Зарубежная музыка на виниле

Artist: PETE AND THE DINNER LADIES BENHAM Label: Antipop

Artist: PSYCHEGROUND GROUP Label: Cinedelic Records

Artist: Sonic Youth Label: Goofin Records

Artist: YVES TUMOR Label: Pan

Artist: Serpentine Dominion Label: Metal Blade

Artist: Red Death Label: Lockin' Out Records

Artist: OVAL Label: Uovooo

Not long after Polyvinyl Records released American Football’s self-titled debut album in 1999, the band called it quits, having only played a smattering of Champaign-Urbana college house parties and sets at small clubs like Chicago’s legendary Fireside Bowl before taking their own divergent post-undergrad paths. Such an inauspicious turn of events made what followed all the more incredible. Over time, the record went on to become one of Polyvinyl’s best selling releases to date, and ended up serving as “one of the single most influential rock records of its time” according to Noisey and many others. “No other flash-in-the-pan band seems to have connected so strongly and with as many people as American Football did,” wrote Stereogum. To most everyone that found them after the fact, the band was no more than an apparition. The record the only artefact left behind as a timeless snapshot of a group of individuals in transition, newly discovered each year by a fresh crop of music fans reaching a similar inflection point in their own lives. When American Football announced in 2014 that they would play live for the first time in 15 years, the built up appreciation for that eponymous LP physically manifested itself as they sold out 3 nights at Webster Hall in New York City in a matter of hours, and then went on to do the same at venues around the world. A quarter of a lifetime removed, and at times thousands of miles away from the house on the sleepy street in the middle of Illinois depicted on their debut album’s iconic cover, they found themselves playing to sold out crowds that numbered in the thousands in London, Tokyo, Barcelona and beyond. The forthcoming album American Football finds the band with new material that takes them on a serendipitous detour down a familiar road. It is replete with the swelling emotions that might be spurred on by locked away memories unearthed by a familiar scent or crack in the concrete, or the rush of warm apprehension when coming face to face with a lover left before the fire was close to going out. “The past still present tense” sings Mike Kinsella on 'Home Is Where The Haunt Is', but while the house on the cover and the title of the album are the same, they are made strange by time and new found perspective. “We’ve been here before,” he declares on album opener 'Where Are We Now?', “but I don’t remember a lock on the door.” At a time when reunions have become rote, American Football is decidedly an anomaly. There is no past glory to relive or reignite, nor the burden to branch out and break from a well worn formula. Seventeen years later everything still feels brand new, because for them it is. They are a band that for one reason or another closed the lid on their creative output just as they were beginning an unforeseeable upswing, and are just now after a stasis returning to uncork it with the benefit of greater maturity and better musicianship. The sound is even more expansive, the lyrics less naive and more world weary, the songs with greater depths to explore and layers to peel back throughout. “You can’t just forget all the other lives you’ve lived,” Kinsella sings, and every single one of the nearly two decades worth of experiences since they last put pen to paper as American Football seem to bleed through on this record. American Football is Steve Holmes (guitar), Mike Kinsella (vocals, guitar), Nate Kinsella (bass), and Steve Lamos (drums, trumpet). American Football was recorded this spring at ARC Studios in Omaha, NE and SHIRK Studios in Chicago, IL, and was produced by the band and Jason Cupp. Record Label: Pias Coop/Wichita Style: Alternative

Alabama Kids were the Netherlands' answer to Dinosaur Jr, and then some - a guitar driven, melancholic and melodic heavy rock band with a penchant for some psychedelic digressions. Drowsy Driver - their third, and final record -was their magnum opus and a time capsule of an age when alternative rock still meant rock!! Members of Alabama Kids went on to perform in 7Zuma7 and 35007.. Twenty three years after its first release, Stickman is excited to present Drowsy Driver, remastered on 180gm red vinyl with a CD version included. Turn on, tune down, and drop out!!! Record Label: Stickman Records Style: Alternative Rock

picture disc. DELUXE PICTURE DISC VINYL EDITION!!! A superb quality and previously unreleased AC/DC live broadcast recording from a gig performed by the group on the 21st August 1978 at the Boston Paradise Theatre in Massachusetts, on the North West of the US in the area known as New England. This recording remains a rare and much sought after artefact among enthusiasts and now available for the first time as a Limited Edition picture disc. SIDE A 1.Intro. 2.Live Wire 3.Problem Child 4.Sin City 5.Gone Shootin’ 6.Bad Boy Boogie SIDE B 7.The Jack 8.High Voltage 9.Rocker 10.Bon Interview 11.Dog Eat Dog 12.Outro. Record Label: Parachute Style: Hard Rock

Дебютный альбом "NEW SKIN" 2016 года, американской рок-группы CRX. Издание на 180-граммовом виниле. CRX - проект гитариста The Strokes Ника Валенси. Альбом отражает страсть Ника к пауэр-попу 70-х и нью-вейву 80-х.

Four studio albums, one live album, one EP, loads of concerts, festivals, touring: much has been happening for ZODIAC in the last five years. The journey started with their EP in 2011. Under supervision from Jens Siefert at Klangdressur Studios, their first ever output was recorded, mixed and mastered within five days and received very positive feedback. Its raw sound, its sincere passion and nonchalant attitude helped make it demo of the month in both Rock Hard and Visions magazines. The original presses of 300 CDs and 500 LPs were quickly out of stock. Demand for a repress has never been waning and now finally the band has decided to give the songs that they still very much love themselves a repress. The Zodiac EP will be released October 16, 2016 through Hound Records (Cargo) on Digisleeve-CD and Vinyl. Record Label: Honest Hound Style: Rock

The last year has seen Zion Train's 5th tour of Japan, 2nd tour of Australia and first tour of China as well as another packed European festival and club circuit. We celebrate with the release of this 3rd remix album featuring luminaries such as Dub FX and Vibronics - from Dub to Drum and Bass... Record Label: Universal Egg Style: Dub

The Soul / Funk / Blues highlight of the year! Organist extraordinaire“ RAPHAEL WRESSNIG and the Brazilian blues guitarist Igor Prado locked up themselves into the studio. The result is a spicy gumbo stew made of Soul, Old School R & B and funk, that will knock the fan‘s socks off and make their jaws drop! Furthermore renowned guests like Wee Willie Walker, David Hudson and Leon Beal assisted as support cooks. They can be enjoyed as guests at the vocals! After his celebrated forerunners Soul Gift and Soul Gumbo, the native of Graz strikes again by providing another further highlight! Record Label: Zyx/Pepper Style: Soul/Funk

Cubicolor present their debut album - ‘BRAINSUGAR’ - to be released in October on Anjunadeep (“One of the hottest electronic labels in the world” - Hype Machine). Having launched in 2014 with two members, Dutch producers Ariaan Olieroock and Peter Kriek, Cubicolor now welcome British vocalist , and former Duologue front-man Tim Digby-Bell into the band as their third member, following much loved collaborations on ‘Falling’ and ‘Mirror Play’ over the past 12 months. In his time with Duologue, Tim produced, co-wrote and sang on two records acclaimed by the likes of The Guardian, NME, DIY Mag and The Line Of Best Fit. On ‘Brainsugar’ we hear an evolution in Cubicolor’s sound across a host of diverse and infectious tracks, combining beautiful songwriting with brilliantly cohesive clarity, echoing their influences; Radiohead, Massive Attack and Moderat to name a few. Tim’s lyrical depth and haunting vocal style shine throughout the album, which features 8 vocal tracks and 4 instrumentals. The LP’s first single ‘Falling’ is a cascading piece of melancholic house music, which has amassed over 4 million plays on Spotify, topped Beatport’s Electronica chart, and been featured on global specialist radio (including BBC Radio 1, BBC 6 Music, KCRW, KEXP, SiriusXM Chill, 1Live, Rai 2, 3FM and Studio Brussels). Released alongside the announcement of the album, ‘Dead End Thrills’ is a fusion of Cubicolor’s trademark sounds, blending trippy atmospheric electronica, layered with textured melodies with Tim’s poignant vocals. Record Label: Anjunadeep Style: Dance/Pop

Originally released in 1962, Twist Uptown, is the first LP from The Crystals, released on the heels of their singles chart successes with "Uptown" and "There's No Other (Like My Baby)". Produced by Phil Spector and featuring numerous tunes from the legendary Brill Building team of Cynthia Weil and Barry Mann, Twist Uptown is the epitome of the early 60s teenage sound. The LP also includes the original version of "On Broadway" which would be a massive hit for The Drifters the following year. Essential 60s American pop R&B from the master. Record Label: Rumble Records Style: Rock

Mapping The Rendezvous is the fifth, brand album from Courteeners. Recorded in Paris and at Real World Studios, it is their 5th studio album and produced by the band’s regular collaborator Joe Cross. Frontman Liam Fray says of the album - “We’ve finally finished our best (and dare I even suggest, sexiest) set of songs ever so get ready to unleash your inner Danny Zuko and prepare to be (at least mildly) impressed.” Record Label: Ignition Style: Indie Rock

Record Label: Timmion Style: Soul

Hey guys! Hearing new music is always pretty exciting and it's something I'll probably never get tired of. I feel very lucky to be in the position where strangers send me there music before it's out and ask me to review it. But I have to admit that it's always very wonderful when that request doesn't come from strangers, but from acts I've known for a while. And that's the case with today's album review; I've known Ben Barritt for a few years now, we've worked together multiple times and it's always been a lot of fun. The release of his debut album was something we've spoken about quite often and now that it's just around the corner, I'm absolutely stoked for him! Ben Barritt is a musician based in Berlin, Germany. As a guitarist the variety of genres he plays is incredibly wide - from touring with Americana singer/songwriter Erik Penny to touring and recording with indie folk-rock artist Jim Kroft - Ben does it all. His own sound blends an impressive amount of genres; from soft and calm acoustic tunes, to folky rhythms to souly jazz songs with sprinkles of rock and r'n'b. Originally being from London, England, a lot of his songs tell stories about the little things at home: walking through the dark streets on the way back from the pub or using the London underground to see the person you love. A few of those stories can be found on Ben's EP "Sundial", but he's about to share even more of his music on his upcoming debut album "What Would You Like To Leave Behind?" which I'm going to review for you today. Record Label: Recordjet Style: Folk/Pop

One of the biggest “re-discoveries” of obscure eighties US Metal/Hard Rock are Ashbury from Tuscon in Arizona. The band, led by brothers Randy and Rob Davis, did originally record two very hard to find albums: »Endless Skies« in 1983 and the (belated) follow-up »Something Funny Going On« (issued in 2010). However, the roots of the band go way back to the late 1970s, when multi-instrumentalist Randy Davis formed his very first band in Southern Oklahoma. “That was before Ashbury proper,” explains Randy. ”It was in late 1977 that Ashbury South was formed in Oklahoma. In early 1980 Rob and I returned to Tucson and formed Ashbury in June 1980. The original line-up of that band broke up a year later. Ashbury proper was born at that time as Rob and I were writing music and our long term objective was to record original music and we knew we had to have the right elements in place for that. Ironically, it would turn out that just the two of us would become the base for Ashbury, both then and now.” The story goes that Ashbury was offered an album deal by a major company(from Los Angeles) in the early 1980s. Which company was that? ”The label was Polydor,” states Randy, “and the 'offer' came in September 1983. We had recorded »Endless Skies« and self released the LP in May of the same year. Rob was 'shopping' it around all the major labels in L.A. (and agencies like William Morris). We were looking for a major label's interest in order to possibly re-record the album again (maybe with a larger budget and major label producer), or to at least gain better distribution, etc. Ashbury had only existed as a 'cover' band up until the release of »Endless Skies«, so we had not attracted the interest of A&R people at the major labels. The label, however, wanted to 'shelve' the whole record and sign us for something entirely different. They had in mind an acoustic sound featuring our songwriting and vocal harmony skills (i. e.: England Dan & John Ford Coley). We were not interested in that and turned them down. Ironically, we now perform an acoustic show as a duo and it is a major source of our music income. We perform the show locally here in Tucson, but have also performed acoustically as a duo in Greece and Sweden, while there to perform Ashbury shows.” The original vinyl edition of »Endless Skies« came out in 1983 (with a circulation of 1,000 copies). ”It was a complete indie project all the way,” states Rob Davis. “The early processes were handled by Randy and another guy who was instrumental in putting everything together. His name is Stone Age, he went on to found other Metal bands like Butcher. He also was the artist that conceived and drew our 'Rocker' logo, and he found the artist Ernie Polo that painted the artwork for the »Endless Skies« cover (from our own conception). We worked mostly on a budget of $ 5,000 for the entire project, financed by a backer named Mac Whitton. Our distribution was through Tower Records in the western U.S. ... and we put that together ourselves also. Tower Records was the #1 "Record" store in the western U.S., and we had secured distribution in several western states.” Ashbury's sound has sometimes been compared to Jethro Tull, would that be a fair comparison? ”We both have a big smile on our face with that question”, expain the Davis brothers. “Yes, we are proud to be compared with Jethro Tull, and can easily live with that comparison. Jethro Tull and Ian Anderson's writing were a huge influence on us both. Ironically, Ian Anderson and Martin Barre were the stable members of the band while many others came and went, similar to us, except for the amount of success and sales - haha - that's where the comparison ends!” The first album does feature an iconic artwork. Who was responsible for it and what does the cover signify? ”Responsibility for the concept lies with Randy, Rob and Stone Age,” is the answer to the question. “Once we knew what we wanted, the search for the right artist began. Stone Age was not only a musician, but a very good artist (remember he conceived and drew our 'Rocker' logo), but he felt the cover art needed a more talented artist/painter than he was. He began the search, and found an artist named Ernie Polo working in Tucson, and subsidizing his art by selling shoes in a mall shoe store. We commissioned him and with relative ease he delivered the painting in just a couple of weeks. The cover signifies Creation, and the choices we all make. The cover obviously coincides with the opening song 'The Warning', about the Prophet who warns against bad choices, evil and greed. The final touch was a 'fantasy' setting, a look just off from any real world appearance.” Were Ashbury catering to a metal audience back then at all? Or were they exclusively playing to normal rock audiences (locally?) in the States? ”Exactly!,” exclaims Randy Davis. “We were playing to 'Rock' audiences in night clubs throughout the western U.S. We did not consider anything about Ashbury to be catered to a 'Metal' audience. The irony might be that Stone Age was as "Metal" as Metal gets. During pre-production, he actually mentioned that we needed to have at least one song to appeal to the Metal fans, and we wrote 'Vengeance' at that time and Stone was very thumbs up on the song. Looks like he was right.” Randy and Rob Davis are playing as brothers in Ashbury, they have always been the core of the band: ”We would not continue performing as Ashbury without both being involved. We write independently, and also together, therefore the very creation of the music would be different if one of us left the band. We also both sing lead vocals, so the sound of the band would be altered. I might refer to a recent tour concerning Styx - touring without Dennis DeYoung - therefore it's NOT Styx Record Label: High Roller Records Style: Metal

One of the biggest “re-discoveries” of obscure eighties US Metal/Hard Rock are Ashbury from Tuscon in Arizona. The band, led by brothers Randy and Rob Davis, did originally record two very hard to find albums: »Endless Skies« in 1983 and the (belated) follow-up »Something Funny Going On« (issued in 2010). However, the roots of the band go way back to the late 1970s, when multi-instrumentalist Randy Davis formed his very first band in Southern Oklahoma. “That was before Ashbury proper,” explains Randy. ”It was in late 1977 that Ashbury South was formed in Oklahoma. In early 1980 Rob and I returned to Tucson and formed Ashbury in June 1980. The original line-up of that band broke up a year later. Ashbury proper was born at that time as Rob and I were writing music and our long term objective was to record original music and we knew we had to have the right elements in place for that. Ironically, it would turn out that just the two of us would become the base for Ashbury, both then and now.” The story goes that Ashbury was offered an album deal by a major company(from Los Angeles) in the early 1980s. Which company was that? ”The label was Polydor,” states Randy, “and the 'offer' came in September 1983. We had recorded »Endless Skies« and self released the LP in May of the same year. Rob was 'shopping' it around all the major labels in L.A. (and agencies like William Morris). We were looking for a major label's interest in order to possibly re-record the album again (maybe with a larger budget and major label producer), or to at least gain better distribution, etc. Ashbury had only existed as a 'cover' band up until the release of »Endless Skies«, so we had not attracted the interest of A&R people at the major labels. The label, however, wanted to 'shelve' the whole record and sign us for something entirely different. They had in mind an acoustic sound featuring our songwriting and vocal harmony skills (i. e.: England Dan & John Ford Coley). We were not interested in that and turned them down. Ironically, we now perform an acoustic show as a duo and it is a major source of our music income. We perform the show locally here in Tucson, but have also performed acoustically as a duo in Greece and Sweden, while there to perform Ashbury shows.” The original vinyl edition of »Endless Skies« came out in 1983 (with a circulation of 1,000 copies). ”It was a complete indie project all the way,” states Rob Davis. “The early processes were handled by Randy and another guy who was instrumental in putting everything together. His name is Stone Age, he went on to found other Metal bands like Butcher. He also was the artist that conceived and drew our 'Rocker' logo, and he found the artist Ernie Polo that painted the artwork for the »Endless Skies« cover (from our own conception). We worked mostly on a budget of $ 5,000 for the entire project, financed by a backer named Mac Whitton. Our distribution was through Tower Records in the western U.S. ... and we put that together ourselves also. Tower Records was the #1 "Record" store in the western U.S., and we had secured distribution in several western states.” Ashbury's sound has sometimes been compared to Jethro Tull, would that be a fair comparison? ”We both have a big smile on our face with that question”, expain the Davis brothers. “Yes, we are proud to be compared with Jethro Tull, and can easily live with that comparison. Jethro Tull and Ian Anderson's writing were a huge influence on us both. Ironically, Ian Anderson and Martin Barre were the stable members of the band while many others came and went, similar to us, except for the amount of success and sales - haha - that's where the comparison ends!” The first album does feature an iconic artwork. Who was responsible for it and what does the cover signify? ”Responsibility for the concept lies with Randy, Rob and Stone Age,” is the answer to the question. “Once we knew what we wanted, the search for the right artist began. Stone Age was not only a musician, but a very good artist (remember he conceived and drew our 'Rocker' logo), but he felt the cover art needed a more talented artist/painter than he was. He began the search, and found an artist named Ernie Polo working in Tucson, and subsidizing his art by selling shoes in a mall shoe store. We commissioned him and with relative ease he delivered the painting in just a couple of weeks. The cover signifies Creation, and the choices we all make. The cover obviously coincides with the opening song 'The Warning', about the Prophet who warns against bad choices, evil and greed. The final touch was a 'fantasy' setting, a look just off from any real world appearance.” Were Ashbury catering to a metal audience back then at all? Or were they exclusively playing to normal rock audiences (locally?) in the States? ”Exactly!,” exclaims Randy Davis. “We were playing to 'Rock' audiences in night clubs throughout the western U.S. We did not consider anything about Ashbury to be catered to a 'Metal' audience. The irony might be that Stone Age was as "Metal" as Metal gets. During pre-production, he actually mentioned that we needed to have at least one song to appeal to the Metal fans, and we wrote 'Vengeance' at that time and Stone was very thumbs up on the song. Looks like he was right.” Randy and Rob Davis are playing as brothers in Ashbury, they have always been the core of the band: ”We would not continue performing as Ashbury without both being involved. We write independently, and also together, therefore the very creation of the music would be different if one of us left the band. We also both sing lead vocals, so the sound of the band would be altered. I might refer to a recent tour concerning Styx - touring without Dennis DeYoung - therefore it's NOT Styx Record Label: High Roller Records Style: Metal

Hailing from Reynosa, Mexico and the Lower Rio Grande Valley in Texas, Andres Aguirre has been a lifelong devotee for music and audio production. He became a radio host of an electronic music show and production director for the student-run 91.7 FM station in Austin, and his longtime passion for playing and collecting music linked Andres with the Forbidden Colours family from long ago. Aguirre returns to Forbidden Colours - this time with a solo EP concept crafted with as much love for the dance floor as it is for the casual living room listener. Situated somewhere in the realm of deep house with a touch of techno, the rich harmonies and vivid textures take you through a hypnotic trip composed of spacey electronic tracks, smooth songs, and adventurous interludes. My love wears forbidden colours My life believes My love wears forbidden colours My life believes in you once again Record Label: Forbidden Colours Style: House/Techno

THE EARLIEST RECORDINGS OF PRINCE IN 3LP BOX SET. ..Each album in the collection has received a new, pure analogue remastering from Pepé Willie's original tapes by Matt Colton at Alchemy Studios. The box set includes an in-depth sleeve notes feature exclusive and revealing interview with Pepé Willie, and 3 LPs pressed on 180g heavyweight audiophile vinyl . Record Label: Charly Style: Funk

THE EARLY WORK OF A MUSICAL GENIUS WHICH BECAME A STAPLE OF THE MINNEAPOLIS SOUND FOR DECADES TO COME. Limited edition 1st 1000 LPs will be pressed on purple 180-gram audiophile-quality vinyl. "What makes these recordings particularly special is that they reflect an important element in the development of the Minneapolis Sound - a phenomenon brought to the world's attention by the emergence of Prince. And the outstanding contributions that Prince brought to these recordings are testimonial to his phenomenal, precocious abilities at such a young age." PEPÉ WILLIE, founder 94 East. This latest Charly re-issue holds the earliest known recordings of Prince, made with Pepé Willie's band - 94 East, recorded between December 1975 and February 1979. On the record, Prince contributes electric guitar, guitars, bass, keyboards, synths, organ, drums, harmony and backing vocals and is clearly heard on all of these historic recordings. This release has received a new, pure analogue re-mastering from Pepé Willie's original tapes by Matt Colton at Alchemy Studios, and pressed on 180g heavyweight audiophile vinyl by Optimal Media, GmbH, Germany. Record Label: Charly Style: Funk

Artist: Orang-Utan Label: HIFLY

2 × Vinyl, LP, Album, Reissue

Record Label: Another Century Style: Metal