Rock

Limited to 200 copies, 4-page booklet, Lyric poster. Hailing from France and guided by Guido Saint Roch, YSENGRIN celebrate 15 years of underground activity by releasing their final dark metal opus on the long distance, “Initiatio”, to be followed later this year by the last volume in the band's alchemic series of split albums.On “Initiatio” YSENGRIN reinterpret 5 tracks from their illustrious past, changing them profoundly, revisiting their arrangements and expanding their sonic palette without betraying their original essence. To four songs taken from “T.R.I.A.D.E” (the first demo from 2008), Saint Roch and his acolytes add the track “Monumentum” (from the "Archivum MMV-MMX" demo, 2010) as well as 4 new compositions, including two ambient numbers recorded live with the help of Frater Stéphane (N.K.R.T., ROSA CRUX). “Initiatio” is therefore an ouroboros serpent biting its tail: the end is the beginning, and the beginning becomes the end. Trapped in an eternal cycle of birth, death and transformation, YSENGRIN offer an initiation ritual dense of occult symbolism (the number “9” and the "Y" letter are recurring elements), to be performed at the crossroad of virtue and vice.Produced by Brungard of HERXHEIM, who also contributed lead guitars, keyboards and backing vocals, “Initiatio” was expertly mastered on analog gear to capture the sonic primitiveness, raw power and quintessence of the metal genre from its early and glorious days: the days of tape trading, obscure demos and rehearsal recordings; the days of NECROMANTIA, MORTUARY DRAPE, ROTTING CHRIST and all those bands from the early 90s that changed the face of black metal forever. And could not miss a heartfelt tribute to the mighty ABIGOR: YSENGRIN borrows a few of their verses for the song "Téménos", with the Austrians' benediction.Graced by an evocative cover painting by the always excellent Luciana Nedelea, “Initiatio” is a danse macabre of ancient metal for the most daring and brave, an alchemical opus of primeval sounds and inner vibrations that immortalizes underground metal at its darkest peaks.

Imagine a shoreline alone, carved from the continent, without land or water to border it, a rind of possibility, a moon-colored border between land and sea, knowing and unknowing. This is Conceptual Beach, a place John Rossiter, vocalist/guitarist of Los Angeles-based Young Jesus, describes as his long-time mental refuge, where he imagines himself living—like a medieval, stigmata-wrought hermit—all his needs for okay-ness finally met. Their new album, Welcome to Conceptual Beach, first took form as a physical zine in 2016, when the four members of the band were on their first tour together. At that time, it was still somewhere Rossiter inhabited alone, protective of his solitude. Now, he is allowing others to join him there. “The reason it’s called Welcome to… [Conceptual Beach] is because I’m inviting other inner landscapes into it,” Rossiter explains as he describes the transformation of the beach’s terrain into a whole varied emotional world.Indeed, Welcome to Conceptual Beach elucidates the balance between many contrasting forces: the individual and the collective, the rational and the emotive, the tame and wild. It transforms the complex musicality of much post- and math-rock into a radical, crystalline practice, vibrant and light-casting. The band’s members––including Marcel Borbon (bass), Eric Shevrin (keys), and Kern Haug (drums) in addition to Rossiter himself––refract and reconnect throughout the record, experimenting with new kinds of sounds and composition. They artfully balance the wandering riffs of previous records with irresistible hooks, woven into their characteristic swathes of improvisation to create a shimmering, molten tapestry.“Faith,” the opening track, runs parallel to the album as a whole: dynamic and groovy and psychedelic and emotional. Each musician has a moment to shine and to speak. Opening with Kern’s version of the Purdie Shuffle, to Marcel’s polyrhythmic bass, to Eric's organ solo, and held together by John's whispered prayer that, “we just might grow,” Young Jesus offer a music uniquely in service to emotion. “(un)Knowing” is a “meditation celebration,” a song about the confusion and pain of re-examining a life—of committing to a life of experience and curiosity. Mixing the spirit and experimentation of OK Computer with the sincerity of Bon Iver, “Root and Crown” is the first song that offers a way out of the traps and patterns of a life. A commitment to grieving, listening, and growing. A devotion to spring, sung from the depths of winter.Whether it’s a bank-vault-turned-concert-hall in San Francisco, a Brooklyn artists’ collective, a house show in central Connecticut, or a recording studio, a Young Jesus performance is unique and unrepeatable. Recordings are only snapshots of their songs in a given moment. Over dozens of shows, a single song will metamorphosize each time it’s played, taking on infinite new geometries. When they play live, their jamming—a self-selected, unaffected and doggedly genuine term for their complex improvisations—is a visceral, communal experience. They render sound an instinct, filling the space with urgency and joy. The intensity of feeling and connection between the band members and to their music is a thick, palpable force that sweeps audiences up, propelling them into uncharted territories.On Welcome to Conceptual Beach, Young Jesus pries our sobs from parentheticals and wields them with a brutal but tender force. They take these elements and translate them into a spacious ground for growth, for ourselves, our communities, our world. They affirm that change starts with how we reckon with ourselves as individuals, that we are all magicians, as the closing track of Welcome to Conceptual Beach suggests, “making love and doing dishes,” capable of conjuring new worlds for ourselves, and to live in others’

Repress. XIV Dark Centuries release their new album Waldvolk on 28.02.2020. This musical work, which is connected to the deep forests of the Thuringian Forest, contains 7 new as well as three already known songs of the band in a new sound. XIV Dark Centuries, one of the first Pagan Metal bands in Germany, has remained true to itself and its fans even after more than 20 years with their style. Melodic guitars, powerful drums, an unmistakable voice and sophisticated arrangements are in the center of attention. Musically, XIV Dark Centuries deliver melodic, guitar-heavy Pagan Metal. The broad, also very melodic backgrounds are mostly played by a keyboard. A bit more often than in the past, violin and acoustic guitar also fit into the sound, but the keyboard still sets the tone for the accompanying instruments. Vocally, XIV Dark Centuries rely on their already known branch of growl and (preferably polyphonic) clear vocals. Also well known is their wide musical range, which roughly speaking ranges from metal ballads (Julenzeit, Firratan) to very fast, swinging pieces like Skogafulka.

CD in gatefold sleeve with 12 page booklet. Liner notes by Stewart Lee. Here is the follow up to the Untied Kingdom on Optic Nerve and 'The Complete John Peel Sessions' Having now been recording and gigging for longer than their original 1980s incarnation, The Wolfhounds continue to hone the blade of their sound to outclass their whippersnapper competitors on Electric Music. From the desperate narrator of the opening anthem 'Can't See The Light', unable to see an end to his descent into darkness to the sad urban reminiscences of the rural immigrant in 'Song Of The Afghan Shopkeeper' and the unwilling draftee in 'Pointless Killing', to the powerlessness of people tossed around on the waves of history and progress in 'Like Driftwood' - Wolfhounds ask where our emotional and actual lives are heading, as the world seemingly freefalls into barbarism. With the dreaded feeling that 'Lightning's Going To Strike Again', we lack even the appealing soundtrack to the catastrophe of the past described in '_ and Electric Music', and the band ask will 'The Roaches' once more rule the world (if they ever stopped)? Is the solution to 'Stand Apart' from the chaotic crowd or admit, cynically, that 'We Don't Believe Anything' and roll with the movements of the masses? Featuring the glowing sleeve notes of comedian Stewart Lee, and a new expanded line-up including electric violin and bassoon (from Scritti Politti's Rhodri Marsden), and peppered with the barbed lyrics and stinging guitar of David Lance Callahan and the home-made hybrid stringed instruments of guitarist Andy Golding, Wolfhounds have never sounded more alive, energetic and contemporary.

With The End In Mind is an ever-changing musical entity based in the Salish Sea region of the Pacific Northwest. Initially conceived as a solo project, WTEIM has grown over the years to include many unique and talented collaborators.

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

Unarguably among the top three the best British bands of the 1960s and 70s, The Who not only epitomised what it was to be an iconic rock collective during the earliest days of what we now call modern music, they equally - along only with The Beatles and The Stones - possessed a quite remarkable creative bent without which the rock/pop industry really would have been a flash in the pan, as so many cynics in the early days predicted. This CD shows how the groups true understanding and grasp of the Mod persuasion helped create the most revolutionary teenage cult movement ever to trouble the pop music industry. The live album My Generation in Washington was recorded in 1969 and features all their legendary hits.

If you need some references: Pears, (with some limitations) Dillinger 4 and/ or Cancer Bats are groups to orientate yourself by when describing the sound of WESTERN ADDICTION. Nevertheless always a bit dirtier, snottier, angrier and braver. Finest San Francisco Punk and Hardcore with dirty flavours of Rock & Roll, Folk and Post-Punk.

Mr. Waldeck proudly presents Grand Casino Hotel, his 6th studio album and by far his most cinematic. Over the last decade or so Waldeck has often taken an inspirational foray into a certain musical genre or epoque, the essence of which he took as blueprint for his own musical ventures: Let?s think of his "Ballroom Stories" (2007), considered to be one of the most influential albums of Electro Swing, "Gran Paradiso" (2016), his homage to spaghetti western and Italian canzone " then more recently Atlantic Ballroom" (2018) featuring jazz-flavoured crime fiction sounds of the late 1960ies. This time around Mr. Waldeck enters the realm of American road movies - in all its different shades and colors. A genre in which the journey is the reward and the reward is freedom. Listening to Grand Casino Hotel you will immediately find yourself drawn into images of dire desert landscapes, where cheap motels with defunct pools and endless highways outline the scenery. A decrepit casino building adjacent to our motel catches the eyes. One of the employees looks like a grumpy twin brother of Waldeck. Musical film d?auteur! Klaus Waldeck: Grand Casino Hotel is not just a "widescreen cinemascope sound track", it is a metaphor for the traveller, who - in search for a fast and lucky strike - fails to arrive at his place of longing. Recently, Waldeck's work was featured in movie and TV productions (among others, an episode of Grey's Anatomy and spots for Versace and Ferrero). Waldeck's music has been streamed over 100 million times.

Either Light is the new album from Boston band Vundabar. It marks their first album since 2018's Smell Smoke which received wide critical acclaim from the likes of NPR, Pitchfork, FADER, Stereogum, and many more. Either Light was recorded in 2019 with producer Patrick Hyland (Mitski's Be The Cowboy, Puberty 2, Bury Me at Makeout Creek) across sessions in Philadelphia and New York City. The album sees guitarist/vocalist Brandon Hagen and drummer Drew McDonald exploring new themes and sounds throughout the collection of songs. Hagen says about the album "We delved into new sonic territory on this record as we employed the use of electronic drum sounds, guest vocals from Emily Massey (Slow Pulp), samples, loops, vibraphone, synths on synths, sub bass and extensive layering for certain songs." Themes of light and water are recurrent throughout the record. In most every situation that gave rise to the songs on the album, Hagen found myself noticing the intensity of light and how it framed the formation of memory and feeling as well as its ability to frame and establish or skew perception. Vundabar will be touring Either Light extensively across the world in 2020 behind their much talked about live show.

In the two brand new tracks, available as CD-EP and Vinyl-EP, the Swedes perfectly capture what Swedish Black Metal is world-famous for: icy cold atmosphere, catchy riffing and gripping melodies.

featuring ANDERS MOSSBERG Record label Adora introduces the new instrumental worship series Viva! – We constantly get requests for instrumental music that creates a nice atmosphere, and now the time has come to launch our new instrumental series Viva. says Jonatan Samuelsson, founder and owner of Adora. Like Adora’s previous worship series for small prayer-groups, Gemenskap (Community), Viva is an album series with focus on the songs rather than a certain artist. This means that the participating musicians on the albums will vary. The first artist in this series is a well-known bassplayer Anders Mossberg (Jerusalem, Vineyard Oslo, freelance-musician, etc.). He has played on, recorded and produced the songs on Divina – the first album in the new series Viva. Well-known worship-songs and hymns like Amazing Grace, Majesty and Find Me In The River, are mixed with lesser known songs like the Norwegian folk-hymn, Eg vet i himmelrike ei borg (I know a castle in heaven). This is first class instrumental worship, with a few wordless vocal parts. An album that works just as well in the background as being actively listened to. Or why not sing along? Together with prominent instrumental soloists from Sweden, Norway, and Denmark such as CJ Grimmark (Narnia, Jerusalem, etc.), Lars Petter Berg (Kungliga Operan Oslo), Dan Tibell (XT, Jerusalem), Linnéa Villén (Sønderjyllands Symphony Orchestra), and Anne Nielsen (freelance-singer/actress), Anders puts his own personal stamp on the production and the performances in this album

Digipak. Stream Of Consciousness' was VISION DIVINE's third album originally released in 2004 and immediately became a classic album of Italian Power Metal. It's now available again in a beautiful digipack version with restored artwork.

Tropicalia infused fifth album by Vinyl Williams After collaging hundreds of paintings together in a string of new artwork, Williams combined over 25 paintings to create the album art for Azure; attempting to equally represent the complexly organic & decadent music apparent on the record. The first single "LA Egypt" is a wild harmonious odyssey, that will impact international radio & streaming services in April & May. Azure marks a point of higher equilibrium for songwriter Lionel Williams, employing far more restraint & rapidity than his earlier releases, as well as a concentration of unifying paradoxical qualities. The last record, Opal (2018) received critical acclaim by Pitchfork (7.6) and was listed on NME's best of 2018 list (93/200) - Larry Fitzmaurice hailed that "...there's never been any doubt that Williams is an adept musician, but his newfound skills as a songwriter and arranger push this album into the realm of pure pleasure." Vinyl Williams' earlier releases are cult favorites for their incessant bliss & driving rhythms, such as Brunei (2016) & Trance Zen Dental Spa (2015 - collaboration with Chaz Bear of Toro Y Moi). Williams is equally known for his interactive video worlds, 360ú videos, web art, and downloadable environments, inhabited by hyper dimensional palaces you might find in an ultimate future. He's created virtual music videos for Tears For Fears, Unknown Mortal Orchestra, Spaceface, Morgan Delt & several other artists. Vinyl Williams' live show is a spectacle of pearlescent sights & sounds, with all of Williams' work combined & sync'd together in rapturous hyper-dimensional moments

Tribute to Pink Floyd is a wonderful and truly stunning album: A labor of love which is rarely seen on today's market. Fundamental songs from the psychedelic era. With remastered sound and beautiful cover art, Tribute to Pink Floyd is a unique album: a work that every fan of the group will enjoy, learn and marvel, and to spend a memorable time and treasure in their collection.

The perfect summer soundtrack is provided by Bob Stanley & Pete Wiggs (Saint Etienne) who have been compiling excellent Ace samplers for years. Songs For The Fountain Coffee Room' sounds like Warren Beatty and Julie Christie meet for a secret rendezvous during the shooting of 'Shampoo'. Top-Down Soul, FM Yacht Rock, Blue Eyed Soul and Laurel Canyon singer-songwriters will provide a relaxed atmosphere at the upcoming barbecue parties. With Marvin Gaye, Daryl Hall & Johan Oates, Bobbie Gentry, Boz Scaggs, Ned Doheny, Seals & Crofts and others. Of course with extensive booklet including many archive photos and detailed liner notes!

3CD / DVD HARDBACK BOOK SET EXPLORING PUNK AND THE POST-PUNK LANDSCAPE IN NORTHERN IRELAND. 74 TRACKS PLUS THE SEMINAL JOHN T. DAVIS FILM SHELLSHOCK ROCK ON DVD. INCLUDES THE UNDERTONES, STIFF LITTLE FINGERS, RUDI, PROTEX, THE OUTCASTS, THE MOONDOGS, VICTIM, THE IDIOTS AND MANY MORE. FEATURES INTRODUCTORY ESSAY BY STUART BAILIE (AUTHOR OF TROUBLED SONGS), FIRST-HAND ARTIST SLEEVENOTES AND BIOGRAPHIES COURTESY OF LEADING HISTORIANS OF PUNK CULTURE IN NORTHERN IRELAND, SPIT RECORDS. ALSO INCLUDES JOHN T. DAVIES’ OWN RECOLLECTIONS ON THE SHELLSHOCK ROCK FILM. MANY RARE AND HARD TO FIND TRACKS, INCLUDING MATERIAL RELEASED ON BOTH GOOD VIBRATIONS AND RIP OFF RECORDS.