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Blue vinyl is close to NM. cover has tiny wear. Original inner sleeve. Limited edition.

New 2022 LP pressing on black vinyl, standard sleeve with printed inner. There's a mystery to Vanishing Twin - from their name to the multitude of sounds that inhabit their music. They don't sound like many but they hint at plenty. 'Ookii Gekkou' (Japanese for Big Moonlight) is the sound of ordinary life under a different set of rules, a record conceived and created in dark times - a sort of dream catcher for all the madness of the past year.Vanishing Twin explore new ground on 'Ookii Gekkou' incorporating elements of afrofunk, outer jazz and avant-garde, all while referencing Sun Ra to Alice Coltrane, Martin Denny to Morricone, Can's Holger Czukay to meditative Gamelan, or The Free Design, to library music of the late '60s and early '70s. Locked into their strangely-accessible groove is a history of 'other' sound, a crafted hauntology that evinces something completely new.Hurricanes, organisms, vibes, bells, and percussive rallies purvey throughout 'Ookii Gekkou', each infiltrated with influences as diverse as Piero Umiliani, Art Ensemble of Chicago and ELO among others. Indeed, even a cursory earful adds to an ever-expanding palette of sound, no mean feat for the newly-trimmed quartet of songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, and synth/guitar player Phil MFU, this reduction resulting in no fewer ideas and even bigger steps. Vanishing Twin is a conundrum in these fragmenting times; familiar, yet different; appealing to this world, but from another, parallel one."A band that fearlessly floats in the hazy space between the real world and an imagined one, blurring the line between warmly nostalgic and eerily haunted" Pitchfork"One of the most original and exciting acts of the moment" The Quietus

“In a music realm that often feels as exciting as watching paint dry, Henrik Palm revitalizes the mundane, injecting life with the grim and unsettling.

While "Poverty Metal" blazed a trail, "Nerd Icon" takes a deeper plunge into shadowy themes, exploring the space between the sinister and the sublime, echoing a life less touched by joy. Guitars command attention, sound captivates focus, and the vision remains transparent, driven by an unbridled spirit.

In these times, where artistic offerings often lack substance, Henrik's third album under his name bursts forth with brilliance, offering a raw, soul-baring experience. It's music that transcends and explodes within the recesses of your mind, shattering boundaries and obliterating limitations.

"Subway Morgue" feels like Van Halen reimagined by a tribe of rat people—a mutated take on classic rock for those who've lost their way. [...] You might even find your mental gears grinding in sync with the relentless crescendo of "Lunch Hour (Of the Wolf)".

Within the darkness, a glimmer of positivity emerges in "Swim to the Light," a momentary respite. Picture a blend of Alice Cooper's "Goes to Hell" and Sopor Aeternus, the first Gauze album played at half speed, infused with Magazine minus the problematic lyrics, and delivered by Bobb Trimble in a dumpster fire—devoid of vaudeville nonsense.

Henrik Palm, a street level sorcerer, seamlessly travels through record collections and musical realms, from eerie gothic rock, via heavy metal "heroticism" to anarchic punk tempests. His avant-garde explorations defy convention, employing unique song crafting methods and dissonant harmonies, guiding listeners through hallucinatory dimensions.

In an enigmatic twist, Henrik channels H.P. Lovecraft's prose, crafting arcane soundscapes where cosmic horrors and existential enigmas collide—an eldritch portal into the depths of the human psyche, a mysterious tapestry of melodies.

Every moment is a riveting one; if you've got headphones, steel yourself for an abyss that swallows you whole.

Prepare to be chained and shackled to the train tracks as you plunge into "Nerd Icon".”

— Ted Cadwalleder

"Nerd Icon" is Henrik Palm’s third album. He has played in many bands. Some you might have heard of and some you probably never heard of. He doesn’t give a fuck really. The present is much more important than dwelling in past victories and/or missteps.

“In a music realm that often feels as exciting as watching paint dry, Henrik Palm revitalizes the mundane, injecting life with the grim and unsettling.

While "Poverty Metal" blazed a trail, "Nerd Icon" takes a deeper plunge into shadowy themes, exploring the space between the sinister and the sublime, echoing a life less touched by joy. Guitars command attention, sound captivates focus, and the vision remains transparent, driven by an unbridled spirit.

In these times, where artistic offerings often lack substance, Henrik's third album under his name bursts forth with brilliance, offering a raw, soul-baring experience. It's music that transcends and explodes within the recesses of your mind, shattering boundaries and obliterating limitations.

"Subway Morgue" feels like Van Halen reimagined by a tribe of rat people—a mutated take on classic rock for those who've lost their way. [...] You might even find your mental gears grinding in sync with the relentless crescendo of "Lunch Hour (Of the Wolf)".

Within the darkness, a glimmer of positivity emerges in "Swim to the Light," a momentary respite. Picture a blend of Alice Cooper's "Goes to Hell" and Sopor Aeternus, the first Gauze album played at half speed, infused with Magazine minus the problematic lyrics, and delivered by Bobb Trimble in a dumpster fire—devoid of vaudeville nonsense.

Henrik Palm, a street level sorcerer, seamlessly travels through record collections and musical realms, from eerie gothic rock, via heavy metal "heroticism" to anarchic punk tempests. His avant-garde explorations defy convention, employing unique song crafting methods and dissonant harmonies, guiding listeners through hallucinatory dimensions.

In an enigmatic twist, Henrik channels H.P. Lovecraft's prose, crafting arcane soundscapes where cosmic horrors and existential enigmas collide—an eldritch portal into the depths of the human psyche, a mysterious tapestry of melodies.

Every moment is a riveting one; if you've got headphones, steel yourself for an abyss that swallows you whole.

Prepare to be chained and shackled to the train tracks as you plunge into "Nerd Icon".”

— Ted Cadwalleder

"Nerd Icon" is Henrik Palm’s third album. He has played in many bands. Some you might have heard of and some you probably never heard of. He doesn’t give a fuck really. The present is much more important than dwelling in past victories and/or missteps.

Soma (Sacred Order of Mystic Apogees) is a group of musicians from central New Jersey who gather together to create eclectic devotional music. The members are multi-instrumentalists who play a blend of meditative soundscapes woven together with traditional Indian kirtan* music and inspired folk songs. Soma builds on this traditional framework and incorporates amplified instrumentation and other added components to create an entirely new sonic experience. The result is a psychedelic tapestry of esoteric mantras, dynamic rhythms, and devotional prayers. As you will hear on Burning is Learning, each song, vibration, and drone is treated with the utmost reverence, attention, and respect—all of which acknowledge Soma’s link in an unbroken chain to the ancient sounds. It’s a heady and heavy experience. It’s celebratory and reflective. The album is a unique approach to sounds that have been resonating for thousands of years. With roots in the DIY hardcore punk and metal scenes of their home state, the combination of traditional instrumentation (harmonium, tanpur, and mridanga, for example) with their modern sense of heaviness is quite profound. Soma’s live performances are as intense as their recordings, landing them in temples, churches, concert halls, bars, and even cremation grounds. Plans to tour are in the works. Burning is Learning is a reference to the Sanatana Dharma belief that cremation can help the soul achieve moksha, freedom from the eternal cycle of life, death, and rebirth. The album was recorded with Phil Caivano (Monster Magnet) at Studio 13 and Shorefire Recording Studios and mastered by John McBain (Monster Magnet, Wellwater Conspiracy, Desert Sessions). For listeners who enjoy everything from Alice Coltrane, Nusrat Fateh Ali Khan, and Debashish Bhattacharya to OM and Mahavishnu Orchestra.

Think of the one-shot Seattle supergroup Mad Season as the grunge version of sober living. Guitarist Mike McCready, best known as the main six-string slinger in Pearl Jam, met bassist John Baker Saunders while in rehab, and the two paired with Screaming Trees' drummer Barrett Martin and Alice in Chains vocalist Layne Staley, partially in hopes of steering the singer onto the path of the straight and narrow. Ultimately, the plan didn't pan out, but for a brief while, the quartet -- who adopted the name Mad Season -- did have their moment of clarity, captured on the 1995 album Above.

Blue Vinyl Includes Mp3 Download, 12 X 24 Inch Poster:Some Say Life Only Makes Sense In Reverse, From The Vantage Point Of Your Rear View - Magic Mirror Is A Looking Glass Of Sorts. Like A Modern Day Alice In Wonderland, Pearl Charles Beckons You To Slip And Fall Into Her World. You'll Find Yourself Drifting With The Tide - The Ups, Downs, And All-Arounds Of A Life Well-Lived And Well- Loved.From Start To Finish You Float Along A Reflective River, Dancing In Your Own/The Personal/Private Studio 54 Of Your Living Room, Decked Out In Sequins Or Nothing At All. It's A Feel Good Album That Asks Us To Actually Take The Time To Feel Good. Magic Mirror Follows The Cartography Of A Girl, Growing Into A Woman, As She Moves Through Life From Singledom, To Theexpansive Space Of Self-Reflection, And The Newly Appreciatedperspective Of Coming Back Together Again And Finding Yourself, This Time With Someone New. A Love Letter To The Self, A Dance Party For Life, And At Times As Introspective As Your Best Trip, Pearl Takes Us On A Journey That, Like Life & Love, Has The Tendency To Surprise, Delight, And Leave You Breathless. All You Have To Do Is Let Yourself Enjoy It.

Motor City legends Mitch Ryder and the Detroit Wheels set unsurpassed standards for balls-out American white-boy R&B. Under the aegis of crack producer Bob Crewe, the Wheels shot to fame, propelled by Ryder\'s sweat-soaked soulful vocals, the piercing, mile-a-minute guitar sting of Jim McCarty, and the piledriver drum attack of Johnny Bee. Attacking rock and R&B with a startling, head-on frenzy, the group created a rock-n-soul dynasty still without equal.

Francis of Delirium is the moniker of 22-year old, Luxembourg-based Jana Bahrich. The young artist’s incredible journey up until this point has seen her release 3 critically acclaimed EPs, ‘All Change’, 'Wading’ and ‘The Funhouse’. With praise so far from the likes of Stereogum, FADER, Pitchfork, Line of Best Fit, 6 Music, Radio 1, KEXP and NPR to name but a few, Francis of Delirium is on the precipice of something extremely exciting with debut album ‘Lighthouse’.

The announcement of ‘Lighthouse’ comes following a busy year of touring with the likes of Soccer Mommy, Briston Maroney, Horsegirl, The Districts and hitting Eurosonic, Iceland Airwaves and Tree Fort Fest, as well as opening for The 1975 & Kings of Leon.

Production duties on ‘Lighthouse’ were shared by Catherine Marks (Boygenius, Wolf Alice) and Jana Bahrich/Chris Hewitt. ‘Lighthouse’ was mixed by Jolyon Thomas (U2, Royal Blood).

Nocebo, the first full-length by the Boston, Massachusetts five piece Elizabeth Colour Wheel, is inspired by anxiety, the fear and the desire of being constantly overwhelmed. The album came to fruition over the summer of 2018, when the band embraced a heavy “kill your idols” mindset, crafting an album that is distinctly schizophrenic yet familiar, touching on ’90s heavy rock, shoe-gaze, and black metal influences.

Mixed and mastered by Seth Manchester of Machines of Magnets (The Body, Street Sects), Nocebo is a five-walled haunted house, constructed from the wild, chantlike vocals of Lane Shi, the heavy, reverberant guitars of Emmett Palaima and Alice Jackson, the sludgy, distorted bass of Billy Cunningham, and the powerful, aggressive drumming of Connor Devito. Inside these walls frequencies of spectral anger echo and resound, gathering into thunderous waves, which crash against the borders of the room before dying out into eerie silence.

Abrasive Wheels' second studio album, recorded in December 1983 and released in March 1984, produced by Mike (Clay) Stone. Hits like Nineteen, The Prisoner, Christianne and Devil on my Shoulder don't lose their charm even after 40 years, Abrasive Wheels sound better than ever on record.

Hot on the heels of their critically revered 2014, Krautrock-meets-Afrobeat longplayer Regions, Ellis Island Sound return with a brand new, seven-track mini-album.

Original 1970 BYG album facsimile edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Formed in the late 1960s Alice was French band that put their own spin on the blues rock scene born in Britain and America. Playing a gaggle of instruments, including woodwinds and vibes, the combo had a sound that often departed from guitar- led grooves to incorporate European classical music and South American folk.

With their sophomore full-length "Gotta Light?", dark rock innovators Crone are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from Alice IN Chains, via Killing Joke, NEW Model Army, and JOY Division to Pink Floyd among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as Ghost in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for Crone provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife 'Waiting for Ghosts'), shattered dreams 'Abyss Road'), and a guiding last will 'Gemini'). Crone was conceived out of a musical collaboration between Phil "sG" Jonas and Embedded drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With Crone having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?”. With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of Secrets OF THE Moon a dark reborn phoenix is rising with Crone and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"