Rock & Indie 1265 Items

Øresund Space Collective (øsc), formed in 2004, is a totally improvising Scandinavian space rock band and has been releasing albums since 2006. The band has played concerts & festivals all over Europe. Their music is quite diverse and influenced by the ever-changing line up in the collective. “Everyone Is Evil” is the Band’s 40th release. This session took place in Sept. 2022 and collected up a number of top musicians to create several albums of progressive, psychedelic, world music and space rock! The track “Everyone is Evil” is an epic 64min track that takes the listener on an intense journey through different universes and a bit of CAN, Magma and other bands but in their own unique way. “Everyone is Good” brings you down to a more calm state in this repetitive, meditative exploration into space music. The two CD bonus tracks start with a rocking one and then followed by a 29min trip to another world. Lots of musical ideas are explored during the journey. Enjoy

Øresund Space Collective (øsc), formed in 2004, is a totally improvising Scandinavian space rock band and has been releasing albums since 2006. The band has played concerts & festivals all over Europe. Their music is quite diverse and influenced by the ever-changing line up in the collective. “Everyone Is Evil” is the Band’s 40th release. This session took place in Sept. 2022 and collected up a number of top musicians to create several albums of progressive, psychedelic, world music and space rock! The track “Everyone is Evil” is an epic 64min track that takes the listener on an intense journey through different universes and a bit of CAN, Magma and other bands but in their own unique way. “Everyone is Good” brings you down to a more calm state in this repetitive, meditative exploration into space music. The two CD bonus tracks start with a rocking one and then followed by a 29min trip to another world. Lots of musical ideas are explored during the journey. Enjoy

Recently created Guatemalan label Identidata is extremely proud to present Sacratávica, the very first collected survey of Joaquín Orellana’s compositions. With a career spanning over 50 years of activity across contemporary art, performance, theater and sound art, Orellana is a highly singular figure in Guatamalan culture. Often considered to be the sole avant-garde composer in the country, his work has a deeply interdisciplinary quality. Most of his music was created using an orchestra of his self-built instruments, also known as Útiles Sonoros. Sitting at the border of sculpture, sound installation and musical instrument, these Útiles Sonoros, which he’s been building and developing since the late ‘60s, are at the center of his artistic activity. Aside the obvious formal aspect, his compositions also have a strong political message, while being deeply rooted in Guatemalan history, folklore and various identities, both indigenous and modern. Playful opener “Híbrido a presión” was one of the first of his compositions to be performed entirely using the Útiles Sonoros. However, due to its technical complexity the piece was seldom reproduced, except for a later staging that Orellana directed in Louisville, Kentucky. “Ramajes”(1984), initially titled “Evocación profunda y ramajes de una marimba” , tracks the many incarnations of the marimba across history, before reaching its final form as one of Orellana’s instruments by combining vibrational percussion with melody and poetry fragments. The title track, ‘’Sacratávica’’, represents one of the most ambitious and emotionally charged pieces from the album. An expansive 22 minute composition mixing textures that mimick field recordings and multi-layered vocal melodies culminating in choral catharsis, ‘’Sacratávica’’ deals in baroque maximalism without ever feeling cluttered. For the casual listener, the track immediately stands out, not only because of the moving vocal layered harmonies, but also through its epic scale and strong sonic narrative. Dubbed “Las voces del Rio Negro”, the piece references the massacres that took place in Coban during a period where the army massacred numerous towns, throwing the bodies in the nearby Rio Negro (the Black River). Final track, “Fantoidea”, a glistening, metallic ambient improvisation, was a reimagining of Disney’s Fantasia using Paul Dukas’s “The Sorcerer's Apprentice” as inspiration.

Despite his work being presented in numerous exhibitions and concerts in various prestigious museums and theaters across the world, very few quality recordings exist to date. The only previously available recordings so far or either of very poor quality or did not receive enough attention. This is why, although The compositions presented not being previously unheard, having them all together in a high quality audio object represents a key moment In Guatemalan and Latin American culture. Recorded on August 31st 2016 during a historical concert attended by over 1000 people at the Centro Cultural Miguel Angel Asturias, designed by Efrain Recinos, one of Guatemala’s leading contemporary artist from the last century, the four pieces were performed by a selection of over 90 musicians (including 60 vocalists) who were already familiar with Orellana’s instruments, cherry-picked from the Guatemalan Conservatory. For the people behind Identidata, it has been a long and arduous process to put together these pieces. Trying to offer a panoramic view of Orellana’s work, the curators have selected pieces ranging from different decades and artistic periods. Sacratávica is a portrait of a singular artist whose work speaks not only to his culture, but carries strong aesthetic sensibilities that resonate universally.

Colin McCann didn't pick up a guitar for nearly ten years. The Northern-California-based songwriter, previously performing under Long Dog Bird, had been creating music with longtime friend and collaborator Brian Gossman for much of their adult lives with early-00s Baltimore-based band Wilderness. So what would cause such a stagnant period? And how could McCann find his way back to the joy that music had once so easily conjured? The answer was to go back to the very beginning, where the kinetic forces that urged McCann to make music in the first place could emerge once again. But first, he had to make space in his internal world; a kind of silence where he could hear the exhale of his past, and the blossoming of a new song. That blossoming would soon become the first songs for McCann's latest project Vulture Feather. The band's debut album Liminal Fields exists on an intangible plane: a crack in the concrete, a gauze between worlds. For as long as McCann can recall, he's been using music as a vehicle to try and connect with an underlying, indescribable nature that only the sonic world seems to be able to reach. "There's a feeling of ecstasy that comes when one merges with music," he says. "It's what calls us all back again and again to listen, to sing, and to play." McCann had been striving to reach this outlying environment throughout his career, often stretching in ways that eventually came to negatively impact his life, and his health. The wake up call came when McCann suffered a near-death experience, eerily predicted by a friend through a dream she had had almost a year earlier. Newly awoken to the beauty of being alive, McCann strove to slow down, to listen to the inherent nature in all living things, and to rediscover our mutual connectivity. He stopped playing and listening to music, and instead soaked himself in the cacophony of silence. Then without any epiphany or grand catalyst, something urged McCann to pick up a guitar again. Ideas flowed more naturally than ever, and he soon realized that the liminal space he had been searching for was there all along--he only had to listen. McCann tentatively reached out to Gossman to collaborate and the friends found themselves once again jamming together, in an off-grid quonset hut where they now practice. "It was like no time had passed," McCann says. "That feeling of ecstatic joy, of forgetting your own name, came flooding back." They were soon joined by another old friend, Eric Fiscus, who completed Vulture Feather on drums.

Sorry Girls have danced out of the darkness into the light. Since forming in 2015, the Montreal duo of Heather Foster Kirkpatrick and Dylan Konrad Obront have transformed an eerie, dreamlike sound into lush, pleasure seeking pop. Expanding upon their debut album, Deborah, the band's deftly arranged sophomore LP, Bravo!, sings to the back rows of the stadium, drawing listeners inward with a newfound focus on personal lyrics. "These songs are all about self-acceptance, self-affrmation, personal freedom, and letting go," says Kirkpatrick. "There are a lot of lyrics about the creative process itself, identity shaping, and how those things intertwine."For Fans of: TOPS, Haim, Marci, War On Drugs, Men I Trust, Perfume Genius, Yumi Zouma, Mr Twin Sister.First pressing on limited edition Color Vinyl.

Discography Volume 2 compiles 42 tracks and spans the years 1995-2013. This includes Hostile EP, and splits with Unholy Grave, Totalitar, Look Back And Laugh, Converge, Systematic Death, Ruidosa Inmundicia, and Brainoil as well as compilation tracks and the Arms Race EP.

Deluxe Clear Vinyl edition of this 2013 release, the 11th studio album from the Progressive Metal band Fates Warning. "Darkness In A Different Light" is the band's first album since 2004's FWX. It is their first studio album with guitarist Frank Aresti since 1994's Inside Out. Drummer Bobby Jarzombek makes his debut on a Fates Warning album.

The new EP from American Nightmare and their first 10" vinyl release. Dedicated To The Next World is AN refusing to rest on legacy. The legendary hardcore punk band returns with four new songs that sound like classic and future AN, stripped down and sped up to their trademarked urgency and live violence. With stream of conscious lyrics and existential dread, these are revival songs for the modern disenchanted. The band’s volatile mix of traditional American hardcore, dark aesthetics, and singer Wesley Eisold’s (cold Cave) emotional lyrical prose set a new creative standard for the worldwide hardcore community. "How I Got Away" recalls AN's anthemic hardcore sound a la tracks "We Are" and "The World Is Blue." "Self Check-Out" is a minute-long punk blister. "Real Love" flies like speed fueled Stooges and "Praying Hands..." nods to the influences of Bad Brains and Negative Approach. Having started in 2000 and initially breaking up in 2004, the band reunited in 2012 and subsequently launched a second life of lauded shows and records proving that there is life after youth. Recorded live to 2 inch tape by American Nightmare drummer Alex Garcia-Rivera at Mystic Valley Recording Studio in Boston. Mastered and cut for vinyl by Bob Weston at Chicago Mastering Service.

Compiling Japanese hardcore punk band Aburadako’s earliest recordings, this collection of rarities and early singles is absolutely brutal! With songs taken from their earliest self-released flexi-disc, a Tokuma Japan punk compilation (Greatest Punk Hits (1983)), and their 1984 mini album, ADK is 14 songs of pure, unrestrained punk spirit! Hirotomo’s vocals are at times incomprehensible, and the recording quality isn’t the best - but who needs those when you have some of the heaviest basslines and brutal drum grooves to come out of Japan? Pressed on a limited edition picture disc, this compilation of Aburadako’s earliest recordings is a must-have for all fans of Japanese hardcore!

Conceptually, Nordjevel evolves further and ventures into even more sinister territories. Gnavhòl is driven by war, destruction and hellish esoteric beliefs, they have created an album that is even darker and more brutal than their previous releases. About the album Nordjevel states: “Gnavhòl is darker, more dynamic and tecnhically on another level than before. This is how we want Nordjevel to sound.” Nordjevel entered the international black metal scene in 2015 and spread like a plague, capturing audiences at festivals such as Inferno, Kaltenbach Open Air, Wacken, Hellfest, Bloodstock, Maryland Deathfest and In Flammen Open Air. The band was founded by Doedsadmiral, and consists of established musicians from bands such as Ragnarok, Myrkskog and Dark Funeral. Through distinctive vocals set to a brutal and instrumental sonic desert, Nordjevel leads the listeners into an empire of infernal rage filled with an obscure, barbaric darkness. Their self-titled debut album was released in 2016, and Nordjevel entered the field like a freezing storm, and quickly became a force to be reckoned with. Nordjevel`s brutal and true take on black metal impressed. The band’s atmospheric and committed sound paired with high technical finesse, unique interplay and raw, unfiltered imagery, has the power to give any black metal fan the chills. In 2019, Nordjevel released the follow-up album Necrogenecis, and in 2021 they released the EP Fenriir. Both releases show the hugeness Nordjevel is capable of, receiving raving reviews and top scores from press and fans all over the world. All of Nordjevel’s releases has made it to numerous “best of the year lists”, and they have quickly proved their position on the international black metal scene.

Formed in London’s Islington borough in 1970, Grit would perform their heavy psychedelic rock locally for three years, disbanding and disappearing before they could sign a contract with a record label. Their sole recorded output was a three-track demo, recorded in 1972, of which only two copies were ever pressed. One of those copies made its way to Germany, where it was discovered in a flea market by record collector and psychedelic rock expert Hans Pokora. After being featured in Pokora’s “7001 Record Collector Dreams” and being awarded the maximum grade of rarity, the record quickly became an object of desire for crate diggers around the world. It didn’t take long for somebody to track down original guitarist Frank “Spider” Martinez, and with the original master tapes he still had in his possession, reissues were off to the races!

And for good reason - not only is this record incredibly rare, but the heavy psychedelic rock is unparalleled, with comparisons to Cream, Jimmy Hendrix, and John Mayall hardly doing it the justice it deserves. Fuzzed out riffs, Robert Plant-esque shout singing, and some of the most aggressive drumming this side of the Thames, makes for a psychedelic rock sound that’s unmistakably British but undeniably awesome. Featuring never before heard recordings of rehearsals, including a cover of Burnin Red Ivanhoe’s “Across The Windowsill”, this is a record as valuable for its history as it is its sound. Reissued with an obi-strip for the first time ever, don’t miss Grit only from P-vine Records.

The self-titled debut album of Tuomas Tahvanainens Death Ambient act Cold Prophet!Nightmarish Debut by one of the most prominent individuals in the Finnish Black Metal Scene! Released by SHININGs Niklas Kvarforth on his own label THE Sinister Initiative

On vinyl for the first time. Re-issue of American death metal band, Jungle Rot's second album from 1997 'Slaughter the Weak' on Clear vinyl! Jungle Rot - American death metal band from Kenosha, Wisconsin, formed in 1992 originally as a side project by Jim Harte and Joe Thomas, members of the Illinois thrash metal act, Prisoner. They acquired Kenosha-based guitarist Dave Matrise (Num Skull, Nocturnal, Fatal Violence) in 1993 and in 1994 when Matrise took over the band got serious and started to take off.

Take a step into the abrasive live venues of 80s Japan with this 7” edition single reissue for gritty post-punk wranglers Jungle’s. Originally released in 1982, the original 7” combination of “Hey! Child” and “21st Century Arabian Night” was a revelation to those it reached, and the guitars hammer home the punk spirit at the heart of their sound. P-vine is excited to be reissuing this second and final single the group put together for this limited release.

This monster package of 1976 material comprises 18 songs, including the entire original 7-song EP, 2 rarities and 9 previously unreleased tracks, all meticulously mastered from the original analog tapes. Giant 20-page booklet with founding story by vocalist Rich Stim. Lyrics, photos, original surreal art, alt-cover slick, radar-dish sticker. 600 copies.

Debut LP from NYC Garage Rockers on Transparent Electric Blue Vinyl - Produced by Nick Zinner from Yeah Yeah Yeahs! Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene. Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show. One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world. "I never thought I would see someone be able to play guitar with the ferocity of Link Wray, and sing like Lydia Lunch had a nuclear meltdown and m...

The Reverend Horton Heat ain’t just a person, or a band—it’s a state of mind. Drawing on such crazed rockabilly ancestors as Charlie Feathers, Hasil Adkins, and The Killer himself, James (Reverend Horton) Heath and his long-time bassist Jimbo Wallace have, over the course of the last 30-plus years, helped bring rockabilly kicking and screaming into the modern age, marrying punk with rockabilly to create the psychobilly genre. And, on their 2000 album Spend the Night in the Box—which, to burnish the “psycho” credentials, was produced by fellow Texan Paul Leary of Butthole Surfers fame—The Reverend Horton Heat struck gold (hence our gold vinyl edition!), going to #2 on the CMJ charts on the strength of such numbers as “Sue Jack Daniels,” “The Girl in Blue,” and other misbegotten tales of babes and booze. This is actually a bit of a return to a classic rockabilly/swing sound, powered by the Rev’s 1954 Gibson ES-175 and the rhythm section of Wallace and drummer Scott Churilla, but it’s no less (ahem) heated. Vinyl debut boasting inner sleeve with lyrics!

New project by Melati Malay of Young Magic (Carpark) and Asa Tone (Leaving Records)

The music of Melati ESP aka Melati Malay is a euphoric vision of megacity rhythm and rainforest escape, club breaks and weightless pop, mapping new dreams from the sound of futures past: hipernatural. Drawing on the music era of her teenage years growing up in Jakarta – Javanese radio Dangdut, gamelan cassettes, Moving Shadow-era liquid jungle, Japanese chill-out, etc. – as well as her current work in progressive percussion trio Asa Tone, Malay’s solo debut is boldly borderless, bridging worlds and wavelengths into a richly imagined hybrid synthetic utopia. hipernatural is momentous linguistically, too, as Malay’s first foray into singing in Indonesian, the language of her youth. She characterizes her lyrical mode as “abstract, and a bit broken,” an intuitive collage of diaristic emotion and oblique poetry (“plant me in fleeting twilight / missing home, where is home? / I am another you”). Her voice serves as its own versatile instrument, alternately intimate and alien, sensual and sacred, shaded with the haze of hidden heavens. Co-produced with long-time collaborator Kaazi (100% Silk, Asa Tone), the album’s 12 tracks are cohesive but eclectic, threading through temple bass music, cyber siren techno, Stereolab drum n bass, new age downtempo, and dial-up rave reveries, flecked with tactile fragments of offworld dialogue, computer hum, bubbling water, and beyond. Malay’s technique of sampling and processing her voice into an electronic palette which she then performs on generative instruments gives the songs a bewitching artificial intelligence elegance, exquisite but uncanny. Hers is a hybridity both organic and hypermodern, deeply personal yet globally sourced – YouTube rips, nature tapes, cheap sample packs, club bootlegs. hipernatural champions a dynamic new language at the axis of then and now, of east and west, planting fresh roots in a future still being born: “Cocoon world / it’s a rare earth / earthless / decolonize your mind / unlearn everything.”

The Mountain Goats are a trio from the mid-Atlantic and points north, helmed by John Darnielle ("one of America's most startling lyricist/poets" _Boston Herald) and kept honest by Peter Hughes and Jon Wurster. Though the Mountain Goats have been making records since the battle of Little Big Horn, All Eternals Deck is their third following the ratification by unanimous vote of their trio lineup (the bill, known as the Jon Wurster Mountain Goats Drummer Act of 2007, passed 2-0 with zero abstentions).Having taken to the open road as soon as the act was signed into law and consolidated their powers into a focused triune weapon, the three spent 2010 making commando raids on studios up the seaboard from Tampa to Boston, recording along the way with producers John Congleton, Brandon Eggleston, Erik Rutan and Scott Solter. Gravitating toward images and stories of doomed people or tribes trying to leave a scratch mark or two on some visible surface before their brief moment in the sun has slipped by forever, All Eternals Deck continues Darnielle's career-long quest to find hard-won moments of joy in the momentary resolve of people who have recognized, in the glare of a train's oncoming head lamp, their fate.

Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford. This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."

The Fire is the fourth studio album by the American post-hardcore band Senses Fail. Widely looked on by fans and critics alike as one of the band's finest studio album, the record features singles including title track 'The Fire, 'New Years Eve' and 'Lifeboats'.Originally released on October 26th 2010, this new pressing is the first since it's original release, packaged in a hand-numbered sleeve with accompanying lyric insert, and comes complete with bonus track 'Ghost Town'. Released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary."The Fire showcases an immense growth in both the band's songwriting and arrangements, proving that these scenes stalwarts are not about to rest on their laurels." Revolver"The Fire is proof that Senses Fail consistently toe the line between singing and screaming better than most of their peers." Alternative Press

Gorilla Biscuits' "Start Today" is one of the most influential records in hardcore. Hailing from NYC, Gorilla Biscuits carved a niche within the NY hardcore scene. Blending the aggression and energy of bands like Agnostic Front with a sense of melody likened to Dag Nasty, Gorilla Biscuits still stands as a unique reference point for many hardcore bands that have come after them.