Suche:the night

In the spring of 2020, Ben Cook _ a.k.a. Young Governor, Young Guv, or just Guv _ was holed up in the New Mexico high desert, his U.S. tour having been abruptly covid-cancelled during a southwest swing. He and his bandmates were living moment to moment in something called an Earthship, a solar-rigged adobe structure sustainably constructed with, among other things, recycled bottles and tires. And out there in the serene vastness, as a short ride-it-out stint turned into a nine-month sojourn, Ben was writing music, slowly, little by little, mostly at night while the others slept. By the New Year, almost in spite of himself, he had created a new album, two new albums actually, and through the ordeal he was forever changed. In a place he never expected to be, under circumstances no one could have predicted, and in the face of physical isolation, emotional desolation, and existential dread, Ben created GUV III & IV, a collection of songs dedicated and testifying to the eternal healing power of love _ how to find it in the world, in others, and most importantly, in himself. Written in the New Mexico wilderness and produced in Los Angeles, the double album will finally be available in it's entirety this summer via Run For Cover. Young Guv's talent as a songwriter has been with us for a long time. From forming iconic hardcore act No Warning in 1998 to joining Toronto legends Fucked Up, Ben Cook started writing songs as Guv in 2008 between a slew of other projects that were ambitiously working to define the genres they operated in. When he first started working with Run For Cover in 2019, the plan was to release a single record - but with too many songs to turn away, the project expanded into his first double album, GUV I & II. GUV III & IV finds the same ambition and expertise in hit-making, but this time the individual records hone into specific parts of Guv's sonic palette. GUV III is full of iconic hooks, power-pop guitar riffs and dancable-rock songs, while GUV IV takes notes from psych rock, electro pop and Laurel Canyon jangle to make something that as a whole, can only be defined as definitively GUV

On the 10th anniversary of their eponymous debut release, The Oh Hellos put forth a limited-edition, vinyl-only reissue of The Oh Hellos EP. The package has been thoughtfully produced to celebrate the occasion, including new album art, embossed cover, 180g etched vinyl, hand-written lyrics, and individual numbering.

The album also includes a new, stripped-down acoustic version of “Hello My Old Heart” as a bonus track. Surrounded by the warmth of a crackling fireplace, The Oh Hellos invite you in for an intimate performance of their signature song.

"Listening to this EP is like time traveling, for us. Suddenly we’re back in the house we grew up in, all the furniture shoved up against the walls of an old bedroom so the guitars and drum set would fit.

Strangeland is Keane's fourth studio album, original released in May
2012, and is being re-issued on vinyl for its 10th anniversary year
Produced by Dan Grech-Marguerat the album includes three singles: Silenced By
The Night, Disconnected and Sovereign Light Café.
The album charted at #1 in the UK and has gone on to sell over 200k. It also
charted at #1 in Ireland and the Netherlands whilst in the US it peaked at #17.
This re- issue is pressed on 180gm vinyl and faithfully reproduces the original's
gatefold sleeve and full colour inner bag with lyrics.
This re-issue will be promoted on all of Keane's socials. Tour dates: 10 Jun 2022
Westonbirt Arboretum, Gloucestershire, UK/ 11 Jun 2022 Cannock Chase Forest,
Staffordshire, UK/ 12 Jun 2022 Live In The Wyldes, Cornwall, UK/ 17 Jun 2022
Thetford Forest, Suffolk, UK/ 18 Jun 2022 Delamere Forest, Cheshire, UK/ 19 Jun
2022 Hop Farm, Kent, UK/ 30 Jun 2022 Summer Series Trinity College, Dublin, IE/
03 Jul 2022 Rock Werchter Festival, Werchter, BE/ 08 Jul 2022 Mouth of the Tyne
Festival, Tynemouth, UK/

Pink Vinyl - Repress!

An impressive title on Don Chery's far and wide discography. On this date he went literally East, playing Tibetan and Asian instruments. The album was originally released in 1974 on the Scandinavian label Sonet and highlights a session of the previous year with famous Swedish jazz improvisers Bengt Berger and Christer Bothen.

Austudy Records is proud to present it’s debut release Burning It Up: Australian Reggae (1979-1986). A
compilation surveying the influence of Reggae on Australia’s preoccupation with Rock, Pop and New Wave
between the years of 1979-1986. This selection of 8 obscure tracks originally issued on 7” records represent
some of the earliest examples of Reggae sounds in Australian recorded music.

In the ever-competitive hip-hop arena, Tha God Fahim has proven to be a formidable opponent. With an unmistakable voice and an irrepressible flow, the Atlanta rapper has won over countless fans with a unique blend of style and substance, delivering sophisticated street wisdom over raw, soulful beats.

Expanding an extraordinary catalog that already includes more than 100 mixtapes, Tha God Fahim is now debuting "Six Ring Champ", his second studio album with Nature Sounds. A meditation on achievement and the hard work it requires, the album is a triumphant statement from an inspiring artist. "Six Ring Champ" features multiple appearances by Your Old Droog, plus production by Nicholas Craven, Camoflauge Monk, Thrasherwulf, and Fahim himself.

Great compilation of soul tracks that have been sampled by artists such as Massive Attack, Kendrick Lamar, Cypress Hill, and others.



















s D2. Marva Whitney - It's My Thing (You Can't Tell Me Who To Sock It To) [Album Version]

Legenden hat die Heavy-Metal-Welt so einige hervorgebracht. Aber keine ist wie Mat Sinner. So viel Überzeugung, Herzblut und Aufopferungsgabe, so viel puren Heavy-Metal-Geist, so viel Hingabe findet man normalerweise nicht gebündelt in einer einzelnen Person.
Seit 1982 frontet er die nach ihm benannte Band, mit der er sich jetzt triumphal in Form von »Brotherhood« zurückmeldet: ein massives Album, dessen Titel ebenso selbsterklärend ist wie die Mission seines Schöpfers. In Eigenregie produziert und von Jacob Hansen (u.a.
VOLBEAT) gemixt/gemastert, ist sie eine Platte, die die bandinterne Bruderschaft ebenso unter dem Herzen trägt wie die Bruderschaft der weltweiten Heavy-Metal-Gefolgschaft. "Wir gehören zusammen - und
dieses Album soll das zum Ausdruck bringen," so Sinner.

Ins Rampenlicht gerückt wird jene Gefolgschaft insbesondere auch durch die zahlreich auf dem Album vertretenen Gäste (s.u.). Mit Hooks, Riffs und präziser Härte revitalisiert Mat Sinner Tugenden, die er vor vier Jahrzehnten miterfand. Die auf »Brotherhood« vertretene
Wucht und Härte sowie die messerscharfen Riffs werden
selbstAngehörige des innersten SINNER-Fanzirkels aus
den Latschen kippen lassen.

Legenden hat die Heavy-Metal-Welt so einige hervorgebracht. Aber keine ist wie Mat Sinner. So viel Überzeugung, Herzblut und Aufopferungsgabe, so viel puren Heavy-Metal-Geist, so viel Hingabe findet man normalerweise nicht gebündelt in einer einzelnen Person.
Seit 1982 frontet er die nach ihm benannte Band, mit der er sich jetzt triumphal in Form von »Brotherhood« zurückmeldet: ein massives Album, dessen Titel ebenso selbsterklärend ist wie die Mission seines Schöpfers. In Eigenregie produziert und von Jacob Hansen (u.a.
VOLBEAT) gemixt/gemastert, ist sie eine Platte, die die bandinterne Bruderschaft ebenso unter dem Herzen trägt wie die Bruderschaft der weltweiten Heavy-Metal-Gefolgschaft. "Wir gehören zusammen - und
dieses Album soll das zum Ausdruck bringen," so Sinner.

Ins Rampenlicht gerückt wird jene Gefolgschaft insbesondere auch durch die zahlreich auf dem Album vertretenen Gäste (s.u.). Mit Hooks, Riffs und präziser Härte revitalisiert Mat Sinner Tugenden, die er vor vier Jahrzehnten miterfand. Die auf »Brotherhood« vertretene
Wucht und Härte sowie die messerscharfen Riffs werden
selbstAngehörige des innersten SINNER-Fanzirkels aus
den Latschen kippen lassen.

Legenden hat die Heavy-Metal-Welt so einige hervorgebracht. Aber keine ist wie Mat Sinner. So viel Überzeugung, Herzblut und Aufopferungsgabe, so viel puren Heavy-Metal-Geist, so viel Hingabe findet man normalerweise nicht gebündelt in einer einzelnen Person.
Seit 1982 frontet er die nach ihm benannte Band, mit der er sich jetzt triumphal in Form von »Brotherhood« zurückmeldet: ein massives Album, dessen Titel ebenso selbsterklärend ist wie die Mission seines Schöpfers. In Eigenregie produziert und von Jacob Hansen (u.a.
VOLBEAT) gemixt/gemastert, ist sie eine Platte, die die bandinterne Bruderschaft ebenso unter dem Herzen trägt wie die Bruderschaft der weltweiten Heavy-Metal-Gefolgschaft. "Wir gehören zusammen - und
dieses Album soll das zum Ausdruck bringen," so Sinner.

Ins Rampenlicht gerückt wird jene Gefolgschaft insbesondere auch durch die zahlreich auf dem Album vertretenen Gäste (s.u.). Mit Hooks, Riffs und präziser Härte revitalisiert Mat Sinner Tugenden, die er vor vier Jahrzehnten miterfand. Die auf »Brotherhood« vertretene
Wucht und Härte sowie die messerscharfen Riffs werden
selbstAngehörige des innersten SINNER-Fanzirkels aus
den Latschen kippen lassen.

New Orlando Voorn on Nightripper Records. A upbeat double LP with 10 dance floor bangers!

Die zweite Split-Veröffentlichung des Jahres von 20 Buck Spin bietet den ersten Output von TERMINAL NATION seit der krachenden "Holocene Extinction"-LP, die im düsteren Pandemie-Sommer 2020 veröffentlicht wurde. Mit von der Partie auf der Split sind die japanischen Ultra-Heavy-Könige KRUELTY, die nach der Veröffentlichung der furiosen Alben "A Dying Truth" und "Immortal Nightmare" im Jahr 2020 gerade auf Tour in den USA und Europa waren.

TERMINAL NATION unterstreichen ihren Status als eine der härtesten Bands auf dem Planeten mit drei neuen Tracks auf der A-Seite, die allen Imperialisten, die die Fäden der Welt ziehen, den Krieg erklären. Die Düsternis des Death Metal, die Panzerartige Gewalt im Stile BOLT THROWERs, gepaart mit der wilden Kraft des Hardcore-Breakdowns; sind die Songs voll von der Wut einer Nation, die kurz davor ist, im totalen Chaos überzukochen.

KRUELTY haben ebenfalls den richtigen Punkt gefunden, an dem Hardcore auf stampfenden Death und Doom Metal der alten Schule trifft. "Suppression" und "Under Your Pressure" offenbaren einige der druckvollsten, strukturerschütternden Riffs und blutigen Beatdowns, die die Band bisher hervorgebracht hat.

Außerdem hat jeder Sänger von TERMINAL NATION und KRUELTY einen Gastauftritt auf einem Track des jeweils anderen, wobei Tatami von KRUELTY auf "Sacrificial Capital" von TERMINAL NATION und Stan von TERMINAL NATION auf "Under Your Pressure" von KRUELTY zu hören sind. Die drückendste Split des Jahres 2022? Aber sicher!

Die zweite Split-Veröffentlichung des Jahres von 20 Buck Spin bietet den ersten Output von TERMINAL NATION seit der krachenden "Holocene Extinction"-LP, die im düsteren Pandemie-Sommer 2020 veröffentlicht wurde. Mit von der Partie auf der Split sind die japanischen Ultra-Heavy-Könige KRUELTY, die nach der Veröffentlichung der furiosen Alben "A Dying Truth" und "Immortal Nightmare" im Jahr 2020 gerade auf Tour in den USA und Europa waren.

TERMINAL NATION unterstreichen ihren Status als eine der härtesten Bands auf dem Planeten mit drei neuen Tracks auf der A-Seite, die allen Imperialisten, die die Fäden der Welt ziehen, den Krieg erklären. Die Düsternis des Death Metal, die Panzerartige Gewalt im Stile BOLT THROWERs, gepaart mit der wilden Kraft des Hardcore-Breakdowns; sind die Songs voll von der Wut einer Nation, die kurz davor ist, im totalen Chaos überzukochen.

KRUELTY haben ebenfalls den richtigen Punkt gefunden, an dem Hardcore auf stampfenden Death und Doom Metal der alten Schule trifft. "Suppression" und "Under Your Pressure" offenbaren einige der druckvollsten, strukturerschütternden Riffs und blutigen Beatdowns, die die Band bisher hervorgebracht hat.

Außerdem hat jeder Sänger von TERMINAL NATION und KRUELTY einen Gastauftritt auf einem Track des jeweils anderen, wobei Tatami von KRUELTY auf "Sacrificial Capital" von TERMINAL NATION und Stan von TERMINAL NATION auf "Under Your Pressure" von KRUELTY zu hören sind. Die drückendste Split des Jahres 2022? Aber sicher!

Diese LP ist für alle Valerie Dore Fans ein Must-have.

Nachdem wir uns bei der “Greatest Hits & Remixes“ LP einen Überblick über die Extended Versionen verschafft haben, gibt
es auf Vol. 2 die Radio Versionen. Fast 50 min. Hörgenuss für alle Vinyl-Liebhaber. Inkl. “The Night“, “It’s So Easy“ , “King Arthur” um nur einige der hier vertretenen Valerie Dore Klassiker zu nennen.

From Night Slugs’ Bok Bok comes the new label AP Life with their first physical release by seasoned London grime producer Kid D.

“Timing” 12” features 4 essential cuts of cutting-edge beats fusing drill, R&G and grime. From the squarewave bass pressure of Bar 4 Bar to the high emotion of The Eyes, Kid D applies his signature melodic touch to combine the sweet with the sour with devastating results.

Mastered & cut by Sam John @ Precise

Ehrlicher, epischer Doom der Marke Candlemass, Solitude Aeturnus und Trouble aus Deutschland steht als kommender Release der italienischen Metal-Schmiede Cruz Del Sur an.
Echte Drums und echte Gitarren; keine "Plug-Ins" oder "Schummeleien", die Band wollte den Geist der Auftritte einfangen, ohne sich auf Technik zu verlassen. Aufgrund der weltweiten Pandemie wurde das Album in verschiedenen Sessions von Herbst 2019 bis Sommer 2020 aufgenommen und landete schließlich in den Händen von Dennis Koehne für Mixing und Mastering. Koehne hatte mit WHEEL bereits an ihrer Coverversion von Roky Erickson's 'Night Of The Vampire' gearbeitet, die auf ihrem selbstbetitelten Debütalbum von 2010 zu finden war. Die neuen Songs konzentrieren sich mehr auf eine gute Struktur und eingängige Refrains. Der Sound ist viel härter und druckvoller als noch beim Vorgänger 'Icarus'.
'Preserved In Time' erscheint wahlweise als CD im Jewelcase oder LP (Black Vinyl).

Armed with hefty kicks, slick metallic drum licks, and rolling low-ends alongside a sample flip at the heart of both records.

DJ Support:

Jamie jones, Marco Carola, Loco Dice, Michael Bibi, Seth Troxler.

Daje Funk Records makes a triumphant return with the latest instalment to the spectacular ‘Slam Dunk’ series bringing you the Slam Dunk EP3.

First up on the A-Side of this stellar four tracker is Strange, with the acid laced disco burner, ‘Keep On’. From the intro of delicious 120bpm beats with added ‘Bongonaise’, the cleanest of guitar riffs leads to a hot disco bass with stabs of Rhodes keys lovingly applied. Just when you think you have it all worked out, the acid rug pull is a masterstroke. ‘Keep On’ has a classic (but often elusive) disco vibe with a wickedly acidic twist. ‘Strange’ will rule the summer, guaranteed. Any questions?

For A2, the considerable production chops of Ezirk are on full display with ‘Erotik’ - an 80s funk inspired taxi ride through rush hour traffic to the best cocktail bar on the planet. It’s infectious, demanding fist bumps and virtual high fives. It’s a melody that sets all the possibilities of a great night out through wielding the ultimate synth power. And that breezy sax? Heaven. Put the needle down and let it take you!

On the B Side, we start with label co-owner and master of the groove, De Gama and his carefully crafted ‘Higher’. The tempo is dropped right down here, with De Gama showing his darker and funkier side. Like a joint Gil Scott Heron and Robert Plant fever dream, ‘Higher’ is an intricate lecture in immaculate beats, unimaginable concepts and chord progressions. Serious grooves. Very serious.

Rounding things off on the B Side and closing the EP is ‘R.O.C.K.’ by Hungary’s The Magic Track. These boys know how to deliver a chugger from the MT workshop. You expect them to lure you in, and ‘R.O.C.K.’ does just that. One minute you’re in church, the next in a heaving club with retro beats, thumping bass and driving piano filling the air. The Magic Track are selling magic dreams and you’re buying. The whole bag.

The Slam Dunk EP 3 slam dunks with such force it shatters the backboard. Get it in your record boxes for the summer, and let it stay there!

Motorik, Techno, Lo-fi, Primal and monotonous are words to describe Black Bones unique take on afro and post punk. This 7” is their first on Höga Nord Rekords and contains two tracks showing depth in musical creativity and record collections.

Black Bones use familiar components in surprising ways: electronics and loops swirl over sequenced pounding backbeats, but when the aggressive stereo bass kicks in on “Nairobi Night Train”, Kenya’s border stretches all the way up to the British Isles and a huge savannah opens its horizons just south of Belfast.

This is an unusual mix of European and African music tradition - a meeting of genres so seamless it’s hard labelling it crossover. It’s just an explosive potion mixed for dancing!

We’re stoked to welcome back Medlar to Delusions for his third EP on the label and you’re in for a proper treat! One of the unsung heroes of UK underground house music, Medlar has released on Wolf Music, Wah Wah 45’s and West Friends. His remixes and edits for the likes of West End, Kon, Dele Sosimi, Glenn Astro, Disclosure and Billy Cobham always hit the spot with an authentic, raw and crunchy sound that work magic on the dance floor.

Here on his Interruptor EP we have 4 tracks which show off his range as a producer, taking in percussive tools, deep and dusty basement jams and blissful late night atmospherics. Lead track Interruptor is deceptively simple but devastating on a big system. Chopped up percussion, speaker wobbling bass and a heavy kick lay the foundation for crazy timbales and filtering syn-toms, all topped off with a familiar sample from back in the rave days.

Next up we have I Wish which features Kim Anh who delivers a brilliant vocal complimenting the low-slung disco drums, 808 percussion and fat bassline perfectly. This is our idea of what a modern day house hit should sound like. Raw and unpolished with a loose, un-quantized groove so you can feel the funk and a dynamic arrangement which keeps the energy high throughout.

Flipping over we have Cable Street which cranks things up with a techy house jam perfect for more peaks time sets. Once again, Medlar knows ex- actly how to make more with less and keeps the shuffling drums stripped back and simple stabs and modulating FX front and centre for maximum im- pact.

Finally, Turn Things Around brings a more 90’s deep NYC feel to the EP with floating pads, bouncing bassline, piano stabs and organ riff. Subtley epic and grandiose without being showy, this is a slow-burner that could just be one of those B2 tracks which become your favourite of the release.

First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

a 01: Think Positive (Live) feat. Steve Garcia, Edward Garcia & John Ortega
b 02: Jennifer (Live) feat. Steve Garcia, Edward Garcia, Vincent Anderson & John Ortega
c 03: Try It All Again (Live) [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[d] 04: Eclipse A (Beginnings) [Live] [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[e] 05: Eclipse B (First Movement) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[f] 06: Eclipse C (Hustle Bustle) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[g] 07: Eclipse D (Funky Side of Town) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[h] 08: Eclipse E (Midnight) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[i] 09: Eclipse F (First Movement Continued) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[j] 10: Eclipse G (Home) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]

Under the name Delicate Steve, guitarist extrodinaire Steve Marion has
spent the better part of the last decade establishing himself as one of the
most wildly innovative and widely revered players in the game.He's
recorded with Paul Simon, been sampled by Kanye West, toured in the
Black Keys, and released four critically acclaimed albums of genrebending instrumental music
He's your favorite musician's favorite musician, a virtuoso songwriter, producer,
and performer who occupies a lane entirely his own in the modern indie
landscape, but he's never liked the sound of the electric guitar? "I've tried
everything under the sun to get away from it," he explains. "Until now."Written and
recorded on a white 1966 Fender Stratocaster that reignited his love for the
instrument, Delicate Steve's warm and captivating new album, After Hours, marks
a first for Marion, an earnest, easygoing collection that revels in the simple joys of
plugging in and playing. The songs are sweet and breezy here, pairing vintage
soul grooves with mesmerizing, wordless melodies, and Marion's production work
is subtle and restrained, stepping back in all the right places to let the album's
masterful performances speak for themselves. In another first, Marion teamed up
with outside musicians on the record, bringing in renowned bassist Shahzad
Ismaily (Yoko Ono, Marc Ribot) and famed Brazilian percussionist Mauro Refosco
(David Byrne, Atoms For Peace) to help flesh out the arrangements and stretch
his sonic boundaries.
The result is a dreamy, introspective album built for late night comedowns and
deep dive soul searching, a cinematic, escapist fantasy for the wee hours of the
morning that draws on everything from Bill Withers and Sly Stone to Pharoah
Sanders and Salvador Dali as it explores memory and nostalgia, instinct and
intuition, serenity and transcendence.

Quarto Valley Records proudly announces the release of 'Brother Johnny', a
tribute to the legendary blues guitarist created by his brother Edgar Winter.
The album is a powerful sonic journey, traveling the course of Johnny's musical
life, impeccably directed, as only his brother Edgar could. Joining Edgar on the
inclusive project is an impressive array of renowned musicians who knew, or were
inspired by Johnny, including: Joe Bonamassa, Doyle Bramhall II, John McFee,
Robben Ford, Billy Gibbons, David Grissom, Taylor Hawkins, Warren Haynes, Steve
Lukather, Michael McDonald, Keb Mo, Doug Rappoport, Bobby Rush, Kenny
Wayne Shepherd, Ringo Starr, Derek Trucks, Waddy Wachtel, Joe Walsh, Phil X
and Gregg Bissonette. The guitar- driven album celebrates the expansive styles
Johnny was known for. The 17 tracks were carefully curated by Edgar and
producer Ross Hogarth to represent Johnny's evolution as an artist, honoring his
great legacy while also incorporating a personal tribute from brother to brother,
and for which Edgar penned two new songs.
Print coverage:
the Telegraph, The Daily Mirror and The Scottish Daily Express
Mojo feature and Review, Classic Rock Magazine, Record Collector, Blues In
Britian, HRH Magazine, RNR, Vintage Guitar, Rock Candy, Fireworks
Review in Blues Matters confirmed, Guitar Techniques
Online coverage: Velvet Thunder, Pennyblack Music, Spiral Earth
Radio:BBC Radio Solent, BBC West Midlands, Total Rock Radio, Forest FM, Castle
Sound Radio, 242 Radio, Brooklands Radio, Hard Rock Hell, Mystery Train,
Graham Lavendar Blues Show
Podcasts: Blues In The Night, The Blues Podcast

On July 1st Ploy's ascendance continues with 'Unit 18' – a new EP dedicated to his record label and club night Deaf Test's spiritual home – Venue MOT Unit 18 in Bermondsey, South London. With an already loyal following and fabled atmosphere, the parties inform Ploy's productions and vice versa. "These are three rave tracks, all influenced by sound system culture, with my take on different styles, made for various times of the early hours in our sweaty venue", he comments. Maintaining the floor-focused approach of his previous, acclaimed 'Rayhana' EP, here Ploy brings more organized chaos. Sound waves blast away cobwebs with gale-force power, and jolt you awake, like an intravenous shot from the mains. These forthright, no-nonsense workouts appear simple, but are incredibly well-made, revealing discreetly clever touches likely to provoke 'how did he do that?’ scrutiny from other producers. With ten-ton-kick-drum pressure, snares like booted dustbins and an intense build of energy, on 'Stinky' a soundclash turns into a back alley brawl... with lazers. Influenced by drill bass lines, UK bass music and soundsystem culture, the 'stink and perspiration’ lyric will be surely be apt, especially with a July release date. Imagine the scene: whilst a deranged, malfunctioning robot MC yaps and undulates, vampires chase their victim through a packed rave, before feasting on flesh. Ravey and riotous, with horror flick tropes and a touch of electro, the 138bpm wallop of 'Ninety One' is an ode to his year of birth, when magpie like, sample heavy tracks made for innocent, non-overthought, but compelling anthems. Grimey like the dance after which it's named, title track ‘Unit 18’ is a 155bpm half-time stomper, with nods to bounce, 00s hip hop, UK drill and dubstep. Combining flying congas, wookie moans and a classic DMZ stye flute line, this low slung, personality filled throbber will stand out and turn heads.

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music.

If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same.

This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.

Night School is proud and excited to team up with Frankie Rose to reissue her much loved interpretation of The Cure’s masterpiece Seventeen Seconds for Record Store Day 2021. Pressed on Dark Red Transparent Vinyl with new, artist approved artwork, Frankie Rose’s Seventeen Seconds is the art of the cover album done right. "Since I already think it's a perfect record, I tried not to reinterpret too much and stick to similar sounds as the original, but with a twist.” Dark Red Transparent Vinyl Pressing of 600.

From a previous album dedicated exclusively to Soul music by the Roman producer Nerio Papik Poggi, this new project in the artistic name 'The Soultrend Orchestra' was born in 2017. The album titlereleased that year, '84 King Street', definied the musical genre to which it is dedicated. In fact, the address is that of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over the world by deejays David Mancuso and Larry Levan in the first place. So Soul and Disco are the predominance of this first album which has had great success in the sector so much so that the band has performed live in important European festivals.

This new album entitled Live For Funk starts from where the first left us musically to enter much more on the Funk sound, especially the English one of the early 80s and the American one linked to jazz musicians such as Donald Byrd or Roy Ayers who have been re-evaluated so much in the years starting from the Acid Jazz scene from the 90s onwards.

15 songs in total, including three covers, all three already released as digital singles. The three covers are remakes of cult songs from past
years in the Disco Funk world and exactly Get Down Saturday Night by Oliver Cheatham, Outstanding by the Gap Band and Act Like You
Know by the Fat Larry's Band. In the project Nerio Poggi brought with him his historical musicians such as Alfredo Bochicchio on guitars, Peter De Girolamo on keyboards, Massimo Guerra on trumpet, Fabio Tullio on sax, Simone 'Federicuccio' Talone on percussion and Luca Trolli on drums. In addition to a dozen other guest musicians also 8 different singers among which the names of Alan Scaffardi, Al Castellana, Kenneth Bailey and Danny Losito of Kaigo stand out

Emerging from the dark recesses of the Chicago and London underground, in 2000 Omni a.m. relocated to New York. This EP marked their first release in their new surroundings, it's an intense and highly sought after 4 tracker that showcases the duo's continuing originality and guile.

First up 'Smurfette's Big Night Out' is imaginative in it's approach, there's punchy beats and cascading percussion that drive the track along and really deliver the funk. Psychedelic acid touches interweave with haunting pads and a super deep b-line creates a chemistry like no other. Next is 'Buckshot' a more stripped back rolling affair. Undulating synths and swathes of infectious bass build the track throughout, whilst spacious analog delays and dub influenced sonic tricks abound. Over to the flip where 'I On U' is a wonderful floor friendly roller coaster of a ride, intro'd by a super phat kick, there's stuttering snares that jack and swing, whilst warm synths bubble and filter. Lastly 'Sick Sense' sets the controls for deep space, the bold throbbing bass makes it proper heads down groovin' affair, and the expertly programmed spoken word vocals interplay to add intrigue and atmosphere.

New York Sessions is a cherished release from the Omni a.m. catalogue, a classic where all 4 tracks ooze class and character. This EP has certainly stood the test of time and has been lovingly remastered by Curvepusher for today's discerning minds and dance floors, full support already coming from Raresh and SIT.

2022 repress

The thirds and final part of the N.T.A. triptych by Versalife! Nothing less then another amazing ep with 4 tracks that are like the night. Dark, sinister and intense! Electro/techno tracks as we like'em!

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.

100 copies only

Apron Records has been instrumental in shaping the current landscape of contemporary electronic music coming out of the U.K. since 2014. After almost a decade of pushing their unique vision has made the Apron Records imprint one of the most in-demand labels in most independent record stores. Now more than 45 releases deep in their journey, Apron Records have teamed up with Patta Soundsystem to work on their first various artists release and to celebrate this monumental milestone, both camps have collaborated to create a clothing capsule to accompany this release. After working with the artist formerly known as Funkineven on ‘The Wave’ late last year, it was only right to showcase the diverse talents behind this movement.

Sharing a drawing board with Patta for the first time with Apron Records, together they have created a Trucker Cap and a Graphic T-Shirt that echo the racing theme of the whole project. Better Together is the slogan that runs throughout the entire collaboration, stressing how unity makes us stronger as individuals. Artwork for the record has been provided by Amsterdam based artist Jim Klok. His unique Acetone printing technique has now been immortalised on this LP, juxtaposing vintage cars with checkered racing flags to create a dynamic cover that would be right at home in a picture frame as well as a record bin.

System Olympia’s ‘Passi Mai’ is a beautiful 80’s inspired driving riddim layered with her own vocals that wouldn’t be out of place in an arcade or a sticky nightclub floor. Followed up by ‘Leven’ by Brassfoot, we get a wobbler from the NTS regular. Layed with Jamaican vocal samples and audacious arpeggiated bleeps, Leven is a soulful approach to techno tropes that have been bouncing around Brassfoot’s head. Shamos’ 737363 is a cryptic masterpiece. With dreamy pads as a backdrop for shuffling drum beats, euphoric sweeps and dynamically designed synthesis, this closes off the themes explored in the first half of the record.

Side B kicks off with J M S Khosah’s contribution to the record titled ‘Lessons’ which is a dancefloor filler, adorned with glamorous percussion, vocal samples and syncopated stabs ontop of a driving 4x4 kick pattern. Kicking things into 6th gear is a club-ready production from London's most soulful selector Shy One. Groovy basslines and a 2-step riddim make ‘Candy Floss’ an ode to the grimey and the glittery sides of London nightlife. This project champions one of the people that have been pivotal in the success of the label, Steven Julien whose track E46 is an emotional journey through his synth-laden East London studio. Bookending the project are two compositions from Compton’s-own AshTreJinkins. Showcasing his abilities to approach the project from both an ambient and a pure beat-making perspective in order to hold the whole project together.

The trance blues stylings of Otha Turner and his Rising
Star Fife And Drum Band should be a music classification
unto itself, a whole new primitive take on drum and
bass. This music is the oldest still-practiced post-colonial
American music, and Turner was one of its greatest artists
of the 20th century. Blowing the cane fife with a band
of drummers as back up, The Rising Star Fife And Drum
band was legendary in the hills of Tate County, Mississippi,
where they would perform during the yearly goat picnics
on Turner’s farm. These tracks were recorded by Luther
Dickinson during such picnics and released when Turner
was ninety years old. Everybody Hollerin’ Goat shows
first hand the hypnotic and rhythmic style of fife and drum
music at its best—raw and beautiful.
It is every bit as essential a document of America’s folkmusic
heritage as anything Harry Smith or Alan Lomax ever
offered up for posterity. Turner’s band included some of his
children and grandchildren that have gone on to continue
the fife and drum tradition since his death in 2003.
This first ever vinyl release of Everybody Hollerin’ Goat
contains a whole side of unreleased recordings from one
night of the picnic and is intended to bring the experience
of hollerin’ for goat in Senatobia, Mississippi to the living
room. Dancing around the plants is recommended (but
don’t eat the pickled eggs). The entire album is remastered
by legend Gary Hobish.

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

Matte Silver 180g. Free MP3 Download. GUM aka Jay Watson is a multi-instrumentalist, founding member of POND and touring member of Tame Impala. Gum’s solo debut album was originally released in 2014 and has now been newly remastered by tour mate Kevin Parker. Delorean Highway is a collection of 10 songs, described as “paranoid pop songs, mostly about falling in love and all of the things that he thinks are going to kill him”. ‘Delorean Highway’ is the first track off the album of the same name, inspired by a dream Gum had of driving through the desert in the silver car from Back to the Future, before taking off into the night. In the real life, Gum can’t drive, but he has seen Back to the Future and it’s fair to say he does look a little bit like Doc. The second single, ‘Growin’ Up’ was unleashed onto willing ears towards the end of 2013 and taps into every emotion that the name would suggest – a sense of paranoia, doubt, fear, honesty and hopefulness.