• Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin- based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting fromsounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving. Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats,ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling. Koksofen (which translates as blast furnace), originally released in 1993, has become one of Massaker’s most popular albums. Like it’s predecessor, ...Schwarzen Folklore, the album took shape in Massaker’s rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank’s studio near Cologne, with Plank’s former associates Ingo Krauss and Bruno Gephard producing. There’s a different kind of intensity to Koksofen. The features of Massaker’s sound are in full bloom. Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire song-scape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by Caspar’s guttural growls of war, suffering and death. Caspar recalls one anecdote from shortly after the original release whereby Bassist Edu Delgado called him asking to turn on the TV, thus discovering that Hymne was being used as background music to a reportabout the death penalty in the US. A different kind of intensity indeed. Reflecting on the album to this day Caspar remarks “Koksofen is still a mystery to me,'' he continues “I can still feel the troubled times in these songs.” - the effects are certainly potent for the listener too. And the album undoubtedly affirms Massaker as the fiercely original and compellingly raw musicians that they are. (Southern Lord Records)
  • Out of stock

    DANZIG | lucifuge II | LP

    18.00 incl. tax
    Danzig II: Lucifuge is the second album by American heavy metal band Danzig. It was released in 1990 on Def American Recordings (Def American Recordings/Unofficial Release)
  • Collection of studio cuts, covers and live tracks from the junkie guitar anti-hero. The B side features Revere Sound Studio acoustic recordings from Boston, in January 1982 and 'Give Me More', recorded in a New York City apartment in 1982. (Easy Action Records)
  • MESSA | close | 2xLP

    33.00 incl. tax
    2LP gatefold, heavy booklet, black vinyl. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time. (Svart Records)
  • Out of stock

    MESSA | close | CD

    16.00 incl. tax
    Digipak CD with a heavy booklet Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time. (Svart Records)
  • MOTORHEAD What's Words Worth? (1983 UK 9-track vinyl LP, capturing the legendary rockers live at The Roundhouse, London on 18th February 1978 under the unlikely moniker of Iron Fist & The Hordes From Hell [no-one seems to remember why!] - no overdubs, just three hirsute geezers tearing their way through a dynamite set, including versions of White Line Fever, Leaving Here & City Kids, housed in a glossy sleeve with a bizarre but striking image of an axe buried in a William Wordsworth statue. (Back On Black – BOBV160LP)
  • After 10 albums, the last five of which have gone top 10 or better, six Grammy awards, and sold-out tours around the world, The Black Keys are back: the duo, called ‘America’s Most Trusted Band’ by Stephen Colbert, and ‘One of the best rock’n’roll bands on the planet’ by Uncut, releases its eleventh studio album, Dropout Boogie, via Nonesuch Records. Dropout Boogie features collaborations with Billy F. Gibbons (ZZ Top), Greg Cartwright (Reigning Sound), and Angelo Petraglia (Kings of Leon). As they have done their entire career, the duo of Dan Auerbach and Patrick Carney wrote all of the material in the studio, and the new album captures a number of first takes that hark back to the stripped-down blues rock of their early days making music together in Akron, Ohio basements. After hashing out initial ideas as a duo at Auerbach’s Nashville-based Easy Eye Sound studio, Auerbach and Carney welcomed new collaborators Billy F. Gibbons, Greg Cartwright, and Angelo Petraglia to the Dropout Boogie sessions. Although The Black Keys previously co-wrote songs with frequent producer/collaborator Danger Mouse, this is the first time they have invited multiple new contributors to work simultaneously on one of their own albums. (Nonesuch / Easy Eye Sound / 2022)
  • Out of stock
    Check this, THE GUN CLUB high quality rarities compiled on a double album, including: Side A: THE GUN CLUB very first demo from 1981. Side B: On the air recording on a radio station in New York City in 1982. Side C: Acoustic rarities from Jeffrey Lee Pierce in 1990. Side D: Absolutely killer live recording of THE GUN CLUB in Europe in the "Lucky Jim" tour in 1993. All of it packed in a deluxe gatefold jacket which will make very happy all of the fans around the world of this legendary and unforgettable band! (Bang! Records – BANG!-LP108)
  • Out of stock
    "Fire of Love' is the no-nonsense debut from blues-punk legends The Gun Club. Formed in 1979 - when singer Jeffrey Lee Pierce taught a young Kid Congo Powers to play guitar - the band injects the Delta blues, rockabilly and '60s garage with their own amplified fury. Originally released in 1981 on Slash's sub-label Ruby Records, 'Fire of Love' features the classic second lineup with Ward Dotson on guitar (replacing Powers, who left to join The Cramps) and The Bags' rhythm section. Opener 'Sex Beat' shakes and stutters through a dynamic slab of American rock 'n' roll that reverberates throughout the album. 'She's Like Heroin to Me' is perhaps Pierce's most famous paean to modern love, elevating him to raucous demigod of the underground. (Munster Records)
  • Out of stock
    Live on Broadway, San Fransisco, CA, November 6, 1981, KUSF FM Broadcast. "this is a really choice album.. straight from the soundboard.. great for repeat listening.. before Miami was recorded.." Tracklist A1 Watermelon Man A2 Run Trough The Jungle A3 She Is Like Heroin To Me A4 John Hardy A5 Fire Spirit B1 Black Train B2 Jack On Fire B3 Sex Beat B4 For The Love Of Ivy (Mind Control/Fan Club)
  • Live At The Konserthuset, Stockholm, Sweden, January 9, 1969 - FM Broadcast Limited to 500 copies. Issued on 180g heavyweight black vinyl, housed in glossy single jacket with white paper inner sleeve. Tracklist: A1 Killing Floor A2 Spanish Castle Magic A3 Hey Joe A4 Sunshine Of Your Love B1 Fire B2 Voodoo Chile B3 Red House (Magic Dice Records)
  • Out of stock
    Closing time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues and folk styles that would come to be associated with waits. It is on this debut album that waits performs enduring classics of his career “ol’ 55” (famously covered by the eagles), the heartbreaking “martha” and the gentle acoustic folk of “i hope that i don’t fall in love with you”. Reissue, Remastered, 180g. (Anti- – 7565-1, Anti- – 7565-1SLE)
  • Out of stock
    After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits' Asylum years still hold a special place in the hearts of many fans. Waits' first seven albums on Asylum have been remastered and will be re-released via Anti-Records. Released in 1980, Heartattack and Vine was Waits' final album on Elektra Asylum and it built on the raw blues approach of Blue Valentine with the incendiary title track, the funky, organ driven quot;Downtownquot; and the stomping NOLA blues of quot;Mr. Siegal.quot; This album also contains some of Waits' most popular ballads, including quot;Jersey Girlquot; which was famously a hit for Bruce Springsteen. quot;On the Nicklequot; is a moving song about the homeless people who lived on 5th street in downtown LA, and quot;Ruby's Armsquot; is a beautiful song with a lovely Bach-like melody. Newly Remastered with Waits/Brennan. 180 Gram (Anti/2018)
  • Remastered and reissued on Anti. Expanding beyond the folk and pop stylings of his first album, Waits’ second studio release Heart of Saturday Night established his reputation as a versatile and distinctly American songwriter. Its bluesy jazz arrangements featured bass, drums, sax and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like San Diego Serenade are enduring classics covered by an array of artists from Diana Krall and Nancy Griffith to folk hero Eric Anderson. The album also features Diamonds on My Windshield, the first of what would become a signature for Waits’, the spoken word-poetry song. Waits’ delivers these lyrics as pure beat jazz in the stylings of Kerouac. Newly Remastered with Waits/Brennan. 180 Gram (Anti/2018)

Title

Go to Top