Nachdem Vol. 1 bereits ein voller Erfolg war, haben sich Rookies & Kings entschlossen auch dieses Jahr einen Sampler mit aktuellen Highlights aus dem Label-Programm zu veröffentlichen. Eine gelungene Mischung aus bekannten Namen und Newcomern, die sich kein Fan handgemachter Gitarrenmusik aus Deutschland entgehen lassen sollte. Mit Artefuckt - Herz ist Trumpf; Frei.Wild - Zu geil um wahr zu sein; Unantastbar - Gerader Weg; Hangar X - Weisse Westen; Rockwasser - Viva Barca!; Grenzen|Los - Wir; Bad Jokers - Unser Weg, u.v.a.

Sum 41’s 2016 release, 13 Voices, saw singer/guitarist Deryck Whibley reckoning with the infamous drinking habit that nearly killed him. With that out of his system, he approached the band’s seventh album, Order in Decline, from a renewed position of strength. Inspired and energized by the unwavering fan support he experienced on the band’s comeback tour, Whibley went on a writing frenzy while still out on the road. “It got to the point where when I got home from the 13 Voices tour cycle, I just had all these ideas and started putting them together,” Whibley tells Apple Music. “All of a sudden, I was like, ‘Holy s**t—do I have a new album already? I guess I do!”

Two albums into their major-label contract and the Replacements had yet to have a hit they racked up some respectable sales but they were still a cult college band, never coming close to the Top Ten success R.E.M. had with Document. This lack of hits certainly weighed heavily on the band's label, which exerted a slightly heavier pressure than the chorus of fans and critics lamenting the group's lack of success, but all of this pressure from supporters and suits led the band to place a big bet on Don't Tell a Soul, a highly lacquered dilution of the 'Mats that is as misguided a crossover attempt as can be imagined.

Teenage Kicks chronicles one of pop music's most exciting periods–the glory days of punk and new wave. Comprising knockout classics from The Jam, Teenage Kicks, The Clash, Ramones, Velvet Underground, Stranglers, The Buzzcocks, Siouxie & Banshees, Squeeze, Iggy Pop, The Boomtown Rats, B-52's, The Cure, Ian Dury, Graham Parker, Elvis Costello and many more, every single tune is an instant sing-a-long classic, sure to stir up fond memories of when music was vibrant, outspoken, and always refreshing.

Moving to a major label was inevitable for the Replacements: they garnered too much acclaim and attention after Let It Be to stay on Twin/Tone, especially as the label faced the same distribution problems that plagued many indies in the mid-'80s plus, the 'Mats' crosstown rivals, Hüsker Dü, made the leap to the big leagues, paving the way for their own hop over to Sire. The Replacements may have left Twin/Tone behind but they weren't quite ready to leave Minneapolis in the dust, choosing to record in their hometown with Tommy Erdelyi aka Tommy Ramone who gives the 'Mats a big, roomy sound without quite giving them gloss; compared to Let It Be, Tim is polished, but compared to many American underground rock records of the mid-'80s (including those by the Ramones), it's loose and kinetic.

Battered and broken from the debacle of Don't Tell a Soul the album's failure to take off, followed by a disastrous tour supporting Tom Petty & the Heartbreakers the Replacements were on their last legs when it came time for 1990's All Shook Down, so worn down that the band ceased to exist for most intents and purposes. Paul Westerberg even began recording the album as a solo project with R.E.M. producer Scott Litt, gradually turning it into the final Replacements album. It may bear the band's name, but All Shook Down never quite shakes the feeling of a solo album; above all, it's a writers album, with the focus placed entirely on the songs.

All things considered, Tim was an easy transition to the majors for the Replacements, at least as far as the making of the album goes: things went wrong after the release, as the band botched big showcases like its Saturday Night Live spot, leading up to the dismissal of Bob Stinson at the conclusion of the Tim tour. The dust hadn't settled when the 'Mats headed down to Memphis to record Pleased to Meet Me with producer Jim Dickinson at Ardent Studios or to phrase it in Alex Chilton-speak, to record with Big Star's 3rd producer at the studio where all three Big Star albums were made.

Part of the Replacements' appeal always was that they didn't quite fit into any tidy category and nowhere was that truer than on their 1981 debut, Sorry Ma, Forgot to Take Out the Trash. Falling over themselves to fit into the Minneapolis hardcore scene, the 'Mats played fast and loose, which was part of the problem they were too loose, lacking the discipline to fit within hardcore, which even in '81 was adhering to the loud-fast rules that would later morph into straight-edge. Then again, that was a common problem in the Twin Cities, as Hüsker Dü also were too big and blustery to be a standard hardcore band, but where the Huskers traded in violence and fury at this early stage, the Replacements wallowed in cheap thrills.

Once Upon a Time: The Singles collects all ten of Siouxsie and the Banshees' A-sides spanning the years 1978-1981, with four songs otherwise unavailable on LP. It's a neat and accessible encapsulation of the group's early guitar-driven sound – a frosty, dissonant art punk that had a tremendous impact on the emerging goth rock scene. Unlike similarly forbidding work by such proto-goth contemporaries as Joy Division or the Cure, the early Banshees were tense and visceral; the darkness of the Once Upon a Time singles doesn't come from a sense of downcast gloom so much as it does from a jittery angst. Yet as challenging as the music is, it's also accessible enough for eight of these singles to have charted in the British Top 50. The melodies are angular and almost alien, yes, but oddly memorable once the listener has assimilated them. Starting shortly after the period covered by this collection, Siouxsie Sioux's icy detachment would be fused with an elegant romanticism and lusher, smoother arrangements. Which means that Once Upon a Time isn't the one, definitive Banshees compilation, but it is a cohesive and essential overview of the band's edgy, influential peak.

This is the demo CD by California hardcore punk band Hordes. They released a debut album after this and ceased to exist afterwards, but not before recording some of the most incredible and intense hardcore music around.

Pacer is an album released in October 1995 by the Amps, Kim Deal's side project from her group the Breeders, who took a break from playing together beginning in late 1994. Deal recruited two new musicians and named the group the Amps. The band recorded Pacer at several studios in the USA and in Ireland, with different engineers each time, including Steve Albini, Bryce Goggin, and John Agnello. The album received mixed reviews, ranging from highly enthusiastic to quite dismissive. Despite radio airplay for its single, "Tipp City", Pacer did not sell well. The Amps toured in 1995 and 1996 with groups such as Sonic Youth, Guided By Voices, and Foo Fighters. In 1996, Deal changed the band's name back to the Breeders, making Pacer the Amps' only album.

The Offspring's second album for Epitaph did the impossible: it landed in the Top Five, unheard of for independent records. The Offspring crossed over due to the raucous, Eastern-tinged single "Come Out and Play," which stopped and started just like Nirvana, only without the Seattle trio's recklessness. The record stayed in the charts because the Offspring sounded relentlessly heavy, no matter how much the band claimed to be punk. Their tempos are slower than traditional hardcore, and their attack is as heavy as Metallica. But they acted like they were punk, with odes to no "Self Esteem" and singing about fighting in school. Nothing on the album matches the incessant catchiness of the singles, but Smash is a solid record, filled with enough heavy riffs to keep most teenagers happy.

Singles – The UA Years is a terrific double-album set that chronicles all of Dr. Feelgood's major singles, from 1976's "Roxette" to 1986's "See You Later Alligator." Although the hits-only approach leaves out some major Feelgood songs, Singles remains a first-rate retrospective, and for many years, it was the best Dr. Feelgood collection available. The 1997 double-disc Twenty Five Years of Dr. Feelgood later replaced Singles as the definitive retrospective, yet there are enough songs on this collection to make it worthwhile for serious fans who don't want to spring for either the box set Lookin' Back or the entire catalog.

This two-CD reissue of Ducks Deluxe's first two albums differs from the previous Edsel two-on-one release, as no tracks were omitted due to space constraints. In retrospect, these recordings seem more relevant after the passage of time, as they provide a clearer linkage between British blues-based album rock and late-'70s punk and post-punk new wave. In fact, the influences of British pub rock span back to '50s rock & roll and R&B. Their take on Eddie Cochran's "Nervous Breakdown" bears an uncanny resemblance to perhaps his biggest hit, "Summertime Blues." But it's Ducks Deluxe's original pieces that evoke echoes of artists like the Rolling Stones, Them, and Mott the Hoople. "Fireball" sounds like a direct outtake from All the Young Dudes or Mott, while the R&B-rich "Falling for That Woman" suggests Van Morrison at his soulful best. "Rio Grande," from Taxi to the Terminal Zone, wouldn't sound out of place on Bob Dylan's Blood on the Tracks.

THIRD NOISE PRINCIPLE: aka CLOSE TO THE NOISE FLOOR VOLUME 3.The third in our 'Close To The Noise Floor' early electronica series - this time exploring the USA and Canada. Includes legendary artists Suicide, The Residents (a previously unreleased track), Philip Glass, Terry Riley, Patrick Cowley, NON, Laurie Spiegel, Chrome, Ministry, Moev and dozens more. Journey into the origins of electronica in North America - from early techno and electro to synth-pop, industrial music, ambient soundscapes and noise experiments..60 tracks across 4CDs in a 48pp hard-back book format. Over 10,000 words of artists' sleevenotes and introductory essay by Dave Henderson (Sounds/Wild Planet/MOJO)..Packed with previously unreleased tracks, lost gems and underground classics from lesser known artists, experimenters, innovators and outsiders..Part primitive rave, part synthesiser porn, part history lesson!A year in the making, Third Noise Principle reaches out to North America, taking in tracks from key figures on the early US and Canadian electronica underground, alongside releases by ground-breaking innovators, seminal composers and countless lesser known artists.