Rock & Indie 239 Items

Limited to 50 pieces

Augn is back. It has to be. After all, people won't stop talking loads of shit, even though you won't be allowed to say anything any more soon. With the double album "Gerstenkorn/Fata Morgana", the "fun guerrilla of humourless humour of the para-public filter bubble" (stretch your drugs at Springer, guys!) is now igniting the next stage of escalation. 16 songs - the beats as dull as time, the lyrics the portrait of an average German family reunion. But without the composure. There's more than just borderline nodding when the fascist granddad is singing his aiwang again or the leather-skinned aunt is raving about her lover from Mombasa. Someone says something when the hipster cousin celebrates multiculturalism but prefers to lock the Prius on Hermannplatz from the inside. The uncle who lines Schinkenstraße once a year is mercilessly held up to the mirror when he finds the hordes of tourists in front of his condominium in Friedrichshain somehow difficult. Here, at least someone still opens their mouth when the artist's son with a mask certificate craves corona help or retort pop stars take the teenage daughter's pocket money. Great, it was just so cosy... and then they come back, these Augn, and take an axe to the tranquil idyll of German stupidity. But to be honest... let's be clear... someone has to... it's high time... where is this going... it can't go on like this... or can it?

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.

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.

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.

Charlotte Fever - it is now on the agitated shores of a white sand beach that the ardent duo takes us for the release of their first album "Paris cyclone". Taking a more rhythmic musical direction, with more assertive voices and spoken-singing, Charlotte Fever manages to evolve their heady universe towards new spheres without getting rid of the languorous warmth that sticks to their skin. Sometimes luminous, sometimes bathed in a disturbing strangeness, always very melodic, the pieces composed for four hands by Cassandra and Alexandre manage to shake up the sobriety of current electro pop by adorning its synthetic trappings with marimbas and wooden flutes.

Crack Cloud has always been something beyond a rock band: bothprofound and grand, vaporous and elusive.The first iteration of Crack Cloud was formed nearly a decade ago as aproxy-rehab outlet on the fringes of Calgary. Over time, two EPs andaccompanying visual pieces were produced out of the residence knownas Red Mile. By 2017, several members had relocated to Vancouver,working out of harm reduction centers and low-barrier shelters. Sobriety,self-reformation and the idealism of their work further formed an ethosfor Crack Cloud. It was during these years that the band produced theirastounding 2020 album Pain Olympics. At once, their vision becameexpansive, cinematic.Now, Red Mile is a bit of a homecoming. Members have returned toCalgary. But Calgary/home has become a liminal space, a place of flux.After a decade of personal and collective growth, what does home evenmean? Red Mile is, for them, something like samsara: a return and arebirth.Red Mile's sound breathes expansive energy into the circuitous, streetbound sonics of Crack Cloud's prior material. Fizzling synths intertwinewith chiming pianos. Songs layer like Russian nesting dolls; one may finda Ramones chorus set within a desolate Western prog soundtrack only towatch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting,scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024,the cumulative effect is (in rock instrumentation terms) naturalistic. Anywhiff of embalmed nostalgia is absent. Even the close of the album - awinding, alllllmost Jerry Garcia guitar noodle that leads us out of Red Mile- is delivered without sentimentality. Principal songwriter Zach Choy'slyrics are cutting but merciful, with a sharp self awareness that neverslides into self-satisfaction. Crack Cloud as artists are critical _ andultimately as forgiving _ of themselves as they are the melting worldaround them. The songs balance an easy charm and cathartic power:affirming life without denying de...

Crack Cloud has always been something beyond a rock band: bothprofound and grand, vaporous and elusive.The first iteration of Crack Cloud was formed nearly a decade ago as aproxy-rehab outlet on the fringes of Calgary. Over time, two EPs andaccompanying visual pieces were produced out of the residence knownas Red Mile. By 2017, several members had relocated to Vancouver,working out of harm reduction centers and low-barrier shelters. Sobriety,self-reformation and the idealism of their work further formed an ethosfor Crack Cloud. It was during these years that the band produced theirastounding 2020 album Pain Olympics. At once, their vision becameexpansive, cinematic.Now, Red Mile is a bit of a homecoming. Members have returned toCalgary. But Calgary/home has become a liminal space, a place of flux.After a decade of personal and collective growth, what does home evenmean? Red Mile is, for them, something like samsara: a return and arebirth.Red Mile's sound breathes expansive energy into the circuitous, streetbound sonics of Crack Cloud's prior material. Fizzling synths intertwinewith chiming pianos. Songs layer like Russian nesting dolls; one may finda Ramones chorus set within a desolate Western prog soundtrack only towatch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting,scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024,the cumulative effect is (in rock instrumentation terms) naturalistic. Anywhiff of embalmed nostalgia is absent. Even the close of the album - awinding, alllllmost Jerry Garcia guitar noodle that leads us out of Red Mile- is delivered without sentimentality. Principal songwriter Zach Choy'slyrics are cutting but merciful, with a sharp self awareness that neverslides into self-satisfaction. Crack Cloud as artists are critical _ andultimately as forgiving _ of themselves as they are the melting worldaround them. The songs balance an easy charm and cathartic power:affirming life without denying de...

A quartet of milanese kids destined to write the history of hardcore punk: ladies and gentlemen, here are Crash Box! At their debut and grappling with some of the most iconic hits such as Nato per essere veloce and Veleno per voi. Demo 1983, where Marco Maniglia Medici's lyrics are already at the peak of creativity and at the service of one of the most virtuous formations in the history of the band. 22 minutes of true Italian hardcore. Anastatic reissue of the original 1983 cassette and remastered audio. Graphix by DeeMo on original materials.

A quartet of milanese kids destined to write the history of hardcore punk: ladies and gentlemen, here are Crash Box! At their debut and grappling with some of the most iconic hits such as Nato per essere veloce and Veleno per voi. Demo 1983, where Marco Maniglia Medici's lyrics are already at the peak of creativity and at the service of one of the most virtuous formations in the history of the band. 22 minutes of true Italian hardcore. Anastatic reissue of the original 1983 cassette and remastered audio. Graphix by DeeMo on original materials.

To celebrate 40 years of Mucchio Selvaggio, the split-tape of two of the most seminal bands of European hardcore punk returns for the first time on Italian vinyl, LP. Decline/negazione, a musical combo that has become legend and has defined the aesthetics and sound of a genre. Graphics of the new edition by DeeMo. Remastered audio. Inner slave with reproduction of the original tape materials and 1985 European tour flyer. 27 minutes of hardcore punk that made history.

To celebrate 40 years of Mucchio Selvaggio, the split-tape of two of the most seminal bands of European hardcore punk returns for the first time on Italian vinyl, LP. Decline/negazione, a musical combo that has become legend and has defined the aesthetics and sound of a genre. Graphics of the new edition by DeeMo. Remastered audio. Inner slave with reproduction of the original tape materials and 1985 European tour flyer. 27 minutes of hardcore punk that made history.

Ebbot Lundberg (The Soundtrack of Our Lives, Union Carbide Productions) continue to explore music, time and space. In the midst of his reunion with Tsool and their highly successful tour Ebbot manages to come up with one of his best records ever and we are proud to team up with his label Akashic to release this MLP of Village Green-era Kinks and Floydish introspection.

You don’t have to be a genius to figure out what kind of sonic wares a dude who goes by Egg Idiot is peddling. But that doesn’t mean this gooey Leipzig freak is a one-note act. Over the 16 tracks that make up this debut LP—composed of re-recordings of songs from earlier cassettes—you’ll be taken on quite the lo-fi journey. Yes, you can expect plenty of squiggly power-poppin egg punk in the vein of Cherry Cheeks or Billiam, but you’ll also come across some denser polyrhythmic numbers not too far from something off an early Uranium Club release, a couple of slacker rock jams, what sounds like a contemporary take on ‘90s cassette punk, and even some stuff that borders on oddball industrial. This maybe isn’t a record for the easily annoyed. But you gotta imagine a dude dressed as a giant egg wouldn’t have it any other way. (Alex Howell)

Happy 20th birthday to Family Album, the third recording of Faun Fables and the first one released on Drag City. These songs belong to sons and daughters, entwined and orphaned, domesticated and feral; to all the family vines unraveling from a ball of yarn. In this family album, runaways graze the wild together, a mother finds her courage playing the piano, dogs become thieves and wolves, and a son is taken too soon. Fourteen-year-old nymphs sit dangerously at the crossroads, a younger brother tries to find his place, packs of girls defeat fear with a march, and the nightly adventures of the household mouse are spied upon.Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, whom inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Da...