Rock & Indie CD 562 Items

Combining the best elements of classic Japanese Hardcore with a scorching Metal-infused guitar work as well as a solid rocking vibe, Juntess stands as one of the most underrated bands of the late ’80s to early ’90s wave of Tokyo HC. This ultra exhaustive anthology finally makes justice to the quality and originality of their music, collecting all their existing recordings: singles, compilation tracks, the rare “not for sale” demo 1989 and a very complete selection of live material, except the album “Under the red moon” that was already reissued on F.O.A.D. in 2017. A maniacal collection that reconstructs their history from the very first days to the final show: 1988 to 1992. Double LP + 2x extra bonus CDs, for a total of 86 Songs! Comes in a thick gatefold jacket with OBI strip and 12 page full colored booklet with rare photos, flyers, biographical notes and scans of their complete discography. Detailed contents: “Knells for the past” 7″, “You were free” 7″, Split 7″ with Doctor and the Crippens, “Not for sale” studio/live tape, songs from “The bottom rise up to the top” v.a. flexi 8″, songs from “Kakumei – best run fast” v.a. LP, songs from “Kiss my ass” v.a. tape, songs from “Office L.M.” v.a. tape, songs from “Who’s chained up to the dogs of outrage!!” v.a. LP. Bonus CD1: Demo and early gigs 1988-1989 / Bonus CD2: live 1991-1992 including the final show (mostly soundboard recordings).

Habi, the owner of "ne" Records in Sweden receits ....My first encounter with Blitzkrieg Bop didn’t happen until the early 90’s, I was on the lookout for rare punk vinyl when I came across their first EP. Soon after I started to search desperately for all their records. I bought an unplayed copy of “Let’s Go” from Vinylshrine, little did I realize that the owner of Vinylshrine was John Hodgson aka Blank Frank, the singer with the band! I thought I had heard all the band had to offer but in 2013 a new compilation called “Live ‘77 & Beyond” came out on John’s own Opportunes label. I contacted him and was overjoyed to learn that there were a number of unreleased tracks, both live and studio, in good enough quality to merit another release. I really liked the songs I was sent and now we are here, with a new album called “The Usual Suspects.” With a bunch of previously unreleased tracks exclusive to this release, and a lavish gatefold sleeve and insert with many previously unseen photographs, together with a CD version of the album, this is an album you can really “Let Go and enjoy!”

Solunski Front were a hardcore punk band from Belgrade,Serbia from 80s, formed in 1981. A1-a6 recorded in studio "Borut Činč" september 1984. B1-b9 recorded in studio "Kora" september and oktober 1983. B10-b11 live 1984.

This year marks 25 years since Oasis’ two iconic record breaking live concerts at Knebworth Park in Hertfordshire on the 10th and 11th August 1996. The shows were both the pinnacle of the band’s success and a landmark gathering for a generation of young people.

Released alongside the cinema debut of the feature length documentary film of the event, ‘Oasis Knebworth 1996’ is the definitive live recording featuring a setlist packed with stone cold classics album taken from across both nights of the concert, from the opening salvoes of ‘Columbia’ and ‘Acquiesce’, to ‘Champagne Supernova’, ‘Don’t Look Back In Anger’, ‘Live Forever’, an orchestra backed ‘I Am The Walrus’, and ‘Wonderwall’ the first song from the 1990’s to reach over one billion streams on Spotify and universally loved anthem.

The DVD and Blu-ray formats feature ‘Oasis Knebworth 1996’ - the eagerly anticipated feature length documentary telling the story of the special relationship between Oasis and their fans that made the largest concert of the ‘90’s possible, directed by Grammy Award-winner Jake Scott. It is told entirely in the moment through the eyes of the fans who were there, built around extensive and never before seen archive concert and backstage footage from the event, with additional interviews with the band and concert organisers. Both formats also include the full concerts from both nights edited by Dick Carruthers with audio mixed by Will Shapland in Dolby 5.1 surround sound.

Machine Gun Etiquette Was The Album That Brought The Damned Into The Charts And Opened Up Their Music To Millions More Than Hard Corp Punk Fans. Ironically The Massive Hit From The Album Was Smash It Up As Punk As You Could Possibly Get! But The Album Was Also Home To Another Two Hit Singles Love Song & I Just Can't Be Happy Today. After 25 Years The Damned (With Its New Line Up But Including Songwriter Captain Sensible And Front Man Dave Vanian ) Decided To Do A One Off Tour To Commemorate This Seminal Album . The Manchester Show Was Captured On Film With A Five Camera Crew And A Set That Also Drew In Other Damned Hit Singles Such As New Rose , Neat Neat Neat , Eloise, And The Epic Fan Favourite Curtain Cal...

Never previously available outside of Japan, Shm-cd titles are being made available for the first time globally. *Shm-cd (Super High Material CD) is a superior quality CD fully compatible with all CD players. Shm-cd utilizes a polycarbonate material originally developed for LCD screens, and the enhanced transparency of the Shm-cd results in more clarity, depth and definition of sound, bringing the listener ever closer to the music of the original master.. Celebrating the 60th anniversary of The Rolling Stones forming in London.

Aspidistrafly, the Singaporean duo comprising April Lee and producer Ricks Ang, return with Altar of Dreams, their first studio album in a decade.

While their last album A Little Fable introduced the world to their bucolic and wispy brand of folk songwriting, Altar of Dreams sees the duo – also the founders of Kitchen. Label – harness their experiences over the past decade to create a wholly new and inspired vision. In this new and third album, they drew upon a rich palette of shapes, sounds and movement: straddling between the visionary photography of Serge Lutens and Dora Maar, 80s Japanese ambient pop, musique concrète and the mournful strings of Béla Bartók.

The world in which Aspidistrafly once inhabited was foggy and awash in faded memory. A feeling of being suspended in time felt inescapable with each listen. In Altar of Dreams, the fog is clearing up. At nine songs under 35 minutes, the album possesses all the defining hallmarks of Aspidistrafly – poetic lyricism, cosmic introspection, lush strings, surrealism, tenderness and texture. But what was once seemingly inscrutable has now been explored with astounding clarity, the duo maneuvering through a space-time continuum with delicate leaps.

‘How To Find A Marblewing’, the opening track, is a heady sound collage of early internet sounds, film, anime, and chopped-and-screwed 90s J-pop. It’s a presence deeply embedded throughout the record, a method Lee describes as “a form of environmental/tape treatment”.

The compositions glimmer with sincerity, addressing all at once destruction, mystery, uncertainty, hopes and dreams. The resulting music is backed by an opulence only possible with a line-up of guest musicians. ‘The Voice of Flowers’ is stirring in its balance of flute, clarinet, tenor saxophone and piano, bolstered by a string quartet. Kitchen. Label artist haruka nakamura features on the track alongside Kyo Ichinose (who arranged the strings for the album) and wind instrumentalist Araki Shin.

‘Interlude: Chrysalises and Larvae’ takes the heavy path downward, adopting its name from the 1973 surrealist odyssey The Hourglass Sanatorium. It leads into ‘Companion to Owls’, a gothic pop paean to mortality inspired by the Book of Job.

Before the namesake centrepiece of the album, another interlude arrives in ‘A Ceremonial Ode’, both of which were stirred by a series of regal Shiseido ads from the 1980s starring model Sayoko Yamaguchi. ‘Altar of Dreams’ is haunted by the lucid dreams that once provided escapism for Lee. Its tranquility belies a simmering tension, just as how a lucid dream would offer control in the face of the unknown. “In one of them, I was floating in a vast darkness safe and secure, and then I fell into a turbulent mirage where I willingly allowed myself to be swept away further and further from reality, hoping that I would never wake up,” she says. “Needless to say I did, and ended up writing this song on one of these dead nights.”

If the title track replicates the feeling of falling deep into that spiral, ‘Silk and Satins’ is a direct analysis of the phenomenon. Warped frequencies collide with nature and television sound effects – the latter sourced from 80s Singaporean horror series Mystery – within an inter-dimensional music world. The track was made with featured artist Sugai KEN, whose own work is an endless scroll of intoxicating found sounds.

‘Quintessence’, the sweeping closing track, distills all the elements scattered across the album into a coda that beautifully refuses to resolve. At first an exercise in guitar looping, the song was then written without a beginning and end in mind. “I’d like to think of it as poetry that’s sung,” says Lee.

In Altar of Dreams, Aspidistrafly are renewed and hopeful. They’ve emerged from a decade spent reframing the world they see through vivid dreams and memories. Now, it’s all yours to experience.

KK’s Priest, the band comprised of renowned former Judas Priest guitarist, KK Downing and former vocalist Tim “Ripper” Owens, is pleased to announce the release of the debut album Sermons OF THE Sinner via Explorer1 Music Group/EX1 Records on August 20.

Sermons OF THE Sinner is an incredible collection of future metal classics, sure to be one of the stand-out metal releases of 2021. K.K Downing’s genre-defining guitar style helped establish Judas Priest‘s iconic sound and helped propelled them to one of the top Heavy Metal bands of all-time, earning numerous accolades including a Grammy® in 2010 for “Best Metal Performance,” a total of five Grammy® nominations and multi-platinum and gold releases.

With Downing on guitar, KK’s Priest also features ex-Judas Priest member Tim “Ripper” Owens on vocals, who fronted the band for eight years and recorded two studio albums, Jugulator, featuring the Grammy® nominated track “Bullet Train,” and Demolition, plus two live albums. They are joined by Tony Newton (Voodoo Six) on bass, A.J. Mills (Hostile) on guitar and Sean Elg (DeathRiders/Cage) on drums. Original drummer, Les Binks, unfortunately sustained a wrist injury, but will make special guest live appearances when the band tours.

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin

The Rolling Stones embarked on the Licks World Tour in 2002 & 2003 to celebrate their 40th anniversary, featuring the band performing in arenas and stadiums, in addition to the occasional theater. In November 2002, the Stones arrived in Los Angeles to perform at a packed Wiltern Theatre, treating fans to a set heavy on rarities which feel right at home in such an intimate setting. While some of the hits are performed, this night at the Wiltern is for the rarely played classics, including “Stray Cat Blues”, “No Expectations” and a cover of “Everybody Needs Somebody To Love” featuring a guest spot by the legendary Solomon Burke, who opened the show that night.