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A live recording from 1977! First time on vinyl! Previously only available on CD as part of the Past & Future Landslide 3CD box set! LIVE AT THE QUEENS HOTEL MARGATE 1977 It was 1977 and things were progressing extremely well. We had signed to Beggars Banquet and our first single ‘Shadow’ b/w ‘Love Story’ had been released. John Peel had been playing both sides of the single most nights on his radio show, so we were getting heard by a lot of people. But we didn’t yet have a "proper" tour bus, so we all piled into a transit for the trip down to Margate with our tour manager Mike Stone in the driving seat. The Queens Hotel turned out to be a pretty good venue. There was a nice high stage which we much preferred over the low-slung platforms of some of the places we played. It meant that the crowd wasn’t totally swamping us the whole time, although there would still be a constant stream of people jumping on and off stage, bumping us, knocking equipment over and so forth. We weren’t sure if many people would turn up on a cold and windy night so close to Christmas, but it was a good turnout, and they were out for a good time too. There was none of the aggro stuff which would become a problem later on at our shows. The actual gig was typical of a Lurkers show at that time, being fairly chaotic with a lot of crowd "interaction". There is a recklessly fast version of ‘Pills’ on the recording, and I think we were playing ‘It’s Quiet Here’ for the first time live. Howard was on good form too; it would be his birthday on Christmas Day. My favourite quip from him is towards the end of the show when he says "eat your heart out Hank Marvin" after one of my more eccentric Shadows guitar intros. PETE STRIDE 2022

Post-war musical history was written in Germany with the MPS label: noble music productions with many international greats come from the Black Forest and are timelessly legendary. Some treasures from the label's archive are released by HGBSBlue on highquality vinyl.

More than 20 top-class jazz musicians met in July 1965 for a jazz workshop at the Ruhr Festival in Recklinghausen and recorded a total of 17 pieces. Nine tracks from the live recording were to be released the same year as the first double LP on the young Villingen jazz label SABA (the forerunner of MPS). Everything was prepared for this, but it never happened.

It is not really clear why, because everything was technically ready for release.

With Hans Koller, Rolf Kühn, Leo Wright, Benny Bailey, Tubby Hayes, Ronnie Ross, Stuff Smith and others, many leading players of the jazz scene at the time were involved. However, the two music tapes were not pressed onto record and slumbered unheard for many years in the MPS archive in Villingen. In 2018, on the 50th anniversary of the MPS label, this was made up for: the double LP, which was to be released as "Junges Forum 65" by SABA, was released by HGBSBlue in a limited edition and is now also available here. The music of the workshop formation is still full of sparkling creativity today, almost 60 years after it was recorded.

You can hear first-class jazz on a bebop basis, which was played in Europe at that time by an immensely creative generation of musicians full of commitment. A listening pleasure for every jazz fan on the one hand, but also a wonderful documentation captured on this double LP.

For more than a decade, Bert Dockx has been one of the most prolific and versatile musicians in Belgium. A masterful guitarist, gifted songwriter, and innovative composer, crossing boundaries between avant-garde rock, customized blues, and instrumental jazz, with bands such as Flying Horseman, Dans Dans, and Ottla, singing in his native Dutch as Strand, or solo under his birth name, and now as the Bert Dockx Band. Ghosts is his fifteenth (!) album on the Ghent-based label Unday Records.

Two years after the crash, Bert Dockx presents his new Bert Dockx Band and Ghosts, an album of rebirth and transgression, one of many firsts. Dockx never dedicated this much time to meticulously crafting each song. For the first time, he entrusts a finished record to a complete outsider. Never before has he reached out so far into the outside world.

The relaxed and positive atmosphere during the recordings is magnified in what Dockx calls 'my best guitar playing ever', and the deep, powerful use of his voice in its natural range. 'I had fun making this album,' says Dockx, 'and I really hope it shows'.
'There's no escape now/ I'm inside of the storm', Bert Dockx sings on his new album, the first with the Bert Dockx Band. 'I smile, I cry/ I die, I'm born/ I'm in love'. Ghosts is the culmination of a two-year odyssey, from hitting rock bottom to flourishing into new heights. An album of rebirth and transgression, a record of milestones and many firsts. Never before has Dockx turned so deep inside in order to reach out to a world beyond himself.

The album is mastered by US producer Philip Weinrobe. Weinrobe previously worked with Arianne Lenker, Indigo Sparke, and Kings of Convenience, and is praised by Dockx for his 'infallible intuition and great inventiveness'. This occasion marks the first time he hands over a finished record, permitting an outsider's perspective during the final mix.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

TOP PRIORTY RELEASE. Escape Music is delighted to announce the release date for the long awaited Jelusick debut album title “Follow The Blind Man” featuring Dino Jelusick the most well loved and respected vocalist in the Rock World! will be available on CD, Vinyl, and digital platforms! The Vinyl will be limited edition to 500 copies only! “Blade Bullet” colour and all will be numbered 1-500.Jelusick is: Dino Jelusick – vocals, keyboards, guitar / Ivan Keller – guitar / Luka Broderick – bass, backing vocals / Mario Lepoglavec – drums, backing vocals / Produced by Dino Jelusick, Mixed and Mastered by Simon Jovanovic, Executive Producer Dario Jelusic - JELUSICK played on 4 European tours during 2021- 2023 which also included Guitar Scene festival 2021 where they played with all star band together with John Norum and Gus G. The same line up also played there in 2022 and shared the stage and jammed with Airbourne, Johnny Depp & Jeff Back, Black Label Society, and Beth Hart. Dino Jelusick, born 4 June 1992, is a Croatian rock singer, musician, and songwriter. He was the founder, principal songwriter and lead singer of hard rock band Animal Drive, which was formed in 2012. and dissolved in 2020. Since 2016 Dino became a permanent member of American rock band Trans-Siberian Orchestra. He also worked with Gus G, Mike Mangini, George Lynch, Will Hunt, Michael Romeo, Jeff Scott Soto, Joel Hoekstra, Steve Smith, Jon Oliva, Kip Winger, John Macaluso, Deen Castronovo, Phil Demmel, Mike Portnoy, Henrik Linder, Justin Johnson, Tony Franklin, Kyle Hughes, Virgil Donati, Kiko Loureiro, Jordan Rudess, David Coverdale, Tommy Aldridge, Reb Beach, Michele Luppi, Lachy Doley etc. On July 27th, 2021, upon direct phone call from David Coverdale shortly after that David announced that Dino had become the new member of Whitesnake! In 2009 he started recording a new studio album in Melbourne, Australia which was finalised with producer Robert Ahrling in Malmö, Sweden. The album named “Living My Own Life” was released in August 2011. Between 2012 and 2013 Dino was hired to take part in an international project in South Africa named “Synkropation” where he was featured in several songs and played to an audience of 50.000 people in Johannesburg and also participated in two rock operas. In 2015, American drummer John Macaluso (Ark) invited him as singer and the keyboardist for his new American-Croatian band Stone Leaders. During this time, Dino was also a member of Croatian metal band The Ralph with whom he released the album “Enter Escape” in February 2017. In February 2016 he was noticed by American rock band Trans-Siberian Orchestra. After auditioning and meeting with producer Paul O’Neill and Dino was chosen to join the group. 2018 his band Animal Drive released debut album, “Bite!”, to critical acclaim. April 2019, they released a covers EP titled “Back to the Roots”. Dino was also featured singer on two songs on Magnus Karlsson “Free Fall” album. 2020 Dino Joined ex-Krokus members and Mandy Mayer (Gotthard, Asia, Unisonic…) for a concert project named Gotus and they released a video for the song “Souls Alive” (Unisonic). July 2021 Michael Romeo, guitar master from NY insisted that Dino should sing on his new album “War of the Worlds part 2” and it became a great and successful collaboration. 2022 Dino toured Europe with Whitesnake. As the last part of the EU tour was cancelled due to some DC health issues, Dino joined The Dead Daisies tour replacing Glenn Hughes who got unwell at the end of November 2022.A 2 year long legal battle with Dino’s ex-label was over and he immediately started recording new songs for his band JELUSICK…Welcome back Dino!

Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

FIRST E.P FROM THE VOODOO MAN / INCLUDING INSERT WITH PIC / INCLUDING TIM CURRY cover: Ain’t No Love On The Street. Eric McFadden is back with his first 4-track vinyl, ahead of his new album in autumn/winter 2023 and has taken advantage of this release to complete a frenzied summer tour of France (Avignon, Cavalaire, Saint Cyr Sur Mer…) that he has a secret for. His recent acoustic tributes to AC/DC and Alice Cooper have introduced him to a much rockier audience, and his performance at Patrimonio (Corsica) in July 2019 and 2023 with Pat McManus did not go unnoticed. On the menu for this new opus: blues and rock and a cover of a Tim Curry song (No Love On The Street), all wrapped up in a dark, Tom Waits-style voice and a unique guitar style with high flights of fancy. Thrills guaranteed!

In celebration of the 25th Anniversary of this seminal album, Belle & Sebastian are releasing If You’re Feeling Sinister on coloured vinyl for the first time. Originally released on November 18th 1996, it will be available on transparent red vinyl through Jeepster on November 26th 2021 and included as part of the Black Friday sales event. The album is released on gatefold vinyl and is distributed by Republic of Music

The album was recorded in Glasgow at CaVa Studios in August 1996 over just 10 days and was the first album released by Jeepster. There were no singles released from the album which was a famous Belle & Sebastian trait of the time. In line with this, there were also no interviews given and promotion involved a three gig tour over London, Manchester and Glasgow.

For the recording of this album, the band consisted of the six original members but this time also included Sarah Martin as the seventh member in her debut for the band. This was the second album released by Belle & Sebastian and all songs were written by Stuart Murdoch. The session produced 11 songs of which 10 made it to the album and the other became the single ‘This Is Just A Modern Rock Song’. Although there were no videos made for any of the album tracks, Sarah Martin recorded a video for this eleventh track.

The album cover features Ciara MacLaverty, a great friend of Stuart’s, beside a copy of Franz Kafka’s ‘The Trial’. The inside cover features some members of the band with friends in their impression of The Last Supper.

**AVAILABLE ON BLACK VINYL AND INDIE EXCLUSIVE OPAQUE PINK** Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.

The best I can tell, we thought we'd get this album done in 2016. Roughly (not exaggerating) 60-70 songs later, we've whittled and worked and reworked the songs into 'After the Gold Rush Party.' Danny and I started this album while we lived in different cities (I was in DC and Danny was in OKC), then wrote some of them in the same city (OKC), and then the rest of them in different cities (I was in OKC and Danny was in Costa Rica and then Seattle). And weirdly, some of our most generative times happened when we weren't living in the same city. We've both grown up quite a bit and have real life jobs and families. In these songs we were grappling with trying to be punk rock (which we've never really been) while putting on a suit for work (hence, the Mr. Downtown character). But at the same time, punk rock has all but disappeared as a thing that exists - where are the punks, anyway? (See: Speed Racer). The songs read a bit like a travel guide. Part of the growing up process is coming to terms with one's own escapist tendencies - or embracing them, as you'd hear in a track like "Mexico" or "Culebra". Other times, the escapist themes come out musically, not lyrically, like in "She's a Betty" or "Tijuanarevor" maybe. Other times, we play around with just the idea that people are entitled to anything at all (Ms. Universe). And while Danny mixed most of the album, we have much to thank Chad Copelin for - he mixed four of these tracks, and we learned a ton from getting to spend time working with the man who recorded and mixed BRONCHO, Sufjan, Sports, and others. The time last summer we spent honing those four tracks were kind of the catapult for finishing up the rest of the tracks. So, to conclude, After the Gold Rush Party kind of represents us at this phase of the creative process. Big dreams, absurdly ambitious timelines, put into contradiction with the realities of family life, the challenges of the everyday, the mundanity of the workweek. "After the Gold Rush Party" is a nonsensical phrase, but it's exactly what we wanted to name the album. A frenzy of ambition, and then, the lull that lingers afterward.

Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies.

He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”.

in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000.

“Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003.
Robert Calvin Brooks, known professionally as Bobby “Blue” Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records.

His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”.

Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992.

Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside – two of the best from two of the all-time greats.

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.

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".

By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.

Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.

Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.

Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.

Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst

Limited Grey Vinyl 2xLP. 18 klassische Songs aus dem Katalog von Velvet Underground, gespielt von The Feelies in der White Eagle Hall/ Jersey City, NJ - 13. Oktober 2018. Enthalten sind die VU-Standards "Sweet Jane", "Rock & Roll" und "I'm Waiting for the Man" sowie selten gecovertes Material wie "I Heard Her Call My Name" und "That's the Story of My Life".

Alan Abrahams aka Portable returns to the label in fine form with his latest full-length LP, Augmented Dreams. The title refers to the use of everyday technological advancements to achieve what were once
only dreams or visions of past generations, making this an explorative concept album that is equal parts not-too-distant science fiction, and about as topical as it gets.
From the gorgeous opening string layers of “The Pull of Time” to the classy 4/4 grooves of “Begin Again” or lead single “Guiding Me”, into the apropos and angular sci-fi broken beat feels of “Parallax” and “The Color of Static”, fitting Detroit-influenced love taps like “Beacon” and “The Mycorrhizal Network”, the politically-inspired “Are We Not Above It?” referencing the lingering effects of colonization featuring NiQ E from South Africa on vocals and L_cio from Brazil on flute, through to the futurist pop elegance of the dreamy duet recorded with Alexey Kochetkov “I Need You” and the conclusive titular track, it is clear that both the in-depth concept and immaculately-crafted musical content in Portable’s inimitable style are balanced in significance and expressive effect. This also functions as a timely statement in itself, as today’s iceberg-tip evolution of AI technology is currently impending over the arts and many of our existing realities.
This ten-song album serves as an imaginative yet hyperrealist narrative on how humanity’s fascination with and reliance on ever-advancing technology defines the times we find ourselves in, while the skillful sonic displays and present-era production techniques along with Abraham’s knack for timeless emotive songwriting offer up this solid soundtrack for the ages.

The dual forces of shadow and light, despair and hope, frustration and catharsis are at play in the music of Cupid & Psyche, the Los Angeles-based indie rock duo of Michael Vidal and Juan Velasquez. First gaining recognition in the late aughts as members of the punk band Abe Vigoda, whose 2010 album Crush was named one of the "Best 50 Albums of the 2010s" by Pitchfork, the two have reunited as collaborators for the first time in a decade. Cathartic jam sessions would birth the emotionally resonant songs that appear on their debut album, Romantic Music. Though they pull from a wide array of `80s and `90s influences, Cupid & Psyche bring together these disparate moods and genres through their own esoteric lens on Romantic Music_making for a singular sound that at once feels familiar and alluringly hypnotic. Listeners will detect the gloom of post-punk and goth, the haziness of dream-pop and shoegaze, the bittersweet guitar melodies of second-wave emo, and the manic electronic rhythms of trip-hop and big beat. The immersive soundscapes on Romantic Music are sometimes agitated and driving, while other times ethereal and transcendent. This duality matches the album's lyrics of looking for a divine escape from the grim realities of existence, as well as the darkest parts of one's psyche. "The thesis of the album is trying to transcend the limits of life and the struggle therein," Vidal says. "There's a lot of lyrics about feeling trapped or frustrated, and then trying to find a way out. There's a lot of times I sing of hope and grasping towards love. But maybe in trying to escape, you take the wrong door, be it substance abuse or other vices." Now as Cupid & Psyche, Vidal and Velasquez return to a friendship that creatively feels like home_except this time, with more experience, self-knowledge, and less pressure to make anything other than the music that emerges naturally. The LP's title Romantic Music is tongue-in-cheek, since there are no love songs proper on the project, and the phrase itself can imply a kind of light listening. But it befits that deep bond that the members have, as friends who understand and empathize with each other's worst, so they're capable of bringing out each other's best.

The Backstreet Boys with a deluxe version of their first ever holiday album “A Very Backstreet Christmas”! It features 15 tracks including classics like “I’ll Be Home For Christmas”, “Last Christmas”, “Silent Night” and new future holiday mainstays like “Christmas In New York,” “Together,” and “Happy Days.”

This deluxe special edition is pressed on emerald green vinyl and includes two bonus tracks: “Feliz Navidad” and “Christmas Time Again”.

Second Second Coming', Mary Vision’s sophomore LP, is a pastiche of many of Alex Fippinger’s influences, from Lou Reed to Spacemen 3. It is an effort to maximalize the minimal, and to create sound that is at once layered and clear. With that, the lyrics also touch on many subjects with an overarching general thesis: the exploration of self and culture under duress. The album allows you to tune into these explorations via different sonic sounds. You’ll find the pop sound in the first single, 'Fantasy (Ba Ba Ba)', for instance, right before you find yourself indulged in the psychedelic swirl of 'Love Drone'.
The writing experience was one initially based in home recordings. Alex Fippinger would manifest these recordings in his Brooklyn apartment and show them to the 7-piece band who always added a flavor not imagined by Alex himself. Yukary Morishima, who played bass on the record, is very prominent throughout. Aaron Peart found himself to be an integral piece to the writing as well, providing a specific flavor to the songs via lead guitar. Jack Dawson played keys for the first time on a Mary Vision record, adding a playful vibe that Mary Vision fans haven’t heard before. Guido Colzani added drums that are full, yet simple, giving the simple song structures a meaningful foundation. Max Braun held it down on the rhythm guitar, the crux of the songs. Mark Perro was a utility man, adding major guitar licks throughout as well as playing harmonium and providing next level backup vocals. Paul Blackwell engineered and produced this record to where it is now. From the opening chords of 'Window Pane' all the way to the come down of 'Riding Into the Sun', the album is a novel, an unforgettable night out on the town that you won’t forget. If a record could have a character-arc, 'Second Second Coming' would be the textbook example.

I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset

The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.

The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.

The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.

Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.

Gary Moore rocked the world of Blues and Rock with his virtuoso guitar playing and soulful voice. Having played in numerous legendary bands including Thin Lizzy and Skid Row, alongside his own solo career, Moore is regarded as one of the most influential Irish musicians of all time. Having been honoured by both Gibson and Fender with signature guitars, the Northern Irish star is still regarded as one of the best guitar players of all time.

Back To The Blues, was Moore’s 13th solo album, where he went back to his traditional blues style. This album has never previously been released on vinyl, and contains new liner notes written by Dave Everley. This release contains bonus tracks ‘Picture Of The Moon (Single Edit)’, ‘Cold Black Night (Live At VH1)’ and ‘Stormy Monday (Live At VH1)’.

As one of Britain's finest songsmiths of the 1960s and 1970s, Peter's voice continues to convey magic and emotion with a lustre of lysergic lyrical lacquer.

His brilliant 60's group Kaleidoscope were one of the great psychedelic groups to emerge from the U.K. during those heady days.

With infectious pop tunes laced with folk- rock jingle- jangle goodness and anapaestic lyrics that set them apart from many of their contemporaries, Kaleidoscope were vital as was too their more progressive folk early '70s incarnation as Fairfield Parlour. The band has often been spoken about with the same reverence reserved for Pink Floyd's Syd Barrett era, despite their lack of mainstream success.

This is a 50-50 collaboration with Mark Mortimer, formerly of DC Fontana and The Sorrows, who has always been a fan of Peter's work. Chelsea is more sonic expressionism from the two musicians; the songs are "psychedelic" in a sense without ever falling into the trap of being shoddy xeroxes of past glories. As Spill Magazine put it:"This is not a retro or throwback album. This is an album that may be ahead of its time." This is modern, forward-looking music that longtime Kaleidoscope fans will enjoy.

The album is produced by Julian Cope producer Donald Ross Skinner in London and Rick Reil in New York.

You are about to embark on a new intergalactic journey into black space, fuelled by funk, powered by computers. Soul Jazz Records" new second collection of twisted hyperspace electro/funk "Space Funk 2: Afro Futurist Electro Funk in Space 1976-84", continues its intergalactic journey.

Featuring rare and off-the-wall space funk and electro rarities and obscurities, all released on small independent USA record labels in the late 1970s and 1980s. Artists on this release include Alien Starr, Bobby Demo, Maggatron, Mid-City Crew, Tribe, Junie, Rich Cason and the Galactic Orchestra and many more intergalactic space warriors! This is space age bionic funk, programmed to make you dance!!!

HYbr:ID Vol. 2 is the second installment of Alva Noto’sHYbr:IDseries initiated in 2021. The new album captures the music commissioned to score RichardSiegal's Ectopia performed in 2021 by Tanztheater Pina Bausch with Shooting into the Corner (2008-09) by Anish Kapoor. Building upon the captivating blend of immersive dub and electronica from the first installment, HYbr:ID Vol. 2 takes the listener on a journey into the realm of intricately manipulated digital production. These ten compositions delve into infinity, drawing inspiration from resonance and elasticity, concepts rooted in Minkowski's four-dimensional spacetime model.

Throughout the album, Carsten Nicolai summons precise rhythmic patterns that gracefully hover, reminiscent of celestial bodies orbiting in perfect cosmic unison. The sonic landscape gradually unfolds with somber and brooding tones, incorporating spacious sound design, ethereal atmospheres, and cascading metallic percussions. These elements are delicately crafted with artistic finesse, set against a backdrop of expansive dub textures. At times, the music takes unforeseen turns, as melancholic chords skitter and meander through a digital haze, evoking an atmosphere of introspection and emotion. The ten compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes.

The first studio album by British Britpop band Salad, initially released in May 1995 following on one year from their B-sides and singles compilation Singles Bar

Features the charting single ‘Motorbike to Heaven’ which peaked at number 42 in the UK singles charts, becoming the bands highest ever chart position

Drink Me reached number 16 in the UK album charts and received critical acclaim at the time of its release

Features the tracks ‘Your Ma’ and ‘Drink The Elixir’ which had previously been released as singles

Also includes the standalone single ‘Granite Statue’

Pressed up on 140g black vinyl

Includes a signed print / insert from lead singer and Marijne Van Der Vlugt

A 10-year anniversary product suite of Chvrche’s 2013 debut album including 2LP edition with bespoke die-cut sleeve & 2CD inc. booklet. The album originally charted at number 9 in the UK & is now gold status with over 170K UK sales – All formats feature 10th anniversary artwork & the album has been newly remastered by Gavin Lurrsen in LA. The band have just come off tour with Coldplay & are playing the Other Stage at this year’s Glastonbury festival.

Cogan Has Been Part for Many Years of Parisian Collective House of Underground With Whom He Played Records All Over the French Capital as Well as the Country's Main Cities Clubs and Festivals From North to south.

He Recently Joined the Collective and Label Friendsome as a Resident to Take His Career to Another Level, Releasing His First Solo Wax : Power Source EP.
This Ep Is an Extract of His Live Performance, Which He Has Been Working on for Almost a Year, and Will Be Shown for the First Time at Badaboum on September 9th 2023 as Part of Friendsome's 5th Anniversary Party. We Will All Discover a New Side of Cogan's Work, Being More Known for His High Energy House Music, This Ep Takes Us on a Ride of Acid Techno With 90's Rave Inspirations. a Music That Will Not Let the Dancefloors and Audiences Restful !

Opening Up "Softly" on the Track for the Hackers Will Get You Into the Vibe of the Whole Ep, Before Taking Off on the Banger for the Racers. Track 2 and 3, Being for Gamblers and Farmers, Conclude This Beautiful Ep to Keep It Engraved in Your Mind Until the Next Party! Enjoy the Ride......

As a songwriter and a performer, he played a vital role in the development of the idiom.

Growing up in central Texas, he was impacted by a wide range of musical influences, such as the Texas honky- tonk of Ernest Tubb, the western swing of Bob Wills, and even the polka bands of German-American.

He had begun writing songs as a child and by the time he reached adulthood was starting to turn out fully realized masterpieces such as Night Life and Misery Mansion.

This release presents Nelson's underrated debut LP, ...And Then I Wrote, originally issued in 1962 on the Liberty label.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

Works for the Ever Present Orchestra Vol. II continues Black Truffle’s documentation of the late work of legendary American experimental composer Alvin Lucier, who sadly passed away in 2021 at the age of 90. Like the first volume of the series, the two works recorded here were written for The Ever Present Orchestra, an ensemble founded in Zürich in 2016 to perform Lucier’s work exclusively. At the core of the music Lucier wrote for the ensemble is the electric guitar, an instrument he began to explore in 2013. Played with e-bows, in these works electric lap steel guitars take on roles akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s. This strikingly elegant pair of compositions would serve as an ideal introduction to Lucier’s late music for a listener as yet unfamiliar with its graceful exploration of beating patterns and other acoustic phenomenon.

The two pieces have quite different characters, exemplifying Lucier’s ability to harvest a remarkable range of musical results from closely related compositional procedures and concerns. In Arrigoni Bridge (2019), Lucier uses a technique familiar from earlier works such as Still Lives (1995), where sine waves traced the shapes of household objects. Here, three lap steel electric guitars (played by Oren Ambarchi, Bernhard Rietbrock, and Jan Thoben) follow the form of the Arrigoni Bridge that connects Middletown and Portland, Connecticut. The bridge’s two enormous steel arcs become slowly sweeping pitches, alongside which alto saxophone (Joan Jordi Oliver Arcos), violin (Rebecca Thies) and cello (Lucy Railton) sustain long tones, creating a variety of audible beating patterns depending on their distance from or proximity to the guitars. With its stately pacing, warm middle register tones, and rich timbral variety in the sustaining instruments, Arrigoni Bridge is a beautiful example of compositional reduction producing immersive results. Flips (2020), on the other hand, is more austere. Scored for two lap steel electric guitars (Rietbock and Thoben), double bass (Ross Wightman) and glockenspiel (Trevor Saint), the two acoustic instruments played with bows, the piece zooms in on the range of a major second (two semitones). The two guitars sweep in opposite directions within the range, crossing every four minutes; the double bass and glockenspiel sustain long tones, producing beats of different speeds determined by their distance from the guitar tones. This limitation of the tonal range means the music is often dissonant and forces the phenomenon of audible beating to the surface, resulting in a paradoxical music composed entirely of long tones yet alive with pulsating rhythm. Exemplifying Lucier’s ability to uncover near-infinite complexity within seemingly simple materials, Works for the Ever Present Orchestra Vol. II is a fitting tribute to one of the major figures of the experimental music tradition and a testament to the continuing power of his work.

New The Hague based recordlabel Otherminds is landing with their first ever release ’Symbolic Language’, from local cosmox.

From day one OTM witnessed his obsession for electronics. Manifested by throwing countless raves, playing otherworldly dj-sets, co-running an atomic studio bunker & label and making mind-bending music. Now it’s time for his solo vinyl debut.

The 5-track EP is a blend between IDM, ambient and techno influenced pieces. A story which symbolizes a deeply shared connection and a transformative period in which the producer expands his palette further into the sonic realm.

Die legendäre Band "In Strict Confidence" läutet das gruseligste Datum des Jahres mit einem musikalischen Meisterwerk ein! Am Freitag dem 13. Oktober, veröffentlichen sie eine ganz besondere Kollektion, die ihre größten Hits in einem völlig neuen Licht erstrahlen lässt. Das Besondere daran? Alle Songs wurden komplett neu in einem faszinierenden orchestralen Filmmusik-Soundtrack aufgenommen. Klar erkennbar und doch in einer monumentalen Sinfonie neu erschaffen. "Zauberschloss", "Seven Lives", "Morpheus" oder "Forbidden Fruit" sind nur einige der Klassiker, die seit Jahren fest verankert in der Szene und bei den Fans sind. Als Bonus findet man auf der zweiten CD das komplette Werk nochmal als instrumentale Version, was einen weiteren Hörgenuss bietet. Insgesamt kommen so 24 Tracks hervor, die ein musikalisches Erlebnis und ein Muss für jeden Fan und Liebhaber von packender Musik sind.
Zwei Wochen zuvor, am 29. September wird das erste Video dazu veröffentlicht. Dabei handelt es sich um eine neue, beeindruckende Version des bei vielen Fans der ersten Stunde als "all-time-favorite" geltenden Songs "Zauberschloss". Dieser Vorgeschmack auf das kommende "Best of"-Album verspricht, die Herzen der treuen Anhänger von "In Strict Confidence" höher schlagen zu lassen.
Save the dates: Fr. 29. September für "Zauberschloss" und Fr. 13. Oktober 2023 für das epische "Mechanical Symphony"-Album als Doppel-CD, Doppel-Vinyl im Gatefold Cover!

FFF joins Straight Up Breakbeat with two slabs of hybrid hardcore! Connecting the dots between original jungle, footwork, rave, and then some, FFF taps into his multi-faceted musical history with two tracks aimed straight at the floor. Modern day Dance Mania !!
Dead Man's Chest - 5/5 “Sick, always got time for some rolling bongo jungle!”

Sherelle - “Sounding Big!”
Settle Down - "These are silly good"
Jay Cunning - 5/5 “LOVE IT! Full support from me!”
Louise Plus One & Simon Hughesee (Distant Planet) - 5/5 “A great release, both great tracks!”
Further support from Gremlinz, Mister Shifter, Yorobi, Jaise, Esc, Glowkid & more.

No Future, No Past – Svart Records set to release a compilation of the lost treasures of Finnish speed and thrash metal in October The roots of speeding thrash metal stretch out to the early and mid 80’s. It did not take long for the waves arising from the shores of California, central Europe and the United Kingdom hit Finland hard as well. The guiding light of Finnish thrash metal from that era was Stone from Kerava, but the entire scene that was bubbling beneath the surface was surprisingly vivid for such a small country. As the old saying goes, in the late 80’s there was not a single town in Finland without a speed metal band. These dozens – or hundreds, to be more precise – of vivacious bands formed by the long-haired youth didn’t just stay in the basements of their parents’ houses. Soon the youth centres of every county and open-minded venues such as the legendary Lepakko in Helsinki would arrange wild speed and thrash metal gigs. Studios run by more experienced musicians such as Timo Tolkki from Stratovarius were fully booked by hungry young bands eager to record their future metal classics. Many bands released 7” singles and demo tapes by themselves or with support from a record company, yet most of them permanently stayed at the demo stage through the golden era of the eighties. Svart Records is set to release a compilation of the absolute top tunes culled from these sought-after, long-lost demo tapes and singles on vinyl and CD in October. No Future, No Past – Finnish Speed & Thrash Metal Explosion combines the strongest, rarest, and most obscure Finnish metal tracks from the years 1986-1992. Backgrounds of the bands presented on the compilation differ a lot from one another. Vendetta and Damage were born from the ashes of the members’ previous hardcore and punk bands. A.R.G. and Catalepsy got their feet in the door fast of record companies such as Poko Records and Megamania, while other metal acts from that time simply faded away. After a few decades passed, some bands saw it fit to restart their careers, Sacred Crucifix and The Hirvi being examples of such comeback artists. No Future, No Past – Finnish Speed & Thrash Metal Explosion 1986–1992 will be released on October 13th on a limited 2LP vinyl edition and CD version. The compilation is packed with 18 remastered tracks of pure Finnish metal mayhem and accompanied by a booklet that contains band histories, photos, and song details. The compilation’s predecessor Real Delusions: Finnish Speed & Thrash Metal Explosion 1987-1991 was released in 2018 and its limited vinyl edition was sold out in a heartbeat, so get this rare gem now before it’s too late!

Spiritus Mortis compilation from the Albert Witchfinder years! The definitive compilation of rare and sought after Spiritus Mortis 7" and 12" single and split tracks from the time with Sami Albert "Witchfinder" Hynninen on the vocals. These recordings have not appeared on Spiritus Mortis albums and never before in any digital format. For this compilation the songs have been completely remixed by Joona Lukala and Sami Hynninen, and the disc is expanded with exclusive bonus live material. Essential to ALL fanatics of real Heavy/Doom Metal!

Spiritus Mortis compilation from the Albert Witchfinder years! The definitive compilation of rare and sought after Spiritus Mortis 7" and 12" single and split tracks from the time with Sami Albert "Witchfinder" Hynninen on the vocals. These recordings have not appeared on Spiritus Mortis albums and never before in any digital format. For this compilation the songs have been completely remixed by Joona Lukala and Sami Hynninen, and the disc is expanded with exclusive bonus live material. Essential to ALL fanatics of real Heavy/Doom Metal!

The debut recording by Setting, a trio comprising Nathan Bowles (solo/trio, Pelt, Black Twig Pickers); Jaime Fennelly (Mind Over Mirrors, Peeesseye); and Joe Westerlund (solo, Califone, Sylvan Esso, Jake Xerxes Fussell). Deluxe LP edition features 140g black virgin vinyl and a reverse board jacket with art by Timothy Breen. Deluxe CD edition features a gatefold jacket with art by Timothy Breen. RIYL: Popol Vuh, Brian Eno’s Ambient 4, Harmonia, The Necks. Setting, befitting its name which can be read as noun or verb, and simultaneously suggests the sun, or any star in the firmament from our earthbound perspective; a story and its surroundings, its scenic context or mise en scène; or a psychedelic experience, as in the prescription to mind one’s “set and setting” arose outdoors, uncontained and unconstrained by architecture. The group’s debut recording Shone a Rainbow Light On traverses textural, phosphorescent topography with a certified organic folk-engine. Kosmische correspondences are inevitable and valid, but also somewhat deceptive, given this meditative music’s terrestrial rootedness in the familiar natural world, more in native humus and humidity than in outer space. Fuelled by a vibratory hybrid of acoustic and electronic instrumentation, these four stately longform pieces sound like a UFO slowly sinking into a peat bog (or, as we call it in North Carolina, a pocosin). An instrumental trio comprising Nathan Bowles (solo/trio, Pelt, Black Twig Pickers) on strings, keys, and percussion; Jaime Fennelly (Mind Over Mirrors, Peeesseye) on harmoniums, synthesizers, and piano zither; and Joe Westerlund (solo, Califone, Sylvan Esso, Jake Xerxes Fussell) on drums, percussion, and metallophones, Setting established its own setting and found its footing in regularly scheduled improvisational sessions outside Westerlund’s home in Durham, North Carolina, beginning in 2021. The three players began as two, in the context of occasional Bowles and Westerlund percussion duo performances dating back to 2018. Fennelly provided the initial impetus to gather and play together with intentionality and discipline, as well as an harmonic adhesive and thickening agent in the grain and gravity of his harmonium and synthesizer. As always, Bowles’s background as a pianist and drummer informs his approach to banjo, imparting a woodiness, a piney verticality and resinous tang. Westerlund’s training with Milford Graves is apparent in his polyrhythmic flow and its correspondences to human circulatory and corporeal rhythms. They recorded their collective discoveries with engineer Nick Broste in the spring of 2022.The record begins, like the group’s name, and like the language of its unique instrumental interplay, with ambiguous grammar: “We Center,” the first and longest track at thirteen and a half minutes, builds patiently to a percolating climax of tidal heaving, with ceremonial connotations. “Zoetropics,” the shortest piece, follows, offering a more diaphanous counterpoint to the density of its predecessor. The zithery, shivering “A Sun Harp,” its title redolent of Sun Ra, showcases Westerlund’s unfettered drumming, which skitters restlessly until anchored, at its conclusion, by a minor bass progression. Finally, “Fog Glossaries” exhales through the maritime and meteorological evocations of its title, distant buoys clanging. Although certainly elements and strategies of so-called ambient and drone musical traditions are invoked and deployed, those diffuse terms feel inadequate to describe everything else happening here: the devotional valences, the minimalist rigor, and even submarine jazz inclinations perceptible beneath the surface. Throughout this four-movement program, which invites deep listening, it is often difficult to differentiate individual instruments from the massed choir of the group’s unified sonic presence. At times what sound like field recordings cicadas, birds, wind, water splash out of this slow but powerful current, only to be revealed as overtones produced by harmonium, banjo, or cymbals. Setting’s sound is fundamentally synthetic in the sense of synthesis, not artifice—in a manner remarkable for its almost entirely acoustic arsenal of instrumentation, often registering as the product of a single alien technology, perhaps the rainbow lights of that bog-marooned UFO. (“Setting,” of course, can also refer to a machine’s variable operational amplitude its temperature, volume, speed, elevation, etc.) Sometimes the most seemingly extraterrestrial lifeforms are in fact our unfamiliar earthbound neighbors. Despite the destruction of many such habitats, the coastal plains of eastern, tidewater North Carolina is home to more pocosins freshwater, evergreen wetlands with deep, acidic, sandy, peat soils than anywhere else in the world. These threatened peat-bog ecosystems are the only native environment to sustain the carnivorous Venus flytrap, among other oddities. The sonic ecosystem of Setting similarly deep, acidic, and boggy contains equivalent wonders, savage and delicate, for listeners willing to take the time to sink.