Cerca:the wall

Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways.

Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise.

Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas.

These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising.

Her new solo album, "When It Rains It Pours" presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

Wenn es in den letzten zehn Jahren eine Musikerin gegeben hat, die man in den unterschiedlichsten musikalischen Kontexten immer wieder hören will: nicht weil sie eine passable Mitspielerin wäre, sondern weil sie diese Kontexte jedes Mal bereichert und auf spontane, unkonventionelle Weise erweitert, umdeutet, in neue transformiert, dann ist es die belgische E-Bassistin und Klangskulpteurin Farida Amadou.

Sie ist Autodidaktin - und sie versteht diese Selbstaneignung des Instruments radikal. Weder eifert sie den Virtuosen des E-Basses nach, noch verwendet sie das Instrument als reinen Klangerzeuger, der bloß Brummen und Feedbacks von sich gibt. Sie geht von einem völlig eigenständigen Ansatz aus. Der ermöglicht es ihr, eine überwältigende Wall of Sound zu kreieren genauso wie einfache, klare Strukturen, die rhythmisch prägnant sind und einen weiten Assoziationsraum zwischen Free Jazz und Noise eröffnen. 

Ihre Musik ist konzentriert, hat einen langen Atem, kreist um Motive, entwickelt daraus neue Linien, die Amadou im Spiel weiterverfolgt. Es ist ein im Wortsinne organischer Sound, ständig in Bewegung, dabei in sich ruhend. Die Stücke, die sie für Week-End Records aufgenommen hat, unterstreichen ihre beeindruckende Fähigkeit, aus der Ruhe die Ekstase zu entfachen, aus wenigen Ideen eine ganze Palette an Stimmungen aufzufächern.

Das macht sie zu einer Musikerin, die jede Gruppe, in der sie spielt, bereichert, weil sie präsent ist, ohne zu dominieren, weil ihr Sound so prägnant ist, ohne die anderen zu übertönen. Im Solo treten die Stärken ihres Spiels aber noch stärker hervor: die Kontraste zwischen zwischen dunklen, schweren Klangwolken und den rhythmischen Passagen, vor allem die Übergänge, die immer „logisch“ klingen, aber zunächst unerwartet kommen und ihren eigenen Weg einschlagen. Ihr neues Solo-Album, “When It Rains It Pours” zeigt sie als inspirierte Improvisatorin, die sich nie bloß ihren Einfällen hingibt, sondern die Ideen zu Ende denkt, oder besser: spielt. Selten klang improvisierte Musik so kompakt und zwingend.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

This collection is reviving the most popular pieces from blockbuster movies by offering a fully fledged state-of-the-art orchestral sound. As the Original Soundtracks for many tracks are recorded in sound quality of the 50s/60s or even in mono – this recording brings a truly revolutionary listening experience to those pieces.

Damien Quintard, who took care of the mastering, co-founded with Brad Pitt “Miraval Studios” in 2021, a recording studio inside Chateau Miraval, bringing back to life the iconic “Studio Miraval”, considered in the 70s till the late 90s as one of the most prestigious studios in the world, recording acts such as Pink Floyd (The Wall), AC/DC, Rammstein, Sting, Muse among others.

Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.

 A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.

Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.

Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”

First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.

Incognito virtuoso Lambert, known for his playful personality, bold vision, stunning neo-classical compositions, and of course his ever-present horned Sardinian mask, is back with brand-new album Actually Good. Initially intended as the score for a gritty crime drama and debut film entitled ‘The Stranger’, which, due to reasons that will become clear with time, was swiftly curtailed, the now retitled soundtrack, Actually Good, is not only ready for release, but so is a remarkable mini-documentary about the making of this crime catastrophe. Featuring rolling piano arpeggios, sedate strings and staccato synths, Actually Good combines tension and elegance in equal measures for a truly cinematic experience.

Translucent Blood Orange Swirl Vinyl. Wenn man zu sich selbst zurückkehren will, muss man manchmal alles abschütteln, was man einst für real hielt. „Human Human“, das Debütalbum der Chicagoer Sängerin, Songwriterin und Produzentin Carlile, strahlt wie ein Leuchtfeuer von diesem Ort der Transformation. „Human Human“ ist ein von ganzem Herzen kommendes und unerschöpflich großzügiges Pop-Schätzchen, das vor Freude über die uneingeschränkte Selbstakzeptanz strahlt - und über all die unangenehmen, erschreckenden Momente der Hingabe, die es braucht, um an einen Ort zu gelangen, an dem man sich endlich in sein eigenes schönes Chaos verlieben kann. Carlile ist der zweite Vorname und das Pseudonym von Emily Nichols, einer langjährigen Figur in Chicagos blühendem Underground-Musik-Ökosystem. In den letzten zehn Jahren hat sie eine ganze Reihe glänzender Synthpop-EPs veröffentlicht und ist als Vorgruppe für namhafte Indie-Künstler aufgetreten. In dieser Zeit hat sie akribisch den Grundstein für ihr Debütalbum „Human Human“ gelegt, ein unbefangen verspieltes und aufregendes Synthie-Pop-Werk, das in seinen kühnen, ausladenden Bögen an die Wärme von Robyn und den Glanz von MUNA erinnert. Ein Album, das das Vergnügen auskostet, einen ganzen Regenbogen von Gefühlen an die Wand zu spritzen. Auf „Human Human“ konzentrierte sich Nichols auch auf die Erweiterung ihrer Produktionsfähigkeiten, ein Schritt, der ihr die Freiheit gab, ihre Songs von der Idee bis zur Ausführung bis ins letzte Detail zu realisieren. „Vor diesem Album habe ich mich bei der Produktion eher zurückgehalten. Dies waren die ersten Songs, bei denen ich die Führung übernommen habe", sagt sie. Nichols arbeitete mit ihrem langjährigen Mitarbeiter Noam Wallenberg zusammen, um die Demos, die sie aufgenommen hatte, zu kristallisieren. Gemeinsam haben Nichols und Wallenberg den Glanz, der „Human Human“ auszeichnet, herausgearbeitet, indem sie Songs wie „Illusion“ mit zarten stimmlichen Akzenten versahen und in „Fake Nice“ Schichten über Schichten von freilaufenden Harmonien säten. Das Album enthält Produktionsbeiträge von einer bemerkenswerten Liste von Chicagoer Künstlern, darunter Neal Francis, Luke Titus, Macie Stewart (von Finom) und Cocojoey.

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

180gr Tiger Splash LP (orange-red w/ yellow & black splatter) im Gatefold-Sleeve mit Insert

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

Special Collector’s Edition: 180gr Tricolor-Rainbow-LP + CD + Poster + signed trading card + Sticker + im Gatefold-Sleeve mit Insert

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

For those of you who"ve mislaid your history goggles, this archival release recalls an ancient time in the world of recorded music. Yes, back in the dinosaur days of the 1990s, a creature known as Aerial M walked the earth, before evolving into Papa M and PAJO and beyond and back. Even then, the music of M had a next-wave vibe, walking upright among the knuckle-draggers (and having drinks in the evening with others of its genetic detatchment). It was too much to last very long, of course - but some things end up lasting forever, don"t they? Fuck! So it is today that Drag City, an organization largely set up to bring you the best of all available M recordings, is proud to be there for the release of the only Aerial M session ever recorded for John Peel"s BBC Radio One show, as it was originally recorded on 3rd March 1998 and broadcast on 2nd April of the same year. The studio versions of these songs, which appear on Aerial M"s S/t album (DC114) and Papa M"s Hole of Burning Alms comp (DC231), were played by "M" himself (now revealed to be David Pajo!), which makes this album a rare alternative view of the canonical M, played by an actual Aerial M band who, all too briefly, embodied the sound for a year or so before Papa brought a brand new bag. This Session found them fortuitously roadburned from several weeks in the European Theatre. So much the better for our archival ears, as OG-M"s signature minimalist long-fuse sizzle is thrillingly intact here; in fact, even more so, as the tunes are jammed out past the studio versions" originally delineated borders, reaching rudely across the table in moments of liveness that the studio-bound project might have decided against when conferring only with the walls. For fans of their epic version of "Turn Turn Turn", this is more sweetmeats from that raucous old skull - but if you"ve not been down this road before, be prepared: the taste will set you slowly aflame. And then, before you know it, the band is dined and dashed - just like the band that Aerial M was, all too briefly amok on the earth that was too.

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

Current 93’s first and last album, NATURE UNVEILED dragged together my obsessions, as I had decided to make a pop album that dealt with my (then—as now!) primary fascinations: Christian apocalyptic and eschatological Christian texts.

In my Speed-Ridden Soul and Mind, I thought I was reinventing The Ronettes, and that the 2 long sides of NATURE UNVEILED were A- and B- Sides of a Wall Of Soundhogs HIT! But the reality is that I was sharing a squat in Vauxhall with Little Annie Anxiety, and hanging out with Youth in The BatCave, with chickens rescued by The Animal Liberation Front in our backyard. Or did that come soon after, soon later? The album was recorded at The Roundhouse Studios in London’s Chalk Farm, home of Bronze Records, the label of my heroes (then—as now!) Uriah Heep, and Motörhead too, for whom I had moved stage-gear on their tour promoting their debut single on Chiswick Records.

Anyway, anyway—I had not reinvented The Ronettes, though every time, every place, I listen to NATURE UNVEILED it Hits Me, And Feels Like A Judas Kiss. There has been NOTHING UNVEILED like NATURE UNVEILED, Before, Since, Or After.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Necrodeath is one of the most important and outrageous names in extreme metal; formed back in 1984, it is one of the first extreme metal bands originating in Italy. They take inspiration from Slayer, Dark Angel, Possessed, Venom, Kreator, Bathory, Celtic Frost and Sodom. The band is also renowned for its live performances and notably for their "wall of sound". The band released a cult-demo tape titled 'The Shining Pentagram' and obtained an incredible success in the underground, which is still considered a real "piece of thrash/black history". Tons of tributes in major magazines, fanzines and other underground outlets highlighted the release of the first two legendary albums 'Into The Macabre' (1987) and 'Fragments Of Insanity' (1989). And today after dozens of full lengths, EPs and side projects the long voyage to hell is not over yet. New Necrodeath album, anticipated by the single on vinyl and video "Transformer Treatment", is the confirmation of a trade-mark consolidated in almost forty years, where the old school of extreme metal is present throughout the album. "Singin 'in the pain" is a concept based on the movie "A Clockwork Orange" by Stanley Kubrick, where the band takes us on a one-way black/thrash journey, represented by immorality and violence, and back to a vain attempt at redemption and normality.

The learning process is just as much an act of healing as betterment. The enabling of solutions through sheer willpower and openness to discovery, or a noble mission, never completed. In that spirit, the latest album by Berlin-based Slovak duo Päfgens – comprising Jana Drábeková Kočišová and Filip Drábek – represents a pensive development for the project.

Drifting from their lo-fi shoegaze beginnings, Päfgens drone-infused soundscapes have become increasingly immersive and expressive “framed improvisations,” where spontaneous passages are captured, then revisited with fresh layers upon layers over the course of months, breathing and evolving naturally, mirroring the unpredictability of nature. Songforms have all but melted away, with ethereal guitars and bass nestling up against field-recorded sounds, synth beds, percussion, and singing bowl tones.

The framed improvisation on ‘Aspect of What’ explores love and loss, relishing both the joy and melancholy of paying tribute to Filip’s late ethnologist grandmother, Božena Filová (1926-2020). Her voice opens track 2, ‘Particles’, speaking of the humble desire to “help the people in the rural environment”, and the goal of “uplifting people to better living through education”. The album’s emotionally charged approach to improvisation is suitably uplifting and seemingly made without ego, the couple melting away into the flitting wall of rustling drones and heavenly fuzz. Even at their most serrated (the groaning guitar amp squall underpinning ‘Journey’) or when surrounded by chiming bells, clocks and bowls (‘Around the Clock’), Päfgens is ready to listen, rest, learn, and improve, extracting and nurturing hidden abstract emotion in every piece, plundering something universal and teachable from very personal depths.

Trying to define what it is that makes Dr. John special is much like trying to define the word "soul'—you can surround it. But nailing it down is a whole ‘nother smoke. You can point to his sense of history, how he's never forgotten from whence he came, how his music always returns to his roots, even honoring the proud heritage of his native New Orleans. You can dissect his technique, marveling at the adroitness of the hands right and left; admiring the strong second line; respecting the tributes to his inspiration, Professor Longhair, apparent at every turn. And you can note how his peers consider his presence at a session as lending instant credibility to that particular project. "Upon the release of The Brightest Smile in Town, the reviews were effusive. Chicago critic Bill Knight’s comparisons to Fats Waller and James P. Johnson were high compliments indeed. Downbeat’s Jim Roberts called the playing 'graceful'; noting that the LP had a broader scope than its predecessor. Jazz Times’ Rhodes Spedale summarized: 'He’s never been in better form than here.' We kept in touch over the years. Mac was always generous and encouraging. Little did we know when The Brightest Smile in Town was released, what accolades lay ahead for Mac Rebennack and Dr. John. From the innovative guitar triumph 'Storm Warning' on the Rex label in 1959, to his 2012 Grammy-winning Locked Down album, Mac’s musical light shone brightly for seven decades. We were fortunate he chose to play for us. I’m sure he’d say that he was lucky too." - Jack Heyrman, Clean Cuts Producer

The music of Will Griffith's The Great Dying is a mix he likes to call dark country. He grew up in Cleveland, Mississippi, where D.I.Y. punk house shows hooked him, and his early bands played The Farmhouse and legendary delta juke joint Po' Monkey's. Songs from The Great Dying's new album, A Constant Goodbye, were born from playing hundreds of shows supporting Bloody Noses & Roses (Dial Back Sound 2018), and it continues where the debut left off. The ballads are still sweet and menaced, the rockers are still hair-raisers, but the new record pushes in new directions, infusing sounds of classic country with faint traces of The Replacements and what was once called "alternative rock." The tracks are layered and varied: wall-of-sound arrangements grind against flange-bass and fiddle, with Griffith's barebones acoustic guitar and vocals at the root, and heartbreak all over. Coming from another artist, this blend of influences would tank, but somehow it suits The Great Dying just fine. Pick any number on the new album-it's a winner.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Rising UK label Human Worth proudly present TORPOR's third full length album Abscission. A fine tapestry of sludge metal, lumbering doom riffs, forward thinking post-rock dynamics, cerebral drone passages, ambient textures and stark spoken poetry. Recorded by producer Wayne Adams (whose credits include Wallowing, Green Lung, Possessor and more), 'Abscission' is a paean to earth shattering tones, subtle detailed textures, immersive sound design and most importantly... ABSOLUTELY CRUSHING HEAVINESS. For their third album, TORPOR were compelled to withdraw into the bleak and elemental vistas of rural Wales, embracing isolation and solitude in order to craft this autumnal sonic landscape. The trio brought producer and frequent collaborator Wayne Adams (Petbrick, Big Lad) out of his London city studio to work at Giant Wafer Studios.

TORPOR's excursions into the wilderness can really be felt across these lengthy songs. Bludgeoning riffs show a new found density and weight reminiscent of gallant trees standing tall amongst battering wind and rain. All of this sonic magnitude has been finely captured by Adams, with the final master by James Plotkin (Khanate) completing this all-encompassing experience – quite fittingly the trio were also invited to showcase the album in full at the 2023 Roadburn Festival, on the day that Khanate headlined! Abscission is the sound of Torpor fully realising their visceral and cinematic vision, turning an unflinching gaze towards the unrealised lives we all carry with us. Human Worth have pressed a limited edition of environmentally conscious Eco-Mix Vinyl in a stunning packaged designed by Jack Burley, featuring a 12" foldout insert, with 10% of all proceeds donated to charity Second Step – a leading mental health charity in Bristol and the South West.

Joseph Washington Jr.'s 1983 holiday LP puts a soulful, funky, suave ribbon on nine frosty Christmas cuts. In that season of music's traditional descent into threadbare schmaltz, Merry Christmas to You restores joy and wonder to a blizzard of bland. Under this tree, find undiscovered classics for our cynical age: the buoyant "Jesus' Birthday," the hot and bothered soul of "Merry Christmas," the ridiculously catchy wallet-opener "Shopping." The world of records produces just a precious few yuletide keepers: Spector's A Christmas Gift for You; Fahey's The New Possibility; Guaraldi's indelible Charlie Brown Christmas. Down another nog and file Joseph Washington Jr. comfortably next to those.

Green Vinyl Joseph Washington Jr.'s 1983 holiday LP puts a soulful, funky, suave ribbon on nine frosty Christmas cuts. In that season of music's traditional descent into threadbare schmaltz, Merry Christmas to You restores joy and wonder to a blizzard of bland. Under this tree, find undiscovered classics for our cynical age: the buoyant "Jesus' Birthday," the hot and bothered soul of "Merry Christmas," the ridiculously catchy wallet-opener "Shopping." The world of records produces just a precious few yuletide keepers: Spector's A Christmas Gift for You; Fahey's The New Possibility; Guaraldi's indelible Charlie Brown Christmas. Down another nog and file Joseph Washington Jr. comfortably next to those.

Dazed’ is the new single by recent FatCat signings and Netherlands power trio, Abdomen.

Sometimes described in the Dutch press as ‘postgrunge garage’, Abdomen themselves are keen to avoid any pigeon-holes or genre labels: “We’ve been influenced by so many things. Right now punk, post-punk, and noise are important inspirations, but there are a lot, lot more. Rap, hip hop, electronic music, IDM, electro, and techno, for instance.”

‘Dazed’ is heavy, heavy hypnotic groove, with a chanted vocal and wall of phased, psychedelic shredding. There are echoes of outfits such as Loop and Spacemen 3 - their stoned / stoner aesthetics, albeit turned up to 11.

It began as a demo set at a frantic pace before producer Rasmus Bredvig suggested slowing it down - “Something like 5 times” - morphing, mutating, the track into an epic, melodic, psyche mantra.

A head-banging, trance-inducing, transcendental raga, with its sights set on spiritual lift-off, the piece aims to create a path away from the negative toward a more positive way of life.

You're about to witness the return of Seahorse to BCSM. After he set the start for BCSM Records back in 2018 with the legendary BCSM001, we're more than happy to welcome back the Munich based producer with a brand new 12" vinyl release.

It can't get deeper than on this one. The Black Hole EP comes with four new productions ready for the soundsystem. Expect a overwhelming mixture of contemporary steppers dub, original dubstep niceness and outerworldly bass works. Imagine yourself getting caught in a blackhole and enter a different dimension full of wobbling bass and auditory deepness. This is the sound that makes walls fall into pieces.

Seahorse developed his production style over the last years to the max, so get ready to fulljoy this heavy bass shower.

For the extra portion sub, LXC lifted the frequencies again.

Celebrated Norwegian singer and composer Susanna announces her new album, Meditations on Love, out August 23rd via her own label SusannaSonata. Having spent five years writing material, Meditations on Love reflects the complexities and difficulties of maintaining love. So many songs celebrate the giddy joy of a new connection or lick the wounds from a break-up, but Meditations on Love explores what happens in between, examining the work required by a healthy relationship and contemplating the conditions that turn love into something toxic. Susanna's mastery of balladry is well documented, but on Meditations on Love, she introduces a rhythmic presence new to her work. The result is one of Susanna's strongest and most dynamic recordings of her career. The Norwegian artist Susanna has released albums as Susanna and the Magical Orchestra/Susanna/Susanna Wallumrod since 2004 on labels like Rune Grammofon/ECM/Grappa Musikkforlag and since 2011 on her own label SusannaSonata. Critically acclaimed for both her own songs and her highly personal interpretations of other people's songs, she wanders lightly and intented between champer folk, avantgarde, electronica, jazz and independent pop. Highly riyl Joanna Newsom, Sufjan Stevens, Kate Bush

10 years after its release, Lydia Loveless sits down at the piano for an intimate reimagining of her landmark album, Somewhere Else. Title track featuring guest vocals by Jason Isbell. “Over the last 10 years I’ve been told by countless people, emotional and earnest, that their favorite record of mine is Something Else. I love that, and I nod in amused reverence to it here. The me of 2012-2013 was drowning in pain and insecurity and my own press, pissed off that nobody could see me for who I really was, what I had really been through, and how hard it was to be me. I was walled in by fears and worries that I would never be good enough. I was struggling with my voice after a debilitating virus and a six week tour. I had rented a little room in the Grandview neighborhood of Columbus and was plugging away on my splintered acoustic guitar with a tape recorder.

I was frustrated as could be, not coming up with anything that I felt was 'me' or even remotely song like. One day, when I finally thought I had a nugget of something, I read the lyrics aloud to my then husband and he looked at me confused and said, 'what are you even trying to say in this, though? Who is the narrator?' I don’t remember what I said to that but I’m sure it wasn’t kind. When I went back into the studio with my friend Caeleigh Featherstone recording me this go round, she looked at me at one point and said, 'Were you singing these songs in front of old dudes? Like, your husband?' Yes, I was, I told her. We both shook our heads and laughed at the hubris on 22-year-old Lydia Loveless.” - Lydia Loveless

After the first casual meeting at Lessinia Psych Fest 2014 (Maxigross festival in the Lessini Mountains) Miles managed to come back in Italy during spring 2015 to work with the band. In march 2015 they went together in the studio house of the band in the small mountain village of Vaggimal (Verona) to improvise and record one month straight, interrupting the sessions only for a few shows between Verona and Roma. They put few microphones around a big room in the house to catch the general sound in a Daniel Lanois’s style, and they played in the dark of the night without any light to forget the individual sound of each member, focusing only on the main sound of the Music. Miles brought from LA some recordings he made with drummer Joe Westerlund (Megafaun, Califone…) and, starting from that material, they begin to play on that. After these magical musical encounter they became close friends, sharing an house in Verona (Casa Tega), many albums, shows and life experiences, forgetting about these Vaggimal Sessions, that bring inside of itself the magic and the purity of any first meeting. These naked recordings are the only witness of this session.

Electronic titan Sasha combines with Sentre for the latest in a series of collaborative releases. The release of 'Glastacy' coincides with this year’s Glastonbury festival and comes with something special for fans.

Even by his own high standards, electronic luminary Sasha is in a superb run of form that has already yielded some stellar singles in the last year, both solo and in collaboration with like-minded talents. TheGRAMMY Award-nominated artist is renowned for pushing musical and technological boundaries, as well as for platforming exciting sounds on his Last Night On Earth label. The next release finds him working with Sentre, aka Dave Gardner & Dennis White, who have been electronic mainstays for many years. They have plenty of major credits under their belts, including working with Sasha on his seminal ‘Involver’ album and also 'Track 10' which they made with Sasha many years ago. It was Pete Tong’s Essential New Tune at the time and is one of many gems from these self-confessed studio nerds.

The release of ‘Glastacy’ also marks a new approach for Sasha and LNOE as they extend their relationship with fans beyond just the music. For the first time, along with the single release, fans will be able to collect and own the single artwork for free. The label has always sought to marry together music and art across its releases and now fans get the chance to own a piece for themselves. Using pioneering technology, those who claim the art will also be able to convert it to a smartphone wallet pass which will bring with it future benefits and surprises from Sasha and LNOE.

'Glastacy' is their latest collaboration, and it works angelic, wordless vocal sounds into heavenly loops that shimmer in and out of focus. Deft hi-hits and a supple bassline bring movement as a lead synth motif rises up out of the mix to bring dramatic tension and take dancers to the stars. It's emotive, hypnotic techno of the highest order, with a spine-tingling breakdown leading towards more trance-inducing musical pleasures. The Intro:Outro Mix is an ambient tool stripped of beats.

Prepare for take-off as your favourite multidimensional sound supplier, Unglued, unveils his long-awaited second album, "What on Earth". Set to launch you into the stratosphere with 14 fresh meteoric cuts, the Brighton-based producer continues to prove himself as one of the most innovative in the game. Expect a killer line-up of collaborations alongside Pola & Bryson, Lens, SOLAH, Urbandawn, Sweetie Irie, Waeys, Duskee, Paige Eliza and heaps more.Get ready to embark on an auditory adventure like no other - "What on Earth" by Unglued is set to be his biggest release to date, and it's guaranteed to be out of this world.


Since his unforgettable entrance onto the drum & bass circuit with his infamous remix of High Contrast's "If We Ever", Unglued has quickly become known for having one of the most distinct and versatile production styles in modern dance music. His debut album "Interplanetary Radio" was home to anthems such as "South By West", "Total XTC" and "Way Back When (feat. Esther Durin)", and since then Unglued has unleashed a slew of radioactive rumblers such as "If You Like That" with Whiney, Lens & Doktor, "Show Me The Light (feat. Kathy Brown)", and "Warning" alongside Pola & Bryson. Championed by leading industry tastemakers such as Gilles Peterson, Charlie Tee, Sherelle, Annie Mac, and more, Unglued's flawless musical output has led to him lighting up stages at some of the biggest shows and festivals across the globe, including Glastonbury, Boomtown, Hospitality On The Beach, Rampage, and Let It Roll to name a few. Not to mention sell-out tours across USA, Australia and New Zealand! "What On Earth" will be available in digital and vinyl formats from your nearest planet on 26th July

Neues Studioalbum der Neuseeländischen Independent-Helden unter der Leitung des rätselhaften Martin Phillipps. Mit Artwork von Trees' David Costa, meerblaues Vinyl mit Mamor-Effekt, LP inklusive DLC. Dunedin's finest, The Chills, veröffentlichen ihr siebtes Studioalbum "Scatterbrain" zweieinhalb Jahre nach dem enorm erfolgreichen "Snowbound" (2018) und des von der Kritik gefeierten Films "The Chills: The Triumph And Tragedy Of Martin Phillipps' im Jahr 2019. "Es geht um künstlerische Integrität, Selbstverwirklichung, Selbstakzeptanz, und es ist eine Reflexion über Sterblichkeit." (The Guardian) Jetzt, im Jahr 2021, zieht Phillipps Bilanz - über alles. Ja, alles. Das Ergebnis ist das triumphale neue Chills'-Album "Scatterbrain", eine nachdenklich stimmende Aufnahme von einem Mann, der gute und schlechte Zeiten erlebt hat.Eine reife und ehrliche Reflexion über das Leben, das Schicksal und die Geschicke unserer Zeit, vorgetragen in wunderschönen Melodien und mit Phillipps' typischer, prägnanter Wortwahl.Aus der Sicht eines Mannes, der sich seines Alters und seiner eigenen Sterblichkeit bewusst ist, wirft das neue Album einen reifen Blick auf die Dinge, die da kommen, durchaus mit Perspektiven. Scatterbrain" ist ein Leben, das vor Ihren Ohren vorbeizieht, während die Ungewissheit zunimmt und die Fake News weiter rumoren, während Aliens eindringen, Verlassenheit groß wirkt, Welten innerhalb der Welten sich auftun und die Sanduhr sich füllt. Ein bahnbrechendes Album von einem der großen modernen Songwriter, es ist pure Popmusik für eine neue Normalität, spannend zu hören, wie all dies endet...oder weitergeht.

South Korean label Walls And Pals is back with their split EP series, featuring label co-founders Mogwaa and Jesse You. Mogwaa is in charge of A Side, showcasing his very own minimal approach with electro-progressive touch. On B Side, there's Jesse You, armed with raw and heavy floor burner as well as 2000s influenced acid.

When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!

How could Canadian heavy metal band 3 Inches of Blood dial up the intensity even more after their 2004 masterpiece Advance and Vanquish? Well, by bringing in Slipknot drummer Jordy Jordison to produce their next record, and adding a new instrumental line-up of former Allfather lead guitarist Justin Hagberg and former Walls of Jericho drummer Alexei Rodriguez to the band’s unique dual vocalist assault of Cam Pipes on “clean” vocals and Jamie Hooper on “scream” vocals. The result was 2007’s Fire Up the Blades, which, as Hooper put it, was “a faster, more intense version of us.” Which means that albums don’t get any faster and more intense than this one; that the epic lyrics are good enough to have been penned by George R.R. Martin of Game of Thrones fame is just a bonus. Speaking of bonus, for the vinyl debut of Fire Up the Blades (and after consulting the band) we’ve upped the stakes with a 2-LP release featuring an entire side of extra tracks that were released right around the time the album was, including their cover of the Lucifer’s Friend song “In the Time of Job When Mammon Was a Yippie.” All pressed in “Crimson Fire” vinyl housed inside a gatefold jacket with lyrics…limited to 1250 ferocious copies!

LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".

Schwartz Songs is a collection of brand new recordings from the iconic
writer & composer Stephen Schwartz's greatest songs performed by the
West End's finest artists! Stephens career has spanned over 5 decades
and he is the recipient of x3 Grammy Awards, x3 Academy Awards, a
Golden Globe Award, x6 Tony Awards and an Olivier Award
This new album includes spectacular new recordings of songs including DELIVER
US and WHEN YOU BELIEVE (Prince of Egypt), CORNER OF THE SKY (Pippin), LET
THERE BE (Children of Eden), THE WIZARD AND I and DEFYING GRAVITY
(Wicked), COLOURS OF THE WIND (Pocahontas), BEAUTIFUL CITY (Godspell) and
much more.
The opening track Defying Gravity from Wicked, is stunningly performed by four
of the West End's leading ladies who have all played the role of Elphaba in the
West End production: Kerry Ellis, Rachel Tucker, Lucie Jones and Alice Fearn. The
spectacular version will be released as a single on 21st June.
Featuring a fantastic array of West End stars including MARISHA WALLACE,
TREVOR DION NICHOLAS, SAMANTHA BARKS, JAMIE MUSCATO, LUCIE JONES,
LOUISE DEARMAN, KERRY ELLIS, RACHEL TUCKER, BILLY LUKE NEVERS, JOHN
OWEN- JONES, OLIVER TOMPSETT, ROB HOUCHEN, HIBA ELCHIKHE, ALICE
FEARN, RACHEL JOHN, PETER JOoBACK, JAMIE LAMBERT, JORDAN LUKE GAGE
and EMMA KINGSTON
With the first part of the eagerly awaited film adaptation of Schwartz' Wicked
coming out this Autumn, this is a fantastic time to be celebrating so much of his
work, sung by the absolute best in musical theatre.

Hardwood Vinyl. Narrow Head's highly anticipated new LP 12th House Rock arrives August 28th on Run For Cover Records. The Houston-based band's latest entry is the distillation of the greatest moments in 90's alternative and hard rock with a fresh set of ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked songwriting showcases a core piece of the band's identity- showcasing 12th House Rock as one of the best releases of 2020.Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption,12th House Rock is, as the title suggests, a rock-focused LP themed on transition- exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head's wall of riffs add stark contrast to their best quality- deceptively sweet pop melodies that channel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once.