The Mental Destruction

British hard-rock heroes, Thunder, release of their 13th studio album ‘All The Right Noises’ on 12th March 2020. The album is a return to the full-throttle sound of Thunder that has seen them create a hugely successful 30+ year career at the forefront of British rock, all built around the lifelong friendship of vocalist extraordinaire Danny Bowes and songwriting genius and guitarist Luke Morley. ‘All The Right Noises’ is an intense confection of illicit charms that reasserts their authority as the number one band in the land. Recorded in the months leading up to the first Covid-19 lockdown, it was originally due for release in September 2020.

DISCO SESSIONS features 2 CD’s of classics from the genre. Unlike the majority of Disco compilations it also features a number of lesser known classics from the same period which helped shape the sound of the scene, together with early 80’s club floorfillers that continued to fly the flag long after Disco had become a by-word for naff stateside. The overall result is two very danceable CD’s that should help soundtrack any party you care to throw.

British hard-rock heroes, Thunder, release their 13th studio album ‘All The Right Noises’. The album is a return to the full-throttle sound of Thunder that has seen them create a hugely successful 30+ year career at the forefront of British rock, all built around the lifelong friendship of vocalist extraordinaire Danny Bowes and songwriting genius and guitarist Luke Morley. ‘All The Right Noises’ is an intense confection of illicit charms that reasserts their authority as the number one band in the land.

“It’s important to bare my soul the way I have,” Frank Carter tells Apple Music. “I have a platform and a responsibility to use it for good, to ask questions and make statements that I know other people feel but maybe don’t have the bravery or the means to.” End of Suffering, Carter’s third album with The Rattlesnakes, is the product of two years of unflinching self-reflection. Confessional and courageous, it spans moments of both great joy and profound despair. “I’ve constantly validated myself through the opinion of others,” he says. “I’ve looked to fill that void with drugs and alcohol and sex and relationships, and they’ve all fallen short. It can only come from within. We’re human: We’re very complicated, we’re extremely multifaceted. The minute you try and repress any one of those faces, that’s when the problems start.” The music soundtracking these reflections is equally searching and absorbing. “We made sure that everything’s in there, from techno and dance through to Elton John and Black Flag.” This is Frank’s track-by-track guide to his journey.

Solar Project releases their by now 12th concept album titled "Ghost Lights" under the label New Music - Green Tree. The spectrum of Solar Project's music can be described best as progressive rock, sensitive, interleaved, driving, with enduring arcs of suspense and surprising turns, disturbing and bewitching.
The album sets into music the human behavior misdirected by "ghost lights". The title track "Ghost Lights" describes the systematic destruction of planet Earth by mankind in search for power and wealth. "Prey" illustrates the meaningless hunt to urge and the associated urge to kill. "On The Run" questions the mental state of man, who is sawing off the branch they are sitting on. "Chivvy" uncovers the brutal recklessness of man among themselves. "Fen-Fire" brands the non-existing perception of global problems and the resulting dire consequences.

Tutuguri: Poème dansé, after Artaud, is obliquely inspired by Artaud’s poem Tutuguri – Le rite du soleil noir in his radiophonic "play" Pour en finir avec le jugement de Dieu of 1948 as well as by Artaud’s life and work in general. Antonin Artaud (1896 – 1948), actor, playwright and stage director, was once a member of the French surrealist circle which he left when he realised the Surrealists’ Communist leanings. From early on, he suffered from nervous and mental disorders, often cured by various drugs to which he remained addicted throughout his life.

"Yak match raucous, restless energy with uncommon gravitas, making this the rare garage rock-informed record that aims for the upper reaches of Royal Albert Hall." - Pitchfork