Зарубежная музыка на виниле

Lorenzo Senni releases his first EP on Warp Records after announcing his signing to the label; in Persona Senni explores his fascination with the intricacies of trance music and culture, a logical expansion of the key themes in previous releases Quantum Jelly and Superimpositions. The track Rave Voyeur is somewhat synonymous of Lorenzo himself, an observer and purveyor of the genre. He is also an active participant in a new movement of artists transporting trance into 2016, sculpting arguably an even more intense and mind-bending model than the one that evolved out of the 1990s rave scene. Ultimately Persona is a reminder of a time before trance and makina were watered down to progressive house for wider markets, or the era before HXC was co-opted as emo. And in that respect this release dovetails with the efforts of Sophie, Plastikman or Powell in its realised need for something more visceral. For fans of Powell, Sophie, Squarepusher, Plastikman, Rustie, Lee Gamble, Russell Haswell. LP in paper inner in printed outer sleeve with large format sticker to cover, plus download card insert. Record Label: Warp Style: Electronic

Punk classic reissued on limited edition colour 7"! First ever reissue of Lockjaw's debut single. Originally released in late 1977. Lockjaw began life in Crawley Sussex, first as The Guernsey Flowers and then The Amazing Doctor Octopuss. This is the first of two singles they recorded for Cambridge-based Raw Records. A second 7" - 'Journalist Jive', followed in 1978. Their continued claim to fame is that Simon Gallup was later in the band before going on to join The Cure, and it was his older brother Dave who wrote 'Radio Call Sign'. Bo Zo - vocals Micky Morbid - guitar Andy Septic - bass Oddy Ordish - drums Record Label: Damaged Goods Style: Punk

dream pop at ist best. for fans of Cocteau Twins, The xx or Beach House. Record Label: Ink Music (Lp+Mp3) Style: Indie Pop

Double vinyl LP pressing. Start to finish, FLOTUS is imbued with that magic energy that comes when an artist stumbles upon the thrill of the new-something that makes them crazy enough to want to start the whole process over again. The album is bookended by two long-form pieces: the first, "In Care of 8675309," is most reminiscent of where Lambchop has been, while the second, the sprawling, hypnotic "The Hustle," suggests where they might still be headed. The latter seamlessly shifts between movements, a foundation suggestive of krautrock and early electronic music, gorgeously ornamented with perfectly placed piano and horns. Drawing upon a diverse palate of influences and transcending each one, it's a stunning piece of work-certainly one of the most impressive achievements of Lambchop's catalogue. Record Label: City Slang Style: Rock

Record Label: Svart Records Style: Metal

Record Label: Svart Records Style: Metal

KHONSU is an extreme metal band from Bergen, Norway that features guest appearances by members of KEEP OF KALESSIN and MANES. The music has a dark futuristic twist with a sinister blend of metal and electronic elements. In 2012 KHONSU signed with French label Season of Mist - sharing the roster with bands like MAYHEM and ROTTING CHRIST - and released their debut album “Anomalia”, which had Thebon from KEEP OF KALESSIN on vocals, later that year. It received great reviews and was praised for its high level of creativity, originality, and musicianship. Two years after their debut KHONSU self-released an EP entitled “Traveller". Today KHONSU consists of two main members: The masked and mysterious mastermind and multi-instrumentalist S. Gronbech - brother of Arnt “Obsidian C.” Gronbech from KEEP OF KALESSIN - and vocalist T’ol from Norwegian Death metal acts CHTON and KILLING FOR COMPANY. Before creating his own dark and twisted world with KHONSU, S. Gronbech had contributed on the highly acclaimed KEEP OF KALESSIN EP “Reclaim” back in 2003, which had Atilla Csihar from MAYHEM on vocals Record Label: Jhator Recordings Style: Metal

Famous Last Words - the title of the new KEEGAN album may on the one hand allow room for interpretation, the 16 songs on the other leave no questions unanswered and indeed nothing to be desired! KEEGAN distinctive take on Powerpop covers all the bases and stretches the boundaries of the genre to the limit. Glam stompers (Tongue Tied) mix and mash at a breakneck, breathless pace with Kinksian Britpop (End Of The Century) or Imperial State Electric like retro rockers (Roxana). Producer Guido Lucas, has given the album a bold, stripped back sound which drives KEEGAN more in your face than ever before. The lean Lucas mix fits like a glove, especially on the songs that harken back to classic 90 indie rock (Cross/Broadway). After various line-up changes within the band, songwriter and singer Ian Maxwell, drummer Andreas Plappert, returning guitarist Massimo Peter and new bassist Laurent Erre have managed to pull the proverbial rabbit out of the hat with this electrifying Powerpop album. Catchy, fiery and supremely confident, Famous Last Words is the sound of KEEGAN at the top of their game. Recorded and produced 2016 by KEEGAN, C.Schneider and Guido Lucas (Harmful, Donots, Blackmail, etc.) Record Label: Bellfire Records Style: Rock

Record Label: Svart Records Style: Stoner Rock

I am so pleased to announce my new record with Anthony Kerr. The album is called Resonator and it’s a collection of jazz standards. Anthony and I have been working on it for 6 years and trying, voicing, and breathing new life into these world famous beauties. Record Label: One Little Indian Style: Singer / Songwriter

Record Label: Metalville Style: Rock

Gallon Drunk´s frontman, as well as guitarist for PJ Harvey, James Johnston will release his long awaited debut solo album „The Starless Room“ through Clouds Hill on Friday the 18th November 2016. Record Label: Clouds Hill Style: Indie Pop

Record Label: Lucky Me Style: Electronic

Some releases you better play without asking questions. Not many people know IOKOI. Logic as you won’t find a lot of information about this Swiss electronics artist. In 2012 she wrote a soundtrack for the movies of fashion designer Yohji Yamamoto and she was on tour in China for four weeks. This composer has something with movies, she wrote live soundtracks for obscure science fiction movies of the 20s-30s and she worked with the Swiss Institute of Incoherent Cinematography. Liquefy is her first CD, packaged as a DVD edition, but the ten tracks have a warm synthetic beauty. Each of the ten tracks is based on trip hop, 80s synth music or brilliant bands like Autechre. We live in a virtual time in which the smartphone is considered more important than the warmth of the person next to you. Bit by bit we become the characters of science fiction stories we always feared: human robots without feelings. Liquefy is therefore the ideal soundtrack for today’s life: icy synth sounds, but the voice of IOKOI reminds us of the warmth of the body. Record Label: -Ous Style: Electronic

Limited to 500 clear double vinyls (180g) in a gatefold sleeve. Record Label: Nuclear Blast Style: Metal

Limited to 500 blue double vinyls (180g) in a gatefold sleeve. Record Label: Nuclear Blast Style: Metal

Record Label: Nuclear Blast Style: Metal

Ryan Hunn, also known as producer and DJ Illum Sphere, returns to Ninja Tune with his second full-length album, Glass, on November 4th. Glass follows 2014’s Ghosts of Then and Now as the producer’s second full-length effort, but sonically moves further in the direction hinted by his Spectre Vex and Second Sight 12”s and well-received mixes for fabriclive and Dekmantel. This same shift has also bled into his acclaimed DJ sets - that have previously won him fans in Thom Yorke and Ben UFO - leaving him poised now more than ever to delve into a new phase. Record Label: Ninja Tune Style: Electronic

ltd vinyl, 425gsm heavy cardboard cover, uv spot, 300gsm art paper insert, bonus 7" in separate p/s. Hobbs’ Angel of Death should be a household name for every well-informed thrash metal fan. Hailing from Melbourne, Victoria, the Australian band first started out as a solo project of main man and former Tyrus-guitarist Peter Hobbs, and one can rightfully say that they belong to the pioneers of mid-Eighties’ Australian thrash metal. The two demos “Angel of Death” and “Virgin Metal Invasion from Down Under” were followed by the self-titled debut album in 1988 which thrilled thrashers on both halves of the globe; 1995 saw the release of the sophomore album “Inheritance” and sadly, in spite of the cult status they had acquired in the meantime, Hobbs’ Angel of Death dissolved soon after its release. That could have been the end of it, but… In 2002 the band got reformed, signed a four-album deal the next year and have been alive and kicking ever since; and now they finally give their brand new album to the world; and it was about time, wasn’t it? Peter Hobbs himself gives a short account of what has happened since “Inheritance” came out: “Actually it's almost 23 years since ‘Inheritance’ was recorded. I've still been writing tunes and playing though, but it really kicked off again in 2010. Where has the time gone I ask myself!!?” Apart from Peter himself, the band has a completely new line-up that has only been playing together since 2013/14. Peter talks a bit about his new comrades-in-arms: “I travel a lot touring so I come across many people. I toured Europe and found Alessio. He needed a gig in Germany and I needed a show in Italy. From that meeting we have become great friends. He is actually like a son to me now. We have travelled many miles together from our first meeting in 2013.” If one has ever wondered why it regularly takes Peter so long to record and release new stuff, the answer may lie in his perfectionism: “I've recorded the new album three times. I was my goal to give to the industry a more mature album. The previous attempts were great but I was not totally satisfied with the results so I kept at it until I knew and felt that my achievement was made, and it clearly shines through within the new album. I believe that ‘Heaven Bled’ is just as great a the earlier albums, all written and produced by myself for a wider range of musical tastes and catering for more people in all fields of metal.” Some people say that Hobbs’ Angel of Death play thrash metal in the Slayer vein while Peter himself refers to his music as “virgin metal”, an “untainted and pure form of metal”. Is this also true for “Heaven Bled”? “I'm glad you brought that question up. I played just before Slayer in Finland at Jalomettalii 2013 - a thirty year wait! I asked Kerry King the question if he felt or thought or heard that Hobbs’ was a Slayer cover band. His reply was ‘I've heard of Hobbs’ Angel of Death but no, you have your own style compared to us !!!!!!’ But it's a fact, I love Slayer!!!!!!” So, looks like this question has been answered once and for all. As said above, Peter wrote all the music for the new album and did all the arrangements himself. “I've been doing this since day one. I’ve had the songs on the new album in the works for many years, some of them I even wrote almost 30 years ago. I revamped some old riffs with the modern feel and it's paid off for the release of ‘Heaven Bled’.” Even though it seems to be a good guess, the opener “Il monstro di Firenzi” is not a contribution by bassist Alessio “Cane” Medici: “I had written this song some time ago but I was still looking for a title. A lot of my tunes are inspired by history, just like the cult song ‘Jack the Ripper’ from our debut album. Here it was the same: I did some research of where the murders where committed by the Florence monster and I actually walked around the areas and felt the ground and breathed the air and tried to put my self within the same frame of mind as these serial killers, so the song just fell into place.” “Heaven Bled” was recorded at the West Link Studio in Italy: “I had arranged to meet the engineer to get a feel of him and his studio. I walked in and saw the old school sound craft desk!!!!! I was at home and I new from seeing his equipment that Ovi could get me the sound I wanted, so I made the right choice. I'm very happy with the product, I knew exactly what I wanted and had full focus on every result.” When the debut came out Hobbs’ Angel of Death gained some early fame as “the other remarkable Australian thrash metal band besides Mortal Sin.” With the next album German Rock Hard magazine even went so far as to ask if they were “the better Slayer”. Peter’s comment on this: “Wow, I'm being called the better Slayer! I'm overwhelmed with that statement, but to be honest, it's not the first time I've heard that…everyone who knows me does know that I put my heart and soul into what I do as a professional, on the road and off the road. When touring I give it my full passion and execute the job as sincerely as I can.” Mr. Hobbs seems to be quite satisfied to see his new endeavour coming out on High Roller Records: “I’ve always had respect for companies that are trying to keep the industry alive, and High Roller Records is one of them, so I felt that we are on the same side and could work together as a team, and I'm sure we will put out some top quality in every aspect.” The album will come with a 7inch that contains a version of “Depopulation” from the “Inheritance” album, and another song called “Suicide”. Peter explains why he decided to include this little extra: “I wrote the song ‘Suicide’ many years ago and I wanted it to be on an album; it has a great 80s feel about it. ‘Depopulation’ was more or less a bonus track. One day I will re-record “Inheritance” and revamp these songs, but for now let's concentrate on one thing at a time.” He’s surely right, and the thing to concentrate on is of course the new album “Heaven Bled”: “My plan is to continue to tour world-wide and to promote this new Hobbs’ album and move it into the cult status the debut already has ...” Peter knows of course that this status would mean nothing if it wasn’t for his loyal Hobbs’ fans, thus his last words here go to them: “I’d like to thank all Hobbs’ supporters for the love and respect from people that is greatly given to me. You all have my respect in full return and I look forward seeing you all again on tour. Record Label: High Roller Records Style: Trash Metal

LP - Heavyweight Transparent Yellow Vinyl with Download. Hinds release their highly anticipated debut album entitled 'Leave Me Alone' via Lucky Number. Twelve ramshackle girl-gang garage pop tracks - a collision of the Raincoats, Thee Headcoatees, Kenickie and Mac deMarco, 'Leave Me Alone' is an exciting introduction to the fun-loving quartet pioneering the burgeoning indie music scene in Madrid. Kicking things off with their new single 'Garden,' Hinds take us on a badass rock and roll ride on their debut full-length 'Leave Me Alone'. Weaving sun-kissed, 60's-inspired melodies, executed with a genius call-and-response between co-vocalists and band co-founders Perrote and Cosials, Hinds create the ultimate soundtrack to the best day ever - from start to finish - spent with your four best friends. In addition to previously released fan favorites including the band's first-ever single 'Bamboo,' 'Castigadas En El Granero' - which translates in English to 'Grounded In The Barn' - and the band's first new song of 2015 'Chili Town,' 'Leave Me Alone' only gets better with each song. Featuring bright surf-pop tune 'San Diego,' the mixed-tempo 'Fat Calmed Kiddos,' and a bitter ode to shitty boyfriends in 'And I Will Send Your Flowers Back,' 'Leave Me Alone' is guaranteed to bring the Mediterranean sun to you wherever you are in the world at any time of the year Record Label: Lucky Number Style: Independent

On Locust Valley, Hella Comet put their shoegazing post rock talents to rest. They have made a point to delve into auditory stimulation and the abstraction thereof. Resting somewhere between sensuality and spirituality, song-oriented expression and sonic experimentation as an experience, they have made it "ok" to return to basic rock form. Record Label: Noise Appeal Style: Post-Rock

Album remastered from pristine LHI master tapes * Includes previously unheard versions of "Pray Them Bars Away" & "Easy & Me" * Liner notes by Hunter Lea including interviews with Torbjörn Axelman, Suzi Jane Hokom, Nina Lizell, Don Randi, Hal Blaine and Shel Talmy * Rare film production photos from the Torbjörn Axelman archive. Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources.for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success "Boots" had promised. Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling. While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. "I met Lee through my script girl, in Stockholm in 1969," remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship." The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles. Light In The Attic records is proud to continue its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers. Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound; lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times"), some beautiful ladies to sing with ("Leather & Lace" & "Hey Cowboy") and even a couple anti-war protest songs to be topical ("No Train to Stockholm" & "For A Day Like Today"). The David "Bitter Sweet Symphony" Whitaker arranged orchestral pop of "What's More I Don't Need Her" and the stone cold Hazlewood classic "The Night Before" cement the album as Lee's peak on LHI records and ironically the label's swan song Record Label: Light In The Attic Style: Singer/Songwriter

Built To Last» — новый, десятый студийный альбом флагманов шведского мелодичного пауэр-метал HammerFall, вышедший в ноябре 2016 года. HammerFall — известная шведская метал-группа, играющая хэви-пауэр-метал, основана в 1993 году. Коллектив имеет свой неповторимый имидж средневековых рыцарей-храмовников, а талисманом группы стал храмовник Гектор, присутствующий на всех обложках альбомов и синглов. Песни группы посвящены сражениям, походам, боевым гимнам и борьбе за справедливость. Альбомы HammerFall имеют успех в Скандинавии, неоднократно назывались «альбомами месяца» различными музыкальными изданиями, регулярно занимали высшие позиции в различных музыкальных рейтингах Швеции и удостаивалась премий. Альбом "(r)Evolution", вышедший на Nuclear Blast 27 августа 2014 года, разошелся в США тиражом около 1,9 тыс. экземпляров в первую неделю после релиза, заняв первое место в хит-параде «Heatseekers», в который попадают наиболее популярные альбомы новых и развивающихся артистов, чьи работы никогда не фигурировали в верхней сотне чарта Billboard.

DELUXE VINYL EDITION!!! Presented here across the three installments of this release and for the first time on vinyl, this legendary gig is now available for all to enjoy, some 45 years since that winter night in northern California when the Grateful Dead were the most inventive and creative act on the US touring circuit. Keith Godchaux joined Grateful Dead in mid October 1971 as a replacement on keyboards for the ailing Pigpen who was unable to undertake the rigors of touring in the late ‘71 season. The group were re-energised by this new intake of talent, and the brace of home-turf shows performed at Frisco’s Harding Theater across the 6th and 7th November weekend were rarely bettered at this juncture in the Dead’s career. The 500 seater Old Harding was a tiny venue for the group at a time when most local shows were either at Winterland or, occasionally, at the Berkeley Community Theater Record Label: Parachute Style: Psychedelic Rock

DELUXE VINYL EDITION!!! Presented here across the three installments of this release and for the first time on vinyl, this legendary gig is now available for all to enjoy, some 45 years since that winter night in northern California when the Grateful Dead were the most inventive and creative act on the US touring circuit. Keith Godchaux joined Grateful Dead in mid October 1971 as a replacement on keyboards for the ailing Pigpen who was unable to undertake the rigors of touring in the late ‘71 season. The group were re-energised by this new intake of talent, and the brace of home-turf shows performed at Frisco’s Harding Theater across the 6th and 7th November weekend were rarely bettered at this juncture in the Dead’s career. The 500 seater Old Harding was a tiny venue for the group at a time when most local shows were either at Winterland or, occasionally, at the Berkeley Community Theater. Record Label: Parachute Style: Psychedelic Rock

DELUXE VINYL EDITION!!! Presented here across the three installments of this release and for the first time on vinyl, this legendary gig is now available for all to enjoy, some 45 years since that winter night in northern California when the Grateful Dead were the most inventive and creative act on the US touring circuit. Keith Godchaux joined Grateful Dead in mid October 1971 as a replacement on keyboards for the ailing Pigpen who was unable to undertake the rigors of touring in the late ‘71 season. The group were re-energised by this new intake of talent, and the brace of home-turf shows performed at Frisco’s Harding Theater across the 6th and 7th November weekend were rarely bettered at this juncture in the Dead’s career. The 500 seater Old Harding was a tiny venue for the group at a time when most local shows were either at Winterland or, occasionally, at the Berkeley Community Theater. Record Label: Parachute Style: Psychedelic Rock

Newly remastered audio * Housed in a deluxe Stoughton tip-on jacket. Sometimes, it doesn't take very long to create something brilliant. When producer Robert Evans rejected Phillip Lambro's original score for Chinatown, Jerry Goldsmith was hired to create another, from scratch, in just 10 days. To say he rose to the challenge is an understatement. Goldsmith, a 20 year veteran of the TV and movie industry with credits including Dr Kildare, Planet Of The Apes and even The Waltons theme, turned in a work that was both a career peak for him and the saviour of Roman Polanski's masterpiece of neo-noir. What was clever about it? It wasn't quite straight jazz, it wasn't quite classical. It was identifiably a movie soundtrack, but an unusual one at that, leaning heavily on Uan Rasey's mournful trumpet solos, sparingly using pianos, harps, strings and percussion, and employing sounds and crashes as overtures. It doesn't try to speak to the film's 1930s setting so much as to the mood and feel of the movie, a piece about political and moral corruption in a water-starved LA featuring Jack Nicholson at the absolute top of his game. "I remember [Evans] speaking about the music having a contemporary feel, contemporary meaning the 0s," Goldsmith said in an interview before his 2004 death. "I said, [1]ob, I don't think so - you see that on the screen, why should I do that in the underscore? . Emotions are timeless.'" Originally released as a soundtrack in 1974, and long out of print, Cinewax's reissue is remastered from the original tapes and is presented as an exact reproduction of the original album artwork featuring Jim Pearsall's classic film art. Drop the needle and hear why Chinatown is, reportedly, David Lynch's favorite soundtrack. Goldsmith was right about emotions.. Record Label: Cinewax Style: Soundtrack

Howe Gelb does not stand still. His next solo album 'Future Standards' sees him fulfil a long time aspiration to play jazz standards. Inspired by the classics, his piano songs have found a clearer shape as "future standards" but have always been a central element to his creativity. Sitting neatly against his huge back catalogue of solo records, these compelling and timeless songs are alluringly melancholic and reflective. Often collaborating within his own bands and side projects, the album sees Howe (piano & vocals) joined by Thoger Lund (bass), Andrew Collberg (drums) and guests Lonna Kelley (vocals) and Naim Amor (guitar). Record Label: Fire Records Style: Singer/Songwriter

Four years after the inenarrable "Cerf, Biche et Faon", Julien Gasc ( Aquaserge, Stereolab) deliver us "Kiss me, you fool!" leads us far far away, into swarms of sound and sentimental, twisted tales, on a quest for illumination that traverses the rich palette of human passions. The title was taken from a graffiti discovered in the ladies' toilets of a London pub. It is through this peephole that we consider, like a voyeur, the paradoxical complexity of this album: At once witty, noble and degenerate, Julien struts his way through it with all the nonchalance of a night-owl dandy. A troubadour of modern times, he sings of unresolved love, self-mockery, the trivialities of daily life and the search for the Absolute. The fruit of an exceptional artistic collaboration (including Laëtitia Sadier (Stereolab), John Linger (Neils Children), Cathy Lucas (The Oscillation, Vanishing Twin), and Joe Watson), this contrasting, emotional and heterogenous album nonetheless forms a whole. Here, mirror plays, surrealistic songs and decadent poems unfold elegantly, seductive in their effortlessness. Countering the current norms, "Kiss me, you fool!" cultivates its powerful identity far from today's musical cliques and fads. Record Label: Born Bad Style: Punk

An incendiary and subversive new voice in music, Gaika joins the Warp roster and prepares for the release of his new Spaghetto EP. Since self-releasing his first mixtape just 10 months ago, Gaika has already been hailed as a favourite new artist by the music press. He has graced the cover of The Wire’s June issue and has been tipped by Fader, Dazed and Confused, Pigeons and Planes and i-D, among many more. For fans of Dean Blunt, Vybz Kartel, Hype Williams, Loyle Carner, AJ Tracey. LP format pressed on transparent vinyl in printed inner and outer sleeves with download card insert. Record Label: Warp Style: Electronic