• Η Β-otherSide Records με χαρά παρουσιάζει την κυκλοφορία του ορχηστρικού άλμπουμ των Διάφανων Κρίνων "Ο γύρος της μέρας σε ογδόντα κόσμους" για πρώτη φορά σε διπλό βινύλιο. Το άλμπουμ κυκλοφόρησε το 2005 σε μορφή Βιβλιό-cd, περιλαμβάνοντας εκτός από τις 11 συνθέσεις, ένα βιβλίο 150 σελίδων με στίχους, προσωπικές καταθέσεις των μελών και πρωτότυπα σχέδια του Θάνου Ανεστόπουλου. Στο 5ο άλμπουμ των Διάφανων Κρίνων, ο ήχος έχει αποκρυσταλλωθεί σε post-rock μονοπάτια τα οποία αναδεικνύουν τις εκτελεστικές δυνατότητες της μπάντας. (B-otherside Records/Mr.Vinylio)
  • Out of stock

    DAVID BOWIE | low | LP

    20.00 incl. tax
    2018 Remastered Version. The first of Bowie's legendary Berlin trilogy and the one that broke the most ground. It also caused so much consternation in the NME offices that they ran two reviews, one praising it to the skies, the other bewildered by Bowie's move towards the chilly electronic sounds that bore the influence of krautrock, particularly that of Kraftwerk and Neu! Collaborating with Brian Eno and produced by the genius Tony Visconti, Low is an album of two distinct halves. Side one ( in old money) is full of quirky oddball pop vignettes, the highlight being the incredible Sound and Vision, a hit for Bowie in 1977. Side two was the side which upset some people, four long icy instrumentals evoking the spirit of the city of Berlin, split into two halves by the wall, and the mood of the eastern bloc in general (see Warszawa). Now, of course, these tracks are seen as a blueprint for much that was to come over the following decade, and even furter, but at the time, it so so surprising and so groundbreaking that many didn't know what to make of it. (Parlophone Records)
  • Out of stock

    MELVINS | hold it in | LP

    18.50 incl. tax
    Continuing their ongoing string of lineup experiments, Melvins stalwarts Dale Crover and King Buzzo team up with Butthole Surfers' Paul Leary and J.D. Pinkus on Hold It In. With such a distinct sound, the band's various personnel changes often feel somewhat superfluous, offering a variation on their usual sound without altering things too far from the kind of sludgy goodness listeners have come to know and love. With the addition of Pinkus and Leary, however, it feels as though a very fundamental shift has occurred, taking the band's sound in some very different, and interesting, new directions. Although the album's opener, "Bride of Crankenstein," feels like classic Melvins with its constant assault of crunchy riffs and grimy production, Hold It In enjoys a radical change in tone on "You Can Make Me Wait," a laid-back rocker with a groovy, slacker vibe that leaves it feeling more like Ween than the Melvins. Meanwhile, "Eyes on You" finds the band doing a freaked-out impression of a straight-ahead blues-rock number, pairing a rowdy, stomping beat (with handclaps and all) with oddly paranoid vocals. Those songs were penned by Leary, and the decision to hand the control to someone else is a bold one on Crover and Buzzo's part. Though the album contains plenty of odd twists and turns, there's enough of the old Melvins to keep things from straying too far from home, offering more than a few comforting oases for listeners to refresh themselves before they head out to explore some of Hold It In's weirder moments, making for a mix of the strange and the familiar that feels like classic Melvins without necessarily sounding like the bandmembers are borrowing ideas from themselves. (Ipecac Recordings)
  • Out of stock
    The debut and best album from Killing Joke from 1980. It is a dark, obsessive and dangerous album. The band backed its occult-inspired, apocalyptic message with tribal drums, rubber funk bass...and droning guitars. Years later it still sounds inspirational and deranged. ‘Killing Joke’ – the classic debut album featuring such key tracks as ‘Requiem’, ‘Wardance’ & ‘The Wait’ (covered by Metallica in 1987). The gatefold artwork has been lovingly recreated by original designer Mike Coles, the sole addition being a striking silver pantone on the sleeve. (Spinefarm Records)    
  • Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP. By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7”. Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7” were released. That same year, the band recorded and released the 7” of The Model/He’s A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up. (Touch And Go Records)
  • TENANTS | stations | LP

    11.00 incl. tax
    Noise rock από Αθήνα. Περιορισμένη έκδοση 200 αντιτύπων σε μαυρο βινυλιο. (Self Released) https://tenantsgr.bandcamp.com
  • Out of stock
    Description: Gatefold sleeve Black heavyweight LP Printed inner sleeve loveless is widely considered a flawless whole and rightly regarded as a masterpiece; a 1990s equivalent to Pet Sounds, In A Silent Way or Innervisions, a record constructed by exploring the edges of what a recording studio is capable of. It is a record best experienced as a whole, in one sitting - a listening experience like no other and unmatchable in its sonic brevity Buy and receive an instant download of the full release now. Comes with an MP3 and WAV download card. (Domino Records)
  • Out of stock
    Recorded live in their hometown Seattle right before they became superstars, this radio broadcast documents the prime time of a band who redifined the whole idea of indie rock and created a legend. Features most classic tracks from Bleach and Nevermind. Fully broadcast on the KNOD-FM US radio station. (Mind Control Records)
  • Back in stock
    Originally released in June of 1982, the debut album by the Cocteau Twins is considered far darker than some of their later offerings, being influenced by Siouxsie and the Banshees, early Cure and the Birthday Party. During this early period, Will Heggie's bass played a significant role in defining their sound, giving it a darker and heavily rhythmic, earthy texture. This combined with Robin Guthrie's minimalistic and heavily effected guitar arrangements; a great deal of distortion and feed-back, smoothed out with chorus, reverb and flanger. Beneath is the roland 808 drum machine thumping along, as distinctively Cocteau sounding as the guitar. All while Elizabeth Fraser seemed to veer into glossolalia and mouth music. Garlands marks the beginning of their haunting ethereal sound. A masterpiece. The debut album remastered from the original analogue tapes. MP3 download coupon included. (4AD)
  • Out of stock

    UNWOUND | repetition | LP

    23.00 incl. tax
    Dead-eyed post-punk from Olympia’s reigning noise-niks. Repetition rejects the major label signing spree of the mid-’90s entirely, training its hulking focus on haircut hardcore, white belt Jiujitsu, and frenzied feedback. The soundtrack to a fantasy Halloween candy heist, now on vinyl for the first time since 1996. (Numero Group Records)
  • The 12th studio album from Pink Floyd was originally released in 1983 and was the last album to include founding member Roger Waters. ‘The Final Cut’ was another global chart-topper for Pink Floyd. During the Falklands War and the era of Thatcherism, this anti-war concept album explored the themes of fallen servicemen, the loss of loved ones and political betrayal. Pink Floyd 2016 Remasters Remastered from the Original Master Tapes 180 Gram Audiophile Vinyl Mastered by James Guthrie and Joel Plante Vinyl cut by Bernie Grundman Pressed in Europe Reproduction of Original Artwork Gatefold Cover On 3 June 2016, Pink Floyd Records will begin the reintroduction of the Pink Floyd catalogue on vinyl for the first time in over two decades. Pink Floyd Records will reproduce the vinyl catalogue throughout the year with release dates being announced at regular intervals. Special care has been taken to replicate the original packaging. The first batch of releases, mastered by James Guthrie, Joel Plante and Bernie Grundman will be pressed on 180gram vinyl for optimum sound quality. Pink Floyd featuring Syd Barrett, Roger Waters, Rick Wright and Nick Mason first broke onto the music scene in 1967, with the hit single ‘Arnold Layne’. Despite the departure of Syd Barrett, the group, which now included David Gilmour, recorded some of the most innovative and ground breaking records of the time, culminating in 1973 with one of the biggest selling albums of all time, ‘The Dark Side Of The Moon’. There followed numerous global number 1 albums, including, ‘The Wall’, ‘Animals’, ‘Wish You Were Here’, ‘The Final Cut’ and 2014’s finale, ‘The Endless River’. Pink Floyd Records releases will be manufactured and distributed by Warner Music for the UK and Europe and by Sony Music for North America and the rest of the world. Waters originally planned the album as a soundtrack for the 1982 film Pink Floyd - The Wall. However, he re-wrote it as a concept album exploring the betrayal of his father who died serving in World War II. "The Final Cut extends the autobiography of The Wall, concentrating on Roger Waters' pain when his father died in World War II. Waters spins this off into a treatise on the futility of war, concentrating on the Falkland Islands, setting his blistering condemnations and scathing anger to impossibly subdued music that demands full attention. This is more like a novel than a record, requiring total concentration since shifts in dynamics, orchestration, and instrumentation are used as effect. This means that while this has the texture of classic Pink Floyd, somewhere between the brooding sections of The Wall and the monolithic menace of Animals, there are no songs or hooks to make these radio favorites. The even bent of the arrangements, where the music is used as texture, not music, means that The Final Cut purposely alienates all but the dedicated listener. Several of those listeners maintain that this is among Pink Floyd's finest efforts, and it certainly is an achievement of some kind -- there's not only no other Floyd album quite like it, it has no close comparisons to anybody else's work (apart from Waters' own The Pros and Cons of Hitch Hiking, yet that had a stronger musical core). That doesn't make this easier to embrace, of course, and it's damn near impenetrable in many respects, but with its anger, emphasis on lyrics, and sonic textures, it's clear that it's the album that Waters intended it to be." - Thomas Erlewine, All Music (Pink Floyd Records)
  • 'Obscured by Clouds' is the soundtrack to the movie of the same name. Directed by Barbet Schroeder and starring Bulle Ogier and Jean Pierre Kalfon, the movie was originally known as 'La Vallee'. The last in Pink Floyd's series of 1970s film-inspired works, 'Obscured by Clouds', like much of the band's music, has a cinematic feel. In retrospect, however, the album sounds like a warm-up for - or even a collection of high-quality outtakes from - Floyd's next and greatest record, 'Dark Side of the Moon'. The opening title track is the sort of proto-ambient music that Pink Floyd helped pioneer and, with its spooky slide guitar, sounds uncannily like some of Eno's work with U2. After another instrumental, the album takes a more traditional, song-based turn and the next seven tunes cover a dizzyingly diverse array of styles. There is stomping, Grand Funk Railroad-style hard rock and gentle ballads like 'Stay' and 'Burning Bridges' (which recalls Hendrix's 'Little Wing'). 'Childhood's End,' a funky psychedelic number, sounds like a work-in-progress version of Dark Side's 'Time.' David Gilmour, especially, is on top form. Whether creating Robert Fripp-esque soundscapes or blistering Clapton-style blues solos, Gilmour always plays for the song, effortlessly walking the thin line between guitar hero and ensemble musician. throughout, the band weaves a beautiful, yet decidedly un-flashy, tapestry of sound that makes for a subtle, varied, and ultimately essential Pink Floyd album. LP - 180 Gram Vinyl - Stereo Remastered. (Pink Floyd Records)
  • Out of stock
    Back in stock
    Compilation taken from this Soul legend’s (R.I.P) Ska and Reggae cover live sessions. 12 tracks, includes inlay. Trackliste A1 Hey Little Rich Girl A2 Just Friends A3 Monkey Man A4 Cupid A5 You'Re Wondering Now A6 Ghost Town B1 Back To Black B2 Hey Little Rich Girl B3 Monkey Man B4 Cupid B5 A Message To You, Rudy B6 Free Nelson Mandela (2 Tone Records/Unofficial Release)
  • Out of stock
    The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardust) is the fifth studio album by English musician David Bowie, released on 16 June 1972 in the United Kingdom by RCA Records. It was produced by Bowie and Ken Scott and features Bowie's backing band the Spiders from Mars — Mick Ronson, Trevor Bolder and Mick Woodmansey. Most of the songs were written around the same time as its predecessor Hunky Dory. After that album was completed, recording for Ziggy Stardust commenced in November 1971 at Trident Studios in London, with further sessions in early February 1972. Described as a rock opera and a loose concept album, Ziggy Stardust concerns Bowie's titular alter ego Ziggy Stardust, a fictional androgynous, bisexual rock star who is sent to Earth as a savior before an impending apocalyptic disaster. The character was inspired by numerous musicians, including English singer Vince Taylor. Most of the album's concept was developed after the songs were recorded. The character was retained for the subsequent Ziggy Stardust Tour. A concert film of the same name, directed by D. A. Pennebaker, was filmed in July 1973 and released in 1979, and a live album from the same show followed in 1983. The music on Ziggy Stardust has been characterised as glam rock and proto-punk. Unlike its predecessor Hunky Dory, which was generally piano-led, the songs on Ziggy Stardust are primarily guitar-based, mostly due to the departure of keyboardist Rick Wakeman. The songs were influenced by Iggy Pop of the Stooges, Lou Reed of the Velvet Underground, and Marc Bolan of T. Rex. The album's lyrics discuss the artificiality of rock music, political issues, drug use, sexual orientation and stardom. The album cover, photographed by Brian Ward in monochrome and recoloured by Terry Pastor, was taken in London, outside the home of furriers "K. West". Preceded by the single "Starman", Ziggy Stardust peaked at number 5 on the UK Albums Chart and number 75 on the US Billboard 200. The album received widespread critical acclaim and, following his performance of "Starman" on the English television programme Top of the Pops, propelled Bowie to stardom. Not wanting Ziggy to define him, Bowie created a new character, Aladdin Sane, for his next album, which Bowie described as "Ziggy goes to America". It has since been called one of the most important albums in the glam rock genre and one of the greatest albums of all time. The album has been reissued several times and was remastered in 2012 for its 40th anniversary. In 2017, it was selected for preservation in the National Recording Registry, being deemed "culturally, historically, or artistically significant" by the Library of Congress. (Parlophone/2020)
  • Back in stock
    Legacy collects together some Bowie’s finest singles from his first hit, 1969’s Space Oddity through to the final singles Lazarus and I Can’t Give Everything Away from 2016. They also sound better than ever spread over 4 sides of vinyl. Stuffed to the gills with classic songs, Legacy also features a previously unreleased version of the classic 1971 single ‘Life On Mars?’ mixed by its original producer Ken Scott. In over fifty years from his very first recordings right through to his last album Blackstar, David Bowie was at the vanguard of contemporary culture as a musician, artist, icon and a constant influence on generations of writers, artists and designers. Bowie left a legacy of inspiration in every discipline from art to fashion to acting and beyond but it is for the groundbreaking music that he will mostly be remembered. Disc: 1 1. Let's Dance (Single Version) 2. Ashes to Ashes (Single Version) 3. Under Pressure 4. Life on Mars? 5. Changes Disc: 2 1. Oh! You Pretty Things 2. The Man Who Sold the World 3. Space Oddity 4. Starman (Original Single Mix) 5. Ziggy Stardust Disc: 3 1. The Jean Genie (Original Single Mix) 2. Rebel Rebel 3. Golden Years (Single Version) 4. Dancing in the Street 5. China Girl (Single Version) Disc: 4 1. Fame 2. Sound and Vision 3. Heroes (Single Version) 4. Where Are We Now? 5. Lazarus (Radio Edit) (Parlophone/2017)
  • Out of stock
    Color Vinyl
    Limited Edition Colored Vinyl + Poster and Lyrics. (Geffen Records/Unofficial Release/2014)
  • Out of stock
    Color Vinyl
    Limited Edition Colored Vinyl + Poster and Lyrics. (Geffen Records/Unofficial Release/2014)
  • Out of stock
    Tracks on A side are new, previously unreleased. Tracks B3, B4 recorded live at Moni Lazariston 2/9/2013. 180gr black vinyl, Limited to 160 numbered copies. (Smash Records)
  • Out of stock
    Tracks on A side are new, previously unreleased. Tracks B3, B4 recorded live at Moni Lazariston 2/9/2013. 180gr black vinyl, Limited to 160 numbered copies. (Smash Records)
  • Out of stock

    THE EX | 27 passports | LP

    17.00 incl. tax
    The Ex released their previous regular studio album as a 4-piece (Catch My Shoe) in 2010. While that might seem like a long stretch, their schedule since then tells you another story. The band also released a second album with Ethiopian legend Getatchew Mekuria, and another one with Brass Unbound, featuring several of their friends from the realm of free improvisation. On top of that, there were also a few 7″ split singles, several phenomenal birthday festivals and a lavish photo book that was published as a tribute to the late Getatchew Mekuria in 2016. But now there’s new music. With the unmistakable “Ex energy”. The three-pronged guitar approach is still as exciting as ever, with the guitars of Andy Moor, Terrie Hessels and Arnold de Boer creating tense, interlocking webs of connections and drummer Katherina Bornefeld pushing the band with dancing, hypnotic patterns. There are some remnants of their African adventures, but most of all, this is a return to the power of The Ex as a unit that effortlessly juggles noisy/disjointed guitar parts, trance-like grooves, defiant chanting and a relentless, infectious drive. Colourful and fierce at the same time, 27 Passports once again expands their horizon and enriches their sound, while remaining true to the core of their philosophy: “Forward In All Directions!”. Includes 36-page photo book with photos by Andy Moor. Recorded at Electric Monkey Studio, Amsterdam, by Kasper Frenkel. October 16 + 17, 2017. (EX Records)
  • Repress of the first solo full length by the mighty Mr. Anzalone, better known as Danzig. This record is very far from punk rock, indeed the music is sort of ambient/electronic/avantgard rock. (Plan 9 Records/Unofficial Release)
  • 40th Anniversary reissue of the first album featuring Nick Cave, before the band’s name morphed into The Birthday Party and prior to the formation of his next band, Nick Cave and the Bad Seeds. Includes the classic “Shivers,” which has recently been covered by the likes of Cat Power and Courtney Barnett, to name a few. Door, Door' basically is the debut album by The Birthday Party, though it was originally released under the name The Boys Next Door in 1979. The album was recorded before the band left Australia for London in 1980, at which point they changed their name to The Birthday Party and created the body of work for which they are most recognized. The album is different stylistically from their later work, being less dark and slightly more poppy. This will be the first time the album will be issued on vinyl in many territories including the U.S. (Warner Music Australia)
  • Out of stock
    The Ex have hooked up with one of the most powerful horn sections imaginable and sparks are sure to fly. Since 1979 this inspired, intrepid and seminal band has consistently pushed the envelope, plotting a restless course from their anarchist punk origins to embrace everything from fractured noise to Ethiopian groove. Their thrillingly raw and rhythmic rock sound is born from their ideals, musical friendships/networks and work ethic. Alive to the moment, they are sometimes described as “experimental trance-dance avant-afro-punk improv music” and no one knows what descriptions this metamorphosis will conjure up. The Ex plan to unleash a new wild and combustible show in collaboration with four of the world's most powerful and performative horn players for some in-the-red swing time. Brass Unbound comprise Swedish force of nature Mats Gustafsson (saxophone), Chicago jazz heavyweight Ken Vandermark (saxophone), Italian wild card Roy Paci (trumpet) and boundary busting classical/futurist Wolter Wierbos (trombone). The line up is dexterous and dangerous, as players, improvisers and entertainers, this group is nothing short of phenomenal. Expect fireworks. The Ex have been involved in a steady stream of boundary-breaking collaborations, releases, tours and films that have established them as a unique but under-acknowledged force in rock music, who are always on the move, but always sound like The Ex. (EX Records)
  • Out of stock
    ‘‘It doesn't sound good on paper: Classic 30-year-old punk band loses vocalist, replaces him, and immediately records and releases a new album. Imagine the Buzzcocks with a ringer on the mic, for example. But the Ex is no ordinary band. This is possibly the most evergreen band that's ever existed, and Catch My Shoe is no exception. G.W. Sok's back-of-the-mix Cockney half-bark is missed, but his replacement Arnold de Boer, of Ex collaborator Zea, does a remarkable job in his stead, offering a voice of an entirely different power, a weird combination of loud and calm, between seething chant and pub-conversational. But, more than that, he offers a third guitar and, oh my, the sweeping result is like the hot, burning wind that comes right before an approaching forest fire. But the new member is only part of the story. The Ex doesn't change, it evolves. In recent years, the band's been working with Ethiopian sax legend Getatchew Mekuria; its most recent output was a 2006 collaborative record with him. If you were lucky enough to see the Ex play with Mekuria and a full horn section two years ago at the Ottobar, you already have some idea of what the band can do with horns and African influence in general. Which would be the sort of seamless fusion that belies the word, or what happens when an artist approaches another culture with earnest curiosity about its music (versus trend-sniffing). So, yes, take punk rock that manages to be both sweeping and sharp/angular enough to almost cross over into "math" and rewire its DNA with a blessed torrent of brass and crazy rhythms. Dig when it goes full-bore post-everything on "Eoleyo", in which drumming powerhouse Katherina Bornefeld takes the mic with the sort of traditional African vocal style that in the hands of any other Western band that comes to mind would be the sort of ugly exploitation/appropriation that gets Vampire Weekend bad write-ups. The Ex, of course, still has doomsday politics well intact: "Do you still watch a flat TV?/ Do you still listen to MP3s/ Well, no one has computers anymore/ Because cold, cold weather is back!" The Ex is the sort of band that can sing it, chant it, or shout it, and you just know that it's right. And, in some form, the band will be rattling the dull world's cage until cold weather is, indeed, back.’’ Recorded March 22-24 2010 at Electrical Audio, Chicago, USA by Steve Albini. Mixed in Amsterdam in Andy's room by The Ex. Mastered at Chicago Mastering Service by Bob Weston (EX Records)
  • Out of stock
    Remastered and reisssued on Anti. Blue Valentine (1978) is a big departure from earlier Waits albums. Trading the piano for the guitar, Waits is getting rawer and bluesier and the title track is a great example of this. Waits is in transition here, so you also get a stunning orchestrated rendition of Gershwin’s Somewhere, and the beautiful piano ballad, Kentucky Ave., but you also get the juke joint swagger of Romeo Is Bleeding and Whistlin’ Past the Graveyard. This is also the record that contains one of Waits’ most popular songs ever, Christmas Card from A Hooker in Minneapolis. LP - 180 Gram Black Vinyl housed in Gatefold Sleeve with Download. (Epitaph Records)
  • Out of stock
    Of their live albums A Part of America Therein 1981 is one of the band's best. Recorded in Chicago, New York and San Francisco, the band appear on top form with Mark E Smith in full vitriolic flow. The album shows the group performing several songs that had not yet been released; three songs from 1982's Hex Enduction Hour are present as is Lie Dream Of A Casino Soul recorded as a single following the tour's completion. Live recordings from US tour, 1981. A1, B1 - Chicago B2, B3 - New York C1 - San Francisco C2, D1 - Houston D2 - Memphis (Let Them Eat Vinyl Records)
  • The post-hardcore band Orange 9mm released their debut studio album Driver not Included in 1995. Listeners will get excited about their East Coast hardcore with flashes of metal and funk. This album rocks hard, but slows down to give the listener a break from all their energy and raw power. "High Speed Changer" and "Cutting and Draining" are two outstanding tracks. With the forceful choruses and intensive bass riffs they're giving you just a quick moment to catch some breath, before the band's moving on to the next song. It definitely deserves a place among the list of important '90s hardcore releases. Driver not Included is available as a limited edition of 1000 individually numbered copies on flame coloured (yellow & orange) vinyl. 180 gram audiophile vinyl Including insert Limited edition of 1000 individually numbered copies on flame coloured (yellow & orange mixed) vinyl (Music On Vinyl Records)
  • Back in stock
    Including the first ever versions of songs like: Twist Of Cain, Am I Demon?, Possession and others. 9 anthems recovered from long lost tapes (not available anywhere else before) that gave birth to a record that is considered one of the best Metal albums of all time. The lost demos from Glen Danzig's pre-self-titled debut album in 1987. The first sketches and fully developed songs of some of the more remarkable classics in Danzig's career. This Release came in a least 4 different colors of vinyl. This is the Red Vinyl. Τracklist A1     Twist Of Cain A2     Feel It (Am I Demon?) A3     Possession A4     When Death Had No Name (Mortal Sin) B1     Trouble (I'm Evil) (Elvis Presley Cover) B2     Waiting On The Summer (Soul On Fire) B3     Die For The Demon (Night Of Hate) B4     Chaos (Descent) B5     Trouble (I'm Evil) v.2 (Yellow Dog Records/Unofficial)
  • The group features Ian MacKaye, his Fugazi bandmate Joe Lally, and his Evens bandmate Amy Farina. On this self-titled debut each of the musicians share singing responsibilities. The lead track, Clean Kill, is a deceptively warm-sounding song about political corruption. It’s a clean kill, but it’s not clean, the band members sing in unison on the chorus. It’s unmistakably the work of Ian MacKaye, probably closer to The Evens than to any of his other projects, but with a bit more of that Fugazi-esque grit in the mix. It’s a very cool first track. (Dischord Records) https://coriky.bandcamp.com/album/coriky
  • "Ο LOGOUT είναι τραγουδοποιός και ο παραγωγός που συνδυάζει παραδοσιακές αναφορές με lo-fi indie, ηλεκτρονικά και πειραματικά στοιχεία. Σε ζωντανές εμφανίσεις, το LOGOUT συνδυάζει φυσικά όργανα με live-looping, sampling και digital video art. Εκτός της τραγουδοποιίας έχει επίσης συμμετάσχει εκτελώντας τη μουσική σε θεατρικές παραστάσεις των Abovo και του Ηλία Καρελλά. Η πρώτη του κυκλοφορία ήταν το Paper Plane Flight Recorder (Inner Ear Records, 2011), ένα album που βασίστηκε σε folk ενορχηστρώσεις εισάγοντας και κάποιες πρώτες παραδοσιακές ελληνικές αναφορές στην παλέτα του. Το δεύτερο άλμπουμ του Little Things Buried in Concrete (Inner Ear Records, 2013) ήταν σε παραγωγή του Χρήστου Λαινά, η οποία έντυσε τα κομμάτια με πιο εναλλακτικούς και indie ήχους. Το τρίτο άλμπουμ του ήρθε 6 χρόνια αργότερα. Το N91° κυκλοφόρησε τον Μάιο του 2019, μέσω της ολλανδικής ετικέτας Indie Tiny Room Records και τον βρήκε να πειραματίζεται ακόμη περισσότερο με ήχους synthesizer ως την κύρια βάση των ενορχηστρώσεων του. Τον Σεπτέμβριο του 2019, οι ηχογραφήσεις που έκανε με το συγκρότημα The Place Within πριν από τα σόλο του έργα κυκλοφόρησαν επίσης ψηφιακα. Το τέταρτο άλμπουμ του ΕΔΩ / ΕΚΕΙ κυκλοφορεί στις 16 Οκτωβρίου 2020. Είναι η πρώτη του κυκλοφορία με στίχους στη μητρική του γλώσσα, τα ελληνικά. Το ΕΔΩ / ΕΚΕΙ είναι η πρώτη απόπειρα του LogOut με ελληνικό στίχο και οι ηχογραφήσεις του μοιράστηκαν σε Αθήνα και Άμστερνταμ. Ακούγοντάς το ήταν σαν να παρακολουθώ ταινία. Από το πρώτο κομμάτι, τα lo - fi στοιχεία είναι εμφανέστατα, όπως και οι επιρροές από Radiohead αλλά και από ελληνική μουσική. Υπάρχουν τραγούδια που έχουν τόσο ξεκάθαρα ελληνικά στοιχεία, όπως τα "Καταρράκτης", "Φίλη", "Αερικό" και Τρίτες, που σκέφτηκα ότι to άλμπουμ αυτό αναδρομικά θα μπορούσε να είναι το soundtrack μιας ταινίας της Φίνος Φιλμ. Ξεχωρίζουν σίγουρα οι συνεργασίες με τη Nalyssa Green στα φωνητικά στα "Γκρι", "Κώστας" και "Παράθυρα". Επίσης, το "Κύματα" με έκανε να νιώσω σαν να κρυφοκοιτάω από τις τρύπες των πατζουριών τη βιαστική καθημερινότητα σε κάποια μεγάλη πόλη της Ευρώπης. Προσωπικά μου αγαπημένα υπήρξαν, όμως, το "Παράθυρα" (μου θύμισε πολύ έντονα το "No Surprises" των Radiohead), αλλά και το "Πλατεία". Τα μελαγχολικά φωνητικά, η νοσταλγική διάθεση και τα φουτουριστικά synths, μου έδωσαν την εντύπωση ότι ο LogOut προσπαθεί να απεικονίσει μια εβδομαδιαία καθημερινότητα, παρατηρώντας τους ανθρώπους με ένα τηλεσκόπειο από λίγο πιο δίπλα αλλά προσπαθεί και να αποτυπώσει πολύ λυρικά την απομόνωση της ξενιτιάς. Πολύ ιδιαίτερο είναι το ροζ εξώφυλλο, με τις ανθρώπινες σκιές που αχνοφαίνονται. Μου έβγαλε μια πίκρα και θα μπορούσε και αυτό να είναι το artwork μιας ελληνικής ταινίας. Αναμφίβολα, το Εδώ / εκεί είναι ένα άλμπουμ που διεκδικεί επάξια θέση στην ελληνόφωνη indie σκηνή της χρονιάς!" deBop (B-otherside Records)
  • On January 1, 2000, I wrote a fax to Frankie and asked him, if he would like to release a few songs on my label - Sounds of Subterrania. 4months later - these six very special songs were released. 20 years later - Frankie is back on stage and we had thought about reissuing this record, which had been sold out for a long time, and selling it at his concerts. "Not long after re-convening Leatherface Frankie Stubbs put out this little solo acoustic 10". The results are sort of what you would imagine Leatherface would sound like without the electricity. The lack of musical varnish reveals a sound more akin to folk-blues then singer-songwriter. Of course, Stubbs' love of romantic pop is also on display here, as he (re)covers Elvis Presley's "I Can't Help Falling in Love With You" and Nick Cave's "Ship Song". (Sounds Of Subterrania) https://soundsofsubterrania.bandcamp.com/album/s-t-8
  • It's been a few years but FRANKIE STUBBS, the lead singer and guitarist for the legendary UK punk band LEATHERFACE, is back with an all new acoustic 4 song EP, "Blood Orange Moon". The record contains 3 brand new songs and a version of the LEATHERFACE favorite "Shipyards". Along with his unmistakeable voice, this stripped down EP highlights Frankie's unique approach to songwriting, thoughtful lyrics and intricate guitar playing. Backed by Graeme Philliskirk (LEATHERFACE, MEDICTATION) on additional acoustic guitars, Blood Orange Moon is wonderful look into what Frankie has been up to in his songwriting lately as well as a nostalgic throwback to the LEATHERFACE days. Frankies songs have the broad appeal that can attract new listeners and old fans alike. People will be singing along to these songs at his shows for years to come. This EP is a split release between Little Rocket Records in the UK and Rad Girlfriend Records in the US. (Rocket Records / Rad Girlfriend Records) https://radgirlfriendrecords.bandcamp.com/album/blood-orange-moon-ep
  • A collection of vintage recordings by groundbreaking French punk band, Metal Urbain! MU was one of the first punk bands to use a synthesizer and drum machines paving the way for such later acts as Steve Albini’s Big Black! Special limited edition gatefold jacket with RED vinyl LP! https://underground-england.com/metal-urbain/ (Cleopatra Records)
  • Garage-pop melodies backed by agit-punk rhythm fronted by the powerful, insistent vocals of Dubliner Grian Chatten. Debut album from Dubliners Fontaines DC - a band that feel like they’ve been around forever already - welcome to the world of Grian Chatten, Conor Deegan III, Carlos O’ Connell, Conor Curley and Tom Coll. A driving urgent sound like running down hill with the wind at your back - muscly strong songs full of melody and rhythm. Poetic flows of words drive home like rough-hewn nails - even on the mellower tracks the words hit home liek urgent messages wrapped around bricks. (Partisan Records)
  • Victorialand, Cocteau Twins’ fourth album, was released in spring 1986. The largely acoustic, non-percussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil's second album. Dif Juz label mate Richard Thomas guested on tabla and saxophone. The Guardian said "It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice." 140g black vinyl, audio remastered from the original analogue tapes and with art faithful to their original 23 Envelope designs. Download code. (4AD/2020)
  • PJ HARVEY | uh uh her | LP

    29.00 incl. tax
    Reissue of the sixth PJ Harvey studio album Uh Huh Her. The album was self-produced and originally released in May 2004. Uh Huh Her features the singles ‘The Letter’, ‘You Came Through’ and ‘Shame’. It's rootsier, darker, energetic and still pulls big punches both musically and lyrically. LP - Reissue is faithful to the original recording and package, with cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head. (Island Records/2021)
  • The seventh PJ Harvey studio album White Chalk. The album was produced by PJ Harvey, Flood and John Parish and originally released in September 2007. White Chalk features the singles ‘When Under Ether’, ‘The Piano’ and ‘The Devil’. Includes a printed inner sleeve. Hype sticker: Reissue of the original 2007 album White Chalk featuring the singles When Under Ether, The Piano and The Devil Pressed on 180GSM Vinyl Includes Download Card (Island Records, 2021)
  • Collection of PJ Harvey sessions with the late BBC Radio 1 DJ John Peel, spanning recordings from the start of her career in 1991 up to 2004. The twelve tracks, chosen by Polly, span early versions of the songs on debut album Dry (1992) to her seventh album Uh Huh Her, released in 2004. Pressed on 180GSM Vinyl. Includes a printed inner sleeve. (Island Records, 2021)
  • Description: Fully analog cut Deluxe gatefold tip-on and board-mounted sleeve Set of 5 card “artwork” prints (264mm x 264mm) Black heavyweight LP Continuing to push boundaries of both music and genre, m b v is an album of astonishing music, some of which could lay claim to being of a type never been made before. Otherworldly, intimate and a visceral listen, m b v is a startling and beautiful metamorphosis of what was known of the My Bloody Valentine sound, pushing the boundaries of genre unlike any other band. Comes with an MP3 and WAV download card. (Domino Records)
  • Description: Fully analog cut Deluxe gatefold tip-on and board-mounted sleeve Black heavyweight LP With their debut album, Isn’t Anything (originally released in 1988), my bloody valentine revolutionised alternative music and heralded a new approach to guitar music for generations to come. The album birthed a sound which became a template for thousands of new subgenres, heralding a new approach to guitar music and studio production. Comes with an MP3 and WAV download card. (Domino Records)
  • Recorded Saturday 14th January 1978 at The Masonic Temple Theatre Detroit Unaccredited support to The Runaways & The Ramones There has been much talk about this show, did they do it or did they not? Even the remaining band members don’t agree. There is no documentative proof (SRB were not billed as support). Although many shows on this tour, did, have an opening act. We ourselves were advised at the time of our SRB Box set that a tape we were given and advised to include was in fact a recording of the near legendary, if not short, MASONIC Temple gig. We later found out that it was in fact NOT a recording of one whole concert let alone The Masonic Hall, with the exception of ‘City Slang’, which is from the show. This is a good quality Bootleg recording; we tracked down the individuals responsible for recording this show who confirmed where it was and when. Upon listening one can tell immediately this is a larger venue than any other live SRB recording. So after much speculation and heated discussion this is it all five songs ..The Complete Show ! (Easy Action Records)
  • Formed in 1991, Rage Against the Machine opened the gates of a new boundary-obliterating rock-rap musical alliance with the band's literate and politically-charged debut album. Featuring band members Tim Commerford, Zack De La Rocha, Tom Morello and Brad Wilk, Rage Against the Machine became a critical and commercial success, selling millions of copies around the world while attaining legendary status among alt-rock fans. To this day the album, and the band, remain standard-bearers for uncompromising incendiary rock. LP - 180 Gram Vinyl with Download. (Epic/2015)
  • Live In Oakland is an unofficial release of the band performing live at Oakland Coliseum Arena on October 8th 1992. Tracklist A1 Dam That River A2 We Die Young A3 Them Bones A4 Would A5 Junkhead A6 God Smack A7 Put You Down B1 Sickman B2 It Ain't Like That B3 Angry Chair B4 Man In The Box (Radio Loop Loop)
  • A historic 1985 New York performance by R&B legend Screamin’ Jay Hawkins backed by modern garage rock heroes The Fuzztones. Limited edition of 500 copies for the Record Store Day 2019. Insert with text, pics and credits. Includes 5 additional bonus tracks of live Fuzztones performances! (Radiation Records)
  • Carnage is a new album by Nick Cave & Warren Ellis, recorded over a period of weeks during lockdown. Although the pair have composed & recorded many soundtracks together, and Warren is a long-term member of The Bad Seeds, this is the first time they have released an entire album of new... (Goliath Records/2021)
  • ICEBURN | asclepius | LP

    22.00 incl. tax
    Asclepius is the new album from the ever-evolving and adventurous collective Iceburn, who return with their first new material in twenty years. Much like the mythical ouroboros that appear in their music, Iceburn have come full circle, as guitarist/vocalist Gentry Densley (also of Eagle Twin & Ascend) comments, “Iceburn had always been about progressing and pushing the boundaries, pushing the music ahead of ourselves so we had to work to catch up. This new record comes from a place of rediscovery of who we are deep down, a place that with all it’s challenges and comforts, ultimately feels like home.” The rawness of Asclepius harks back to the days of their early records (such as Hephaestus), and fuses elements of metal, jazz, psychedelia, and rock with a seamless flow, monolithic riffs, swirling harmonies, and a groove that are the cornerstones of their sound. Asclepius comprises two long-form tracks, “Healing The Ouroboros” and ‘Dahlia Rides the Firebird’, the latter is based on an old traditional Greek tune. With some members majoring in classics/philosophy, music/composition and studying ethnomusicology – classic mythology has always been a key reference point for the themes of their music. That the new record is named after the god of healing and medicine and arriving at this moment in time is coincidence, as the band comments, “It felt like we needed healing even before this pandemic hit.” (Southern Lord Records)
  • Nadja is a duo of multi-instrumentalist Aidan Baker and bassist Leah Buckareff—active since 2005—and making music which can be described as ambient doom, dreamsludge, or metalgaze. Nadja’s signature sound combines the atmospheric textures of shoegaze and ambient/electronic music with the heaviness, density, and volume of metal, noise, and industrial. For the new album, Luminous Rot, the duo retain their overblown/ambient sound, and explore shorter and more tightly structured songs reflecting their interests not only in metal, but post-punk, cold-wave, shoegaze, and industrial. Thematically, the album explores ideas of ‘first contact’ and the difficulties of recognising alien intelligence. This was in part inspired by reading such writers as Stanislaw Lem and Cixin Lui — in particular, theories on astro-physics, multi-dimensionality, and spatial geometry in “The Three Body Problem” — as well as Margaret Wertheim’s “A Field Guide To Hyperbolic Space,” about mathematician Daina Taimina’s work with crochet to illustrate hyperbolic space and geometry. The album was recorded between their home studio, Broken Spine Studios, or Nadja’s live rehearsal studio, both in the district of Lichtenberg, Berlin. Luminous Rot marks the first album mixed by someone else, who in this case was David Pajo. The band comment, “as big fans of Slint, we thought he might fore-front the more angular, post-punk elements of our music – the mix is quite different from our previous albums. But, as usual, we had James Plotkin (Khanate, OLD, etc) master the album as we trust his ears and aesthetic, as he’s mastered numerous records of ours.” *LP comes housed in a gatefold jacket. (Southern Lord Records)
  • Out of stock
    Goat is the second full-length studio album by The Jesus Lizard, released in 1991. It is their most acclaimed album, with many critics[when?] calling it one of the best albums of the 1990s. The album was produced by Steve Albini. Its cover art, by bassist David Wm. Sims, at first glance resembles a flame, but is actually a topless woman with a close-up image of nails projected onto her body. The rear of the album, and several panels of the enclosed CD booklet include similar pictures of the same naked woman, with different images projected onto her body. It was ranked as the 38th best album of the 1990s by the online magazine Pitchfork. (Touch and Go!)
  • Originally released in 1973, The Dark Side of the Moon became Pink Floyd's first number 1 album in the USA, remaining on the chart for 741 weeks between 1973 and 1988. One of the best-selling and most critically acclaimed albums of all time, The Dark Side of the Moon also introduced the iconic album cover artwork by Hipgnosis, After a request for a 'simple and bold' design. The stereo remastered album on heavyweight 180g vinyl Remastered from the original analogue tapes by JAMES GUTHRIE, JOEL PLANTE and BERNIE GRUNDMAN Original UK release date: March 1973. (Pink Floyd Records/2016)
  • Out of stock
    Broadcast on KNAC 105.5 FM, live set performed at the Palladium, Hollywood on 9th November 1990 Guest appearances (uncredited) : Young MC (B1), Ozzy Osbourne & James Hetfield (B4). Tracklist A1 From Out Of Nowhere A2 Falling To Pieces A3 Introduce Yourself A4 The Real Thing A5 Underwater Love A6 As The Worm Turns A7 The Crab Song A8 Edge Of The World B1 Chinese Arithmetic B2 We Care A Lot B3 Nestle B4 Surprise You're Dead B5 Epic B6 Woodpecker From Mars B7 Easy B8 War Pigs (Radio Loop Loop/Unofficial Release)
  • It seems that every time you turn around, there’s another Oh Sees slab. Long ago we lost all capacity to be surprised that this sturdy unit keeps putting out records and that they’re really good. You can now add the Metamorphosed LP to your ever deeper shelf sagging row of John Dwyer and Co.’s seemingly no sleep release schedule. The five tracks were taken from the sessions that formed 2019’s Face Stabber album, a 17 track / 80+ minute jammified four-sider. Metamorphosed would have been the perfect third LP to fit in with the other two. Metamorphosed isn’t just some barrel scrape for those who can’t get enough. All of the five tracks stand up to anything on Face Stabber. The record’s 23+ minute I Got A Lot is one of the coolest songs the band has ever done. (Rock Is Hell Records)
  • Yep that's right, Johnny Dwyer and his crew have returned, losing an 'H' on the way but dropping yet another impossibly amazing slice of intergalactic psychedelic fun for all. It's easy to think it's yet another album from this crew but believe us when we tell you - this one's a fucking belter! You've probably heard the hooky as hell 'Dreary Nonsense' by now in all it's one minute thirty five second glory but this lil' puppy's got a whole load more to give. Thirteen magic moments here - from the noisy as hell 'Scramble Suit II' to the rock hell of 'Red Study' via the krautrock rumbling 'Wing Run' to the slinky, sexy disco of 'Said The Shovel' this could easily be their most forward thinking / make every other band give up album yet. Thirty nine minutes is all you need. We love these boys. They rule. Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers—psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories… formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a “civil” society? What are the weapons at one’s disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate…the fog is lifting and humans are opening their eyes. And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords— stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don’t have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz—punk anthem amulets for the ears and heart, a battery for one’s core. Be strong. Be human. Be love. (Castle Face Records)
  • Recorded live at The Hacienda, Manchester, UK 18th January 1984 by Ikon/FCL Video; IKON/FCL had permission from Factory Records/The Hacienda to make live recordings for an archive of The Hacienda. The album utilises the audio captured. Tracklist A1 No Sacred Sound A2 Grunt Cadillac Hotel A3 K.O. Cowboy A4 The Interior A5 Superior Spectre B1 Brother Rat B2 Cowboy Song B3 Big Jugular B4 Sense Of Loss (Smash Records)
  • Legendary 1972 show at The Roundhouse, London from the Space Ritual era. Includes the original recording of Hawkwind’s hit single ‘Silver Machine’. It is the first time the whole show has been available on double vinyl. Bonus tracks include ‘Master Of The Universe’ (Original 1972 LP Mix) and ‘Born To Go’ (Original 1972 LP Mix). (Parlophone)
  • Out of stock
    'Ummagumma' features a set of live performances on disc 1 and a collection of solo studio projects by various band members on disc 2. disc 1 was recorded live at mothers, birmingham, england. the party-liners may favour 'dark side of the moon', but diehard space cadets recognize 'ummagumma' as the pinnacle of post-barrett floyd's achievement. originally released as a double lp, the first record is a live recording from 1969, while the second features four extended cuts written by (and featuring) each of the four band members in turn. eschewing the catchy, kinks-influenced pop kaleidoscope of the band's first album, the live portion focuses on extended, spacy near-instrumentals, heavy on acid-fueled jamming and atmospheric electronic textures. from the eastern-tinged 'set the controls for the heart of the sun' to the over-the-top psychosis of 'careful with that axe, eugene,' 'ummagumma's first half is ground zero for the genre that would come to be known as space rock. the solo efforts on the second half are undoubtedly the band's most experimental, unconventional efforts ever. they make good use of the avant-garde techniques that were a key early influence, like musique concrete-style tape collage and sound effects. along the way, there's some lovely folk-tinged balladry, courtesy of roger waters ('grantchester meadows'), and some proto-prog keyboard wizardry (richard wright's multi-part 'sysyphus'). (Pink Floyd Records/2016)
  • Fantastic sounding Nick Cave set live at the Fuji Rock Festival, Japan. Tracklist A1 Do You Love Me? A2 Lime Tree Arbour A3 Red Right Hand A4 Stagger Lee A5 I Let Love In B1 From Her To Eternity B2 Where The Wild Rosés Grow B3 The Mercy Seat B4 The Weeping Song B5 The Ship Song B6 Intro My Arms (Mute Records/Unofficial Release/2014)
  • Unwound’s paranoid and pulsating sixth album, Challenge For a Civilized Society explores the pre-Y2K technological dread of modern punk living. Producer Steve Fisk threads Justin Trosper’s stabbing, discordant guitar in and around Sara Lund’s consolidated drum attack and Vern Rumsey’s relentless, throbbing bass. A vicious and sinister penultimate LP from the ’90s most misunderstood band. (Numero Group Records)
  • Tracks on A side are new, previously unreleased. Tracks B3, B4 recorded live at Moni Lazariston 2/9/2013. Digipack cd edition. (Smash Records)
  • (Smash Records)
  • Tracks on A side are new, previously unreleased. Tracks B3, B4 recorded live at Moni Lazariston 2/9/2013. 180gr black vinyl, Limited to 160 numbered copies. (Smash Records)
  • Out of stock
    Straight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented ""single mic technique"" just before quarantine, ""Hunger for a Way Out"", is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises' sound. There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on ""Hunger for a Way Out"". (Feel It Records)
  • Out of stock
    Getatchew Mekuria is the most revered veteran of the Ethiopian saxophone. He is a real giant, both physically and musically. In his seventies, he is still in full voice, with his own, powerfully distinctive style of playing. The Ex invited him to play with the ICP at the 25th years Anniversary Party and the Convoy Tour. Getatchew saw The Ex and also wanted to play with them. He was so inspired that he suggested to The Ex he should record his next CD with them. He gave them 10 solo saxophone versions of Ethiopian tunes. The beginning of a very successful cooperation. The LP includes a 38-page magazine. (EX Records)
  • THE EX | 27 passports | CD

    13.00 incl. tax
    The Ex released their previous regular studio album as a 4-piece (Catch My Shoe) in 2010. While that might seem like a long stretch, their schedule since then tells you another story. The band also released a second album with Ethiopian legend Getatchew Mekuria, and another one with Brass Unbound, featuring several of their friends from the realm of free improvisation. On top of that, there were also a few 7″ split singles, several phenomenal birthday festivals and a lavish photo book that was published as a tribute to the late Getatchew Mekuria in 2016. But now there’s new music. With the unmistakable “Ex energy”. The three-pronged guitar approach is still as exciting as ever, with the guitars of Andy Moor, Terrie Hessels and Arnold de Boer creating tense, interlocking webs of connections and drummer Katherina Bornefeld pushing the band with dancing, hypnotic patterns. There are some remnants of their African adventures, but most of all, this is a return to the power of The Ex as a unit that effortlessly juggles noisy/disjointed guitar parts, trance-like grooves, defiant chanting and a relentless, infectious drive. Colourful and fierce at the same time, 27 Passports once again expands their horizon and enriches their sound, while remaining true to the core of their philosophy: “Forward In All Directions!”. Includes 40 page photo book by Andy Moor. 6 panel digipack. Recorded at Electric Monkey Studio, Amsterdam, by Kasper Frenkel. October 16 + 17, 2017. (EX Records)
  • Down IV – Part I (informally known as The Purple EP) is the first EP by American sludge metal band Down. It was released on September 18, 2012. It is the first album featuring bassist Pat Bruders due to the departure of former bassist Rex Brown in 2011, and the last to feature guitarist Kirk Windstein, who left in 2013. (Roadrunner Records / Cargo Records / Down Records)
  • Out of stock
    As the vitriol spewed from Evil Empire, Rage Against the Machine's long-awaited follow up to their 1993 debut owes much to Chuck D.'s polemic fury and rapid-fire urgency - though as always the band rages without hip-hop machinery in favour of the heavy-duty power tools of rock. But no matter if Rage against the Machine amounts to revolutionary rap, protest metal, or a combination of the two, the band's command of sonic rage makes Evil Empire a powerful assault in any musical language. But wait, there's more to the name. Raging against the machine, like yelling at the TV, is woefully misdirected. Lyricist Zack de la Rocha is clearly someone with strong political views - particularly when it comes to the plight of fellow Mexicans on both sides of the border. He vents his indignation sharply at times (Vietnow, Without a Face), rather clumsily and artlessly most others. Music this angry should be aimed at something more specific than an entire race or nation or government, or else it risks sounding like the empty rants of confused post-pubescent rebellion. If only Rage against the Machine's raw musical muscles were grinding over a focused message, lord knows how potent they could be. LP - 180 Gram Vinyl with Download. (Epic)
  • Your Future Our Clutter is The Fall at their most rampant, most forward-moving, bone-shaking best. With nine tracks that rock like raw fury, you will remark that The Fall have not lost any of the anger or intensity with which they started. Comes with an MP3 and WAV download card. (Domino Records)
  • The Cranberries – Dolores O’Riordan, Noel Hogan, Michael Hogan and Fergal Lawler – quietly became one of the world’s most successful bands in the 1990s. With O’Riordan’s remarkable voice and their unforgettable melodies, the group scored a string of UK and US Top 10 albums and singles. This stunning collection brings together 11 of their best-known tracks, including their unforgettable calling cards, Linger and Zombie. This compilation brings to vinyl the incredibly successful CD title which has so far sold over 100k units in the UK alone. Side A 1 Linger 2 Dreams 3 When You’re Gone 4 Dreaming My Dreams 5 Ridiculous Thoughts Side B 1 Zombie 2 Just My Imagination 3 Analyse 4 Promises 5 I Can’t Be With You 6 Salvation (Spectrum Records)
  • Back in stock
    Jackie Brown: Music from the Miramax Motion Picture is the soundtrack to Quentin Tarantino's motion picture Jackie Brown. It was originally released on December 9, 1997. The film's score was composed by James Newton Howard. The soundtrack uses a variety of music genres, including soul. The soundtrack also includes dialogue from the motion picture and a lack of typical film score, similar to the other soundtracks of Tarantino films. (A Band Apart/Warner Bros.Records‎/Maverick/2016)
  • Limited double vinyl LP pressing. The Red Hot Chili Peppers' first Warner Bros. Greatest Hits album spans almost 15 years of rock greatness. Featuring all of the band's best- loved recordings, Greatest Hits includes "Under The Bridge" (#2 pop and gold), the Top 10 "Scar Tissue," six classic Modern Rock #1s, a pair of Modern Rock Top 20s and three other fan favorites plus two brand-new songs. One of the most successful acts in rock history, Red Hot Chili Peppers have sold more than 60 million albums, including five multi-platinum LPs, and won six Grammy Awards, including Best Rock Album for Stadium Arcadium, Best Rock Performance By a Duo or Group for "Dani California, Best Rock Song for "Scar Tissue," and Best Hard Rock Performance With Vocal for "Give It Away." The band holds the record for the most #1 singles of all time at alternative radio, a total of 11, and a combined 81 weeks at #1. (Warner Records/2020)
  • One of all time great albums. ''Searching For The Young Soul Rebels' captures the original eight-piece group infusing passionate self-belief into songs based on 60s mentors Geno Washington and Jimmy James. Rowland's expressive voice is perfectly matched by pumping horns and punchy rhythms, but the intensity of their performance ensures the set never falls into pastiche. Each song bears the stamp of a manifesto, one that was largely Rowland's, a myopic vision that brought this line-up to an acrimonious, premature end. Celebrating it’s 40th anniversary this year, this is the debut album from new-wave band Dexy’s Midnight Runners. The album has a surprising history, with band members stealing the original tapes and only returning them once EMI raised their royalty rates. The album received widespread critical acclaim and is featured in The Guardian and NME’s 100 Best Albums lists. (Parlophone)
  • Jed is the second studio album by Goo Goo Dolls, originally released in 1989 by Metal Blade Records. It was the band's first album in which John Rzeznik sang vocals for some of the tracks; the majority of the songs are sung by Robby Takac, with Rzeznik taking over for two ("Up Yours" and "James Dean"). The album was named after painter Jed Jackson, who was Robby Takac's art teacher at Medaille College and who painted the cover artwork, which is entitled "Arkansas Sunset". (Metal Blade Records)
  • Color Vinyl
    Hold Me Up is the third studio album by American rock band Goo Goo Dolls, originally released in 1990 by Metal Blade Records. It marked the beginning of John Rzeznik's emergence as the band's principal lead vocalist. The album features the band's first single "There You Are." (Metal Blade Records)
  • Originally released in 1995 this was their first album for three years and their first album of new TVPs material on Overground Records, who had previously issued two live albums, and reissued nine of their singles. Featuring eleven new tracks, the album was recorded by Liam Watson at Toe Rag Studios and was a marked change of direction from the highly polished ‘Closer To God’. “I wanted to get back to basics and recapture the spirit of the first two albums that were low budget and recorded quickly, that’s how all our best records were made” Dan Treacy 1995 Re-packaged with new artwork from the original artist Alison Wonderland and sleeve notes by Edward Ball (TVPs/The Times) the album will teach the kids of today everything they need to know about how to become a mod. What more could they want? “If you’re a Mod, you’re a Mod twenty four hours a day, even working with other people, you’re still a Mod. Some of them just can’t understand older men with homes and families, it’s just a different world, but I’m past it now, I’m too old You’ve got to be sixteen to be a Mod, to be able to wear high heeled boots and long hair and not care what anyone thinks” Dan Treacy 1995 This was the last TVPs album of original material. Albums since have been either compilations or consisted of cover versions, and as such ‘I Was A Mod Before You Was A Mod’ remains a remarkable testament to an extraordinary talent. (Overground Records)
  • The Black Keys’ long-awaited ninth studio album, "Let’s Rock," their first in five years, is a return to the straightforward rock of the singer / guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single "Lo/Hi". Let’s Rock was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to. (Nonesuch/2019)‎