Alternative · Indie · Noise · No Wave

Fragile compositions wrapped in songs that are here to stay. Catchy choruses, singable guitars, emotionally charged lyrics and a rebellious attitude. With the unthreatening bravado of these four musicians seasoned in a thousand battles, both musical and nocturnal, this new album gives us ample influences that range from the desert of Almería, where the roots of the band are born, to the fragility of the bolero, including the raw and traditional rock of lyrics that dance in a symbiosis of musical contrasts that at times seem powerful, sweet or solemn.

Motoharu Okamura's sound is dominated by guitars, obviously, but it covers a broader spectrum than Automatics. In their debut they run through noise psychedelia from Loop to Black Rebel Motorcycle. They even look back (the catchy “Ya Somos Tres” shares echoes of darker post-punk and pop charm with early The Cure) and dive into the hardest-hitting shoegazer with gorgeous melodies and whispered vocals. The second part of the album, after the instrumental interlude of “Arena”, shines alternating adherent hits that overwhelm (the contagious “Kaku” and “Sangre en su fiesta”) and lull (the dreamy choruses of “No vez acre” and “ Caligula”), leaving abundant gifts for fans of the volcanic electricity of Swervedriver or Ride and the incandescent nebulae of Curve or Cranes. The melodies preside over the album (always that pop skill), but it is dominated by a shower of catchy riffs and overwhelming guitars that represent the creative zenith of Manuel and Poncho. Their combination is always spectacular, from the dynamic ("Metal Baby" and "Skin and Bone" are high-voltage hits) to the atmospheric ("Rain of Angels" plans space highways, "Impossible Here" wraps with narcotic harmonicas and a banjo lisergic and “Filofofia” closes the album with the caresses of dream-pop). In addition to the fantastic sound of the guitars and the solid composition, in the arrangements they also shine like never before, always giving a cool veneer that more than Automatics comes from Husband (Aranzana's vindictive later project). In short, it is a peak after more than thirty years recording albums. WILLIAM Z OF THE EAGLE

The previous LP, Sadness Makes Me Less Unkind, could be framed within the alt country and folk of bands like The Sadies or Mark Lanegan, while drawing on traditional influences from Johnny Cash to Townes Van Zandt. Although these influences continue to permeate the music of Pale Preacher, Hanged, Drawn, Quartered…, it is, in general, a denser and darker album, with angular electric guitar arrangements, closer at times to the early Bad Seeds or Kim Salmon and their respective reviews of roots music.

New EP "Seconda Morte" by Spanish sludge rock titans Rosy Finch.
The album is a musical journey based on the poem “The Divine Comedy” where Dante Alighieri walks through hell, purgatory, and paradise to meet his deceased beloved Beatrix and find faith in God.The trio mix an eclectic blend of 90’s grunge & alternative rock with metal & sludge influences.
At times meditative and haunting and at others full of rage, the band combines both insidious and heavy riffs to perfection. During live performances they create a wall of sound through feedback and noise elements matched with unearthly screams and atmospheric chants.

Formidable solo debut of the British musician established in Granada, Darren Joseph Anderson (ex Sunset Riders). 'Songs For Mystic Lovers' (Lucinda Records, 2022) is a lysergic journey full of mysticism through 60's Pop and Psychedelia with the vocal magnetism of Syd Barret, Ray Davies and Iggy Pop. Together with Darren (voice and guitars) they participate on the recording Javier Cantudo (drums), Javi Rodríguez (bass) and Antonio Ávila (keyboards). In his return to the front line of fire, the Briton has put all his skills at the service of the song, without discriminating whether it takes the form of a dark blues or a folk ballad, of acoustic preciosity or a potential pop single, giving shape to a work complex and beautiful, so timeless that it smells like a league classic.
(Ruta 66)

A conceptual album that is presented as a monograph on the ego both in its personal and social manifestations. A little less than two years old and with some line-up changes, the band delves into the mix of different alternative vibrations such as post-hardcore, noise or math-rock, as well as an evident punk vocation. Raw and stark, its metallic sounds try to create the right atmosphere in each of the songs full of rage that it contains inside. Philosophy and noise, a lot of noise, which places them in the filthiest and darkest space within the national alternative scene. A controlled chaos, or not, but certainly a chaos in which they function like fish in water and are even more experimental than in their previous work.

Psychedelick Rock & Mudéjar Rock from Zaragoza (Spain).

Alternative Rock & Post-Hardcore from Alicante (Spain).

What we find here is a new visit to that latest work with well-known faces making their own versions, remixes, adaptations, duets or freestyles. Each one belongs to his father and his mother and the new versions of the songs from "Triángulo" that we met last year now appear in disguises as diverse as rap, kraut, ambient, synth-pop or pop from camera. There is no more common link between all this than the starting song.

Atlanta-based veterans Black Lips present their tenth studio album pocalypse Love'. Over the years, their aesthetic has remained grounded fundamentally in garage rock but has variously pivoted to encompass dream pop and country. This bills itself, according to singer Zumi Rosow, as a "weird dance record", traversing goth, punk and retro-futurist pop in one entertaining blowout.

This new album is confirmation that the band from Jaén is unique of its kind, and that they have made eclecticism their flag: cumbia, psychedelia, garage, boogaloo, guajira... in this work they continue to broaden their views in a conglomerate they call Garage Tropical . The title of the album does not seem accidental, since most of the themes are directly or indirectly related to the element that the ancient Greeks associated with immortality.

Debut album by The Japanese Girl, a hypnotic record that will surely put this band from Oporto at the forefront of Europe's psych-rock scene.The Japanese Girl is a Portuguese band formed in late December 2013 by Bruno Sousa, Corinna Sousa and Emanuel Cunha. Starting with two guitars, an organ and vintage drum machines, they immediately forged a raw and powerful sound somewhere between garage rock and psych lo-fi, while recently they have been joined by a drummer hammering through their opiated layers of reverb. Their intense, noise-filled live performances are accompanied by mysterious visual elements, and besides their own headlining shows the band has also played with Jacco Gardner, The Wand, Girls Names and as part of the Reverence Festival Party.In early 2015 they recorded "Sonic-Shaped Life", their debut album. It was put down on tape at Oporto's renewed studio Sá da Bandeira by Cláudio Tavares and Joao Brandao, and mastered by Miguel Pinheiro Marques at SDB Mastering. Leading single 'You Should Have Switches', released in September, gave the first clues about their own brand of hypnotic rock, where pulsating psychedelia, droney garage and shimmering, trippy pop provide the setting for haunting compositions, catchy hooks and engaging melodies. Over the course of ten tracks, the band sounds commanding in the darker passages or punked-up outbursts and shine in the more sunny, coloured moments, while the flow and pace of the album produce a wholly entrancing record.

Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39’s Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band’s second album, Other World. “The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges” said Perkins. “There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We’ve become a real band. I think what you heard on the first album is the band being formed.” While he’s played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it’s not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. “Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much,” Perkins says, “because fucking magic happened. Yes, that’s right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better.” Perkins explains “This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They’re all truly great players and they’re all really generous collaborators, so I guess what I’m saying is, it doesn’t matter what happens from here. I’m very aware these days, with 100s of new releases each week, it’s harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that’s been around since the early eighties named Tex. Actually, I can’t believe you’re still reading this! But you know it doesn’t really matter, I’ve seen the magic.”

Gala Mill is the third studio album by Australian band the Drones, which was released in September 2006. Recorded in an abandoned mill in Tasmania, it was their last album to feature founding member Rui Pereira and the first to feature Mike Noga on drums. The music, which makes "an epic leap beyond garage rock", adds influences from folk rock and contemporary folk music to their usual punk blues style. Gareth Liddiard's lyrics for the album are centered more on Australia's colonial and recent history, evident in tracks such as "Jezebel", "Words From The Executioner To Alexander Pearce" and "Sixteen Straws".Much like its predecessor, the album received critical acclaim from sources both within and outside Australia, with much of it centered on the album's raw musical style and Liddiard's dark lyricism.

"Wait Long by the River and the Bodies of Your Enemies Will Float By" is the second album released by the Drones. The album draws influence from the likes of Neil Young and The Birthday Party, though it has been described by lead singer/guitarist Gareth Liddiard himself as a punk rock album. The lyrics, penned by Liddiard, deal with issues such as death, depression and alcoholism in its depiction of Australian working class life. The album received critical acclaim upon release, regarded later on as the band's "break-out" and one of their most popular releases. The track "Shark Fin Blues", in particular, went on to become a concert staple and was voted by contemporary Australian songwriters as the greatest Australian song of all time in October 2009. The album itself was performed live in its entirety many times, even as a part of the acclaimed Don't Look Back concert series. In 2008, The Age ranked it the best Australian album of the 21st century. Three years later, the band's contemporaries & "industry experts" would vote it the 24th best Australian album of all time.

Reissue of the 1985 debut mini-LP by Spanish cult band Mar Otra Vez.A groundbreaking record which shook the Spanish scene of the time with its arresting and no-holds-barred combination of no wave, post-punk, experimental rock and noise.

“Only for Lovers” is Rubia’s fifth studio album and the bands’ most resounding and rock inspired. Their sound gives way to British psychedelia and Californian acid rock that feature more prominently in this new musical offering although never forgetting their love for melodies, perfect choruses and beautiful arrangements.

Reissue of their 1985 album.

In the area of the Axarquia (Province of Malaga), they have appeared bands like Not Only Punk, Me Voy Ke Me Estoy Kagando or Running With Scissors. Subsequently, there will be a second volume entitled "The Beauty Full Monsters, Collector's Compilation Vol. II" (split album limited edition 700 vinyl and 1000 CD copies) and many events promoted by the group, distro Collector's Series and related employees to self-management and philosophy DIY where intervene historical bands not only the boquerona (from Malaga) land but will a good selection of garage bands, hard rock and punk Andalusia, divided between the provinces of Seville, Malaga and Cadiz.

VILLAGES has achieved a rare feat. The second LP of the indie/postpunk trio "Excessive Demand" actually succeeds in creating an absolutely catchy, captivating sound from complex components.

The fifth longplayer of the quartet from Chemnitz/Germany initially builds on the sound of its predecessors: a finely spun web of various Indie and Post-whatever influences, which, despite all its complexity, seems quite simple and organic. The "reduction to the essentials", as bassist Matthias says, has been even more consistent this time. Recorded live in the studio and without instrumental overdubs or additional effects in the mix. "It's the pure sound of the instruments, our pedals and the recording room."

Calling all BEASTS OF BOURBON fans! Same as with THE CRAMPS and THE FUZZTONES a compilation of all the original songs they covered, is released in double vinyl.All the songs BEASTS OF BOURBON covered through the years! The original ones from all artists such as Hound Dog Taylor, Max Roach, Hank Williams, Standells, Electric Eels, Pretty Things, Howlin'Wolf, Nobody's Children, Leon Payne, etc, etc, etc All of them!!!!Released on extremely limited edition of 250 copies in gatefold jacket and fully detailed info, all fans of THE BEASTS OF BOURBON, run for your copy!!!!!!!!!