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Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Total Touch was the Dutch duo of Trijntje Oosterhuis and Tjeerd Oosterhuis that infused music with a unique blend of smooth vocals, jazzy harmonies, and funky grooves. After the quintuple Platinum debut album, the follow-up was a guaranteed success. The album is a mix of infectious R&B, pop, and experiments with rap and dance. This Way entered the Dutch album top 100 at number 1 and immediately went Gold. That year the band made their first serious attempt to take their success beyond the Dutch and German borders. The band entered the US Billboard Dance Chart and were nominated for an MTV Award. Eventually, "This Way" became the band's swan song, with another mega hit in the form of "I'll Say Goodbye". In the end, This Way turned out to be the final studio album by the Dutch duo.

2023 marks the 25th anniversary of This Way and is therefore available on vinyl for the first time as a limited edition of 750 individually numbered copies on gold coloured vinyl. The vinyl package also includes an insert.

Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The Nephilim was recorded in a former courthouse in the Somerset countryside where defendants who were sentenced to death were hung. "Moonchild" is the band"s best known song due to it reaching #28 in the UK single charts, and LouderSound called it a classic and said that it "perfectly encapsulates this era of the band: it has some nifty guitar work, great bass lines from Tony Pettitt, Nod"s stellar drumming and McCoy"s distinctive vocals." The song is named after a novel by Aleister Crowley, and there are several other nods to Crowley throughout The Nephilim. In a 2013 remembrance of the album, PopMatters said "The band"s sophomore effort, regarded not only as its best work but also as one of the UK goth scene"s masterpieces, is a seamless, hour-long trek into a surreal land populated by chiming guitars, hypnotic bass, found samples, and McCoy"s storytelling."

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

PYLAR, one of the best kept secret of the Spanish underground, is a collective formed in Seville (Spain) by members of Orthodox and Blooming Látigo. With an imaginary that feeds on occult sciences, the sacred (with special attention to pagan themes) or hyperstition, PYLAR navigates the depths of mysticism and cosmic horror evoking interdimensional and abyssal sonic scenarios.
An instrumental training that incorporates percussion, guitars, keyboards, horn, violin or mandolin, to which is added vocals that intone texts by the experimental writer and philosopher Francisco Jota-Pérez, fragments extracted from occult sciences and the cult vanguard grimoire Cyclonopedia. PYLAR moves between experimental doom metal, black metal and psychedelia, creating music of dense textures by superimposing elements in the styles of Blut Aus Nord, Swans or Oranssi Pazuzu. Their first work “Poderoso se alza en my” (2013) was their letter of presentation, praised by the very Julian Cope.

The follow-up to his acclaimed Constellation debut Third Album released in lockdown spring 2020, Markus Floats returns with Fourth Album, pushing the Montréal-based artist's distinct abstract electronic compositions into newly evocative terrain (while preserving his record-titling literalism). Faced with another couple of years spent unexpectedly, though not unfamiliarly, secluded and studio-bound, working on both paintings and music, Floats emerged by the end of 2022 with a set of tracks "about 60% finished" and a determined desire to throw off the shackles of distancing and isolation. "I had always thought about Markus Floats as a solo project but I am wrong about that. Fourth Album is about asking for help, inviting in, and making a home. It's about trust, exploration, and the effort of letting go."Sharing his in-progress recordings with a trio of close friends and collaborators from the powerhouse free music ensemble Egyptian Cotton Arkestra, each of these players then spent a day improvising to the tracks at Montréal's Hotel2Tango studio. With violin by Ari Swan, saxophone and mbira by James Goddard, and guitar and drums by Lucas Huang, Floats stitched their extemporized instruments back into his compositional process. The result is a fluid, lustrous, dynamic expansion of his sound and structure that continues to strike the ineffable balance of abstraction and soulfulness rightly highlighted and celebrated in the critical response to Third Album. Fourth Album sustains much of that previous work's enchanting equanimity, while inviting a bit more restlessness, accident and grit, with the incorporation of acoustic instruments and improvisation melding Floats' own background in Electroacoustic Studies and Jazz Performance more than ever before.Signature avant-electronic explorations of arpeggiated and timbral transformation, subtle shifts in harmonic consonance and dissonance, and a through-composed praxis that draws coterminously upon free jazz, musique concrète and modern Minimalism, all continue to shape Fourth Album to great effect. But an additional palette of sonic and gestural raw material is now also decidedly "out-of-the-box", charting a wider range of gestures, textures and temporalities. Fourth Album complexifies and intensifies across its 12 tracks, thematizing dualities and introducing new elements of play and accident, even a sort of looseness here and there, as it conjures communal expressivity within shorter, still scrupulous formal structures. Fourth Album also for the first time includes spoken word as a recorded element, previously only (and always) a feature of Markus Floats live performances. The album's final track samples the poet and activist Fred Moten, closing with these words: "What we've been trying to figure out how to get to is how we are when we get together to try to figure it out." This koan of socially-engaged process and creation/advancement of meaning through praxis and immanence reflects the unique fusion of intangible materiality and affective sensibility at work in Markus Floats music, unfolding in new depths and currents with Fourth Album.

To celebrate the album"s 25-year anniversary, The Jesus And Mary Chain are reissuing their long-sold-out sixth studio album "Munki". Out on Fuzz Club, the reissue arrives on CD and gatefold double LP. The vinyl has been remastered by Pete Maher (The Rolling Stones, Jack White, Liam Gallagher). Originally released June 2nd 1998 on Sub Pop / Creation Records, "Munki" was - up until the Mary Chain"s reformation in 2007 - an experimental rock"n"roll masterclass turned swan song for the Reid brothers, whose fractious in-fighting culminated in the band"s break-up less than a year after its release. It was perhaps fitting, then, that "Munki" is argued by some as the definitive Mary Chain record in the way it seemed to chart the full array of musical directions the band had ploughed over the five records that came before.

"Farmer's Almanac" Ist Eine Aus 11 Tracks Bestehende Psyouthern-Gothic-Reise, Die Eskapismus, Klassenstruktur Und Die Opioidhaltige Schattenseite Der Ländlichen Kleinstadtgemeinden Amerikas Erforscht. Das Vierte Album Von Brother Dege Wimmelt Von Jenseitigen Slide-Gitarren, Rustikaler Psychedelia, Besessenen Scheunenbrennern Und Sumpfdurchtränkter Filmischer Songkunst.

"Farmer's Almanac" Ist Eine Aus 11 Tracks Bestehende Psyouthern-Gothic-Reise, Die Eskapismus, Klassenstruktur Und Die Opioidhaltige Schattenseite Der Ländlichen Kleinstadtgemeinden Amerikas Erforscht. Das Vierte Album Von Brother Dege Wimmelt Von Jenseitigen Slide-Gitarren, Rustikaler Psychedelia, Besessenen Scheunenbrennern Und Sumpfdurchtränkter Filmischer Songkunst.

From the kill or be killed gang land streets of Wickford, all the way to the swanky coke infested PRSPCT Rotterdam offices..
Hellfish stoops to a depraved level with this ruthless stab in the back to some of the biggest hardcore wankers around.
Grab a copy before the legal wankers get the release pulled.

Soul Jazz Records’ Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caeser, Dorothy Norwood, Andrae Crouch and others crossed over into secular soul music during this period.

The album was first available as a (sold out) ltd.edn. coloured vinyl for RSD23 and is now available as a black double vinyl + download edition and also for the first time on CD.

Many of the most successful soul artists - from Aretha Franklin to Al Green, The Staple Singers to Sam Cooke - all drew upon their upbringing in the church for their musical inspiration. This album discusses how important the links between the black church and soul music were in creating soul music and spotlights some of the many important (and also little-known) gospel artists who walked this line between sacred music and soul, funk and disco in the 1970s and early 1980s.

Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Bilge.

Die Musik von Arabrot ist zeitlos. Gerade wenn man glaubt, einen Einfluss oder Bezugspunkt ausgemacht zu haben, entzieht sie sich dem Zugriff, dreht und wendet sich in unerwartete Richtungen und formt einen Sound, der wirklich einzigartig ist. In den letzten zwei Jahrzehnten hat sich Arabrot durch mehrere Iterationen gewandelt; sie haben verschiedene Formen und Größen ausprobiert, verschiedene Stimmungen aufgenommen und die Außengrenzen verschiedener Genres erkundet und klangen dabei nie weniger als ganz sie selbst. 2023 erscheint ihr zehntes Album, Of Darkness and Light - ein Grund zum Feiern. Kjetil Nernes war der Kern und die Konstante von Arabrot, und seit einiger Zeit schlägt neben ihm ein weiteres Herz im perfekten Gleichklang. Karin Park, eine Partnerin im Leben, in der Liebe und in der Musik, trägt seit zehn Jahren in unterschiedlichem Maße zu Arabrot bei, und auf Of Darkness and Light ist ihre Präsenz sowohl gefestigt als auch verstärkt. Die beiden leben zusammen in einer Kirche in dem schwedischen Dorf, in dem Karin aufgewachsen ist, und haben sich ihr eigenes Reich geschaffen, in dem sie ihre Kinder, ihr Handwerk und ihre kreativen Visionen pflegen. Of Darkness and Light brauchte einige Zeit, um Gestalt anzunehmen. Der Lebenslauf von Produzent Alain Johannes liest sich wie ein Who's Who der Rockmusik. Er ist selbst ein versierter Musiker (er spielte mit PJ Harvey, Queens of the Stone Age und Them Crooked Vultures und hatte auch seine eigene Band Eleven) und verfügt über langjährige Erfahrung als Produzent. Es war seine Arbeit an Mark Lanegans Album Straight Songs of Sorrow aus dem Jahr 2020, die Kjetil auf ihn aufmerksam machte, bevor Kismet eingriff und die beiden zusammenbrachte. Alain erklärte, dass "mein Bauchgefühl immer richtig ist" und zog im August 2022 ins Djura Missionshus, auch bekannt als die Kirche von A°rabrot, um mit der Arbeit zu beginnen. Das Trio verbrachte mehrere Wochen damit, die Arbeit mit dem Familienleben zu verbinden und die Puzzleteile zusammenzusetzen, aus denen sich Of Darkness and Light zusammensetzt - ihr erstes Album, das komplett in der Kirche aufgenommen wurde. Das Ergebnis ist ein echtes Rockalbum - unter der elektrisierenden Fassade aus flirrenden Synthesizern und raffiniertem Glitzern schlägt ein schweres Rockherz. Die Worte werden dem unbändigen, konkupiszenten Verlangen kaum gerecht, das sich hinter ihrem Schlachtruf We Want Blood verbirgt - einem hymnischen, mit den Füßen stampfenden Vorstoß, der in der Mitte des Albums liegt. An anderer Stelle stehen düstere Mörderballaden neben feierlichen "Fuck Yeah"-Momenten der Freude; ihre reduzierte Herangehensweise an die Instrumentierung schmälert nicht den Reichtum ihres Sounds. Für Freunde von SWANS, KILLING JOKE, WOVENHAND, CHELSEA WOLFE, THE MELVINS, CAPTAIN BEEFHEART, NINE INCH NAILS Ltd Pink Single Colour LP (We Want Blood Edition), Gatefold Cover

"The Rude Sessions," recorded May 9, 1974, at Rude Sound Studios, Woodstock, NY.

Mailout to relevant music press and radio. Promotion across social media platforms. Advertising in Shindig & Record Collector.

In February 1942, having fled persecution but lost all hope in the world,
the Jewish Austrian writer Stefan Zweig and his second wife Lotte took
their own lives in the Brazilian city Petropolis
There is a photo of both of them in bed, dead but still holding hands, that has
haunted Robert Rotifer for a long time.
This is Robert Rotifer's 11th record and his first new music since 2019. Having
since worked with Helen McCookerybook, Louis Philippe & The Night Mail, Andre
Heller, Fay Hallam, Swansea Sound and more alongside his day job as a journalist
and broadcaster, in the summer of 2022 Rotifer set to work on this new set of
songs, calling on friends and collaborators to contribute. Guests include,Ian
Button on drums, Fay Hallam on keys, Helen McCookerybook and Kenji Kitahama
on added backing vocals, plus contributions from Amelia Fletcher, and Austrian
musicians Ernst Molden and Paul Pfleger, uniting the two separate musical
worlds Rotifer has been moving in since leaving Vienna for the UK some 26 years
ago.

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Formed in 2009 by guitarist Jari, Helslave are a Rome-based death metal band taking their influences from the 1990s Swedish (melo-)death scene, crafting a perfect mix of brutality and melody.

After releasing a demo and two EPs, their first full length album, ‘An Endless Path’ (on Revalve Records), saw the light on CD in 2015 and got raving reviews by the metal underground press.

The second album from the band, ‘From The Sulphur Depths’ (mixed and mastered by Swedish metal-wizard Dan Swano), came out in 2021 via Pulverised Records, and this album also received enthusiastic reviews from fans and critics.

These Italian youngsters play their music like it’s the thing they need to do to survive; it’s energetic and powerful - this is melodic death metal as it is supposed to be.

The much praised debut album was never released on vinyl, so Doc Records present this gem in three different LP versions - Clear Smoked,

Dark Hell Marbled and black vinyl.

For fans of Children Of Bodom, At The Gates, Scar Symmetry, Edge Of Sanity, In Flames, Callenish Circle, Dark Tranquillity

Formed in 2009 by guitarist Jari, Helslave are a Rome-based death metal band taking their influences from the 1990s Swedish (melo-)death scene, crafting a perfect mix of brutality and melody.

After releasing a demo and two EPs, their first full length album, ‘An Endless Path’ (on Revalve Records), saw the light on CD in 2015 and got raving reviews by the metal underground press.

The second album from the band, ‘From The Sulphur Depths’ (mixed and mastered by Swedish metal-wizard Dan Swano), came out in 2021 via Pulverised Records, and this album also received enthusiastic reviews from fans and critics.

These Italian youngsters play their music like it’s the thing they need to do to survive; it’s energetic and powerful - this is melodic death metal as it is supposed to be.

The much praised debut album was never released on vinyl, so Doc Records present this gem in three different LP versions - Clear Smoked,

Dark Hell Marbled and black vinyl.

For fans of Children Of Bodom, At The Gates, Scar Symmetry, Edge Of Sanity, In Flames, Callenish Circle, Dark Tranquillity

Formed in 2009 by guitarist Jari, Helslave are a Rome-based death metal band taking their influences from the 1990s Swedish (melo-)death scene, crafting a perfect mix of brutality and melody.

After releasing a demo and two EPs, their first full length album, ‘An Endless Path’ (on Revalve Records), saw the light on CD in 2015 and got raving reviews by the metal underground press.

The second album from the band, ‘From The Sulphur Depths’ (mixed and mastered by Swedish metal-wizard Dan Swano), came out in 2021 via Pulverised Records, and this album also received enthusiastic reviews from fans and critics.

These Italian youngsters play their music like it’s the thing they need to do to survive; it’s energetic and powerful - this is melodic death metal as it is supposed to be.

The much praised debut album was never released on vinyl, so Doc Records present this gem in three different LP versions - Clear Smoked,

Dark Hell Marbled and black vinyl.

For fans of Children Of Bodom, At The Gates, Scar Symmetry, Edge Of Sanity, In Flames, Callenish Circle, Dark Tranquillity

Preceded by his reputation as a rap experimentalist, Bladee is a prolific and highly inventive entity with work spanning and intersecting the worlds of music, art and fashion.

He began his career as a teenager, trading art and lyrics with close friends. After releasing his first projects, international recognition came quickly and his network of Stockholm innovators soon arrived at the vanguard of a new era in music culture.

333 is Bladee's fourth solo album. Produced by Whitearmor, Gud, Mechatok, Lusi of Ripsquad and Joakim Benon of JJ, the album has no guest appearances.

Indies Only LP is opaque green vinyl. Both LPs come with a download. The moment the needle drops on Bite, the new A Giant Dog record, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed. The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. A Giant Dog’s first album of original songs since 2017’s Toy, Bite finds the band Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low, and Andy Bauer at their peak as musicians, challenging themselves with more complex arrangements and subject matter that forced them out of their heads and into those of the characters who occupy this supposed paradise. “We had to find ourselves within, or project ourselves into, the principal characters. We developed them, got to know their minds, emotions, and motivations, and then expressed those in nine songs,” Ellis explains. Themes of addiction, gender fluidity, living ethically in a capitalist society, physical autonomy, avarice, grief, and consent bubble beneath the promised happiness of Avalonia. This is evident in songs like “Different Than,” where Ellis sings, “My body can’t explain the things my mind don’t comprehend” as if societal gender pressure is squeezing its protagonist out of their skin. The songs on Bite are full of bombast, at turns calling to mind the spacefaring operatic rock of Electric Light Orchestra and the high drama of an Ennio Morricone film score. The album’s narrative sweep is epic in scope, its characters facing impossible odds and certain doom, existing as comfortably with the sci-fi grandiosity of Thin Lizzy’s Jailbreak as it does with the high fantasy of Dio and Iron Maiden. Appropriately, A Giant Dog came to this narrative armed to the teeth with new ideas, unleashing synthesizers and string sections to create what Ellis describes as orchestral, symphonic, futuristic punk. To achieve this, they left their home turf of Austin, Texas, for La Cuve Studio, just outside of Angers, France. Living in the French countryside, A Giant Dog laid down their vision of the future against a decidedly pastoral backdrop. On walks from Angers to La Cuve, Ellis says that they “would see many things, and also nothing at all. Swans on the river. Romani people living in little trailers, with a side hut built for their dog. A juggler on a unicycle—not fucking with you.” “We thought we wouldn’t be allowed back in France after this trip, to be honest,” they continued. “Five loud, stomping, clapping, rowdy Americans who ran through the streets of Angers for three weeks in November 2022.” The experience capped two years of planning and writing, fleshing out the universe of Avalonia beyond the bounds of most concept albums. The resulting nine songs do not merely occupy this space: They’ve lived in it, and they want out.

• “Hearts For Sale” is the fifth and latest in our series of 12-inch vinyl albums spotlighting the US girl group sound of the 1960s. The collection opens with ‘Street Dance’ by Bonnie Jean, a little-known must-have for collectors of the genre, with Darlene Love and the Blossoms clearly audible on background vocals. Issued on Lew Bedell’s Doré label, this exciting faux-live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley.

• The Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky & the Lollipops, the Majorettes, Joanne & the Triangles and Beverly & the Motor Scooters – ‘He’s Groovy’ by the Front Page & Her.

• Other highlights include the Sweethearts’ Supremes-influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha & the Vandellas) and the Fran-Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.

With I Will Make a Baby in this Damn Economy, Fat Tony embodies the kind of quixotic figure he would rap about; a singular entity who’s motivated, confident, and hungry; a perpetual-motion-machine locked in a staring contest with his country. It’s the latest album in his catalog produced entirely by L.A-based producer Taydex since 2020’s Wake Up. Later that same year Fat Tony released Exotica, and ever since he’s demonstrated he is in his own lane as a professional rapper with the mind of a magician, as quick to conjure an image as pull it out from under you, deftly manoeuvring through so many details and references a listener feels as if they have witnessed the work of an illusionist. He paints these canvases inside of songs that rarely spill past three minutes; they’re pocket-sized diaries replete with acute observations, character studies, microdoses of storytelling, and single-minded ruminations on a topic that bud, blossom, and fade before too long. Fat Tony & Taydex’s I Will Make a Baby in this Damn Economy cements Tony’s status as someone whose albums are not so much lyrically-lyrical as they are picaresque.
As with any Fat Tony project, the bars are tight as ever, but are so fluid for the 34-year-old it’s almost easy to take for granted the details, warmth, and humanity inside his free-associative tales of day-one friends who’ve passed, edgelord grifters who want to spit game, and nights on ketamine. Taydex’s production sprints through disparate yet simpatico styles, dipping its toes into Pi’erre Bourne-esque bass (see lead single “Spectacular”), house (“Loosen Up”), and even hyperpop. Meditations on loss and grief are woven throughout, but Tony throws a few curveballs as well: Consider “Alexis,” which sweetly reflects on a long-term platonic friendship. Taydex finds a Teddy Riley-indebted New Jack Swing groove just deep enough for the feeling to land and underlines the song’s sincere candor. This is the appeal of Fat Tony writ-large: his boisterous voice and genial personality invite you to the party, then you stick around to hear what he’s saying, which is frequently more introspective and complex than one assumes.
Written and recorded in Taydex’s new studio in North Hollywood, Tony says, “We had much more freedom and flexibility in making this album and you can hear it. It felt like a family project.” If the album is comfortable and loose, it is also dense and substantial. The album’s final two tracks contextualize the immediacy of what came before it—the mezcal with ices drank, Paul Wall swangin’ through to drop knowledge, the Polaris Prize-winning rapper Cadence Weapon providing a vibe check. “Make a Baby” accounts for Tony who’s seen everything, and knows he’s met the one to be a father with, and yet chooses to take his time to get it done. Taydex’s beat recalls turn-of-the-century R&B and the millennial promise of an endless good time. Sombre closer “Jasper, TX” is Tony coming to grips with the story of James Byrd, Jr., a Black man from East Texas dragged to his death by three white supremacists in 1998. These songs are not only trademarks of Tony’s fastidious rapping—they are deeply personal examples of his approach to artistry and life itself, where every decision is made in the shadow of history.
It’s here the mission statement of I Will Make a Baby in this Damn Economy comes into focus—you get the sense he means it, he’s ready for it, he’ll fight for it. He’s waiting to take the world at its word.

Nach 12 Jahren bei DragonForce präsentiert Sänger MARC HUDSON sein erstes Soloalbum Starbound Stories, das am 25. August 2023 über Napalm Records erscheint. Starbound Stories ist ein packendes Animeinspiriertes Power Metal-Abenteuer mit Einflüssen von japanischer Musik und Videospiel-Soundtracks, die der Sänger gemeinsam mit einer Vielzahl von bemerkenswerten Gästen umsetzt.

Das instrumentale „As The Twilight Met The Sea“ eröffnet die phnantasievolle Klanglandschaften des Albums und wird von Samurai Metal-Meister Ryoji Shinomoto (RYUJIN, früher bekannt als Gyze) auf traditionellen japanischen Instrumenten begleitet. Shinomoto steuert seine Stimme außerdem auf dem Track „Freedom Heart“ bei, der auch ein Solo des Gitarrenvirtuosen Syu (Galneryus) enthält. Auf der explosive Power Metal-Hymne „Dracula X“ steuert Jacky Vincent (ex Falling in Reverse, ex-Cry Venom) einen Gitarrensolo bei und der Gastgesang kommt von Adrienne Cowan (Seven Spires).

Das emotionale Stück „Stars“ wird von der klassisch ausgebildeten Violinistin Mia Asano mit einer elektrischen Violine untermalt. „One More Sight Of The Sun With You“ wird auf Japanisch gesungen und bleibt den Hauptthemen des Albums treu.

MARC HUDSONs Debüt-Soloalbum ist ein herausragendes musikalisches Abenteuer, das zwischen Power Metal, Videospiel-Soundtracks, japanischer Musik und sogar Pop-Einflüssen balanciert und von virtuosen Musikern eingespielt wurde!

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.

Re released in the UK after many years and due to huge popular demand on 180g vinyl Hang On Little Tomato – a title inspired by a 1964 ketchup ad in LIFE Magazine, depicting a single tomato clinging to a vine – the result of Pink Martini’s diverse collaborations and inspirations. The celestial anthem ‘Let’s Never Stop Falling in Love" nestles next to a dance sequence from the 1950 Italian film, "Anna". The reworked Japanese track ‘Kikuchiyo to Mohshimasu’, sits happily alongside the Brazilian composer Hector Villa-Lobos’s ‘Song of the Black Swan’ and ‘U Plavu Zoru’, There are torch songs, instrumentals, lyrics of poetic beauty. The mood is playful but never, ever kitsch.

A white ship sailing in a sea of blackness, Codeine’s swan song arrived in 1994 amid grunge’s ascension to alt radio’s godhead status.
John Engle’s guitar alternates between crystalline and sludge, and Stephen Immerwhar’s distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood.

A white ship sailing in a sea of blackness, Codeine’s swan song arrived in 1994 amid grunge’s ascension to alt radio’s godhead status.
John Engle’s guitar alternates between crystalline and sludge, and Stephen Immerwhar’s distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood.

Pressed On Clear Vinyl! 'We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.' So reads CL Smooth's album dedication in the liners to Pete Rock & CL's underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992's Mecca & The Soul Brother and the album's emotional smash single 'They Reminisce Over You (T.R.O.Y.).' Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature - yet still righteous - wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo's '90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock's pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout. The lead single, 'I Got A Love,' is a perfect example of the group's '94 steez: a super-catchy and respectful, but far-from-soft love track, suitable for any rap fan's romantic needs. 'Take You There' and 'Carmel City' cover similar ground. Considering CL Smooth's top-level brag rapper status, cuts like 'I Get Physical,' 'Get On The Mic' and 'Check It Out' effectively reminded competitors not to test him. Pete also gets in the game on the mic several times on the album, acquitting himself nicely (and solo) on the cloudy day soul of 'Escape,' alongside other cuts. Add more pensive lyrical forays like 'All The Places,' 'Searching,' and - perhaps the album's sleeper cut - 'It's On You' and you have one of the more complete rap full-lengths of the mid-1990s. This isn't surprising, considering the wonder twins-esque skills of Pete and CL. But it does make fans wonder what would have happened if they had stayed together longer.

















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Obwohl der Begriff "soul" schon während der Dreißigerjahre in der US-amerikanischen Populärmusik auftauchte, entstand Soul als eigenständiges Genre erst in den 1950ern aus Gospel und Rhythm"n"Blues sowie je einer Prise Blues und Jazz. Schon bald darauf sollte Soul zum Inbegriff "schwarzer Popmusik" werden. Kennzeichnend für die afroamerikanisch geprägte Unterhaltungsmusik sind emotional gefärbte Sangeskünste. Sich mit ganzer Seele und herzergreifendem Gesang den Vibes, dem Groove und der Message hinzugeben, das macht Soul aus. Sängerinnen wie Aretha Franklin, Etta James, Tina Turner, Lavern Baker, Marlena Shaw oder Diana Ross beherrschten dieses Metier meisterhaft. Sie finden sich neben Dionne Warwick, Nina Simone, Dusty Springfield, Irma Thomas, Amy Winehouse, Ibeyi und vielen anderen Künstlerinnen auf der geschmackvoll kompilierten Doppel-LP "Soul Women".

Connection ist das fünfte Album von Ceramic Dog und auch ihr bisher bestes ... ein Werk, das die Spannung zwischen Marc Ribot’s Ceramic Dogs Punk/New Music/Pop-Ausgangspunkten und den JazzRock-Ambitionen, die sie immer (nie zu weit) unter der Oberfläche vergraben haben, in Songs auslebt. Nach 18 Jahren kollektiven Lebens auf der Straße/in dieser Welt ... scheint ihre ‚Connection‘ die einzige Währung zu sein, die Ceramic Dog noch akzeptiert. Und auf
"Connection" spielen sie mit/für sie, als gäbe es kein Morgen.

Remastered Reissue des Debüt-Soloalbums MANTARAY von Siouxsie Sioux, das ihre ersten Auftritte im UK, Europa und den USA seit über einer Dekade begleitet. MANTARAY wurde von Miles Showell in den Abbey Road Studios remastered, audiophil auf halber Geschwindigkeit geschnitten und erscheint erstmals seit dem Originalrelease 2007 mit neuem Artwork wieder auf Vinyl. In MANTARAY erweiterte Siouxsie in einem Gefühl der Freiheit den Horizont ihrer vorherigen Arbeiten, was Fans und Medien gleichermaßen begeisterte und zu einer restlos ausverkauften Tour führte. Siouxsie Sioux veröffentlichte mit den Banshees, The Creatures und ihrem Solowerk insgesamt 16 von der Kritik gefeierte Studioalben. Ihre letzte Soloarbeit war der Songbeitrag LOVE CRIME (2015) für das Finale der TV-Serie HANNIBAL.

Remastered Reissue des Debüt-Soloalbums MANTARAY von Siouxsie Sioux, das ihre ersten Auftritte im UK, Europa und den USA seit über einer Dekade begleitet. MANTARAY wurde von Miles Showell in den Abbey Road Studios remastered, audiophil auf halber Geschwindigkeit geschnitten und erscheint erstmals seit dem Originalrelease 2007 mit neuem Artwork wieder auf Vinyl. In MANTARAY erweiterte Siouxsie in einem Gefühl der Freiheit den Horizont ihrer vorherigen Arbeiten, was Fans und Medien gleichermaßen begeisterte und zu einer restlos ausverkauften Tour führte. Siouxsie Sioux veröffentlichte mit den Banshees, The Creatures und ihrem Solowerk insgesamt 16 von der Kritik gefeierte Studioalben. Ihre letzte Soloarbeit war der Songbeitrag LOVE CRIME (2015) für das Finale der TV-Serie HANNIBAL.

Washed Up Color Vinyl is Clear w/ White Splatter! A white ship sailing in a sea of blackness, Codeine's swan song arrived in 1994 amid grunge's ascension to alt radio's godhead status. John Engle's guitar alternates between crystalline and sludge, and Stephen Immerwhar's distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood. "Codeine's unyielding numbness creates its own kind of warmth _ the feeling of cold water running for so long that it suddenly feels hot." _ Spin