Rock

Louise Lemón recorded her debut album Purge LP in a haunted cabin in the north of Sweden and then flew to Seattle to mix it together with Randall Dunn (Sunn O))), Myrkur, Chelsea Wolfe et al.), the setting is eerie and many light years away from the current pop landscape.

Louise Lemón’s sophomore album ’A Broken Heart Is An Open Heart’ with cues from the 60s & 70s soul era. Produced and mixed alongside regular collaborator Randall Dunn (Sunn O))), Myrkur, Chelsea Wolfe) in Copenhagen and New York. The Record was exclusively recorded using vintage microphones and amplifiers to create most organic sound, with each track recorded in the studio.

Legendary British Hard Rock band LIONHEART celebrates its label debut on Metalville Records with "The Reality Of Miracles".Founded in 1980 the band still consists of the four founding members Dennis Stratton (ex-Iron Maiden), Steve Mann (Michael Schenker Fest), Rocky Newton (ex-McAuley Schenker Group), Clive Edwards (ex-UFO) and Lee Small (ex-Shy / ex-Phenomena) Lionheart were considered the first NWOBHM supergroup and celebrated worldwide success on joint tours with greats such as "Def Leppard", "Whitesnake" and "Saxon" as well as at the biggest international festivals.The 13 songs on "The Reality Of Miracles" offer timeless, powerful, melodic hard rock at the highest level

REMASTERED EDITION - FULL BOOKLET / 6 BONUS TRACKS (Taken from Power Of Love E.P) / A PERFECT MIX BETWEEN WHITESNAKE & VANDERBERG – The talented tag team of vocalist Kal Swan and guitarist Doug Aldrich guided the proud rockin' Lion through a ten song recording of straight-up, late '80s guitar-oriented rock 'n' roll throughout Trouble in Angel City. Much like their debut LP, Dangerous Attraction, Lion banged out big, bold, arena rock anthems, with Swan stamping each track with his rich pipes. With nine originals (five of which were previously recorded on the group's Power Love EP), along with a cover of Slade's "Lock Up Your Daughter", Trouble in Angel City sounds better than most of the Hard Rock recordings from the late '80s, when the big hair band ride was in cruise control, primarily due to the contributions from Swan and Aldrich. Kal Swan, along with deft guitarist Doug Aldrich, were the juice behind Lion. Despite laying down the likes of "Come On", "Love is a Lie", "Strangers in the City", "Hold On" and "Hungry for Love" on their second full-length LP, Lion's roar was slowly being supressed. Trouble in Angel City was the final recording from the group. Swan and Aldrich quickly formed Bad Moon Rising, while continuing to build on the sound that dominated Lion's recordings. Like Lion, BMR garnered a solid Japanese fan base. But in the States, the group couldn't cut it, especially when the big wave of flannel from the Pacific Northwest took over the '90s. Featuring: Doug Aldrich (House of Lords, Bad Moon Rising, Dio, Whitesnake, The Dead Daisies) & Kal Swan (Kuni, Tyr-tan, Bad Moon Rising)

Dark, Melodic Power Thrash from frontman Marc Lopes (of Ross The Boss fame). The long-anticipated full-length debut from his own band.

August 31, 1969 Lewisville TX us Texas International Pop Festival Setlist: Train Kept a Rollin', I Can't Quit You Baby, Dazed and Confused, You Shook Me, How Many More Times (medley incl. Suzie Q, Eyesight To The Blind, "Lemon Song", Bye Bye Baby (Baby Good-Bye), Communication Breakdown Press: The Vanguard of an expected 100,000 rock fans were already encamped Friday in the sprawling federal park lands around Garza-Litlle Elm Reservoir, Lewisville, Texas (near Dallas). The park is near the Dallas International Motor Speedway, where a three-day festival opens today. Among the attractions at the Texas festival were Janis Joplin, Herbi Mann, Led Zeppelin, Johnny Winter and Tony Joe White. Press Review (Star): Not until Sunday, the second night of the festival; was a group "synched" With the audience. Led Zeppelin, tired after a long schedule of American concerts, mustered the strength to "get it together" on the eve of their return home. Relying on longer sets to lure the gathering into its atmospheric web, the group played only five numbers (one encore). JIMMY PAGE, lead guitarist (electric, pedal, steel, and acoustic), was devastatingly effective with his electronic techniques. Page, who has played with the Yardbirds, Rolling Stones, and Donovan, elicited the greatest response with his use of a variable lag system. This technique, achieved with the pedal steel guitar, is merely a sound delay. The sound would emit from the speakers about a second and a half after he struck a chord. The tones were highly modulated and at times hung on the edge of a plunge into screeching feedback. Page added haunting sight gimmicks. After striking a chord, he would raise his arm in the air - only with the variable-lag, the sound burst forth on his upstroke, giving the appearance that he was playing the air above him. Another techniquie involved using a violin bow with a fabric-like tail attached to its end. Still using the pedal guitar, he would slowly pull the bow across the strings and then bob the tail over them. The resulting unearthly sound which broke into the air was just short of phenomenal.

Another high-class forerunner of the upcoming full length album in 2020. The "Black Butterfly"-EP is now available as special edition. Including a brandnew track of the upcoming studio album. Elina Siirala is enchanting her fans with a piano version of the new song “Dark Love Empress”. This song will be on the upcoming album as original version. The mighty representatives of Symphonic and Viking metal provide a very special release for this summer. Into the cold swart sky - Black Butterfly!!!

Chicago bred trio The Lawrence Arms will release Skeleton Coast, their first album in six years, on July 17. Skeleton Coast was recorded 30 miles east of El Paso, TX at Sonic Ranch Studios with longtime producer Matt Allison. It was kind of like album camp in the sense that we were in this very remote setting for two weeks and really focusing on making the record. That was a very different experience for us because we’ve always made our records in Chicago which is home and all the things about home are in the way,” says vocalist and guitarist Chris McCaughan. The album contains the elements of the band’s sound that fans have come to love for the past two decades but recontextualizes them in a way that somehow sounds perfectly aligned with this strange time in our collective history. Although it was written and recorded before the Coronavirus upended the world, the band’s seventh studio album sounds eerily prescient as it imagines an apocalyptic future where coyotes croon and wolf packs roam free. “For a band who has been around as long as us, this is about as urgent of a record as we could make,” vocalist and bassist Brendan Kelly explains. “It may be kind of dark but it’s really about searching for light in the darkness and finding it, as small as those moments may seem. That’s sort of where we’re at: Collecting the scraps of things that could make for a bearable existence in dark times.”

Laibach is art, but more than just art. Founded on 1st June 1980 in the then heavy industrial Yugoslavian town of Trbovlje (today a city in central Slovenia), the band took their name after the German designation of the Slovenian capital Ljubljana which was undesirable in Yugoslavia during the Tito’s and post-Tito era. In 1982 the group played its first concerts in Ljubljana, Zagreb and Belgrade on their "Tour of the Three Capitals". On 23rd June 1983, Laibach appeared for the first time on Slovenian television in the political program TV Tednik. The band's provocative performance led to a ban on the name and a ban on performing in Yugoslavia until 1987: "The politicial ruling powers couldn't bear the image they saw in the mirrors we held up to them," a member of Laibach once said. In 1985 the Škuc - R.o.p.o.t (Noise) label released the first official Laibach album, but, due to the ban on naming, without mentioning the band name on the cover and with censorship bleeps on some samples of Tito’s speeches. In the same year, the German alternative label Walter Ulbricht Schallfolien released the album "Rekapitulacija 1980-1984" and the English label Cherry Red Records released the single "Die Liebe ist die größte Kraft, die alles schafft". Walter Ulbricht Schallfolien, who also had with Throbbing Gristle the most important repre- sentatives of Industrial under contract, then brought Laibach into German clubs and concert halls for the first proper German tour in 1985. The tour happened under the title "Die erste Bomardierung! Laibach über dem Deutschland” (“The first bom(b)ing - Laibach over the Germany"). In 1986 Laibach released the album "The Occupied Europe Tour 1985" on the US label Side Effects, the oldest label for industrial music in America. In addition, the album "Nova Akropola" was released in February 1986 on Cherry Red Records. Same year the band was a guest of John Peel, but the recordings from the "John Peel Session" were not released until 16 years later. In 1987 Laibach signed a long-term contract with Daniel Miller's renowned London Mute Label and had finally found their musical home. The artists roster of Mute included such well-known artists as Depeche Mode, Nick Cave, Erasure, Yazoo, Moby and also Kraftwerk. From now on the commercial success story of Laibach could also be written. Mute released "Opus Dei". The album includes, inter alia, a specific “Laibach” - interpretation of "Live Is Life", the big single hit of the Austrian group Opus (one as a German version under the name "Leben heißt Leben" as well as an English version under the title "Opus Dei") and also the interpretation of the Queen track "One Vision" (in German under "Geburt einer Nation"). The sound of Laibach had become more commercial, the avant-garde and industrial parts gave way in favour to Laibach’s "militant classicism", the band had found its style. Laibach went on tour, now playing in larger halls and clubs in Germany. On 12th October 1987 Laibach made a stop at the Bremen Schlachthof. Here the live album "Bremermarsch" was recorded, which is now released 33 years later. In spring 2020 Laibach edited the "old" original recordings and digitally mastered them in their studio. The recordings sound fresh and unspent, the sound is great, the mood in the audience as well. And that Laibach is performing the "hits" such as "Die Liebe", "Life is Life" and "Geburt einer Nation” (Birth of a Nation) can almost be taken for granted

LA BREICHE (“the witch”) features YAN AREXIS (Stille Volk / Sus Scrofa / Common Eider, King Eider / Coume Ouarnède), and PATRICK LAFFORGUE (Stille Volk / Sus Scrofa / Hantaoma). The two musicians are also the creators of the cult festival Lhomme Sauvage, held in Midi-Pyrenees each year. After their 2017 debut “Le Mal des Ardents” (Cold Spring), “Le Rite” opens a new door, with post-folk sounds close to post-rock, influenced by ancient music, with folk used in a modernist way. Dark, ambient and yet mystical… deep with grandiose landscapes. The sound of La Breiche is situated at the crossroads of early music and dark ambient; ambient music, industrial music with a strong ritual dimension. Their electro-acoustic is music based on old instruments such as the hurdy-gurdy, mixed with analogue synths, field recordings, and ritual objects, taking a mystified look at nature, archaic societies, rites, beliefs and lores, animism.

New eagerly awaited LP from the maverick Kutiman, based on field recordings he made in Tanzania of local musicians, then manipulated, layered and expanded in his home studio. A one of a kind opportunity for a musical trip to the motherland, through the eyes, ears and heart of one of the most fascinating and adventurous musicians in contemporary music. Kutiman is now in one of the greatest artistic peaks of his diverse career and Wachagga is the first in a string of releases, which explore Kutiman’s singular vision through a variety of musical lens including melodic techno, ambient electronica and sweeping, otoric jazz.

2020 repress on Cosmic Key Creations, featuring cover art extracted from the re-discovered original painting. Including the demo "From The Storm Of Shadows" as a bonus. Remastered for vinyl. Comes in a glossy gatefold sleeve with black flood inside and metallic silver hotfoil. 180 gram viny. First 1000 copies including an A2 sized poster. Officially licensed from The Kovenant

Kingmaker were explosive ‘new cool rock’ and part of the pre-Brit Pop indie rock scene in the early 1990s. They were darlings of the alternative/indie music press, enjoying modest chart success for several years, making appearances on Top of the Pops, touring the world relentlessly and featuring on festival stages across Europe

Debut album by the upcoming German indie/alternative 4-piece Kid Dad

Thundering with newly fueled power from the shadows and dust of humanity's crumbling existence, KATAKLYSM return triumphant with their 14th full length studio album: UNCONQUERED. For almost 3 decades, the French-Canadian melodic death metal syndicate has delivered unapologetic waves of powerful sound across the entire globe. As of late, that globe has suffered tremendously, forcing the inspiration of many artists to extinguish, but for KATAKLYSM, the pressure caused a creative spring to burst forth with furious energy. Themes of fighting back and overcoming the insurmountable seethe through the lyrics and melodies of UNCONQUERED; consistent, sonic reminders of the battles that lead to triumph

Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state. Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases. Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage – a self-styled fusion Kamaal describes as Wu Funk. New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod. Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia

FIRST OFFICIAL RE-ISSUE OF THE ICONIC ALBUM ON CD MOST TRACKS CURRENTLY UNAVAILABLE DIGITALLY SLEEVE NOTES BY LEE PERRY BIOGRAPHER, DAVID KATZReleased in 1972, the Junior Byles single ‘Beat Down Babylon’ provided one of the clearest indications to date of the impending roots sound that would soon dominate reggae. The immense popularity of the Lee ‘Scratch’ Perry-produced 45, both in Jamaica and the UK, swiftly prompted a best-selling long-player of the same title, issued later that year.Comprising ten of the singer-songwriter’s recent recordings for the mighty Upsetter, the LP has since been re-issued on vinyl on a number of occasions, but has never been officially made available on CD until now.Now, at long last, “Beat Down Babylon” does finally make it onto the format, with the original track-listing bolstered by the remainder of Byles’ released work for Perry, which includes numerous Jamaican hits, most notably the 1974 smash, ‘Curley Locks’.

Broadcast live by King Biscuit on July 11th 1978, this superb performance from the now tragically late John Prine recorded at the Bottom Line Club in New York’s Greenwich Village, several years into the man’s career, is among his finest ever shows. His debut album had been released to huge critical acclaim, albeit somewhat modest sales (reaching only 153 on Billboard), in 1971 on the Atlantic label. Featuring such legendary numbers as ‘Hello in There’ and ‘Angel From Montgomery’ (versions of both are featured) it was voted into Rolling Stone’s All Time Greatest 500 Albums list in 2003.