over 1.3 million views to date, and the song has been streamed well over 2.5 million streams on Spotify.

Now the song, as well as all the others of the album, will be released on vinyl for the first time. REAPER ENTERTAINMENT presents the multicolored vinyl in a gatefold, strictly limited to 300 copies worldwide.

Mit "Dogs of War", ihrem ersten Soloalbum seit 2015, melden sich Mötley Crüe mit einer neuen Generation zurück - und erzählen von einem Aufstand gegen jeden Bastard des Lebens. Unfähig, sich zurückzulehnen und ihr Vermächtnis an die Leine zu legen, sind Mötley Crüe hier, um die Hörer daran zu erinnern, warum sie "The World's Most Notorious Rock Band" bleiben Wie schon in den letzten 40 Jahren gehen sie in Sachen Sound und Image neue Wege. Es gibt keinen Grund, darauf zu vertrauen, dass die Crüe etwas zu sagen haben - und wir sollten besser ganz Ohr sein. Mötley Crüe melden sich mit "Dogs of War" zurück, ihrer ersten Single seit 2015! Seit über 40 Jahren sind Vince Neil (voc), Nikki Sixx (bass), Tommy Lee (drums) und Mick Mars (guitar) als Band aktiv und on the road mit bahnbrechenden Show Highlights wie Tommy Lee's Achterbahn Schlagzeugperformance oder Nikki Sixx's Auftritte mit seinem flammenwerfenden Bass. Mötley Crüe hat über 5 Milliarden Streams auf digitalen Plattformen erreicht und hat über 8 Millionen Follower in den sozialen Medien. Sie haben weltweit über 100 Millionen Alben verkauft, 7 Platin- und Multi-Platin-Alben in den USA und 3 GRAMMY®-Nominierungen erhalten. Auch ihre Biografie "The Dirt - Confessions of the Worlds Most Notorious Rock Band" wurde 2001 ein New York Times und weltweiter Bestseller und erschien als Biopic 2019 auf Netflix.

Mit "Dogs of War", ihrem ersten Soloalbum seit 2015, melden sich Mötley Crüe mit einer neuen Generation zurück - und erzählen von einem Aufstand gegen jeden Bastard des Lebens. Unfähig, sich zurückzulehnen und ihr Vermächtnis an die Leine zu legen, sind Mötley Crüe hier, um die Hörer daran zu erinnern, warum sie "The World's Most Notorious Rock Band" bleiben Wie schon in den letzten 40 Jahren gehen sie in Sachen Sound und Image neue Wege. Es gibt keinen Grund, darauf zu vertrauen, dass die Crüe etwas zu sagen haben - und wir sollten besser ganz Ohr sein. Mötley Crüe melden sich mit "Dogs of War" zurück, ihrer ersten Single seit 2015! Seit über 40 Jahren sind Vince Neil (voc), Nikki Sixx (bass), Tommy Lee (drums) und Mick Mars (guitar) als Band aktiv und on the road mit bahnbrechenden Show Highlights wie Tommy Lee's Achterbahn Schlagzeugperformance oder Nikki Sixx's Auftritte mit seinem flammenwerfenden Bass. Mötley Crüe hat über 5 Milliarden Streams auf digitalen Plattformen erreicht und hat über 8 Millionen Follower in den sozialen Medien. Sie haben weltweit über 100 Millionen Alben verkauft, 7 Platin- und Multi-Platin-Alben in den USA und 3 GRAMMY®-Nominierungen erhalten. Auch ihre Biografie "The Dirt - Confessions of the Worlds Most Notorious Rock Band" wurde 2001 ein New York Times und weltweiter Bestseller und erschien als Biopic 2019 auf Netflix.

Originally released in 2006, ‘The Black Swan’ was Jansch’s last studio album bookending his tremendous contribution to music. Available on limited edition Jade Green vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. An important release that sees Jansch’s revered style boosted by musical admirers Beth Orton, Devendra Banhart, Otto Hauser, Helena Espvall and Noah Georgeson. Featuring sentimental ode ‘High Days’, beautiful title track, instrumental ‘Hey Pretty Girl’ and the country spirited ‘Texas Cowboy Blues’. Beth Orton accompanies with her mesmeric vocals on ‘When The Sun Comes Up’, traditional folk song of withered glory ‘Katie Cruel’ that has been brilliantly rearranged and features Devendra Banhart. Jansch’s extraordinary perceptive lyricism and exceptional songwriting makes ‘The Black Swan’ a vital record in his canon. “A terrific success.. beautiful, elegant” ★★★★ Pitchfork // “An impressive album” ★★★★ The Guardian // “Profound, funny, topical, worldly, and ultimately, necessary.” ★★★★ AllMusic

Die New Yorker Psych-Pop-Band Crumb kehrt mit AMAMA zurück, ihrem bisher unbeschwertesten und offenherzigsten Album. Eine Klanglandschaft voller spielerischer und patchworkartiger Experimente - glitchy pitch-shifted Vocals, Handy-Aufnahmen, nautische Blips, Saxophon-Soli, explodierende Drum-Samples und mit Hüpfkitt gedämpfte Piano-Saiten - AMAMA vertieft den hypnotischen Sound der Band in einer kohärenten Linie, die sich durch „Ice Melt“ (2021), „Jinx“ (2019) und die EPs „Locket“ und „Crumb“ zieht. AMAMA ist zweifellos Crumb - Sängerin und Multiinstrumentalistin Lila Ramani, Keyboarder und Saxophonist Bri Aronow, Bassist Jesse Brotter und Schlagzeuger Jonathan Gilad - in ihrer lebendigsten Form und bewegt sich an der Schnittstelle von Psychedelia, Pop, Jazz und Rock. AMAMA wurde zusammen mit Johnscott Sanford und Jonathan Rado in Los Angeles produziert.

CRUDE’s second record release features one of the most promising artists from the underground music world - DJ RAT.

Hailing from the American Pacific Northwest, DJ RAT’s signature sound is characterised by an eccentric, distinguishing and uncompromising approach - seamlessly blending intense, arcane and mystical elements in order to create a captivating experience.
Side A kicks in with Nocturne, the EP’s leading track that guides the listener into a veil of mystery with its enigmatic melody and its pulsating basslines that gradually build intensity while maintaining an underlying sense of tranquillity.

Hexosphere’s rhythm is edgy and straightforward with a trippy nature.
There’s an ever-evolving dynamic throughout the four tracks, alternating between driving rhythms and moments of serene psychedelia - exploring the duality of light and dark and evoking a feeling of introspection.

The B-side takes off with Corridor, an oscillating tension-builder.
Corridor’s distorted synths and glitchy effects cascade over pounding drums, creating a chaotic yet mesmerising soundscape.
Telepathic Climax weaves in and out with shimmering and alluring shifts that add depth and dimension to the track.

Atmospheric and trippy textures create a sense of space and immersion throughout the journey of the EP - with illuminating elements piercing through the darkness.

Tim Burton’s 2005 adaptation of Roald Dahl’s classic children’s book was conceived as long ago as 1991 and was in development for several years before Burton was involved in the production. He immediately brought regular collaborators Johnny Depp and Danny Elfman aboard.

Charlie and the Chocolate Factory represents the first time since The Nightmare Before Christmas that Elfman contributed to a film score using written songs and his vocals. The film was released to critical praise and was a box office success, grossing $475 million worldwide.
The wonderfully quirky melodic score and songs from one of Hollywood’s great composers harks back to Edward Scissorhands, Burtons’ and Elfman’s most personal work, and is a return to the composer’s “vintage” sound from the late 1980s and early 1990s.
First released on vinyl in 2015, this latest edition brings the popular soundtrack back to vinyl on Marshmallow Pink and Chocolate Brown Vinyl.

“It was more fun than I ever had working on a movie. It was so crazy and doing all the vocals was so much fun. I found myself falling into voices, singing vocal mannerisms. I was having such a gas.”
- Danny Elfman

With Pere Ubu on hiatus since 1982’s excellent ‘Song Of The Bailing Man’, David Thomas had recorded a` much-praised solo album and the band had now signed to a major label. In a period of rampant world commercialism, what would happen next? Another crucial era for the band unravelled, Pere Ubu’s journey charted new undulating territory and so began a three-album escapade that retooled our understanding of what pop music is. “Solid as the band can be, it's also likely to dissolve songs from the bottom up. For all Pere Ubu's uncertainty, the band isn't arbitrary; its music has the off-the-wall unity of a Marx Brothers routine,” said Jon Pareles of The New York Times. In 1991, ‘Worlds In Collision’ became “the most atmospheric, carefully sculpted recording in the band's 13-album catalog.” (Tom Moon, Spin).

Das Wesen, das als Adversarial bekannt ist, hat erneut das Portal zu einem zeitlosen Reich des Erstickens und der Qualen geöffnet. Während sich der Leviathan auf sich selbst zurückzieht, steigt an der Kreuzungsstelle Sulfer auf, ein Strauß aus fauligem Dotter. Diese faulige Chemikalie wird Nigredo aufrechterhalten, während das Metall, schwarz wie die Mitternacht, unter der Macht der Atombombe gehärtet wird.

--Erste neue Veröffentlichung seit neun Jahren! Der atemberaubende Nachfolger von "D.E.N.A.T.B.K.O.N." von 2015.
--Beste Produktionsarbeit bis heute! Aufgenommen und gemischt von Vadim Balanyuk. Gemastert von Damian Herring in den Watchtower Watchtower Studios
-Schlängelnder, düsterer Death Metal, der sicherlich die Ohren von Immolation, Antediluvian, Archgoat und Tetragrammacide zufriedenstellen wird

Das Wesen, das als Adversarial bekannt ist, hat erneut das Portal zu einem zeitlosen Reich des Erstickens und der Qualen geöffnet. Während sich der Leviathan auf sich selbst zurückzieht, steigt an der Kreuzungsstelle Sulfer auf, ein Strauß aus fauligem Dotter. Diese faulige Chemikalie wird Nigredo aufrechterhalten, während das Metall, schwarz wie die Mitternacht, unter der Macht der Atombombe gehärtet wird.

A 2xLP discography from the late 90s post-hardcore/early screamo band, The Red Scare. The band existed during an interesting period when hardcore music was evolving and splintering into various sub-genres. They perfected a blistering hardcore that will appeal to fans of Born Against, Heroin, and Universal Order of Armageddon, as well as fans of later hardcore bands like Saetia, Jerome's Dream, City of Caterpillar, and Ampere. This record comes on high end paper, custom gatefold packaging, and limited edition colored vinyl. "Smoky Mountain High" gathers both of the bands LPs, their singles, as well as 4 live songs from their session at WNYU.

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

Riot Records offshoot Disco Juice kicks off with 4 massive disco house bangers featuring some big hitters in the scene. Soul Sonic Orchestra Ft the legendary Kathy Brown / Da Lukas & label boss Yam Who?

Barcelona's Oscar Escapa returns to DCLTD to collaborate with Linear Phase on a 3-tracker ‘Recoded’. ‘Recoded’ is a steaming cut made for the peak-time, propelled by crunchy drums, a head scrambling vocal and plenty of eerie effects to ensure impact. ‘Irrupción Beligerante’ is a rugged, barrelling dancefloor weapon that hits with terrific energy. ‘Controlled Damage’ takes on a different shade, metallic, bass-driven, a headier roller made for building atmosphere and shifting moods.

On Pedro The Lion’s new album Santa Cruz, critically acclaimed musician David Bazan returns with a new chapter in his ambitious and ongoing recording project - 5 albums devoted to places he lived in throughout his life. Santa Cruz is Bazan’s third album in the series and follows up where 2022’s Havasu and 2019’s Phoenix left off. Tracks like "Modesto" and "Little Help" foreshadow Bazan's exposure and ultimate love of classic rock n' roll records, while songs like "It'll All Work Out" showcase his unique approach to synthesizers, something he introduced with the 2005 self-titled Headphones album. The stories on Santa Cruz highlight Bazan’s teenage years and solidifies what he sees as an exposition in a traditional three-act structure. After 25 years refining and building what he calls his “garden of songs,” David Bazan has sold hundreds of thousands of albums, performed in sold-out venues and living rooms around the globe, and played high-profile live sessions with the likes of NPR’s Tiny Desk, KEXP, WNYC’s Soundcheck, WXPN’s World Cafe and many others. His music has been featured in outlets such as The New York Times, Pitchfork, Rolling Stone, SPIN, Vox, Paste, Aquarium Drunkard and others.

Mitos & Ritos, the debut EP by the Ecuadorian group Cruzloma, consolidates in its six songs a spirit of promoting traditional rhythms in contemporary styles, a process of reinvention and self-discovery in homage to the indigenous peoples of the Ecuadorian jungle and the riches of ceremonial music all in a mix featuring electronica, global bass and dembow. The hostile times humanity is going through have awoken a need to get back to our roots, reclaim ancestral knowledge, and question where the excessive exploitation of natural resources has led us. We have heeded that urgent call to care for everything that seems unlimited but which is increasingly scarce. And so we have looked to the past to understand our relationship with what surrounds us and establish a dialogue between the past, the present and the uncertain idea of the future. Applied to music, this has aroused the interest of artists and producers who use the rich folklore and traditions of Latin America to replicate that dialogue between what was and what will be. With this in mind, Mitos & Ritos ("Myths and Rites"), the debut EP by the Ecuadorian group Cruzloma, consolidates in its six songs a spirit of promoting traditional rhythms in contemporary styles, a process of reinvention and self-discovery in homage to the indigenous peoples of the Ecuadorian jungle and the riches of ceremonial music, based around the bambuco style from Esmeraldas on the northern coast, and the bomba del chota and the san juanito from Imbabura province. On this EP there are also sacred prayers of the Shuar nation, called Ujaj and Anets, including ceremonies like the taking of ayahuasca and of the tzan tza, all in a mix featuring electronica, global bass and dembow. It is a journey into mysticism, the jungle and the dancefloor, reflecting a search for musical identity that is at once contemporary and futurist.

Plasma Color Vinyl. 'The way Bloomsday's Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday's new record, 'Heart of the Artichoke', is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure. Like earlier Bloomsday songs, the work here is threaded with warmth; it's simmering, crisp and deeply human, an encapsulation of the present moment. Recorded across 10 days in June 2023 in upstate New York at duo Babehoven's studio and co-produced by Babehoven's Ryan Albert, with mixing by Henry Stoehr of Slow Pulp. The record was built out with a wideranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven's Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self. Collaboration is an integral part of Bloomsday's musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there's a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they're meant to take. Garrison's role as maestro is crucial, singular - it's a collaborative, exploratory spirit harnessed by Garrison's intuition, and by an honest commitment to carve out creative space for play, to delve into what's known - or pushing past that, into unknown. "The ghosts of the past still come up and haunt me," Garrison says, "but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present." Heart of the Artichoke was written from a healed, matured place - written in a moment of safety from chaos. It's a prayer for the present, an appreciation of tenderness and what happens once we give ourselves the space to really see, and really feel - becoming free and whole - an ode to the way healing allows us to bloom.

'The way Bloomsday's Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday's new record, 'Heart of the Artichoke', is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure. Like earlier Bloomsday songs, the work here is threaded with warmth; it's simmering, crisp and deeply human, an encapsulation of the present moment. Recorded across 10 days in June 2023 in upstate New York at duo Babehoven's studio and co-produced by Babehoven's Ryan Albert, with mixing by Henry Stoehr of Slow Pulp. The record was built out with a wideranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven's Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self. Collaboration is an integral part of Bloomsday's musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there's a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they're meant to take. Garrison's role as maestro is crucial, singular - it's a collaborative, exploratory spirit harnessed by Garrison's intuition, and by an honest commitment to carve out creative space for play, to delve into what's known - or pushing past that, into unknown. "The ghosts of the past still come up and haunt me," Garrison says, "but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present." Heart of the Artichoke was written from a healed, matured place - written in a moment of safety from chaos. It's a prayer for the present, an appreciation of tenderness and what happens once we give ourselves the space to really see, and really feel - becoming free and whole - an ode to the way healing allows us to bloom.

Are you ready to hear the best live band of the early ‘70s? We at Real Gone Music have been privileged and proud to release Fanny’s four classic Reprise albums, each a tuneful testament as to why they were the first all- female band signed to a major label. But there has always been a piece missing from the Fanny fable; for while the band hooked up with big-time producers and engineers like Richard Perry, Todd Rundgren, and Geoff Emerick, their studio albums never really were able to capture the sheer excitement they could generate in concert. However, buried away in a vault thousands of miles away from their Los Angeles base there long lay a recording that could make the Fanny myth a reality, one that could provide the emphatic answer as to why these four ladies were the hottest ticket on the Sunset Strip during the early ‘70s. Now, over 50 years later, its time—and their time—has come. Live on Beat-Club ’71-’72 presents the two sets Fanny recorded for the German TV show, mastered by Mike Milchner of Sonic Vision from hi-res mono files taken from the original videotape. Aside from the incendiary and incredibly tight performances, what immediately becomes apparent is that all four of these women were powerhouses in her own right. June Millington’s stringbending Les Paul wizardry, her sister Jean’s driving, melodic bass lines and Janis Joplin-esque vocals, Nickey Barclay’s intricate yet somehow rocking keyboard work, and Alice de Buhr’s precise, piston-like drumming punctuated by ferocious fills—put together Fanny was an overwhelming display of talent, Yet somehow, as these shows reveal, live they were greater than the sum of their parts. That’s why getting these recordings released has long been a crusade for Alice, and why June tells the story in the accompanying liner notes (which feature contributions from June, Jean, and Alice) that the engineer who was assigned to do the transfers of all the Beat-Club material told her that their material was the best in the vault, better even than Hendrix. We are releasing this invaluable archival recording on juicy peach vinyl and on CD with a bonus track of the soundcheck to boot. Essential for a full understanding of ‘70s rock!

Limited White VInyl Version
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

When Man Man released its last album, "Dream Hunting in the Valley of the In Between," frontman Honus Honus (née Ryan Kattner) was in a state of unrest, oscillating between hope and cynicism. Perhaps fittingly, the album dropped during the pandemic, a time at which we could all relate. But, much like that bizarre turn of events, the ennui now seems so distant to Man Man. A revived sense of purpose washes through Man Man's new album, Carrot on Strings, radiating a mix of calm and confidence. Kattner always embodied a wild-man pied-piper vibe: his melodic, unhinged art-rock was at once intriguing and angsty. He was so alluringly creative that you went along with it, even if you were never sure where Man Man would take you. Carrot on Strings is no less inventive, but its ethos is radical in context of the band's two-decade career. "When I was younger, I would feed off of chaos. I would, you know, be upset and get drunk and smash chairs," Kattner explains. "Now those chairs are in my head: It's less of an outward projection, more of an interior monologue." The name "Carrot on Strings" came to Kattner while experimenting with the sound of someone munching on the vegetable, which you can hear in the cacophonous, similarly named song. It alludes to how success always seemed to dangle uncertainly before him, often just out of reach. But listen intently and you'll hear a more content Kattner finding an uneasy peace: "Life, as far as I've known it, has always been side hustles. Would it be great if I could go into a studio and record for a year without figuring out how to finance it? Yeah, it would be," he says. "But ultimately, I need to keep making music because art is an extension of my psyche. It's how I have learned to translate the palpitations of my heart. Simply put, I'd go insane without it." Growing up as a multiracial Hapa kid (half Filipino, half white) with a father in the U.S. Air Force, Kattner lived an itinerant childhood that included a few pivotal years in Germany, where he honed in on an appreciation for out there German cinema and art. His film obsessions and screenwriting background were crucial to Carrot on Strings. The album nods to the films of Werner Herzog and Rainer Werner Fassbinder as much as Italo-disco, Randy Newman, goth rock, and avant pop. (Kattner continues to work in the film industry with an acting role in the upcoming horror-comedy movie Destroy All Neighbors, for which he also served as composer; music supervising season 1 & 2 of the Interview With The Vampire AMC TV series; and shopping around, with director Matthew Goodhue, a script he wrote that he describes as a Wim Wenders road movie on acid.) In a bid to not overthink anything - his last album took seven years to make - he recorded the bulk of Carrot On Strings in five days in Mant Sounds studio in Glassell Park, Los Angeles with "very chill" producer Matt Schuessler, who had worked on Man Man's cover of Neu!'s "Super" for the seminal Krautrock band's box set. The resulting album represents a newfound sense of self for Kattner, who finds himself inspired and at peace both personally and artistically in ways that eluded him for most of his first 15 years playing music. When, on Carrot On Strings, you hear Kattner croon humbly, or sing of the tension between his outsize stage persona and the thoughtful, soulful guy he actually is, you're hearing Kattner liberate himself. "I first got into music to escape from myself," he says. "And now, it sounds so corny, but I have zero doubt that music ended up saving my life."

A home, a house, has countless frequencies. Each room, each corner feels different. Swings differently. And as you grow older, you realize which corner is yours. But yeah, it takes time…

It certainly marks the end of an era when the house one called home as a kid no longer exists. This home, it was the starting point of so many journeys. Of one big, ongoing journey. And so it feels good, soothing, reassuring to at least return to a spot nearby – to that (proverbial) hill from where you can see it. Feel the vibe that made you.

Andi Haberl’s debut solo album as Sun is sort of dedicated to that house. It’s a journey leading to that hill overlooking everything that made him. It’s not about nostalgia, not about actually returning to a specific place. Instead, it’s about finding a personal frequency, an overlapping of sounds and samples, an open space that mirrors and extends whatever frequencies felt right at different points in time.

“To me, the results feel like Gold Panda/Four Tet meets Steve Reich meets Krautrock meets film scores. I just really wanted to create moods that touch me – and ideally others, too.”

Talking about his first solo album, Haberl recalls many stages: early compositions that ended up on Alien Ensemble’s albums, early DIY/home studio/multi-instrumentalist inspirations (Le Millipede), new technologies that came and went, even a set of wildly convincing arrangements (done with Cico Beck’s crucial input) that ultimately became stepping stones for yet another round of DIY takes. “It was a long, recurring process, and the songs went through so many different versions,” he says, talking about phases of growth (“I added more and more equipment over time”) and pruning, “cleaning up my music a bit.” Tending towards instruments that open up space, and slowly falling in love with sampling, he certainly didn’t rush things once it was time for interior design decisions ;)

“During this whole process I got to learn so much about my own taste, how I prefer to listen to the pieces, which musical elements really matter to me… and what my own voice is. For example, that acoustic elements are most important to me: the banjo, piano, drums, my voice, glockenspiel, trumpet, melodica. Anything that opens up some space.”

Every journey begins with a search: “Missing” with its plucked chords opens like a sunrise over pastoral plains, gently leading the way towards the intricate, playful explosion that occurs once a certain amount of energy (“Sun”) hits dirt and other surfaces: things grow, clot and curdle into new shapes, like new buds; layers of sound move forward, drenched in Spring’s new light. Relying on samples to ask for precipitation (“Rain On Me”), robotic “Low” goes from barren to bass-heavy after its midway shift in pace, full of loops plucked from the shade.

Towards the album’s midpoint, things are suddenly reversed: “Cluster” has that backwards pull, you can’t tell what’s what, yet everything is perfectly locked in, as the pace increases once again. And before the title song shimmers with densified cheering (to eventually stand tall like early Lymbyc Systym), “Beside Me” swipes you off your feet with its booming bass drum. The beat returns once again (“Daydream”), full of searching voices underneath, and at “Dawnday,” we can finally catch a melancholy view of the house. Voices hum. It’s the score moment of the album. Everything makes sense now. A happy end of sorts?

“I want to take people on a journey. A personal journey, too, because when my parents split up and sold the house I grew up in, I felt a bit like the ground had fallen out from under my feet. But I have dedicated the album title and the accompanying piece to this house… so I can keep it in good memory.”

“I Can See Our House From Here” has been a long time coming. It’s been a long journey. Homeward-bound. Leading to a place that’s really Haberl’s – his sound. His frequencies.

Known as a long-time member of The Notwist and various other bands/projects (Alien Ensemble, AMEO, jersey, Ditty etc.), Berlin-based drummer/composer Andi Haberl has also worked with My Brightest Diamond, Till Brönner, Owen Pallet, and Kurt Rosenwinkel, to name a few. “I Can See Our House From Here” is his first solo offering.

Red Vinyl - In the Pines seemed, at the time, an eccentric career move. The Triffids were widely believed, by their modest but fervent fanbase and a legion of crusading critics, to be but one determined, faithful leap from ascent to the stratospheres. wandering off into the outback, much like one of the deranged characters that had inhabited Born Sandy Devotional, did not seem calculated to redeem the tantalising promise of that astounding album. The Triffids knew what they were doing, though: In the Pines is a thing of modest majesty, at once haunted by the desolation of its circumstances (the gothic folk waltz of the title track, the knelling, intense Kathy Knows) and suffused with the infectious camaraderie of people making music for the joy of it (a rowdy singalong of Bill Anderson's country standard Once a Day, led by Graham Lee, at what one can only suspect was the end of a very, very long day). In the Pines has often been likened, in terms of both songwriting quality and spirit, to Bob Dylan and the Band's The Basement Tapes, and it is not unduly flattered by the comparison.

"The debut longplayer from Washington, DC-based Ekko Astral is a complex mesh of bubblegum noise punk and no-wave art rock that holds an elastic space for the knotty, tangled horrors of living in the imperial core. Their songs thrash with intense, necessary defiance against codified gender-based violence, their distortion and sibilance a direct response to the dangers outside our front doors.

pink balloons opener “head empty blues” specifically bites back against the terrors of the normative male gaze that dominates so much of American culture. Over a post-punk passage that plays call and response with a wall of harsh noise, frontwoman Jael Holzman belts playfully morbid details of the head-exploding anxieties that haunt her daily: “is it bon eye-ver or bon iver? / i don’t care / i’ve got stalkers outside / not going out tonight / gonna sit and take pics / in my underwear.”

Holzman formed the band in 2021 with best friend Liam Hughes (guitar), and eventually rounded out the band’s lineup with Miri Tyler (drums), Guinevere Tully (bass), and Sam Elmore (guitar). Ekko Astral’s local scene quickly welcomed the band for their wildly fierce live presence, emboldened by the community-building message behind the band’s mascara mosh pit brand.

Ultimately, Ekko Astral are here to uplift, a mission exemplified by the frenetic and bewitching pre-release singles “baethoven” and “devorah,” cornerstones of pink balloons in both style and theme. The former serves as a reminder to keep your larger than life personality in a world that wants to downsize you, where the latter proclaims urgent solidarity with missing and murdered people. Such crucial messages of upliftment are the foundation of pink balloons, and, by extension Ekko Astral, whose thrashing debut leaves no stone of solidarity unturned."

Good Looks write kindhearted and cathartic rock songs about the persistence required to make it through hard times. In April 2022, the Austin, Texas quartet released their critically acclaimed debut `Bummer Year'. Immediately after their triumphant hometown record release show, lead guitarist Jake Ames was hit by a car crossing the street, fracturing his skull and tailbone. Thankfully, Ames made a full recovery. The traumatic accident strengthened the bond that built their electric new album `Lived Here For A While'. Out May 3 via Keeled Scales, it's fearlessly direct music that captures the fullthroated intensity of their galvanizing live show. Reinvigorated, Good Looks tracked `Lived Here for a While' at Texas' Dandy Sounds with producer/engineer Dan Duszynski (of Loma and Cross Record) the following summer. Though Ames had to relearn some of his parts, his palpably energetic performances elevated the entire record. On the LP, the band trades the Americana sound that colored in the lines of `Bummer Year' for clanging post-punk guitars and expansive indie rock. Lyrically, the songs on this album are healing meditations on family dysfunction, new relationships, and how a home can become unrecognizable. Lyricist Tyler Jordan's songs explore how relationships can crumble irrevocably but also how those partnerships can be centering, hopeful, and exciting. In another horrific accident in July 2023, their tour van was rearended by a speeding car, causing their van, instruments, merch, and records, to go up in flames. Thankfully, none of the band members suffered serious injuries. This resilience is essential to Good Looks and why the songs on `Lived Here For A While' resonate so profoundly.

GATECREEPER return with their highly anticipated new album Deserted. The new album, a furious mix of snarling guitars and driving, rhythmic pummeling takes death metal from its 80's Floridian roots and 90's Swedish expansion straight into the here and now. In fact, the vanguard of death metal in 2019 can be found under Arizona’s searing sun. That’s where GATECREEPER members—Chase Mason, guitarist Eric Wagner, bassist Sean Mears, drummer Matt Arrebollo and guitarist Nate Garrett—make their homes. Of course, the band nodded to their scorching home state with the title of their 2016 full-length debut, Sonoran Depravation. The theme continues on Deserted, which boasts songs like “Sweltering Madness,” “Boiled Over” and the double-meaning title track. You can hear the results on “From The Ashes,” a crushing cut primed for the European festival circuit. Over on side two, “Boiled Over” fuses classic BOLT THROWER with the pulverizing power grooves of sludge titans CROWBAR. Album closer “Absence Of Light” upholds GATECREEPER's tradition of finishing their records with a deathly doom dirge. Deserted was recorded at Homewrecker Studios in Tucson, where GATECREEPER co-produced the album with engineer Ryan Bram. CONVERGE guitarist Kurt Ballou handled the mix at Godcity in Salem, MA, and Brad Boatright mastered the album at Audiosiege in Portland, OR. Deserted’s hallucinatory cover art was created by Brad Moore (TOMB MOLD, MORPHEUS DESCENDS, and more.)

"Grand Slam’s album Hit the Ground has been given a makeover and will be re-released as Hit the Ground – Revised on June 7th via Silver Lining Music. The re-issue has been remastered and features new Artwork.

Grand Slam was formed in 1984 by Phil Lynott and guitarist Laurence Archer before being forced to break up in 1986. Originally released in 2019, Hit The Ground signalled the Archer (guitar), Mike Dyer (vocals), Benjy Reid (drums) and Rocky Newton (bass) Grand Slam incarnation and is an unequivocal part of the band’s re-energising story.

With stylistic salutes and tips to the legendary Lynott melding with the energy and vocal performance of Dyer and Archer’s fiery fretboard forays in cuts such as the crunchy “Hit The Ground” and the thrusting “Crazy”, Grand Slam stride confidently back into the conscience of classic rock devotees who didn’t know what they were missing.

Grand Slam are a band firing intention regarding their future… Let the music do the talking!"