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In the eleven years since her last project, Erykah Badu has gathered not conclusions but a series of existential insights. Before the World Blows: The Abi and Alan Experiment exists within the tension between introspection and growth. Abi is Badu. Alan is The Alchemist. Recorded over 18 months in Dallas and Los Angeles, the album is the inevitable collision of two iconoclasts-hypnotic, funny, blunt, deeply personal, and impossible to categorize neatly.Meditative and fluid, Before the World Blows finds Badu contemplating which parts of ourselves and our stories are worth protecting before the world breaks and fragments. Love, innocence, dreams, memories, womanhood. The album unfolds in four movements, charting the progression of self through the prisms of love, art, and identity, inviting us to sit with difficult feelings. Passion blurs with desire, hope with grief, each song revealing another illuminating facet of the inner Baduverse.Alchemist sent Badu a collection of instrumental beats, which she deconstructed and sculpted into tracks that felt uniquely hers, looping his warm, punchy samples with instruments from soft kalimba notes to immersive chords and drums. The result moves fluidly between soul, blues, funk, rock, jazz, and underground hip-hop, yet belongs entirely to none of them. From 2024 to 2025, Abi and Alan road-tested the entire album live, performing in intimate, phone-free settings with Badu's digital collective, The Cannabinoids, and Alchemist on the MPC, fine-tuning the tracks along the way.Badu has always seen art as an inevitable, infinite extension of the self. At any point in space and time, that means evolution is inevitable, too. Before the world blows, it's worth it to keep exploring. To have one more kiss. 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Now repressed on brand new color \"Unholy Chasm\" deluxe 2xLP,Hailed as a masterpiece of it's genre, and considered by many as ground zero for Deathrock, Only Theatre of Pain is a seminal work of unholy power and pitch black emotion. Whilst this record may have it's roots in punk - the origins of this true original version of Christian Death took place in Southern California during the early 80's hardcore explosion - it cannot be overstated how important this record was in shaping the subsequent landscape. Emerging like an adrenaline shot into the heart of darkness, this unrestrained and mysterious recording still remains unclassifiable.Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain's musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz's vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It's a performance, but also a truth, perhaps Only Theatre of Pain is an art show, as much as it is an era defining record.Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on Only Theatre Of Pain is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an era defining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.Only Theatre Of Pain is presented here in a new remastered deluxe pressing with a second disk containing early demo's and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.This classic LP comes in limited edition 'Blood Sanctum' colored vinyl and contains a second disk of bonus material. 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After more than 50 years together, Zebra continues to perform at the top of it's game, bringing it's classic catalog and new music to generations of loyal fans while attracting a new generation along the way.In the 1970s, Zebra built it's reputation as a hard-rocking cover band throughout the New Orleans bar and club scene before taking a chance on the thriving rock circuit of Long Island, New York. The move put the band within reach of the New York City music industry and the record companies that could potentially take Zebra to the next level.For several years, Zebra split it's time between the New York Tri-State area and southern Louisiana, relentlessly building a following and playing as many as 250 shows a year. The band recorded two demo tapes and shopped them to record labels and radio stations. 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The Boston trio built their own strange, seductive musical language from Mark Sandman’s two-string bass and unmistakable baritone, Dana Colley’s saxophone and a stripped-back rhythm section, drawing as much from jazz and blues as rock. They became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.\u003cbr\u003e\u003cbr\u003eMore than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. 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We are sliding into a period of transition like no other, most likely triggered in three waves: AI, quantum computing, and the brain computer interface. Artists have a role to look into the mists and, when they catch sight of something, to hold up a mirror.  “We are not, and have never been, the exclusively self-determining, independent beings that we imagine we are. We have had a sense of entitlement that everything exists for our benefit - that we’ve been given the run of the world to exploit as we see fit.”\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003e“We are something else, a part of nature, a part of everything and when we feel that connection, shake our booty and give and receive some love, it can help us find our proper place - and put a big smile on our faces.”\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003e“This is how I see the lumpy bits – i\/o: the inside has a new way out and o\\i: the outside has a new way in.”\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003eWritten and produced by Peter Gabriel and, mostly, recorded at Real World Studios, his studio near Bath, England, the album features contributions from a wide range of extraordinary musicians, including long-time band members Tony Levin, David Rhodes and Manu Katché, i\/o touring band members Richard Evans, Josh Shpak and Don E, the New Blood Orchestra, Soweto Gospel Choir and Orphei Drängar choir and notable contributions from, amongst others, Mike Elizondo (who co-produces one track) and Abe Rounds.\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003eLike i\/o, the album comes with two distinct mix approaches, the Bright-Side Mix by Mark ‘Spike’ Stent and the Dark-Side Mix by Tchad Blake, with Mike Elizondo handling mix duties on one Dark-Side track.\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003eCover shot is by Nadav Kander and, once again, each song is accompanied by a piece of art. 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Collecting the complete Mellon Collie and the Infinite Sadness single releases alongside an extraordinary selection of B-sides, outtakes and covers, this premium 180-gram heavyweight vinyl box set features 33 tracks, including standout rarities “Set the Ray to Jerry,” “Cherry,” and “The Boy.” This definitive collection captures one of the band’s most creative and prolific eras.\u003cbr\u003e\u003cbr\u003eTracks: 1.Bullet With Butterfly Wings, 2....Said Sadly, 3.You're All I've Got Tonight, 4.Clones (We're All), 1.A Night Like This, 2.Destination Unknown, 3.Dreaming, 1.1979, 2.Ugly, 3.The Boy, 1.Cherry, 2.Believe, 3.Set The Ray To Jerry, 1.Zero, 2.God, 3.Mouths Of Babes, 4.Tribute To Johnny 5.Marquis In Spades, 6.Pennies, 1.Pastichio Medley, 1.Tonight, Tonight, 2.Meladori Magpie, 3.Rotten Apples, 1.Jupiter's Lament, 2.Medellia Of The Gray Skies, 3.Blank, 4.Tonite Reprise, 1.Thirty-Three, 2.The Last Song, 3.The Aeroplane Flies High (Turns Left, Looks Right), 1.Transformer, 2.The Bells, 3.My Blue Heaven\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBullet with Butterfly Wings\u003c\/li\u003e\n\u003cli\u003e... 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We are sliding into a period of transition like no other, most likely triggered in three waves: AI, quantum computing, and the brain computer interface. Artists have a role to look into the mists and, when they catch sight of something, to hold up a mirror.  “We are not, and have never been, the exclusively self-determining, independent beings that we imagine we are. We have had a sense of entitlement that everything exists for our benefit - that we’ve been given the run of the world to exploit as we see fit.”\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003e“We are something else, a part of nature, a part of everything and when we feel that connection, shake our booty and give and receive some love, it can help us find our proper place - and put a big smile on our faces.”\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003e“This is how I see the lumpy bits – i\/o: the inside has a new way out and o\\i: the outside has a new way in.”\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003eWritten and produced by Peter Gabriel and, mostly, recorded at Real World Studios, his studio near Bath, England, the album features contributions from a wide range of extraordinary musicians, including long-time band members Tony Levin, David Rhodes and Manu Katché, i\/o touring band members Richard Evans, Josh Shpak and Don E, the New Blood Orchestra, Soweto Gospel Choir and Orphei Drängar choir and notable contributions from, amongst others, Mike Elizondo (who co-produces one track) and Abe Rounds.\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003eLike i\/o, the album comes with two distinct mix approaches, the Bright-Side Mix by Mark ‘Spike’ Stent and the Dark-Side Mix by Tchad Blake, with Mike Elizondo handling mix duties on one Dark-Side track.\u003c\/p\u003e\r\n\u003cp\u003e\u003c\/p\u003e\r\n\u003cp\u003eCover shot is by Nadav Kander and, once again, each song is accompanied by a piece of art. 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