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"From The Graveyard" is the second full length of the Occult Doom band "1782". In this album there is a leap in quality as the production is much better than the previous releases. Eight tracks and 43 minutes of pure dark Doom, with slow and powerful riffs, and heavy and massive drumming. After the recording of "Doom Sessions Vol.2", the band immediately enters the studio and records the heaviest tracks they have done so far, and they have done it while maintaining that catchy state they have always had. Here too there are featurings, Nico Sechi on organ (Hammond in "1782" and "Celestial Voices" in the debut album) and Alfredo Carboni's Synth. As in the eponymous debut album, the artwork was done by the mighty SSCVLT. "From The Graveyard" was recorded, mixed and mastered in November 2020 by Alfredo Carboni at "RKS Studios" in Ossi, Sardinia (Italy). Label: Heavy Psych Sounds Records Barcode: 0647697340714 -
It doesn't get more classic than this. The Brian Johnson era started with a bang - You Shook Me All Night Long, Back in Black, Hells Bells...absolutely required rock. Originally released as Atlantic 16018 on July 25, 1980 Band logo and album title are embossed on the front of matte cover. Comes with printed inner sleeve. Label: Columbia – 5107651, Albert Productions – 5107651, Sony Music – 5107651 Barcode: 5099751076513 -
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Back on wax! 'Dirty deeds..' demented ac/dc's position as the premier dirty hard rock to ever have stomped the earth. This record, originally spewed forth in 1976 was literally bursting with quality: the salacious title song, the fan favourite 'big balls,' 'there's gonna be some rockin..'' it ain't pretty but we like it. Reissue, Remastered, 180 gram. (Columbia/Albert Productions/Sony Music/2009)
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Flick of the Switch is the ninth studio album by Australian hard rock band AC/DC. The album was deemed a commercial disappointment after it failed to match the sales figures of the band's two previous releases, 1980's Back in Black and 1981's For Those About to Rock, and its release represented the beginning of the band's commercial decline. The third AC/DC album to feature lead vocalist Brian Johnson, the album is also the last to feature drummer Phil Rudd before his return on Ballbreaker (1995). Packaging: embossed sleeve with printed inner sleeve. Originally released as Atlantic 80100 on August 19, 1983. Label: Columbia – 5107671, Albert Productions – 5107671, Sony Music – 5107671 Barcode: 5099751076711
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Brian Johnson's second album as ac/dc's frontman, and as such helped them create a phenomenal commercial success, with both singles, 'let's get it up' and the title track, charting on both sides of the atlantic. The album went on to sell over a million copies world-wide and the title track became an immediate live favourite, complete with a cannon-fire salute stage show that became instant encore material. Elsewhere, their familiar rattle remained intact, with 'night of the long knives' and 'breaking the rules' forging a familiar piece of metal. Gatefold Cover with a printed cardboard inner sleeve including liner notes and photos. Originally released as Atlantic 11111 on November 20, 1981 (Columbia/Albert Productions/Sony Music/2009)
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'High voltage' was the first chance america had to glimpse the raw power of Australia's best hard rock outfit. From their earliest days, lead guitarist angus young, a spastic dwarf-like riff-monger who wore nothing but traditional schoolboy attire, led this band of hooligans with gleeful perversity and balls-out ambition. The group's intent is perfectly clear from the disc's opening power chords: to distill rock and mutate the blues down to its barest essentials in a pulverizing whomp. Riding over the top of the battering rhythm section is the all-too-true sneer of vocalist bon scott, who brings sexist anthems to a previously unachieved high (or low, depending on your reference point). Issued in a single sleeve with colour printed inner sleeve with liner notes, images and credits. Label: Columbia, Albert Productions, Sony Music Barcode: 5099751075912
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Limited edition 180 gram vinyl pressing of 'highway to hell'. The artwork includes the original jacket designs, plus new inner sleeves, with the liner notes taken from the new cd versions. Remastered from the original master tapes at Sterling Sound. Originally released as Atlantic 19244 on August 3, 1979. (Columbia/Albert Productions/Sony Music/2009)
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The hard rock world got a close-up view of the power of ac/dc with the band's first live offering, if you want blood, you've got it. Although the Australian rockers had three prior studio releases of undeniable crunch under their belt, it was this live document that captured the band in all its' chomping power chord glory. distilling the blues and rock 'n' roll down to its barest structures of guitar/bass/drums leaves little room for error. Without heavy production techniques, keyboards, tape loops (or even an effect pedal, for that matter), the band takes to the stage with only bare-knuckle riffs and a floor shaking 4/4 beat. and shake the floor they did. Printed laminated inner sleeve with images and liner notes. All tracks recorded live during 1978 world tour. Mixed at Albert Studios Sydney Australia. An Albert production for Albert International Music. (Columbia/Albert Productions/Sony Music/2009)
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With ac/dc's third release, powerage, the band was dispensing even heftier ammo from their hook-laden cartridge belt. With the rock-steady rhythm section pounding out 4/4 beats as if it were overtaking a small country, guitarists (and brothers) angus and malcolm young trade towering riffs that belie their pint-sized physical stature. The real change on powerage is a noted improvement in songwriting skill. The six-minute "down payment blues" actually has a sense of restraint and building tension, as opposed to the band's usual hit-the-ground running approach. The release includes a coloured inner-sleeve with band's photos, notes, credits and info. Originally released as Atlantic 19180 on May 30, 1978 Recorded at Albert Studios, Sydney, Australia February/March 1978 Remastered from the original master tapes (Columbia/Albert Productions/Sony Music/2009)
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Rare Tracks Australian Singles 1974-1978. A1, A2 both sides of the Australien debut single AC/DC - Can I Sit Next To You, Girl, July 1974. A3, A4 from the Australien AC/DC - High Voltage LP, 1975. A5 from the Australien AC/DC - T.N.T. LP, 1975. A6 b-side of the Australien AC/DC - Dog Eat Dog single, 1977. B1 live, January 1977, from Australian v/a Various - Boogie, Balls And Blues: Australian Hard Rock 1970-77 compilation LP, 1987. B2 from Australien AC/DC - Dirty Deeds Done Dirt Cheap LP, 1976. B3 traditional, arr. AC/DC b-side of Australien AC/DC - Jailbreak single, 1976. B4 'Whole Lotta Rosie' demo, 1977, from AC/DC - Bonfire cd box set, 1997. B5 from Australien AC/DC - Let There Be Rock LP, 1977. B6 from Australian AC/DC - Cold Hearted Man 12", available in Australia & New Zealand only in the AC/DC - Vol. 1 box set, 1981. B7 live in Glasgow, April 1978, b-side of the Australian AC/DC - Whole Lotta Rosie single, 1978. B3 is an instrumental song, but Bon Scott can be heard in the background in the last 30 seconds, so he is also the lead singer. B6 is from Australian AC/DC - Powerage LP, 1978. Tracklist: Side 1: (25:44) A1 Can I Sit Next To You, Girl 3:16 A2 Rockin' In The Parlour 3:18 A3 Stick Around 4:39 A4 Love Song 5:14 A5 School Days 5:21 A6 Carry Me Home 3:56 Side 2: (26:00) B1 Dirty Deeds Done Dirt Cheap 4:39 B2 R.I.P. (Rock In Peace) 3:32 B3 Fling Thing 1:57 B4 Dirty Eyes 3:14 B5 Crabsody In Blue 4:41 B6 Cold Hearted Man 3:30 B7 Dog Eat Dog 4:27 Label: Verne Records/Unofficial Release
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Who Made Who is a soundtrack album by Australian hard rock band AC/DC. Released on 26 May 1986, the album is the soundtrack to the Stephen King film Maximum Overdrive. The album was re-released in 2003 as part of the AC/DC Remasters series. Label: Columbia – 5107691, Albert Productions – 5107691, Sony Music Barcode: 5099751076919
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Acid Barretts are a drum-machine-fueled shoegaze/postpunk duo hailing from Athens, Greece. Formed back in 2013 by guitarist and vocalist Harry Eugene Kane, the band ventured out to emulate the essence of bands like Spacemen 3, Suicide and The Jesus and Mary Chain. While the position of bass player is currently occupied by one Scizhic Inzc, this incarnation of the band is finally being completely detached and absolved from the notion of musical genres and limitations imposed upon creativity. Anything goes. Label: Old Bad Habits Label
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Live At Sheraton La Reina in Los Angeles, September 15th 1990. Yellow Vinyl, 180gr. Tracklist A1 It Ain't Like That A2 Man In The Box A3 Bleed The Freak A4 Put You Down B1 Sea Of Sorrow B2 Real Thing B3 Sunshine B4 We Die Young (DOL/Unofficila Release)
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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)
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Hard-hitting and dark, this alt. Metal classic from 1992 focuses heavily on vocalist/guitarist Layne Stanley's heroin addiction. Few artistic endeavors have as completely explored an addict's perspective with such clarity and emotion. Bandmate vocalist/guitarist Jerry Cantrell contributes heavily, not only with thematically tight songs, but as a force pushing through Stanley's addiction, keeping the songs and album on pace. Hits from "Dirt" include "Rooster," "Would?," "Angry Chair," "Down in a Hole" and "Them Bones." The album peaked at #6 on the Billboard 200 chart. Comes with insert. Released for the first time as double vinyl. (Columbia – 19439953541, Legacy – 19439953541, Velvet Hammer – 19439953541)
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Hard-hitting and dark, this alt. Metal classic from 1992 focuses heavily on vocalist/guitarist Layne Stanley's heroin addiction. Few artistic endeavors have as completely explored an addict's perspective with such clarity and emotion. Bandmate vocalist/guitarist Jerry Cantrell contributes heavily, not only with thematically tight songs, but as a force pushing through Stanley's addiction, keeping the songs and album on pace. Hits from "Dirt" include "Rooster," "Would?," "Angry Chair," "Down in a Hole" and "Them Bones." Label: Columbia Barcode: 5099747233029
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All tracks recorded in Seattle, June 1989, Demos For "Facelift Tracklist Side 1 1. "Suffragette City" (demo) (2:57) 2. "Bleed The Freak" (demo) (3:37) 3. "Social Parasite" (demo) (4:23) 4. "We Die Young" (demo) (2:29) 5. "Chemical Addiction" (demo) (4:49) 6. "Sunshine" (demo) (4:24) Side 2 1. "King Of The Cats" (demo) (3:07) 2. "The Real Thing" (demo) (3:49) 3. "Killing Yourself" (demo) (2:41) 4. "Sea Of Sorrow" (demo) (5:23) 5. "I Can't Remember" (demo) (3:19) (Unofficial Release)
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Acid Bath is the second studio album by English gothic rock icons ALIEN SEX FIEND. Originally released in 1984 and now back on vinyl. Produced by Kevin Armstrong (David Bowie, Iggy Pop), this masterpiece is considered their best album, it’s a must have for any goth, death rock and post punk addict. Label: Restless Empire
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Channelling goth, ‘positive punk’ and industrial, Alien Sex Fiend are experimental pioneers whose output defies easy categorisation. Formed at London’s goth epicentre, the Batcave, in 1982, the Fiends’ early use of loops, synth sheens and a dub sensibility yielded a deal with Anagram and rapid chart success; this dynamite vinyl compilation, exclusive to Radiation Records, draws from six early singles, including the electrode mix of popular debut ‘Ignore the Machine,’ freaky dirge ‘Lips Can’t Go,’ minimalist stomper ‘Dead And Buried,’ the rocking excess of ‘R.I.P.,’ intergalactic ‘E.S.T.’ and the mutant disco of ‘I’m Doing Time.’ A killer set tracking their early evolution, this is absolutely essential listening for all ASF fans. A Lips Can't Go Drive my Rocket - Up Uranus Ignore the Machine (Electrode Mix) Girl at the End of my Gun Dead and Buried B R.I.P. (Blue Crumb Truck) E.S.T. (Trip To The Moon) Boneshaker Baby I'm Doing Time in a Maximum Security Home In and Out of my Mind (Radiation Records)
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Amy Winehouse's debut album represents her world and her soul. It is a collision between 21st century London's urban soundscapes, the great jazz voices of the last century and the emotional experience of a 19 year old jewish girl with a lot to say. Her voice is the sound of Chicago in the 40s in a smoky back room after hours jazz club. (Island Records – 00602517762411)
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Live At Hove Festival, Norway, 26 June 2007. Tracklist: A1 Addicted A2 Just Friends A3 Tears Dry On Their Own A4 He Can Only Hold Her A5 Cherry A6 Back To Black A7 Wake Up Alone B1 Love Is A Losing Game B2 Hey Little Rich Girl B3 Monkey Man B4 You Know I'm No Good B5 Rehab B6 Me And Mr Jones B7 Valerie (Round Midnight – RNDMNG027/Unofficial Release)
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Recorded live in one of France's largest rock music festivals during the Back To Black Tour. Outstanding performance, top shape. Amy Winehouse made people rethink music. Tracklist: A1 Intro A2 Addicted A3 Just Friends A4 Tears Dry On Their Own A5 He Can Only Hold Her A6 Back To Black A7 Waking Up Alone B1 Hey Little Rich Girl B2 Monkey Man B3 Rehab B4 Valerie B5 You Know I´m Not Good B6 Me & Mr.Jones Label: Round Midnight/Unofficial Barcode: 0637913263217
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Chiming laments for a childhood's end, the debut album from Animal Collective, Spirit They're Gone, Spirit They've Vanished opens with the phrase "want to hear a secret, I know one," suggesting these secrets just might be buried deep within the flocks of high frequencies, electronic glitches, bleeps and swells that follow. Originally released in 2000 and credited to Avey Tare & Panda Bear prior to the full, collective band name being used on releases, this reissue features remastered audio and new artwork by Abby and Dave Portner. Comes with an MP3 and WAV download card. 2023 remastered gatefold reissue. Label: Domino Records Barcode: 887830017510
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Anna von Hausswolff’s new album All Thoughts Fly via Southern Lord. Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination. All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music. (Southern Lord Records)
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Anna von Hausswolff’s new album All Thoughts Fly via Southern Lord. Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination. All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music. (Southern Lord Records)
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Who knew it was possible to hear in monochrome? Arctic Monkeys’ 5th studio album is a wickedly seductive record, draped in black leather and wielding a switch-blade. Alex Turner and co. had spent years shapeshifting from pointed indie, to sun-stroked desert rock to whimsical psychedelic pop. It wasn’t until AM that they created a sound so assured and so spellbinding. The thick grooves underpin the album. Unfaltering drumbeats and dark bass-lines dripping with fuzz leave you with a sense of dread and paranoia. That chest rattling dread associated with the likes of Black Sabbath. The haunted atmosphere is compounded by Jamie Cook’s guitar, flexing its muscles over the hip swaying rhythm. Even through the familiar Motown swing of 'Snap Out Of It', the bubbling G-Funk of 'Why Do You Only Call Me When You’re High' or the Velvet Underground melodies on 'Mad Sounds', you feel violated. Turner’s sinister overtones are palpable. His voice is demonically possessed. On songs like 'R U Mine?', 'One For The Road' and 'I Wanna Be Yours' he is joined by a chorus of fellow doomed souls. His fresh-faced cheek is dead. He retains his humour but the lines linger for longer, your hair stands up straighter and just like Turner, you can’t help yourself crawling back. AM is darker, sexier and better than anything Arctic Monkeys have done before or since. Play it after midnight. Turn off the lights. Watch your back. Label: Domino – WIGLP317 Barcode: 887828031719
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Favourite Worst Nightmare is the second studio album by English rock band Arctic Monkeys, released on 23 April 2007 by Domino Recording Company. Recorded in east London's Miloco Studios with producers James Ford and Mike Crossey, the album was preceded by the release of lead single "Brianstorm" on 2 April 2007. Label: Domino – WIGLP188 Barcode: 5034202018810
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The Car is the seventh studio album from Arctic Monkeys. Featuring ten new songs written by Alex Turner, produced by James Ford and recorded at Butley Priory, Suffolk, La Frette, Paris and RAK Studios, London. Buy and receive an instant download of the tracks I Ain’t Quite Where I Think I Am, Body Paint and There'd Better Be A Mirrorball and the full release now. Comes with an MP3 and WAV download card. Label: Domino – WIGLP455 Barcode: 887828045518
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The debut Arctic Monkeys album is, as we all know, one of the finest debut statements in rock history. It marries the youthful exuberance of a band about to embark on a long career with the tunes of experienced songwriters. Truly one of the best and eternally most relevant albums in the British rock canon. Label: Domino – WIGLP162 Barcode: 5034202016212
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This is the brand-new album of Arrest! Charlie Tipper. 19 tracks recorded during lockdown. Once again, the Tippers are magnificent, and it will be one of the best underrated albums of 2022. A masterpiece that should be owned by all music lovers of the alternative pop underground. Limited to 175 numbered copies. Label: Old Bad Habits, Breaking Down Records
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Let The Blind Lead Those Who Can See But Cannot Feel is the 2007 debut album from Atlas Sound, the solo moniker of Deerhunter frontman Bradford Cox. Citing the “ideas that I can't make work with a rock band,” the record is a beautiful and unparalleled meld of garage rock and ambient electronics. Now included on the album is the 2008 six-track EP, Another Bedroom. (4AD – DAD 2811)
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Limited 4 track Double 7” in gatefold sleeve. Pressed on yellow vinyl. Includes postcard and poster. Part of the Optic Sevens 3.0 Reissue Series. Formed in Olympia, Washington in 1982 by Calvin Johnson, Heather Lewis and Bret Lunsford. This 4 track single was originally released in 1987 on 53rd & 3rd records and appears here for the first time on 7”. Label: Optic Nerve Barcode: 0604565501608
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A Lo-Fi, Garage, Indie-Rock band from Bristol that lasted most of the 90's and again a few years later...The best way to describe them is Eclectic! Nothing was ever out of bounds. From pure out and out hooky Indie-pop tunes, to weird oddities and crazed noise blasts! John Peel was a huge supporter. (5 Sessions!!) Here they have collected 45 of their favourite songs, and what a mighty fine collection it is too! Imagine if you will a sort of 'White Album' for a band who had no money and had to record as and when & where and how they could, and as cheaply as possible! We think you'll be impressed! In their time they played shows around the world, supported all your favourite big indie names (The Fall, Flaming Lips, Superchunk, Archers Of Loaf, Wedding Present, Slowdive, Guided By Voices, Blur, Lush, The Rod Jane & Freddie Experience etc...) and it was suggested by one magazine they might have been the influence for Blur leaving their 'Country House' and Woo Hoo-ing their way back to the top of the charts with a harder sound... Pavement got the credit, but those who knew, knew. We're saying nothing. This is a great chance for younger music lovers to get a collection of songs from the best lo-fi band ever, and for older ones to remember. All songs are remastered. Limited to 250 copies on Transparent Petrol Green Vinyl. Comes with postcard, Sticker & A5 16 pages booklet. Label: Old Bad Habits Label, Raving Pop Blast! Records
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The Third Eye Centre is the second compilation album by Belle and Sebastian, released on 26 August 2013. It assembles various B-Sides and rarities the band has released since its previous compilation album Push Barman to Open Old Wounds. (Rough Trade – RTRADCD670)
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THIS ITEM IS A PRE-ORDER! YOUR ORDER WILL SHIP ON/OR AROUND JUNE, THANKS! Casebound book Signed Postcard 16 page booklet Lives Outgrown is the debut album by Beth Gibbons featuring 10 beautiful new songs recorded over a period of 10 years, the album was produced by James Ford & Beth Gibbons with additional production by Lee Harris (Talk Talk). Lives Outgrown is, by some measure, Beth’s most personal work to date, the result of a period of sustained reflection and change — “lots of goodbyes,” in Beth’s words. Farewells to family, to friends, even to her former self. These are songs from the mid-course of life, when looking ahead no longer yields what it used to, and looking back has a sudden, sharper focus. Side A 01 Tell Me Who You Are Today 02 Floating On A Moment 03 Burden Of Life 04 Lost Changes 05 Rewind Side B 01 Reaching Out 02 Oceans 03 For Sale 04 Beyond The Sun 05 Whispering Love Label: Domino Barcode: 0887828028733
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THIS ITEM IS A PRE-ORDER! YOUR ORDER WILL SHIP ON/OR AROUND JUNE, THANKS! Lives Outgrown is the debut album by Beth Gibbons featuring 10 beautiful new songs recorded over a period of 10 years, the album was produced by James Ford & Beth Gibbons with additional production by Lee Harris (Talk Talk). Lives Outgrown is, by some measure, Beth’s most personal work to date, the result of a period of sustained reflection and change — “lots of goodbyes,” in Beth’s words. Farewells to family, to friends, even to her former self. These are songs from the mid-course of life, when looking ahead no longer yields what it used to, and looking back has a sudden, sharper focus. Side A 01 Tell Me Who You Are Today 02 Floating On A Moment 03 Burden Of Life 04 Lost Changes 05 Rewind Side B 01 Reaching Out 02 Oceans 03 For Sale 04 Beyond The Sun 05 Whispering Love Label: Domino Barcode: 0887828028719
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THIS ITEM IS A PRE-ORDER! YOUR ORDER WILL SHIP ON/OR AROUND JUNE, THANKS! Tip-on Gatefold sleeve Signed Postcard 12 page "Scrapbook" booklet 180g Heavyweight Vinyl Lives Outgrown is the debut album by Beth Gibbons featuring 10 beautiful new songs recorded over a period of 10 years, the album was produced by James Ford & Beth Gibbons with additional production by Lee Harris (Talk Talk). Lives Outgrown is, by some measure, Beth’s most personal work to date, the result of a period of sustained reflection and change — “lots of goodbyes,” in Beth’s words. Farewells to family, to friends, even to her former self. These are songs from the mid-course of life, when looking ahead no longer yields what it used to, and looking back has a sudden, sharper focus. Side A 01 Tell Me Who You Are Today 02 Floating On A Moment 03 Burden Of Life 04 Lost Changes 05 Rewind Side B 01 Reaching Out 02 Oceans 03 For Sale 04 Beyond The Sun 05 Whispering Love Label: Domino Barcode: 0887828028733
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Remastered By Steve Albini And Bob Weston At Chicago Mastering. Headache is the 1987 EP by Big Black. A noisier affair than Atomizer, the four-song Headache EP was accompanied by a band-written sticker warning that it's not as good as the preceding LP. However Ready Men and Grinder are satisfyingly ornery, and the noise-fest of My Disco isn't far behind.12" - With Download. (Touch And Go Records)
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Recorded live in london in 1987, during the last big black tour, 'pig pile' opens in the band's typically charming manner with bassist dave riley announcing "this song is called 'dingy little back alley of a country'," before the band launches into a punishing 46-minute set. the concert includes material from the band's first ep, 'lungs', all the way up through 1987s 'songs about fucking'. the band's confrontational live sound emphasizes crackling, extremely harsh guitar and very brittle drums. in true punk rock style, the treble has been turned up as far as possible. 'cables' - about slaughterhouses and 'jordan, minnesota' - about a pedophilia scandal-both appear in radically sped-up versions. 'kerosene' is introduced as "a song jerry lee lewis wrote before he killed one of his wives," and steve albini's vocals are nearly buried beneath heaped shards of guitar shrapnel in 'steelworker.' while there is no substitute for actually living through the big black live experience, 'pig pile' - both on record and in its video form-documents one of the relatively few instances in history when music was actually dangerous. (Touch And Go Records)
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Originally released in 1983 on Homestead Records and re-released on Touch And Go Records in 1992. Recently remastered by Steve Albini and Bob Weston at Chicago Mastering. Includes coupon for an MP3 download of the album. 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)
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Female rock group Birtha formed in Los Angeles in 1967, a talented quartet with guitarist Michelle Pinizzotto, keyboardist Sherry Hagler, drummer Olivia Favela, and bassist Rosemary Butler, who opened for The Stones while in The Ladybirds; Pinizzotto had been in The Daisy Chain. After gigging the west coast, Gabriel Mekler signed them to ABC Dunhill in 1972 for this hard-rocking debut LP, a gritty original with plenty of balls, plus an emotive ballad from Pinizzotto, but despite extensive touring in support of its release, opening for The Kinks in Britain, the LP remained unjustly overlooked, making it now ripe for rediscovery. Gatefold. Label: Survival Research Barcode: 0637913420368
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Smashing up from the Bay Area underground, Black Cobra is ready to take the heavy music world by storm! Formed in 2002 by Rafa Martinez (Acid King, -16-) and Jason Landrian (ex-Cavity) this duo has been laying waste to audiences, taking on all comers, and leaving the remains to rot in their wake. Their sound is a crushing mix of High On Fire-tinged stoner metal and Buzzov*en’s Southern-fried sludge, with a heaping dash of Melvins-style drone to wash it all down. The two piece is the product of years of work between Jason and Rafa. Both originally from Miami, Florida, work started on Black Cobra while home visiting parents over the holidays. This lead to the trading of a series riffs through the mail and visits to each others residences in NY and LA for sporadic practices. The year 2004 saw the release of a raging 3 song demo maxing out at a whopping 6 minutes in length. The year 2006 saw the release of the 11 song goliath that is Bestial followed by relentless touring in America and Europe. In 2007, the band relocated to San Francisco and released their second album Feather & Stone taking the band to Japan for the first time and again touring Europe and America extensively. Live they are a beast like no other. Like their namesake, Black Cobra is at once hypnotic and whip-crack fast. Their two-man assault sinks its fangs into you before you even know what’s hit you. They are a touring machine, having hit the streets with everyone from High on Fire, The Sword, and Saviours to Torche and Genghis Tron. Booked by Tone Deaf Booking (Kylesa, Weedeater, Slough Feg), they don’t plan on slowing down yet. After releasing their two incredibly well-received full lengths on At A Loss Recordings, Black Cobra has taken their rightful place atop the metal throne as the latest signing to the true home of all things heavy – SOUTHERN LORD! Their first Southern Lord release, Chronomega, finds them treading in familiar territory; working with the sound that won them raves from fans and critics alike, while refining it to its sharpest point. No longer just another blunt object, Black Cobra’s music is now a razor-sharp weapon and a true force to be reckoned with. Produced by Billy Anderson (Melvins, Neurosis, Sleep, High on Fire), Chronomega is one of the heaviest records of ’09 or, for that matter, any year! It is a raging slab of pure, unadulterated heaviness. Label: Southern Lord Records
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Tyr (stylized as ᛏᛉᚱ) is the fifteenth studio album by English heavy metal band Black Sabbath, released in August 1990 by I.R.S. Records. Tyr. Label: I.R.S. Records – EIRSA 1038 / Unofficial Release
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Συντηρώντας τη φωτιά κάτω από ένα εκ των πλέον αγαπητών υπο-ιδιωμάτων του extreme metal, οι Blame Kandinsky βάζουν ακόμα ένα λιθαράκι στην ιστορία του παραδοσιακού mathcore. Επιδεικνύοντας εξαιρετικές τεχνολογικές δεξιότητες και μια ακατέργαστη, old school death metal αίσθηση, ανεβάζουν τη δουλειά που γίνεται με τις προηγούμενες κυκλοφορίες τους σε νέα ύψη με αυτό το νέο άλμπουμ. Υπενθυμίζοντας σε όλους τι ήταν αυτό που έκανε τους The Dillinger Escaple Plan, Botch, Every Time I Die, Burnt By The Sun τις δυνάμεις που ήταν και αναμιγνύοντας το με τις διδαχές των Death της εποχής του "Sound of Perseverance", το Eclectic Ruiner είναι μια ξεκάθαρη ένδειξη του που βρίσκονται οι Blame Kandinsky του 2022. For fans of: Botch, Converge, Dillinger Escape Plan, The Chariot, Everytime I Die. • 12” 200gr Black Vinyl LP • Standard full color 4mm spine 300gr paper Outer Sleeve • Full Color printed 230gr paper inner sleeve (Venerate Industries)
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"This band released a split cassette with No Balls, and this fact is telling. Why? Because Blank Veins play horrible, churning, untoward noise-rock that pays grubby homage to said band and the related Brainbombs. First song is a rattling, skull-scraping thing overloaded with squalling sax. The beat to it is almost like the Gun Club or something, though the instrumentation suggests broken glass and corrugated iron rather than Jeffrey Lee Pierce’s spidery guitar fragments. Second song is a stuck lurch, the same riff cycling over and over while beleaguered vocals howl misfortune and that infernal sax parps mercilessly away. It’s brain-gnawingly awful and borderline unbearable, but at the same time strangely compulsive. How they manage such a combination is a total mystery, but do it they do. Over and over and over again." 137 copies pressed in total. 95 came with black letter stamps on the label for the tracklist, and 42 came with red letter stamps. This is the second edition. Label: UNC – UNC-4
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"When the first stabs of treble drenched, over-driven guitar ring out, it sounds as if Blank Veins are about to take you straight into abstract, no-wave territory. But as the first track progresses and the drums and bass kick in, this bad boy veers straight into sleazy, pummeling noise rock territory. And fuck, as soon as the sax snaked its way in through the cacophony I was completely sold. Blank Veins take a simple, atonal riff and drive it forward for the entire duration of the song - completely deconstructing it and annihilating it in the process while the rhythm section pounds away in the background. Add intermittent background noise, yelled/slurred vocals and of course the sax and you have some sort of bastard child born from the fling between a Rhode Island noise rock band and an ex-East Village punk. Totally nihilistic, unrelenting stuff." For Fans Of: D.N.A, Brainbombs, Arab On Radar, Billy Bao, Sex Scheme, The Pop Group, Puffy Areolas Thessaloniki Noise Rules !!! Vinyl re-issue of the first Tape !!! 329 copies pressed, all on white vinyl. Label: Killedbyanaxe Rds
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All things must come to an end, and thus we present to you the final offering from Thessaloniki, Greece's elusive noise rock duo, BLANK VEINS. Following in the footsteps of their previous efforts, this release is a mess of repetitive riffs churned out with an almost New York no wave approach, and delivered in a way which should make any noise-loving degenerate salivate. Edition of 107 pro-dubbed tapes. Label: Estranged Communications
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In 2019, Bob Mould bucked the era’s despair with his melodic, upbeat album Sunshine Rock. Cut to spring 2020, and he has this to say: “We’re really in deep shit now.” That sentiment informs his new full-length album, Blue Hearts, the raging-but-catchy yin to Sunshine Rock’s yang.To be sure, we were in some shit in 2018, when Mould recorded Sunshine Rock. Back then, he had a song called “American Crisis” that didn’t fit the album. “That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown.“American Crisis” is the third song in a walloping album that spits plainspoken fire at the people who fomented this crisis. “This is the catchiest batch of protest songs I’ve ever written in one sitting,” he says. Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.” Back then, Mould was a selfdescribed “22-year-old closeted gay man” touring with the legendary Hüsker Dü and seeing an epidemic consume his community. Leaders were content to let AIDS kill a generation. Mould later realized why his mind wandered back there for Blue Hearts. “We have a charismatic, telegenic, say-anything leader being propped up by evangelicals,” he says. “These fuckers tried to kill me once. They didn’t do it. They scared me. I didn’t do enough. Guess what? I’m back, and we’re back here again. AndI’m not going to sit quietly this time and worry about alienating anyone.”Recorded at the famed Electrical Audio in Chicago with Beau Sorenson engineering and Mould producing, Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day. Acoustic opener “Heart on My Sleeve” catalogues the ravages of climate change. “Next Generation” worries for who comes next. “American Crisis” references “Evangelical ISIS” and features this dagger of a line: “Pro-life, pro-life until you make it in someone else’s wife.”“Leather Dreams,” “Password to My Soul,” and “The Ocean” were composed during a writing binge before a January 2020 Solo Electric tour, when Mould stayed up for three straight days. “Songs just kept coming out,” he says. “‘Leather Dreams’ and ‘The Ocean’ both appeared within hours. I barely remember writing them.”That feels right for an explosive, hook-laden album like Blue Hearts. Only there’s nothing forgettable about it. (Merge Records)
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Bob Mould returns with his next solo album titled 'Patch the Sky' via Merge Records. It is both his darkest and catchiest work. While written in solitude, Mould is backed on the record by longtime drummer Jon Wurster (Superchunk, Mountain Goats) and bassist Jason Narducy (Split Single). The first side of the LP is simple and catchy whilst he back-half of the record heavier in spirit and tone. (Merge Records)
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The cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet Bob Mould calls his new album Sunshine Rock. It's not because Mould - whose face belongs on the Mount Rushmore of alternative music - likes the current administration. His decision to "write to the sunshine," as he describes it, comes from a more personal place - a place found in Berlin, Germany, where he's spent the majority of the last three years. Here Mould would draw inspiration from the new environments. "Almost four years ago, I made plans for an extended break," Mould explains. "I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift." "To go from [2011 autobiography] See a Little Light to the last three albums, two of which were informed by loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, "Try to think about good things." Otherwise I could really go down a long, dark hole," he says. "I'm trying to keep things brighter these days as a way to stay alive."(Merge Records)
