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Nach ihrem von der Kritik hochgelobten Album „Allsighr“ aus dem Jahr 2021 legen Sarke mit ihrem ambitionierten achten Studioalbum „Endo Feight“ triumphal nach. Dieses Album deckt alles ab, von SARKEs leichtesten bis zu den härtesten Stücken. Angeführt von Darkthrone's NOCTURNO CULTO am Gesang ist „Endo Feight“ eine musikalische Reise, die Grenzen in der Metal-Szene sprengt.

Baxter Dury’s neues und siebtes Studioalbum heißt 'I Thought I Was Better Than You' (über Heavenly Recordings).

Mit ordentlich Selbstironie und Sprachakrobatik malt der Musiker und Schriftsteller eine wilde Collage aus schrägen Träumen und Szenen, in der Baxter mit seinem Erwachsenwerden abrechnet. Doch anstatt nur mit einem Baseballschläger blindlings auf seine Vergangenheit einzuschlagen, spricht er offen über den giftigen Cocktail, in unglückliche Umstände hineingeboren zu werden, ohne richtige Strukturen oder Verantwortungsgefühl, und schwankt dabei zwischen “Fuck you Leon…/ You stole the sunglasses and I got busted” und dem Wunsch nach “Porridge in the morning and be normal”.

Mit kaum funktionierenden Maschinen arbeitete Baxter alleine in seinem Wohnzimmer an groben Demos, die er Produzent Paul White (Danny Brown, Obonjayer, Charli XCX) übergab, der sie in wiederum in seinem Wohnzimmer mit etwas besserem Equipment zum Leben erweckte.

Auf der ersten Single 'Aylesbury Boy' erzählt Dury von “Day Ghosts” und Personen, die lieber durch die Straßen streifen und die Schule meiden, aber auch enttäuschten Erwachsenen, die genau diese Entscheidungen bereuen. In Kombination mit dem swingenden Westcoast-angehauchten Hip-Hop-Beat und Spoken-Word-Elementen ergibt sich dabei eine besondere Kombination aus Humor und Mitgefühl, die Baxters gezeichnete Bilder begleitet. “This song is about coming from one place and arriving at another without fitting in to either, and I think of these people like characters from Studio Ghibli’s Spirited Away.”

LIMITED EDITION LILAC COLOURED VINYL LP WITH DOWNLOAD CODE
It's a year later and everything has gone from bad to worse.

Machiavellian Art and Riot Season Records present "Population Control". A Sonic Examination of the Mechanisms of Control.

An intense exploration of societal and self-imposed controls, encapsulated in a dynamic contrast between Side A's visceral anger and the introspective ambiance of Side B. This duality mirrors the contrasting themes of external control versus internal reflection.

"Population Control" extends beyond its predecessor, "Indoctrination Sounds," in both musical depth and thematic scope. The album confronts a broad spectrum of modern-day addictions - not just to substances, but to technology, social media, and the relentless 24-hour news cycle. These themes manifest across tracks like "A Slow Death," "Population Control (1) + (2)," "Fear of the Outside World," and "Crisis," each exploring the resulting isolation, paranoia, fear, and hopelessness. "Seaside Holiday," a critique of environmental negligence, specifically highlighting the issue of untreated sewage being dumped into Britain's waterways by private companies.

Previous praise:

"Incredibly progressive, psychedelic but massively discordant, saxophone and static infused psych rock chaos" (Nineherz)

"Nasty noise rock with sax and freeform jam segments, but also—because you may have heard music which answers to that description before—a stamp of individuality." (Maximum Rock N Roll)

"Want a weird and dangerous album with a lot to say then Indoctrination Sounds is that album. " (Outlaws Of The Sun)

"Indoctrination Sounds is a total exercise in distorted, claustrophobic riffs, uneasy, anxious vibes, and industrial noise." (The Sleeping Shaman)

Machiavellian Art are: Amy Murphy, Benjamin Thomas, Joe Parkes, John Andrews,Sam Hunt

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.

"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz

Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.

Yaya Beys neues Album ‘Ten Fold' knüpft an den kraftvollen Doppelschlag ihres 2022er-Albums, „Remember Your North Star“, und der Folge-EP, „Exodus The North Star“, aus dem Jahr 2023 an und ist ein frei gesprochenes und fließendes Selbstporträt, das von unmittelbaren Reflexionen über die Vergangenheit, Gegenwart und Zukunft geprägt ist. „Ten Fold“ ist vollgepackt mit den Nuancen von Yaya Beys Identität und den verschiedenen Facetten ihrer kreativen Bemühungen. Es richtet den Fokus nach innen und meditiert über ihr inneres Wesen, während es gleichzeitig Raum für den Humor und den bissigen sozialen Kommentar schafft, der ein bestimmendes Merkmal ihrer Arbeit ist.
Die als Hadaiyah Bey geborene Yaya Bey begann bereits im Alter von neun Jahren mit dem Schreiben von Songs und trat mit ihrem 2020 erschienenen Album, „Madison Tapes“, als neue Stimme in der Avantgarde der R&B-Storyteller:innen in Erscheinung. Ihre 2022 erschienene LP, „Remember Your North Star“ und die darauf folgende EP, „Exodus The North Star“, wurden vom Spiegel, Stern, Zeit Online, Rolling Stone Deutschland, Jazzthetik, Missy Magazine, Plattentests u.v.m. und im Radio von u.a. Deutschlandfunk Kultur, BR 2, Cosmo, ByteFM, RBB Radioeins und FluxFM sehr positiv aufgenommen, sowie international u.a. von der New York Times, Pitchfork, Rolling Stone, The Guardian, NPR, GQ, Crack Magazine, The Times, Clash ebenfalls hochgelobt.
Kürzlich spielte sie an der Seite von Immanuel Wilkins die Hauptrolle in einer Werbekampagne für die aktuelle Zusammenarbeit von Converse mit der New Yorker Marke AwakeNY. Bevor die in Brooklyn geborene Künstlerin offiziell das Jahr 2023 abschloss, spielte sie eine ausverkaufte Show im New Yorker SOBs für Spotify Stages und krönte damit eine Reihe von Live-Auftritten auf Festivalbühnen rund um den Globus in diesem Jahr, darunter Glastonbury, Pitchfork Festival in Chicago, Roskilde Festival in Dänemark und viele mehr.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

Das Jahrhundertkonzert der 3 Tenöre vor 30 Jahren - jetzt auf farbigem Vinyl Sie waren die wohl berühmtesten Opernsänger der Welt: José Carreras, Plácido Domingo und Luciano Pavarotti. Gemeinsam füllten sie als "Die drei Tenöre" ganze Fußballstadien. Eine dieser vom Publikum geliebten Großveranstaltungen fand vor genau 30 Jahren statt, am 16. Juli 1994 im Dodger Stadium in Los Angeles. Schon damals holte die Übertragung des Ereignisses über 1,3 Milliarden Fernsehzuschauer vor die Bildschirme. Zum 30-jährigen Jubiläum erscheint nun eine limitierte und kolorierte Doppel-LP mit dem Live-Mitschnitt des Konzerts. Unvergessen ist Luciano Pavarottis Interpretation von Puccinis "Nessun dorma". An ihr müssen sich - lange nach dem Tod des Sängers - noch heute Tenöre messen lassen. Arien von Verdi und Massenet wechseln sich ab mit Evergreens aus der goldenen Ära Hollywoods von "Moon River" bis "Singin? in the Rain". Auch (bis dahin) unbekannte, aber mitreißende Lieder und Arien aus ihren Heimatländern präsentierten die drei Tenöre wie "Amor, vida de mi vida". Den Abschluss des grandiosen Abends bildet das Medley "Around the World". Begleitet wurden die drei Tenöre vom Los Angeles Philharmonic unter der Leitung von Star-Dirigent Zubin Mehta. - Lustiger Fingerzeig der Geschichte: Eines der größten Konzerte der drei Tenöre ereignete sich direkt vor dem FIFA World Cup 1994. 30 Jahre später startet die UEFA European Championship just am Erscheinungstag der Jubiläums-Edition.

Especially now, in the news, we can witness its impact every single day. And yet, it is an integral part of the human condition. On his new album for Ozella, Rain Sultanov is confronting anger by writing some of the most heavenly music of his career. Soprano saxophone, organ, cello - this unusual instrumentation is at the heart of these nine floating, deeply moving compositions.

As such, Forgiveness is an extension of the palette of the 2018 release Cycle, which focused on the core duo of organ and saxophone. The lineup, however, as Sultanov stresses, is not what matters. What counts is using music as an instrument to transform our anger - and to offer it, others, and ourselves forgiveness.

Following the model of the well- known Ella Fitzgerald and Oscar Peterson songbook albums reuniting the work of great American song composers, Dave Brubeck prepared Angel Eyes, dedicated to compositions by Matt Dennis.

Rock n Roll Star! zeichnet Bowies Weg zu Ziggy Stardust nach. Angefangen bei frühen Demos für zu Hause, über Radiosessions und Live-Auftritte bis hin zu Session-Aufnahmen, Outtakes und alternativen Versionen von den Aufnahmen zum Album The Rise and Fall of Ziggy Stardust ROCK 'N' ROLL STAR! enthält 29 unveröffentlichte Tracks, darunter frühe Songwriting-Demos, Aufnahmen von Davids Band The Arnold Corns, Proben in Bowies damaligem Zuhause Haddon Hall, BBC-Sessions, Singles, Live-Auftritte sowie Outtakes und alternative Versionen von den Original-Aufnahmesessions des Albums, die vom ursprünglichen Album-Produzenten Ken Scott neu gemischt wurden. Zu den unveröffentlichten Highlights gehören eine alternative Version von "Lady Stardust", eine ungehörte Version des Deep-Cut-Klassikers "Shadow Man" und eine Up-Tempo-Aufnahme von The Who's "I Can't Explain", die er später verlangsamt und für das PIN-UPS-Album gecovert hat. Die reine Audio-Blu-Ray enthält das definitive Remaster des Original-Ziggy Stardust-Albums aus dem Jahr 2012 in 96kHz/24bit PCM Stereo, das Album und zusätzliche Mixe aus dem Jahr 2003 in DTS-HD Master Audio 5.1 sowie die Singles, Outtakes und alternative Versionen in 96kHz/24bit PCM Stereo. Die Blu-Ray enthält außerdem eine Version des ZIGGY STARDUST-Albums namens WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH), die von Trident Studio-Bändern vom 15. Dezember 1971 stammt und eine alternative Reihenfolge sowie vier Songs enthält, die es nicht auf das endgültige Album geschafft haben. Diese wird auch als limitierte Vinyl-LP am 20. April 2024 zum Record Store Day erhältlich sein. Außerdem gibt es eine 1-LP-Version von ROCK 'N' ROLL STAR! mit den alternativen Aufnahmen und Abmischungen.

Der gesellschaftliche Status Quo hält Abstand: Rules Of This Game starten mit ihrem "Electrative Rock" einen Genres- und Generationen-überspannenden Sound. Das Debutalbum kompiliert die digital veröffentlichten Singles! Das geniale Duo aus einem kleinen, rheinländischen Städtchen mit dem Kölner Dom in Sichtweite und bringen etwas Besonderes in die deutsche Musikszene ein: Was ist Electrative Rock? Eine ganz eigene Mischung aus alternativem Rock und EDM, gepaart mit ordentlich Punk-Appeal und einer Menge catchy Hooks. Dazu kommt eine Live-Performance, die hängen bleibt! Nach digitalen Veröffentlichungen mit über 500.000 Streams sowie rund 150 Konzerten in verschiedenen Ländern hat sich die Band eine eingeschworene Fanbase geschaffen. Egal ob auf diversen Festivals, bei Christopher Street Days oder als Club-Support für Dog Eat Dog, The Bollock Brothers oder Rantanplan, die Musik und die Botschaft von Rules Of This Game kommen bei einer Vielzahl von Menschen aus den unterschiedlichsten musikalischen "Revieren" an. So auch beim Essener Label Sunny Bastards, sonst eher auf Punk und Oi! spezialisiert. Aber es passiert schließlich nicht oft, dass eine Band schon beim Soundcheck einen Plattenvertrag angeboten bekommt, oder? Das Album enthält 12 Songs, die eine große Gesamtbotschaft ergeben: Hab niemals Angst davor, zu dir selbst zu stehen, dich auszudrücken und dich selbst zu verwirklichen! Herkunft, Geschlecht und sexuelle Orientierung spielen dabei keine Rolle, denn gegenseitiger Respekt vor der Individualität und den Bedürfnissen eines jeden Menschen gehören zu den Eckpfeilern einer offenen, demokratischen Gesellschaft. Die LP erscheint limitiert mit Poster und den Texten plus Download-Code mit zwei noch unveröffentlichten, brandneuen Bonus-Songs!

Der gesellschaftliche Status Quo hält Abstand: Rules Of This Game starten mit ihrem "Electrative Rock" einen Genres- und Generationen-überspannenden Sound. Das Debutalbum kompiliert die digital veröffentlichten Singles! Das geniale Duo aus einem kleinen, rheinländischen Städtchen mit dem Kölner Dom in Sichtweite und bringen etwas Besonderes in die deutsche Musikszene ein: Was ist Electrative Rock? Eine ganz eigene Mischung aus alternativem Rock und EDM, gepaart mit ordentlich Punk-Appeal und einer Menge catchy Hooks. Dazu kommt eine Live-Performance, die hängen bleibt! Nach digitalen Veröffentlichungen mit über 500.000 Streams sowie rund 150 Konzerten in verschiedenen Ländern hat sich die Band eine eingeschworene Fanbase geschaffen. Egal ob auf diversen Festivals, bei Christopher Street Days oder als Club-Support für Dog Eat Dog, The Bollock Brothers oder Rantanplan, die Musik und die Botschaft von Rules Of This Game kommen bei einer Vielzahl von Menschen aus den unterschiedlichsten musikalischen "Revieren" an. So auch beim Essener Label Sunny Bastards, sonst eher auf Punk und Oi! spezialisiert. Aber es passiert schließlich nicht oft, dass eine Band schon beim Soundcheck einen Plattenvertrag angeboten bekommt, oder? Das Album enthält 12 Songs, die eine große Gesamtbotschaft ergeben: Hab niemals Angst davor, zu dir selbst zu stehen, dich auszudrücken und dich selbst zu verwirklichen! Herkunft, Geschlecht und sexuelle Orientierung spielen dabei keine Rolle, denn gegenseitiger Respekt vor der Individualität und den Bedürfnissen eines jeden Menschen gehören zu den Eckpfeilern einer offenen, demokratischen Gesellschaft. Die LP erscheint limitiert mit Poster und den Texten plus Download-Code mit zwei noch unveröffentlichten, brandneuen Bonus-Songs!

Der gesellschaftliche Status Quo hält Abstand: Rules Of This Game starten mit ihrem "Electrative Rock" einen Genres- und Generationen-überspannenden Sound. Das Debutalbum kompiliert die digital veröffentlichten Singles! Das geniale Duo aus einem kleinen, rheinländischen Städtchen mit dem Kölner Dom in Sichtweite und bringen etwas Besonderes in die deutsche Musikszene ein: Was ist Electrative Rock? Eine ganz eigene Mischung aus alternativem Rock und EDM, gepaart mit ordentlich Punk-Appeal und einer Menge catchy Hooks. Dazu kommt eine Live-Performance, die hängen bleibt! Nach digitalen Veröffentlichungen mit über 500.000 Streams sowie rund 150 Konzerten in verschiedenen Ländern hat sich die Band eine eingeschworene Fanbase geschaffen. Egal ob auf diversen Festivals, bei Christopher Street Days oder als Club-Support für Dog Eat Dog, The Bollock Brothers oder Rantanplan, die Musik und die Botschaft von Rules Of This Game kommen bei einer Vielzahl von Menschen aus den unterschiedlichsten musikalischen "Revieren" an. So auch beim Essener Label Sunny Bastards, sonst eher auf Punk und Oi! spezialisiert. Aber es passiert schließlich nicht oft, dass eine Band schon beim Soundcheck einen Plattenvertrag angeboten bekommt, oder? Das Album enthält 12 Songs, die eine große Gesamtbotschaft ergeben: Hab niemals Angst davor, zu dir selbst zu stehen, dich auszudrücken und dich selbst zu verwirklichen! Herkunft, Geschlecht und sexuelle Orientierung spielen dabei keine Rolle, denn gegenseitiger Respekt vor der Individualität und den Bedürfnissen eines jeden Menschen gehören zu den Eckpfeilern einer offenen, demokratischen Gesellschaft. Die LP erscheint limitiert mit Poster und den Texten plus Download-Code mit zwei noch unveröffentlichten, brandneuen Bonus-Songs!

Neues Album der australischen Pop-Rock-Band Crowded House. Crowded House haben weltweit über 15 Millionen Tonträger verkauft und wurden mit einem Brit Award, 13 australischen ARIA Awards und einem MTV VMA ausgezeichnet. Die Band hat Milliarden von Streams generiert, beständig ausverkaufte Tourneen auf mehreren Kontinenten absolviert und fesselt ihr Publikum seit fast vier Jahrzehnten. Ursprünglich von Neil Finn, Nick Seymour und dem verstorbenen Paul Hester gegründet, wurde das selbstbetitelte Debüt der Gruppe 1986 mit Platin ausgezeichnet, angeführt von den Welthits "Something So Strong" und "Don't Dream It's Over", die von Miley Cyrus, Ariana Grande und U2 gecovert wurden.

On her second album CARE/TAKING, the New Zealand-born, Los Angeles-based artist sings about personal upheaval with impressive clarity and emotional suppleness. While Cornelius' 2020 debut Distance took her across continents into a solo career after a long stint fronting the Australian band Teeth & Tongue, this album finds the songwriter firmly rooted in her Californian home, but no less at a crossroads.

In 10 complex and immediate songs, she grapples with global crises and uncertainties as well as the changes and responsibilities in her life. It is searching indie rock that is as biting as it is comforting.

Club music culture necessarily shifted gears in many ways during and after the course of the pandemic. Older participants found their way into other interests and younger participants took new reigns to orient spaces they felt good inside of. The agenda for the music, and the cultural industry surrounding it at large, took a more frivolous and “fun” turn. Clubs needed to recoup lost money, people needed more refreshing catharsis for their nightlife escape, and in some pockets scattered around the globe a newer and younger cadre of producers/promoters/DJ’s pulled optical cues from a scattering of “darker” influences to give an alternate aesthetic to the aforementioned “vibes” culture. In the midst of this, a large polarization of conceptual energy shifted within the compositional and utilitarian machinations of the club music culture leaving behind the brooding and cerebral placeholders for different kind of enjoyable hedonism. Terrestrial Paradise’ “Artificial Hell” harkens to another prescient time before that shift occurred. “Artificial Hell’ might just be an illustration of what all of this fun escapism encapsulates.

Terrestrial Paradise is the latest moniker from Montreal come Los Angeles based producer Jaclyn Kendal. Having developed and cemented her sonic positionality with releases on North American labels like Ascetic House and Summer isle over the years, as well as a series of monolithic live sets, Bank is pleased to announce Kendal’s Terrestrial Paradise first full length album “Artificial Hell”. Over the course of nine recordings, “Artificial Hell” gives a master class in pressurized industrial techno of the slower variety. Fitting with the legacy of Bank’s output since it’s inception, Terrestrial Paradise’s aesthetic sensibilities sit within the canon of a certain tinge of club music imbued with a sense of natural grit, sans pretense.

“Artificial Hell” nods to artists like Scorn, Regis, and 400 PPM while maintaining it’s own territory in the landscape of cerebral and brooding rhythmic techno. Ominous, mechanistic drones sit above succinctly exacted percussion composition and sound design. Throughout “Artificial Hell”, Kendal shows her proficiency with the push and pull of building and releasing tension. On tracks like “Salvation” and “Relativity” she melds her synth wash wallscapes with driving percussion, serving as both a hint and counterpoint to the the entirety of the latter part of the album taking on spartan ambient compositions as a way to keep the listener in a subdued stasis. This album is a statement piece from a long time participant in the North American underground music sectors. It reminds the listener through perilous, considered rhythms and darker drone impositions to cement themselves back into a place where not
everything is always a good time.

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

All-woman garage rock band from Phoenix return to pour another down one’s throat. Continuing to tour relentlessly around the world. Produced by Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx). The Darts can’t stop, won’t stop! Hot on the heels on last year’s groundbreaking album Snake Oil, The Darts have returned guns blazing with a brand-new album, Boomerang! While on a break from their intense international touring schedule, the band stopped at
Station House Studio in Los Angeles to work with producer Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx) with the mission of capturing the band’s raw rock spirit. From the opening chords of “Hang Around,” listeners are launched into an explosive garage party, with the Farfisa organ bringing a carnival and snarky gang vocals adding to the fray. The band doesn’t let up from there. With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitars, and Mary Rose Gonzales on drums, the tight lineup fuels the album’s themes of resilience and empowerment. Each track on Boomerang packs a punch, drawing the listener into a world of infectious hooks and soaring riffs. “Boomerang is a reference to the fact that, right after we released Snake Oil, we turned right around and went back into the studio to do a whole new full-length album! I can’t stop writing songs! But ‘boomerang’ also refers to a lyric on the album that describes toxic people and things that keep coming back into your life despite your repeated attempts to fling them as far away as possible. This album is my manifesto about finding strength the kind of strength it takes to do what you personally need to do to be peaceful and healthy. For me it meant cutting a lot of stuff out of my life, and that was really hard, but it also meant adding a lot of amazing stuff I never thought I’d see. I’m in a better place than I’ve ever been, and I think you can feel that power in this record.” – Nicole Laurenne

Kein Zweifel: Ohne Axel Rudi Pell wäre diese Welt um vieles ärmer. Der Bochumer Gitarrist und Songschreiber hält auch auf seinem 22. (!)
Studioalbum ‚Risen Symbol‘ die Fahne des melodischen Hard Rock hoch, ohne sie mit pseudo-modernen Stilvarianten oder effektheischenden Studiogimmicks zu verwässern. Gleichzeitig sucht er ständig nach neuen Einflüssen, spannenden Inspirationen und griffigen Hooks. Das Beste an den ARP-Hymnen: Sie sind treffgenau auf die charismatische Stimme von Frontmann Johnny Gioeli zugeschnitten. Der Amerikaner gehört zu den besten Rocksängern der Welt und bildet gemeinsam mit Pell, dem früheren Rainbow-Schlagzeuger Bobby Rondinelli und den beiden ARP-Langzeitmitgliedern Ferdy Doernberg (Keyboards) und Volker Krawczak (Bass) ein seit mehr als zehn Jahren perfekt eingespieltes Team, das Fans wie Medien gleichermaßen überzeugt. Veröffentlicht wird ‚Risen Symbol‘ am 14. Juni 2024 über Steamhammer/SPV. Für Ungeduldige gibt es am 3. April 2024 mit der ersten Single ‚Guardian Angel‘ und am 22. Mai 2024 mit dem Nachfolger ‚Darkest Hour‘ zwei Vorabsongs, die Pell treffend mit den Worten beschreibt: „Sowohl ‚Guardian Angel‘ als auch ‚Darkest Hour‘ sind typische-ARP-Songs, aber nicht unbedingt repräsentativ für ‚Risen Symbol‘.“

"Since 2012, New York City singer-songwriter Nate Amos (Water From Your Eyes, My Idea) has recorded and self-released hundreds of songs under the This Is Lorelei moniker, and perhaps surprisingly, after a decade plus, ""Box for Buddy, Box for Star"" marks the first attempt at a traditional, intentionally written full-length album. Amos describes the bulk of This Is Lorelei’s discography as “unedited diary entries,” written and recorded without much forethought, regard for genre or reverence for albums as thematic bodies of work, so oddly enough, ""Box for Buddy, Box for Star"" is both a fresh start and the culmination of years of diligent, interesting songwriting.

""Box for Buddy, Box for Star"" embraces traditional pop songcraft and a confessional, carefully written brand of lyricism, dabbling in the kind of classic singer-songwriter cliches he never imagined toying with—but not without the counterbalancing force of shitpost-y irony, which listeners have come to expect from Amos. Inspired by the gritty romanticism of Shane MacGowan and the Jim Croce mimicry of Tim Heidecker’s ""What the Brokenhearted Do…"", the LP exudes both a grizzled charm and youthful intensity. Sonically, Amos adorns the record with quaint country gestures—a full-circle artistic choice for Amos whose father is a veteran bluegrass musician.

And it wouldn’t be a Nate Amos release without a few curveballs, like “Dancing in the Club,” a bouncy auto-tuned pop song, which he likens to Bruce Hornsby-via-Blink-182, or “Perfect Hand,” an intimate piano-led track with vocal samples, alarm bell-like effects and skittering electronic beats. He also mischievously opens the album with a red herring of sorts, “Angel’s Eye,” a twangy sci-fi country duet about an angel who abducts a cowboy and unintentionally falls in love."

Palpitations“ ist Laurels selbstbewusster Schritt ins Rampenlicht der Popmusik, vollgepackt mit Ohrwurm-Hooks, verspielten Experimenten und gefühlsbetonten, bis ins Mark gehenden Texten.
Angeführt von der übersprudelnden Leadsingle 'Wild Things', die von Balladen ('Only One') bis hin zu Knallern ('45 Degrees', 'Coming Back For More') alles abdeckt, besteht das Album aus 10 Tracks mit schillernden, atemberaubenden Pop-Fähigkeiten.
Palpitations", das bereits von BBC Radio 1, GQ, The Observer, i-D, The Independent, Elle und vielen anderen gefeatured wurde, ist Laurels endgültiges Statement - eines der aufregendsten Pop-Alben des Jahres 2024 und ein Beweis dafür, dass Laurel einer der aufregendsten Stars dieses Jahres sein wird.

John Grant, der Meister des Zwiespalts zwischen zerreißenden Balladen und progressivem Elektro-Pop veröffentlicht mit 'The Art Of The Lie' sein sechstes Soloalbum.

Obwohl es sich um eine John Grant-Platte handelt, die typischerweise Humor in Tragik einbettet und Wut in Mitgefühl umwandelt, hat 'The Art Of The Lie' eine neue musikalische Ambition, die die politischen und persönlichen Momente in den Songs untermalt. Der harte Kontrast von Schönheit und Grausamkeit macht das sechste Studioalbum des US-amerikanischen Songwriters so zu einem besonderen Hörerlebnis. Die elf Tracks verbinden Kindheitstraumata mit den verhärteten Nachwirkungen im Erwachsenenalter und verknüpfen beides mit der angespannten politischen Situation der Vereinigten Staaten im Jahr 2024.

Ivor Guests Produktionen mit Gastauftritten von Dave Okumu (Gitarre), Robin Mullarkey (Bass), Seb Rochford (Schlagzeug) und der schottischen Sängerin Rachel Sermanni sorgen für die nötige Dramatik auf Grants bisher opulentesten und filmischsten Album, die sich neben der beunruhigenden politischen Aufladung, wie in der ersten geteilten Single 'It's A Bitch' auch manchmal in elegantem Funk entlädt.

Seit über 20 Jahren sind The Decemberists eine der originellsten, gewagtesten und spannendsten amerikanischen Rockbands. Gegründet im Jahr 2000, setzten sich The Decemberists mit ihrer unverwechselbaren Form von Folk-Rock von Anfang an von der Masse ab, als sie 2001 Debüt veröffentlichten. Seitdem hat die Band neun Alben in voller Länge veröffentlicht, die nicht an ein bestimmtes Genre gebunden und äußerst ambitioniert sind und von an Americana angelehnten Storytelling-Epen bis hin zu Elementen des 70er Jahre Prog, Hard Rock und Disco reichen.

Jetzt meldet sich die beliebte Indie-Band mit ihrem ersten neuen Werk seit sechs Jahren zurück. Ihre neueste Single "Burial Ground", die bereits nach ihrem Live-Debüt im letzten Jahr ein Fan-Favorit war, nimmt den unverhohlenen Fatalismus des 2018 erschienenen Albums I'll Be Your Girl auf und verbindet ihn mit dem Jangle-Pop von The Dentists und den verträumten Harmonien der Beach Boys (mit Unterstützung von James Mercer von The Shins).

Mit den grossartigen Produktionsfähigkeiten des ehemaligen Bandkollegen und jetzigen Produzenten, Ingenieurs und Mixers Fotis Benardo (Rotting Christ, Sakis Tolis, Nightfall, On Thorns Ilay, Suicidal Angels) in seinem Athener Devasoundz Studio wurde "Remains Of A Dead World" zu einer Mischung aus all dem, was Nightrage zu einem integralen Biest gemacht hat. Die Band erweist sich als einer der letzten wahren Meister des Melodic-Death-Metal-Genres, mit völlig unaufhaltsamem Riffing, grandiosen Hooks mit überlebensgrossen Gitarrenmelodien und brutalem Gesang, die Ehrlichkeit und pure musikalische Darbietung direkt aus dem Herzen bieten. Das Mastering übernahm der befreundete George Nerantzis (Abbath, Dark Funeral, Pain Of Salvation, Sakis Tolis), dessen Fähigkeiten dem neuen Album einen immensen Sound voller Klarheit, Kraft und analogem Flair ermöglichten.

Die New Yorker Psych-Pop-Band Crumb kehrt mit AMAMA zurück, ihrem bisher unbeschwertesten und offenherzigsten Album. Eine Klanglandschaft voller spielerischer und patchworkartiger Experimente - glitchy pitch-shifted Vocals, Handy-Aufnahmen, nautische Blips, Saxophon-Soli, explodierende Drum-Samples und mit Hüpfkitt gedämpfte Piano-Saiten - AMAMA vertieft den hypnotischen Sound der Band in einer kohärenten Linie, die sich durch „Ice Melt“ (2021), „Jinx“ (2019) und die EPs „Locket“ und „Crumb“ zieht. AMAMA ist zweifellos Crumb - Sängerin und Multiinstrumentalistin Lila Ramani, Keyboarder und Saxophonist Bri Aronow, Bassist Jesse Brotter und Schlagzeuger Jonathan Gilad - in ihrer lebendigsten Form und bewegt sich an der Schnittstelle von Psychedelia, Pop, Jazz und Rock. AMAMA wurde zusammen mit Johnscott Sanford und Jonathan Rado in Los Angeles produziert.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

Eivør, die oft als eine der produktivsten und einzigartigsten nordischen Künstlerinnen ihrer Generation angesehen wird, hat bis heute 11 Studioalben veröffentlicht, wobei sie musikalische Genres und immer wieder die Grenzen des Erwarteten überschreitet. Eivørs musikalische Reise, die 2021 mit dem Musikpreis des Nordischen Rates ausgezeichnet wurde, fasziniert weltweit - von den größten Festivalbühnen Europas bis hin zum Soundtrack für die Netflix-Hitserie The Last Kingdom und das Videospiel God of War: Ragnarök.

Ihr kommendes neues Album 'Enn' knüpft an Eivørs nordische Wurzeln an. Die meisten der Texte, die komplett auf Färöisch gesungen werden, entstanden in Zusammenarbeit mit dem färöischen Dichter Marjun Syderbø Kjelnæs. Eivør bezeichnet den Text des Titeltracks als besonders "hardcore". Der Song handelt vom Krieg - "von den Kriegen, die in der Welt vor allem in letzter Zeit stattfinden, die es aber schon immer gegeben hat", sagt Eivør, "und davon, wie man in dieser überwältigenden Dunkelheit einen Lichtblick findet." Der gutturale vorletzte Track, "Upp Úr Øskuni", ist ein aufregender Ausreißer, der knurrendes Beatboxing mit viszeralem Kehlkopfgesang mischt (sicherlich Eivørs metallischster Moment).

'Enn' sticht aus Eivørs Diskografie als kühnes neues Projekt heraus. Ihr Debütalbum für Season of Mist lehnt sich stärker an dunkle Elektronik an - der neuer Prophet-5-Synthesizer hat es kaum aus der Verpackung geschafft, bevor sie "Hugsi Bert Um Teg" anstimmt, ein schwelgerisches Stück Dream-Pop, das wie die Farben der Milchstraße tanzt.

Im Großen und Ganzen folgt 'Enn' einem kosmischen Bogen. Der Titeltrack ist eine symphonische, vom Krieg zerrissene Weltraum-Odyssee. Aber das Album widmet sich auch irdischeren Themen. Die Leadsingle "Jardartra" wird aus der Perspektive einer verletzten Mutter Erde erzählt, mit einer stetig pochenden Basslinie, die so dunkel und warm ist wie der geschmolzene Kern unseres Planeten ist. "Komm und leg dich in meine blaue Umarmung", singt Eivør und entfesselt dabei in ihr opernhaftes Register, als wolle sie uns ins Licht locken.

Ein Muss in der Geschichte des amerikanischen Death Metal, remastered! Die legendäre Chicagoer Death Metal Band Oppressor wurde 1991 von
Bassist/Sänger Tim King und Gitarrist Adam Zadel gegründet, bald kamen Gitarrist Jim Stopper und Drummer Tom Schofield hinzu. Oppressor hat sich
neu formiert und spielt wieder live!Oppressor nahmen zwei Demos auf... und ihr zweites Demo, "As Blood Flows" von 1993, brachte sie 1993 unter
Vertrag. Dieses Demo wurde als eine sehr starke Veröffentlichung angesehen, die über 30 Minuten dauerte und eine anständige Produktion aufwies.
Im darauffolgenden Jahr wurde das Debütalbum "Solstice of Oppression" veröffentlicht, das von ausgiebigen Tourneen begleitet wurde, aber das
Label von Oppressor ging kurz darauf in Konkurs. Um ihren Namen in der Öffentlichkeit zu halten, veröffentlichten Oppressor eine halb Live- und halb
Studio-Compilation namens "European Oppression Live/As Blood Flows", die Live-Material von ihrer europäischen Support-Tour für ihr Debüt und
Studiomaterial enthielt, das aus dem kompletten "As Blood Flows"-Demo der Band von 1993 bestand.

Die japanische Postrock-Band MONO meldet sich mit "OATH" zurück, ihrem zwölften Album, diesmal mit genreübergreifender klassischer Orchestrierung und den typischen transzendentalen Gitarren-Klängen einer Karriere, die sich seit vier Jahrzehnte erstreckt. "Was tun wir hier?" Das Jahr 2020 hat das, was einst die Quintessenz des nächtlichen Kiffer-Existenzialismus war, zu einem täglichen Mantra für fast alle Menschen auf diesem Planeten gemacht. Was machen wir mit unserer begrenzten Zeit in diesem Leben? Was ist unser Ziel? Was sollten wir tun? In den letzten 25 Jahren haben MONO Themen wie die Beziehung zwischen Dunkelheit und Licht, Hoffnung im Angesicht der Katastrophe und die Dualität von Geburt und Tod erforscht. Auf ihrem 12. Album, OATH, denken sie über die Zeit nach, die das Leben ausmacht, und darüber, wie man das Beste aus dieser Zeit macht. Aufgenommen und abgemischt mit ihrem langjährigen Freund und Produzenten Steve Albini, beginnt OATH wie ein Sonnenaufgang mit einem langsam aufsteigenden Orchester und Bläsern, wobei sich die gesamte Band Zeit nimmt, die Atmosphäre zu genießen, bevor sie sich dem Glanz anschließt. Während der gesamten 71-minütigen Laufzeit des Albums meditiert MONO auf vielfältige Weise über das Thema Zeit und Leben. Die gemächliche Entwicklung eines Songs, die ein Markenzeichen von MONOs Katalog ist, ist von einer Eleganz durchdrungen, die OATH zu neuen Höhen erhebt. MONO haben sich selbst mit einer universell nachvollziehbaren existenziellen Untersuchung herausgefordert und mit OATH geantwortet, einem Album, das eher wohlwollende Reflexion als flüchtige Erholung bietet. "We live with a vow that hasn't changed since we were children. Hear the wind sing. We are part of the universe. We already know what we should do and what the most important thing in life is." - Takaakira `Taka' Goto, MONO

Die japanische Postrock-Band MONO meldet sich mit "OATH" zurück, ihrem zwölften Album, diesmal mit genreübergreifender klassischer Orchestrierung und den typischen transzendentalen Gitarren-Klängen einer Karriere, die sich seit vier Jahrzehnte erstreckt. "Was tun wir hier?" Das Jahr 2020 hat das, was einst die Quintessenz des nächtlichen Kiffer-Existenzialismus war, zu einem täglichen Mantra für fast alle Menschen auf diesem Planeten gemacht. Was machen wir mit unserer begrenzten Zeit in diesem Leben? Was ist unser Ziel? Was sollten wir tun? In den letzten 25 Jahren haben MONO Themen wie die Beziehung zwischen Dunkelheit und Licht, Hoffnung im Angesicht der Katastrophe und die Dualität von Geburt und Tod erforscht. Auf ihrem 12. Album, OATH, denken sie über die Zeit nach, die das Leben ausmacht, und darüber, wie man das Beste aus dieser Zeit macht. Aufgenommen und abgemischt mit ihrem langjährigen Freund und Produzenten Steve Albini, beginnt OATH wie ein Sonnenaufgang mit einem langsam aufsteigenden Orchester und Bläsern, wobei sich die gesamte Band Zeit nimmt, die Atmosphäre zu genießen, bevor sie sich dem Glanz anschließt. Während der gesamten 71-minütigen Laufzeit des Albums meditiert MONO auf vielfältige Weise über das Thema Zeit und Leben. Die gemächliche Entwicklung eines Songs, die ein Markenzeichen von MONOs Katalog ist, ist von einer Eleganz durchdrungen, die OATH zu neuen Höhen erhebt. MONO haben sich selbst mit einer universell nachvollziehbaren existenziellen Untersuchung herausgefordert und mit OATH geantwortet, einem Album, das eher wohlwollende Reflexion als flüchtige Erholung bietet. "We live with a vow that hasn't changed since we were children. Hear the wind sing. We are part of the universe. We already know what we should do and what the most important thing in life is." - Takaakira `Taka' Goto, MONO

Live-Mitschnitt des Attwenger Konzerts vom 6.12.23 im Chelsea in Wien, verteilt auf vier Seiten aus gelbem Vinyl mit Schwerpunkt auf den letzten beiden atmender-alben "Spot" und "Drum", angereichert mit Slangpunksongs aus den Neunzigern und Nullern. Attwenger ist live sowieso eine andere Geschichte als ein Studioalbum, ein Live-Album ist eine Momentaufnahme, licht, lärm und Leute bestimmen den Augenblick, der Augenblick ist schnell vorbei, aber den Mitschnitt unseres aktuellen Programms, der auf dieser Doppel-LP wiedergegeben wird, kannst du dir in hundert Jahren auch noch anhören und es wird trotzdem ein live-konzert sein. Attwenger live heißt Binder und Falkner auf der Bühne, singen und quetschen, verstärkt und verzerrt, Drums, Maultrommeln und Elektro-Beats, Stücke von 1990 treffen auf Songs, die grade erst im Entstehen sind, Lieder aus unterschiedlichen Entstehungsphasen werden zu ausgedehnten, groovigen Mixes kombiniert, geht alles. Die Reihenfolge der Stücke kann sich ändern, genauso wie die Reihen auf der Ziehharmonika und die Reime der Texte. alles Moment, alles bewegt sich, dreht sich, verästelt sich, die körperliche Intensität ist teilweise arg, die Gedanken sind oft woanders, das Publikum ist da, der Austausch zwischen Spielen und Tanzen führt zu einer Musik, die so dynamisch, stürmisch und euphorisch werden kann, dass du vom Akteur zum Passagier wirst in einem kollektiven Taumel, der alle beteiligten reinzieht, herumwirbelt, fortweht. Als Bonus-Track eine Aufnahme vom Juni 94, als wir mit unserem Gegenbesuch zur Zimbabwe-Tour im Oktober 93, Oliver Mtukudzi and The Black Spirits, einen gemeinsamen Auftritt in der Linzer stadtwerkstatt hatten. Zu hören ein Ausschnitt aus "I wanna know whats going on", in dem es schon damals geheißen hat: es is immer hoiba 8i.

Live Volume is the first live album by American heavy metal band Corrosion of Conformity, which was originally released in 2001. The album was recorded on April 20, 2001, at the Harpos Concert Theatre in Detroit, Michigan. Although the group began with strong punk leanings, they were one of the first groups to merge punk and metal. Live Volume features live recordings from their entire ‘metal period’ from Blind until America’s Volume Dealer, including “Albatross”, “Clean My Wounds”, “Vote With A Bullet”, and “Congratulations Song”. Live Volume is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.

Bad Breeding, the Stevenage-based hardcore unit, are set to release their fifth album ‘Contempt’ on June 14th with One Little Independent Records and Iron Lung Records in the US.

It follows 2022s ‘Human Capital’ which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism. ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”.

Christopher Dodd explains “Capital and its bourgeois foot soldiers hold nothing but contempt for working people and it’s in that contempt we can find solidarity with one another. Whatever story gets sold and packaged, contempt guides every move of the capitalist class. We see it every day – unspeakable destruction from war and government-sponsored genocide, exploitation of workers and the very gutting of the planet we live on. Only when we realise and utilise the utter contempt held for us can we reach a level of class consciousness that will provide an adequate challenge to capital”.

Bad Breeding, the Stevenage-based hardcore unit, are set to release their fifth album ‘Contempt’ on June 14th with One Little Independent Records and Iron Lung Records in the US.

It follows 2022s ‘Human Capital’ which mercilessly attacked Conservative meritocracy and the exploitative forces of late capitalism. ‘Contempt’ ups the ante yet again and explores the continued effects that austerity has had on the working public and specifically capital’s destruction of the planet and its inhabitants. It’s released with multiple essays in an accompanying zine, one that follows environmental and humanitarian journalist Aidan Frere-Smith and another that tells the story of a homelessness crisis in a city full of unused housing. Utilizing a mix of propulsive rhythm and furious, explosive guitars to maximum effect, Bad Breeding have weaponised their anger in the fight for survival; “Because these days are ours to take / Seize them with union, love and rage”.

Christopher Dodd explains “Capital and its bourgeois foot soldiers hold nothing but contempt for working people and it’s in that contempt we can find solidarity with one another. Whatever story gets sold and packaged, contempt guides every move of the capitalist class. We see it every day – unspeakable destruction from war and government-sponsored genocide, exploitation of workers and the very gutting of the planet we live on. Only when we realise and utilise the utter contempt held for us can we reach a level of class consciousness that will provide an adequate challenge to capital”.

"Strawberry Seed, Big Bill’s third full-length LP, represents evolutionary growth for the Austin rock band. While the album includes some of the snide anthems they’re known for in songs like “Poverty of Wires,” “Throw it Away,” and “Political Meat,” much of the album feels warmer, with layers of acoustic guitar, synthesizers, piano, and background singers adding texture to their esoteric sound. Even when they go for the familiar angular riffs and propulsive drums—provided by former White Denim drummer Jeff Olson, who joined the band in 2020 and produced most of this record—the topics are more relatable than ever before, and more political, too. “Poverty of Wires” hits directly with post-punk fervor and a lyric about how rich people are always sick of talking about the poor, and “Political Meat” rails against a depressingly familiar cycle: “politely critique; get spit out like mouthwash and rinse and repeat.”

On Strawberry Seed, Big Bill is more mature and more self-assured, but you’ll never take the anxious energy out of the punk."

The Gloss is the second album from Cola. From their inception Cola have expanded on the d.i.y. ethic of the Dischord and SST eras, creating potent sounds from a minimal palette of drums/bass/guitar and lacing their songs with winsome one-liners and societal commentary. What’s another word for commentary? Gloss, apparently. Never basic, the lyrics reward repeated listening for deeper meanings. David Berman’s poetry-via-garage light pennings are an inspiration, as equally so are the lighter side of UK first-wave New Wave and the Dunedin sound. The results are in the pudding: at times sparse and poetic, at others a thrilling, hook-laden good time, as with the cheeky romantic sketch of a one-night stand that is so overflowing with innuendo-cum-journalism talk that it almost teeters over into self-parody. But the results are the right combination of lightheartedness and sincerity. Romanticism is never far from laughter, and equally never far from righteous anger in the music of Cola: “Pulling quotes now in the dark/Our outlook is restrained/Your tongue might weaken to be-fit your smile/Til nothing ill remains.” ‘nuff said. It's an album bursting with energy and wit and ideas–filled to the margins.

A 2xLP discography from the late 90s post-hardcore/early screamo band, The Red Scare. The band existed during an interesting period when hardcore music was evolving and splintering into various sub-genres. They perfected a blistering hardcore that will appeal to fans of Born Against, Heroin, and Universal Order of Armageddon, as well as fans of later hardcore bands like Saetia, Jerome's Dream, City of Caterpillar, and Ampere. This record comes on high end paper, custom gatefold packaging, and limited edition colored vinyl. "Smoky Mountain High" gathers both of the bands LPs, their singles, as well as 4 live songs from their session at WNYU.

"In the wake of SQUID PISSER’s “Vaporize A Neighbor” EP and Comic Book Set and “Vaporize A Tadpole” Collection comes “Dreams of Puke”, the band’s second full length album. Weighing in at a meaty 12 songs and cut at a lean 45 revolutions per minute, “Dreams of Puke” refuses to let up or let down - emitting climax after scintillating climax - a bounteous bouquet of dayglow viscera and tumor-filled sonic snot.

“Dreams of Puke” is the face ripping, dolphin-loving, anthropomorphized mountain of nuclear sludge intravenously injected with methamphetamines that listeners have been clamoring for. Tommy Meehan's use of effects pedals and sonic textures create a dense soundscape of intestinal debris, mortared with a grout of pus, goo, gummy candy and pure, unadulterated insanity. Meanwhile, Seth Carolina's all out, rage-fueled and categorically pummeling approach to slamming the beats down lays out a visceral scene of absolute intensity - a great white shark attack on The Mall of America.

Tommy explains “The writing sessions for this album resulted in about 100 songs... Demos, seedlings, and scraps were strewn about everywhere. Then Seth and I assembled them into a viable and tangible fruition. I tracked all of the guitars, bass, and vocals myself at Los Angeles’ Castle Barf Studios. The drums we did at Sea Horse Sound downtown”.

“Dreams Of Puke” is an aural DMT trip that will leave brains boggled. Its atonal anthems of slime are a kaleidoscope of brilliant, bespeckled rage that, in the end, will scalp the world & mutate the throne.

Glass Mastered Compact Disc includes Mystery Matrix Message and comes packaged in a Six Panel Tri-Fold Jacket with corresponding Fold-Over Lyric Insert. LP and CD formats each sport unique, subliminally different cover art by painter Gregory Jacobsen of the band Lovely Little Girls. Parental Advisory: Explicit content"

A remastered version of the very first Screaming Females album, originally self-recorded and self-released in 2006. Includes such hit singles as “Dinosaurs,” “Baby Jesus” and “Foul Mouth.” An instant classic.

Seit ihrer Gründung haben REZN die reinen, monochromen Tiefen des Underground-Metal erforscht und sie mit den kaleidoskopischen Freuden von Psychedelia, Prog-Rock und Shoegaze verschmolzen. Mit ihrem neuesten Album Burden loten sie die tiefsten, düstersten Gräben ihres Sounds aus, ohne dabei den Bezug zum Kosmos zu verlieren. An der Schnittstelle zwischen den düsteren Dimensionen moderner Psych-Acts wie Black Angels, der höhlenartigen Düsternis und den mit Hall durchtränkten Gitarren von Bands wie Spectral Voice und den taumelnden Low-End-Meditationen von Künstlern wie OM haben REZN ein Album von ungeheurer, den Verstärker anbetender Wucht und mitreißender Instrumentierung geschaffen. Burden wurde zeitgleich mit ihrem vorherigen Album Solace im Juli 2021 aufgenommen, aber anstatt ein Doppelalbum zu veröffentlichen, teilten REZN das Material in zwei separate Platten auf, jede mit ihrem eigenen emotionalen Timbre. Musikalisch bevorzugt Burden Riffs gegenüber Atmosphäre, Perkussion gegenüber Äther, Dissonanz gegenüber Schönheit, aber es gibt dennoch eine unbestreitbare Kohäsion zwischen ihm und seinem Vorgänger. Die Verbindung von brachialer Gewalt und erhabenen Texturen war schon immer eine Schlüsseltaktik in REZNs Ansatz - eine Dualität, die vielleicht ihre Tournee-Vergangenheit mit den Synästhesie-induzierenden Metallurgie-Kollegen Elder und Russian Circles erklärt - aber das Spektrum der quecksilbrigen Temperamente der Band fühlte sich noch nie so klar definiert und vollständig erforscht an wie auf Burden. Selbst die zurückhaltendsten Momente von Burden fühlen sich wie die Ruhe vor dem Sturm an, ein sich sammelnder Schwung vor dem strafenden Schlussstück und der Leadsingle ,Chasm", einem megalithischen, krautigen Brecher, der durch ein brennendes Gitarrensolo von Russian Circles' Mike Sullivan noch verstärkt wird. LP mit Lyric-Sheet & DLC, Digipack-CD mit Lyric-Sheet!

Seit ihrer Gründung haben REZN die reinen, monochromen Tiefen des Underground-Metal erforscht und sie mit den kaleidoskopischen Freuden von Psychedelia, Prog-Rock und Shoegaze verschmolzen. Mit ihrem neuesten Album Burden loten sie die tiefsten, düstersten Gräben ihres Sounds aus, ohne dabei den Bezug zum Kosmos zu verlieren. An der Schnittstelle zwischen den düsteren Dimensionen moderner Psych-Acts wie Black Angels, der höhlenartigen Düsternis und den mit Hall durchtränkten Gitarren von Bands wie Spectral Voice und den taumelnden Low-End-Meditationen von Künstlern wie OM haben REZN ein Album von ungeheurer, den Verstärker anbetender Wucht und mitreißender Instrumentierung geschaffen. Burden wurde zeitgleich mit ihrem vorherigen Album Solace im Juli 2021 aufgenommen, aber anstatt ein Doppelalbum zu veröffentlichen, teilten REZN das Material in zwei separate Platten auf, jede mit ihrem eigenen emotionalen Timbre. Musikalisch bevorzugt Burden Riffs gegenüber Atmosphäre, Perkussion gegenüber Äther, Dissonanz gegenüber Schönheit, aber es gibt dennoch eine unbestreitbare Kohäsion zwischen ihm und seinem Vorgänger. Die Verbindung von brachialer Gewalt und erhabenen Texturen war schon immer eine Schlüsseltaktik in REZNs Ansatz - eine Dualität, die vielleicht ihre Tournee-Vergangenheit mit den Synästhesie-induzierenden Metallurgie-Kollegen Elder und Russian Circles erklärt - aber das Spektrum der quecksilbrigen Temperamente der Band fühlte sich noch nie so klar definiert und vollständig erforscht an wie auf Burden. Selbst die zurückhaltendsten Momente von Burden fühlen sich wie die Ruhe vor dem Sturm an, ein sich sammelnder Schwung vor dem strafenden Schlussstück und der Leadsingle ,Chasm", einem megalithischen, krautigen Brecher, der durch ein brennendes Gitarrensolo von Russian Circles' Mike Sullivan noch verstärkt wird. Indie-Handel exklusives farbiges Vinyl in Black, Mint and Bone A side/ B side, LPs mit Lyric-Sheet & DLC, Digipack CD mit Lyric-Sheet.

Wiederveröffentlichung der audiophilen 180-Gramm-Vinyl-Doppel-LP mit dem neuen Artwork-Layout von 2019 in kräftigem Grün. Neu gemastert von John Rivers im Woodbine Street Studio speziell für die Vinyl-Veröffentlichung. Does The Cosmic Shepherd Dream Of Electric Tapirs? ist nicht nur eine Frage, die eine Antwort verdient, sondern auch der Titel von Acid Mother Temples allererster Veröffentlichung auf Space Age Recordings. Als japanisches Soul-Kollektiv sind Acid Mothers Temple und The Melting Paraiso UFO so etwas wie ein Rätsel für die westliche Welt, und wahrscheinlich auch für östliche Ohren. Ihre Musik kann als Acid-Rock, experimentell, psychedelisch oder eine ganze Reihe von Genres beschrieben werden, je nach Stimmung des Hörers. Die lange erwartete Wiederveröffentlichung dieses wilden Angebots von AMT ist seit einiger Zeit vergriffen und kommt als solides grünes Doppelvinyl mit dem verführerischen, unzensierten Artwork der Originalhülle. Limitiert auf 500 Exemplare weltweit.

"Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and Sō Percussion. The album follows their 2021 Grammy Award–winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021’s Let the Soil Play Its Simple Part, with Shaw on vocals backed by Sō – Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil… and Rectangles and Circumstance. Sō and Shaw’s upcoming performances will be announced soon.

Sliwinski says in the new album’s liner notes, “After a few years of touring Let the Soil Play Its Simple Part together, with a pandemic in between, we came to record our second album, Rectangles and Circumstance, as a road-tested band who knew each other’s strengths, weaknesses, and tendencies intimately.” He continues, “Most of the songs started with instrumental pieces or fragments of pieces from Jason or Eric.

“As both a songwriter and a classical composer, Caroline is accustomed to writing lyrics as well as setting them. Going over texts with her is like working on music: I collect a handful of poems and send them over to her, waiting to see if anything catches her interest, then I modify my search based on her feedback,” Sliwinski says. “For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped its expressive mode and ended up using verses by Christina Rosetti, Emily Brontë, Emily Dickinson, Gertrude Stein, and William Blake … The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to her albums with Sō, Nonesuch has released her two Grammy-winning albums Orange (2019) and Evergreen (2022), both of which feature Attacca Quartet. ‘Two-Step’, the first of Shaw’s songs with Ringdown, her duo with Danni Lee, to be released on Nonesuch is available now.

For twenty years and counting, Sō Percussion has redefined chamber music for the twenty-first century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (New Yorker). Their commitment to the creation and amplification of new work, and their extraordinary powers of perception and communication, have made them trusted partners for composers including David Lang, Julia Wolfe, Nathalie Joachim, Bryce Dessner, Dan Trueman, Kendall K. Williams, Angélica Negrón, Shodekeh Talifero, claire rousay, Leilehua Lanzilotti, Bora Yoon, Olivier Tarpaga, and many others. Sō has recorded more than twenty-five albums, including a performance of Steve Reich’s Mallet Quartet on the Nonesuch record WTC 9/11. Its members are the Edward T. Cone performers-in-residence at Princeton University. Sō Percussion’s educational and community work includes the Sō Laboratories concert series and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers.
"

Enjoy The Toons Records - in conjunction with Paramount Pictures and Enjoy The Ride Records - proudly present Sonic The Hedgehog: Music From The Motion Picture by composer Tom Holkenborg. Holkenborg, also known under the moniker Junkie XL, has created scores to major blockbuster hits for the last two decades (Mad Max: Fury Road, Deadpool, Batman v Superman, Alita: Battle Angel and more). Holkenborg encompasses the essence of Sonic, bringing the iconic chip sounds from SEGA to the big screen with a thrilling and exciting score that beautifully compliments the film.

Doo-Wop was and remains the most accessible of popular music formats. You don’t need instruments, just tuneful voices, the ability to harmonise and a street corner on which to perform. Over 10,000 different vocal outfits are estimated to have recorded in the Fifties – be they black, white, Italian or Hispanic. Only a few practitioners like Dion DiMucci, lead singer with the Belmonts, would outlast the phenomenon to bloom in subsequent decades, but Doo-Wop’s legacy would remain. In this collection, you will discover the foundations of popular music as we know it. From coast to coast, Doo-Wop ruled the Fifties – here it is at its very best!

Chelsea Wolfes siebtes Album, Nachpressung in Lavendel Eco Vinyl, LP in Klappcover mit 12seitigem Text-Booklet & DLC! Chelsea Wolfe hat schon immer eine kraftvolle Energie ausgestrahlt, und obwohl sie die Fähigkeit bewiesen hat, diese düstere Schönheit in eine Vielzahl von Formen zu kanalisieren, ist ihr Talent als Songwriterin nie offensichtlicher, als wenn sie ihre Songs auf ein paar Schlüsselkomponenten reduziert. Das Ergebnis ist, dass ihre feierliche Majestät und bedrohliche Eleganz auf Birth of Violence stärker denn je ist.Es gibt ein Kernelement in Chelsea Wolfes Musik - eine Art dringlicher Drehung des amerikanischen Trostlosigkeitsblues -, das sich durch ihre gesamte Karriere zieht. Im Zentrum stehen seit jeher Wolfes wehmütige Sehnsucht und ihre betörende Ernsthaftigkeit, auch wenn sich der Rahmen für die Kompositionen ständig weiterentwickelt hat, je nachdem, welche Ressourcen zur Verfügung standen. Ihre nüchternen Anfänge wurden nach und nach durch Elektronik ergänzt und mit Arrangements für die ganze Band ausgefüllt. Die Musik wurde immer dichter und konzentrierte sich mehr auf Live-Auftritte. Ihr Album, Birth of Violence, ist eine Rückkehr zur Zurückgezogenheit ihrer früheren Aufnahmen.

Floating World Pictures is a 'Loud Ambient' project led by Chestnutt, producer & member of Snapped Ankles, and graphic/sound artist & instrument builder Raimund Wong.

For this new release they have come together with producer Ocean Moon (AKA Jon Tye) to create a heady brew of deep, resonant sonic exploration, spanning two sides of a beautiful limited cassette release which will be available via Lo Recordings on 14th June 2024.

Mystical, new age, ambient soundscapes born of psychic improvisation and excursions into worlds lost in mist, intertwine seamlessly with fragments of found dialogue, melodies and environmental sounds, cassette tape loop manipulations, live dub/effects and analogue synthesis. The cassette album comprises two singular but wholly complementary sound projects:

‘Look Now For The World Is Shining Bright’ is a suite of 4 tracks, all of which contain elements of music featured on the band's debut album ‘The Twenty-three Views’ (Friendly Recordings 2022), performed by Chestnutt, Rai Wong, Alabaster Deplume, Akihide Monna, Charles Prest, Cathy Eastburn, Kamal Rasool, Danalogue and Clémentine March with additional keyboards, collage and composition by Ocean Moon.

‘Have You Met Your Maker?’ was recorded as a trio one day in August 2023, at Ocean Moon’s Cornwall studio The Centre Of Sound, Maker Heights. Amidst the wind, rain and occasional sunny outburst they create sensuous deep dives between light and shade, with soundscapes filled with tape hiss, sweeping reverberance, field recordings from around Maker and angelic mood music; delicately weaving a web of movement and brightness with sounds of eternity that dissipate all negative thought patterns.

Re-issue of 'Joe Black' the 1996 compilation album by Florida's monster death metal band Malevolent Creation! MALEVOLENT CREATION established themselves within the underground scene in the late 80's with fellow American acts such as Cannibal Corpse, Immolation, Suffocation, Morbid Angel, Obituary, Monstrosity, Autopsy and many others. Metal that broke boundaries and plunged headlong into the macabre and extreme!

Manifestation is a compilation album with bonus live tracks from American monster death metal band Malevolent Creation originally released in 2000! MALEVOLENT CREATION established themselves within the underground scene in the late 80s when fellow American acts such as Cannibal Corpse, Immolation, Suffocation, Morbid Angel, Obituary, Monstrosity, Autopsy and many others. Metal that broke boundaries and plunged headlong into the macabre and extreme!

Der Zauber der Nacht ist in der Musik seit jeher ein Thema, von den Nocturnes der Klassik über Late-NightJazz bis hin zu Max Richters Erfolgsprojekt “Sleep”. Auf ihrem neuen Album hat sich nun auch Sängerin und Songschreiberin Arooj Aftab, die für ihr Album “Vulture Prince” 2022 als erste pakistanischstämmige Künstlerin mit einem Grammy ausgezeichnet wurde, dieses faszinierenden Themas angenommen.

Arooj versteht es Songs zu schreiben und mit sanfter, tiefer Stimme zu singen, die sich entspannt in die Gehörgänge schmiegen. Ihre Lieder sind einzigartig, weil sie in der Tradition ihres pakistanischen Musikerbes wurzeln, aber zugleich elektronisch-modern und auf subtile Weise grooven.

Mit “Night Reign” ist Arooj ihr betörendstes und vielfältigstes Werk gelungen. Unterstützung erhielt sie dabei von so unterschiedlichen kreativen Partnern wie Vijay Iyer, Maeve Gilchrist, Moor Mother, Joel Ross, Cautious Clay, Kaki King, James Francies und Chocolate Genius, Inc

Mock Media, the new Canadian supergroup comprised of Garnet Aronyk (of Crack Cloud), Bennett Smith (of N0V3L), Austin Boylan (of Pottery) and Evan Aesen (of Painted Fruits), share their captivating debut album 'via Meat Machine Records (Crack Cloud, N0V3L, CLAMM)

Mock Media’s debut LP Mock Media II – out on Tin Angel records captures this firebrand four piece’s head-on plunge into enthralling existential contradictions: songs that explore the darkest corners of humanity, yet come out at the other end with the unwavering joy that marked their genesis. It’s an album of sneaky eclecticism: the high-wired punk rock stylings serve as Mock Media’s framework to clad their agog explorations into pop, electronic and world folk music.

Los Angeles April 18, 2024The origin of this record is a weird one. In 2019, we had just returned from two long European tours when we decided to take a “little break” from the road. You all know what happened next. That “little break” turned into a couple of years and during that time Dane, our drummer, decided to quit the band and music in general (no hard feelings).. Sean and I had a discussion and thought about ending the band as a whole, but I knew I had to go out on my own terms. I had an ace in the hole, though. Jeff Murray, drummer from LA rippers The Shrine. I had been friends with Jeff and The Shrine’s founder, Josh Landau since our “Scavenger” 7” came out, around 2012. We had run into them in Berlin a few months back and I knew they weren't playing anymore. I called Josh first, ‘cause asking a dude if you can take his drummer, is like asking your girlfriend's Dad if you can marry her. And Josh said “go for it”. And Jeff was in. Honestly if he had said no, that would have been the end. I had written a ton of stuff since our last album but I had shelved most of it. I was trying too hard - basically. Eventually Sean, Jeff and I said, ‘Fuck it, let’s make a “Fake Live” record’ - like Kiss or Slayer did. John Dwyer from Osees was opening his new studio, Discount Mirrors and it seemed like the perfect place to record it. We settled on re-recording a bunch of old stuff while simultaneously demoing our new material, as the three of us were now starting to really get in the groove. The result is Strange Masters Vol. 1. These are not new songs. These are Zig Zags classics re-recorded with a ripping-ass band that’s old and angry and just wants to get on with it. We are already on to recording the next album of new songs. That one is coming soon, but in the meantime, enjoy this one…while you still can!-Jed Maheu-Guitars-Vocals-Zig Zags

Unio Mystica: Absorbed from my room onto a triangle ship, by an alien wearing blue scaled bio-armour, to travel instantaneously across vast folds of time & space. The alien occupied the pinnacle of the triangle, the other two points by myself and an unknown human female, respectively. The ship, at least for this type of journey, was powered by harnessing the coalescent, universal force of LOVE. This truly hierogamic union acted as a sort of inter-dimensional transcendence driver, which allowed us the defeat of all material boundary and therefore, time itself. It was a keen insight into the ultimate conciliation: that love permeates and binds together an otherwise cold and hostile universe. And perhaps it was not an "alien" but an angel. Angels are traditionally understood to be preternaturally photonic (of a type), lacking physical densification, and which manifest themselves as various imaginal forms in the human psyche... What is known: the starship is ours; a portal of two souls combined. - personal log, entry #3073, 07/14/2017

Tomorrowland Music kündigt ’TOMORROWLAND 2024 - LIFE - OFFICIAL COMPILATION’ an. Erlebe die Euphorie des diesjährigen Tomorrowland-Mottos „LIFE“ bequem von zu Hause aus, mit exklusiven Tracks und erweiterten Versionen, die für DJs und Musikliebhaber gleichermaßen geeignet sind. Mit einer handverlesenen Auswahl aktueller Singles von einigen der größten Namen der elektronischen Musik, darunter Lost Frequencies, David Guetta, Alok, Dimitri Vegas & Like Mike, Martin Garrix, Alesso und einige der größten Club-Hits des Augenblicks, wie Zerb (Mwaki), Alex Wann (Milkshake 20). Von erhebenden Melodien bis hin zu herzzerreißenden Beats ist jeder Track ein Zeugnis für die Einheit, Freude und Vielfalt, die auf dem Tomorrowland gefeiert wird. Jedes Vinyl ist ein Sammlerstück, reich an ästhetischen Details und angereichert mit luxuriösen Verpackungselementen, die durch ein atemberaubendes Artwork aufgewertet werden.

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns.

As the releases of DUBBLACK’s catalogue pile up, the novelty and exploration for new music keeps on thriving.


A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek.


The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement.


A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), GAMO (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc.


He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B DODI and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music.


Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “R909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”.


Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness.


The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of DUBBLACK harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

LTD. BLACK CLOUD COLOUR VINYL

THE GHOST INSIDE stands as an unstoppable force in the realm of hard rock music. Fueled by unwavering determination and unyielding passion, this band has forged a path marked by resilience and redemption. Their latest endeavor, the 6th studio album titled Search for Solace, delves into the profound theme of grappling with one"s own thoughts - the internal struggle between good, bad, and evil. It explores the journey of finding comfort and making peace amidst the chaos of life"s ebb and flow. The album reflects the band"s commitment to not succumb to negativity, anger, or darkness, aligning with their identity as an uplifting and comforting musical force for fans seeking solace. Established in 2004, THE GHOST INSIDE has solidified its position as a trailblazer in melodic hard rock. Their music seamlessly combines raw aggression with profound lyricism, creating a resonant experience for their dedicated fanbase. Despite facing challenges, notably a tragic bus accident in 2015 that left some members with life-altering injuries, the band refused to be broken. Through unwavering perseverance, they made a triumphant return to the stage, defying the odds. Their music embodies a spirit of resilience, unity, and the indomitable power of the human spirit. Each thunderous breakdown and soaring melody strikes a deep chord within the hearts of their fans, serving as a testament to the band"s enduring impact. THE GHOST INSIDE"s journey is a testament to their ability to inspire and uplift through music. As they embark on a global tour starting this Spring, venturing into new territories, including South America and beyond, the band continues to share their message of strength and perseverance with audiences around the world.

THE GHOST INSIDE stands as an unstoppable force in the realm of hard rock music. Fueled by unwavering determination and unyielding passion, this band has forged a path marked by resilience and redemption. Their latest endeavor, the 6th studio album titled Search for Solace, delves into the profound theme of grappling with one"s own thoughts - the internal struggle between good, bad, and evil. It explores the journey of finding comfort and making peace amidst the chaos of life"s ebb and flow. The album reflects the band"s commitment to not succumb to negativity, anger, or darkness, aligning with their identity as an uplifting and comforting musical force for fans seeking solace. Established in 2004, THE GHOST INSIDE has solidified its position as a trailblazer in melodic hard rock. Their music seamlessly combines raw aggression with profound lyricism, creating a resonant experience for their dedicated fanbase. Despite facing challenges, notably a tragic bus accident in 2015 that left some members with life-altering injuries, the band refused to be broken. Through unwavering perseverance, they made a triumphant return to the stage, defying the odds. Their music embodies a spirit of resilience, unity, and the indomitable power of the human spirit. Each thunderous breakdown and soaring melody strikes a deep chord within the hearts of their fans, serving as a testament to the band"s enduring impact. THE GHOST INSIDE"s journey is a testament to their ability to inspire and uplift through music. As they embark on a global tour starting this Spring, venturing into new territories, including South America and beyond, the band continues to share their message of strength and perseverance with audiences around the world.

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.
‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.
Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.
When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.
Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.
‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.
This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

When Man Man released its last album, "Dream Hunting in the Valley of the In Between," frontman Honus Honus (née Ryan Kattner) was in a state of unrest, oscillating between hope and cynicism. Perhaps fittingly, the album dropped during the pandemic, a time at which we could all relate. But, much like that bizarre turn of events, the ennui now seems so distant to Man Man. A revived sense of purpose washes through Man Man's new album, Carrot on Strings, radiating a mix of calm and confidence. Kattner always embodied a wild-man pied-piper vibe: his melodic, unhinged art-rock was at once intriguing and angsty. He was so alluringly creative that you went along with it, even if you were never sure where Man Man would take you. Carrot on Strings is no less inventive, but its ethos is radical in context of the band's two-decade career. "When I was younger, I would feed off of chaos. I would, you know, be upset and get drunk and smash chairs," Kattner explains. "Now those chairs are in my head: It's less of an outward projection, more of an interior monologue." The name "Carrot on Strings" came to Kattner while experimenting with the sound of someone munching on the vegetable, which you can hear in the cacophonous, similarly named song. It alludes to how success always seemed to dangle uncertainly before him, often just out of reach. But listen intently and you'll hear a more content Kattner finding an uneasy peace: "Life, as far as I've known it, has always been side hustles. Would it be great if I could go into a studio and record for a year without figuring out how to finance it? Yeah, it would be," he says. "But ultimately, I need to keep making music because art is an extension of my psyche. It's how I have learned to translate the palpitations of my heart. Simply put, I'd go insane without it." Growing up as a multiracial Hapa kid (half Filipino, half white) with a father in the U.S. Air Force, Kattner lived an itinerant childhood that included a few pivotal years in Germany, where he honed in on an appreciation for out there German cinema and art. His film obsessions and screenwriting background were crucial to Carrot on Strings. The album nods to the films of Werner Herzog and Rainer Werner Fassbinder as much as Italo-disco, Randy Newman, goth rock, and avant pop. (Kattner continues to work in the film industry with an acting role in the upcoming horror-comedy movie Destroy All Neighbors, for which he also served as composer; music supervising season 1 & 2 of the Interview With The Vampire AMC TV series; and shopping around, with director Matthew Goodhue, a script he wrote that he describes as a Wim Wenders road movie on acid.) In a bid to not overthink anything - his last album took seven years to make - he recorded the bulk of Carrot On Strings in five days in Mant Sounds studio in Glassell Park, Los Angeles with "very chill" producer Matt Schuessler, who had worked on Man Man's cover of Neu!'s "Super" for the seminal Krautrock band's box set. The resulting album represents a newfound sense of self for Kattner, who finds himself inspired and at peace both personally and artistically in ways that eluded him for most of his first 15 years playing music. When, on Carrot On Strings, you hear Kattner croon humbly, or sing of the tension between his outsize stage persona and the thoughtful, soulful guy he actually is, you're hearing Kattner liberate himself. "I first got into music to escape from myself," he says. "And now, it sounds so corny, but I have zero doubt that music ended up saving my life."

Bonny Light Horseman - das gefeierte Trio aus Anaïs Mitchell, Eric D. Johnson und Josh Kaufman - hat heute angekündigt, dass ihr drittes Album und Jagjaguwar-Debüt, das Doppelalbum Keep Me on Your Mind/See You Free, am 07. Juni 2024 erscheinen wird. Außerdem haben sie die Leadsingle "I Know You Know" zusammen mit ihrem allerersten Musikvideo veröffentlicht. Der Song, der von Mitchells und Johnsons stets eindringlichen Harmonien getragen wird, zeigt die Fähigkeit der Band, emotionale Erschütterung mit einer Pop-Sensibilität zu verbinden, wie das Wohlfühl-Arrangement und der hymnische Refrain.

Bonny Light Horseman - das gefeierte Trio aus Anaïs Mitchell, Eric D. Johnson und Josh Kaufman - hat heute angekündigt, dass ihr drittes Album und Jagjaguwar-Debüt, das Doppelalbum Keep Me on Your Mind/See You Free, am 07. Juni 2024 erscheinen wird. Außerdem haben sie die Leadsingle "I Know You Know" zusammen mit ihrem allerersten Musikvideo veröffentlicht. Der Song, der von Mitchells und Johnsons stets eindringlichen Harmonien getragen wird, zeigt die Fähigkeit der Band, emotionale Erschütterung mit einer Pop-Sensibilität zu verbinden, wie das Wohlfühl-Arrangement und der hymnische Refrain.

"Leave Of Absence" beginnt mit einer schaurigen Geigenschwellung, bevor es in den Gitarrenwahnsinn ausbricht, der von Sean Martin (Twitching
Tongues, ex-Hatebreed) und Mike McKenzie (The Red Chord) im Duett gespielt wird. Umbra Vitae bleiben mit "Belief Is Obsolete" und "Clear Cutter"
im roten Bereich und stellen die elektrisierende Rhythmusgruppe von Jon Rice (Uncle Acid, Tsjuder) und Greg Weeks (The Red Chord) vor. Das
Hook-geladene "Anti-Spirit Machine" steht dann im Mittelpunkt, ein Kriegsschrei für die Unterdrückten. Von hier aus fahren Umbra Vitae fort, alles zu
zertrümmern, was sich ihnen in den Weg stellt. Das disharmonische "Reality In Retrograde" rast mit knirschender Unschärfe in das schwerfällige "Past
Tense" und das düster-verführerische "Velvet Black". Zwei Songs, die metallische Heaviness in Reinkultur sind. "Twenty-Twenty Vision", "Algorithm Of
Fear" und "Empty Vessel" steigern die Intensität, angetrieben von den ergreifenden lyrischen Themen und den unmenschlichen Gesangseinlagen von
Jacob Bannon (Converge). Die Dreifaltigkeit aus dem langsamen "Cause & Effect", dem ultra-gewalttätigen "Deep End" und dem wirbelnden "Nature
vs. Nurture" prügeln weiter auf die Hörer ein und leiten das miteinander verbundene "Fatal Flaw" und "Light Of Death" als bösartiges Finale dieses
modernen Metal-Meisterwerks ein.

What Is Not Strange? is the first full-length album by Los Angeles-based composer Tashi Wada in over five years, comprising his most far-reaching and impassioned music to date. Written and recorded over a period that encompassed the death of his father and the birth of his daughter, the album sees Wada reflecting inward to explore broad narratives - being alive, mortality, finding one's place in the world - through new modes of ecstatic, song-based expression. While the denser forms, stark contrasts, and overt surreality may carry a different weight than Wada's earlier work, which elicited perceptual effects with minimal means, the heart of What Is Not Strange? is still in experimentation and unforeseen outcomes.

Bob Dylan released “Triplicate”, his third collection of pop standards. Like Dylan’s earlier albums, “Shadows in the Night” (2015) and “Fallen Angels”(2016), most of the songs have an association with the great Frank Sinatra. This double LP presents Frank Sinatra’s versions of many of the songs Dylan sang in these three forays into The Great American Songbook. Orchestras accompanying the iconic singer are led by Nelson Riddle, Gordon Jenkins, Billy May, Alex Stordahl, and Tommy Dorsey, among others. Dylan once related this about an encounter he had with Ol’ Blue Eyes: “He was funny, we were standing out on his patio at night and he said to me, ‘You and me, pal, we got blue eyes, we’re from up there,’ and he pointed to the stars. ‘These other bums are from down here.’ I remember thinking that he might be right.”

Roy Orbison was an American singer, songwriter, and musician known for his impassioned singing style, complex song structures, and dark, emotional ballads. Orbison's music is mostly in the rock genre and his most successful periods were in the early 1960s and the late 1980s. He performed with minimal motion and in black clothes, matching his dyed black hair and dark sunglasses. His nicknames were "The Caruso of Rock" and "The Big O". On this LP a selection of his 60’s hit singles including "Only the Lonely", "Running Scared", the ballad "Crying", the swinging rockabilly "Ooby Dooby", and "The Great Pretender”.

Are you ready to hear the best live band of the early ‘70s? We at Real Gone Music have been privileged and proud to release Fanny’s four classic Reprise albums, each a tuneful testament as to why they were the first all- female band signed to a major label. But there has always been a piece missing from the Fanny fable; for while the band hooked up with big-time producers and engineers like Richard Perry, Todd Rundgren, and Geoff Emerick, their studio albums never really were able to capture the sheer excitement they could generate in concert. However, buried away in a vault thousands of miles away from their Los Angeles base there long lay a recording that could make the Fanny myth a reality, one that could provide the emphatic answer as to why these four ladies were the hottest ticket on the Sunset Strip during the early ‘70s. Now, over 50 years later, its time—and their time—has come. Live on Beat-Club ’71-’72 presents the two sets Fanny recorded for the German TV show, mastered by Mike Milchner of Sonic Vision from hi-res mono files taken from the original videotape. Aside from the incendiary and incredibly tight performances, what immediately becomes apparent is that all four of these women were powerhouses in her own right. June Millington’s stringbending Les Paul wizardry, her sister Jean’s driving, melodic bass lines and Janis Joplin-esque vocals, Nickey Barclay’s intricate yet somehow rocking keyboard work, and Alice de Buhr’s precise, piston-like drumming punctuated by ferocious fills—put together Fanny was an overwhelming display of talent, Yet somehow, as these shows reveal, live they were greater than the sum of their parts. That’s why getting these recordings released has long been a crusade for Alice, and why June tells the story in the accompanying liner notes (which feature contributions from June, Jean, and Alice) that the engineer who was assigned to do the transfers of all the Beat-Club material told her that their material was the best in the vault, better even than Hendrix. We are releasing this invaluable archival recording on juicy peach vinyl and on CD with a bonus track of the soundcheck to boot. Essential for a full understanding of ‘70s rock!

The Madlib Invazion Music Library Series Entry #12: DJ Muggs takes the Soul Assassins approach to source music - deep, dark, dank.

The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

"Leave Of Absence" beginnt mit einer schaurigen Geigenschwellung, bevor es in den Gitarrenwahnsinn ausbricht, der von Sean Martin (Twitching
Tongues, ex-Hatebreed) und Mike McKenzie (The Red Chord) im Duett gespielt wird. Umbra Vitae bleiben mit "Belief Is Obsolete" und "Clear Cutter"
im roten Bereich und stellen die elektrisierende Rhythmusgruppe von Jon Rice (Uncle Acid, Tsjuder) und Greg Weeks (The Red Chord) vor. Das
Hook-geladene "Anti-Spirit Machine" steht dann im Mittelpunkt, ein Kriegsschrei für die Unterdrückten. Von hier aus fahren Umbra Vitae fort, alles zu
zertrümmern, was sich ihnen in den Weg stellt. Das disharmonische "Reality In Retrograde" rast mit knirschender Unschärfe in das schwerfällige "Past
Tense" und das düster-verführerische "Velvet Black". Zwei Songs, die metallische Heaviness in Reinkultur sind. "Twenty-Twenty Vision", "Algorithm Of
Fear" und "Empty Vessel" steigern die Intensität, angetrieben von den ergreifenden lyrischen Themen und den unmenschlichen Gesangseinlagen von
Jacob Bannon (Converge). Die Dreifaltigkeit aus dem langsamen "Cause & Effect", dem ultra-gewalttätigen "Deep End" und dem wirbelnden "Nature
vs. Nurture" prügeln weiter auf die Hörer ein und leiten das miteinander verbundene "Fatal Flaw" und "Light Of Death" als bösartiges Finale dieses
modernen Metal-Meisterwerks ein.

Das dritte Album von Marina Allen mit starkem und lebendigem Songwriting, wunderschön instrumentiert, hochmelodisch und mit einer unvergleichlichen lyrischen Perspektive vorgetragen. Mit zwei gefeierten Alben hat die in Los Angeles lebende Singer-Songwriterin eine frühe Ernte eingefahren, aber ihr drittes Studioalbum birgt den bislang größten Ertrag. Verglichen mit den anschwellenden Kompositionen von Allens zweitem Album Centrifics oder der unschuldigen Ruhe von Candlepower, ist die Welt von Eight Pointed Star tiefgreifender und offener. Schimmernende Gitarren verziehren die Canyons und Staub wird von der rot vernarbten Erde aufgewirbelt. Allens Gesang ist rein und kristallin, während die Instrumentierung reichhaltig ist und vor Helligkeit nur so strotzt. Man kann hören, wie die Musik Zufriedenheit ausstrahlt und der Produktion von Chris Cohen Raum für eine volle Band bietet. Allens künstlerische Zuneigung gilt vor allem Sängern, die ihrer Meinung nach wirklich singen können, von The Roches bis Karen Dalton, Joanna Newsom und Meredith Monk. Aber diese Einflüsse verschwinden wie Gespenster auf dem Dachboden, wenn sie selbst zu singen beginnt. Allen hat eine Stimme, die es mit dem Kanon aufnehmen kann - unnachahmlich - und sie hat noch nie so entschlossen geklungen wie hier. Ein strahlender, klarsichtiger moderner Klassiker des alternativen Folk und Americana. Für Fans von Aldous Harding, Fiona Apple und Waxahatchee. Klassich schwarzes Vinyl mit DLC oder Digisleeve CD.

Die Sages Comme Des Sauvages sind nicht die, für die Du sie hälst. Du dachtest, sie seien naiv und nett, aber sie sind anarchistisch und wütend. In der Peripherie angesiedelt, bahnen sie sich ihren Weg zwischen dem Populären und dem Coolen. Ihre Lieder sind ein Gegenmittel gegen die schlechten Nachrichten, ein Versuch, den hohlen Raum wieder zu verzaubern. Ismaël Colombani begann im Alter von 6 Jahren mit dem Geigenspiel und spielte in mehreren Avantgarde-Musikgruppen. Er komponiert auch Musik für die Bühne, vor allem für die Tanzgruppe Peeping Tom. Ava Carrère studierte an den Beaux-Arts, bis sie das Bedürfnis verspürte, einen direkteren Weg zu finden, um die Menschen anzusprechen. In der Welt des Berliner Metakabaretts entdeckte sie, dass sie voll von Liedern war. Kaugummi und LSD sind Beispiele für Serendipität. Das sind Dinge, die man findet, ohne sie zu suchen. Sages Comme Des Sauvages ist ein anderes. Ismaël war nicht dazu bestimmt, Ava zu treffen, so wie griechische Instrumente nicht dazu bestimmt waren, die Musik von La Réunion zu spielen. Als sie ihre Stimmen mischten, entstand ein drittes Wesen, das der Gruppe. Sie fanden Spuren einer Musik, die nicht vollständig vom Kommerz beherrscht wurde, und brachten Instrumente, Freundschaften und die Idee mit, dass die Kreolisierung der Welt verstärkt werden sollte. Sages Comme Des sauvages wurde zu einem Begriff, veröffentlichte zwei Alben, wurde von französischsprachigen Radiosendern wie France Inter und RTBF gespielt und gab Hunderte von Konzerten. Und nun ist es an der Zeit sie zu entdecken.

Recorded in Los Angeles in 1982, 13.13 exists as document to the pandemonium of specters and potential serial killers who twisted the California Dream into a waking nightmare as they snaked through the boulevards, back yards and basements of a sun stroked paradise turning into a blood soaked inferno of fear, paranoia, panic and lust killings. Lush musical textures provided by members of seminal art punks The Weirdos - Dix Denney, Cliff Martinez and Greg Williams create a hypnotic backdrop to Lunch’s evocative vocals and terrifying lyrics.

Waterloo To Anywhere is the debut album from the short-lived, briefly adored Dirty Pretty Things - Originally released on Vertigo Records in May 2006, the album reached No 3 in the UK charts and spawned three Top 40 singles - This re-issue is pressed on high-quality 180g black vinyl. What do you do after being in the Libertines, one of the most notorious British bands of the early 21st Century? For Carl Bart, you form Dirty Pretty Things, something of an indie supergroup of their moment. Joining Bart was Libertines drummer Gary Powell, guitarist Anthony Rossomando, who'd stood in for Doherty, and former Cooper Temple Clause bassist, Didz Hammond. Leading Waterloo To Anywhere was the infectious UK Top 5 hit Bang Bang You're Dead, which set the tone for the fabulous collection of rock, punk and ska. Recorded in Los Angeles with producer Dave Sardy and then later in Glasgow with Tony Doogan, the album showed the strength of the group's writing. Away from the standard high-octane indie of Gin & Milk and You F*cking Love It, The Gentry Cove was particularly captivating, marrying Bart's fascinating wordplay with robust Clash reggae/sea shanty interludes. Two years later, it was all over; Bart and Powell rejoined the Libertines (and Rossomando later going on to win an Oscar for co-writing Shallow from the film A Star Is Born).

The fourth album by Love Battery, 'Straight Freak Ticket' (1994), now out for the first time on vinyl! Remastered by Jack Endino (Nirvana, Soundgarden, etc.) 'Straight Freak Ticket' is the 4th album by Seattle alternative rock band Love Battery. It was originally recorded in 1994 and released only in USA and on CD format - now it is being released on vinyl for the first time. The Seattle Post-Intelligencer called the album "a solid, well-produced album of guitar-based rock with catchy hooks and a strong dose of psychedelia." USA Today labeled the album "a psychedelic tour de force and dramatic leap forward," writing that "the antigrunge guitar riff-o-rama of Ron Nine and Kevin Whitworth propels the Seattle quartet's most adventurous and listenable tunes to date." The band, featuring members of Mother Love Bone, Green River, Skin Yard, The Presidents of the USA, is: Ron Nine - Vocals, Guitar Kevin Whitworth - Guitar Jason Finn - Drums Bruce Fairweather - Bass

Reissue of this long out of print overlooked gem of Swiss Hardcore, originally recorded in 1983. A great chance to rediscover an obscure masterpiece of primo European Hardcore. Remastered from the original master tapes. Includes a bonus track not included on the original vinyl version and a fold out insert with lyrics and an interview with the band. Remastered reissue of this overlooked gem: a long out of print Euro Hardcore classic made in Switzerland that needs to be heard to be believed. With strong sonic ties to the best American Hardcore (think Black Flag and early SST and Touch & Go bands) it still sounds as fresh, powerful and aggressive as when it was originally recorded in 1983! 15 tracks of pure unaltered anger and frustration. A must!

Multi-talented US punk, Jeff Rosenstock releases fourth album on Specialist Subject Records (UK /EU) & Polyvinyl (Worldwide)! NO DREAM comes at a time of unparalleled chaos and confusion, division and despair, the depths of which would have been impossible to predict when much of it was being written over the course of the last few years. And yet the record feels prescient, unexpectedly and uniquely suited for this moment. Newly settled in Los Angeles after a lifetime on the East Coast (namely Brooklyn by way of Long Island), Rosenstock recorded NO DREAM with Jack Shirley (Deafheaven, Hard Girls, Joyce Manor) at Oakland's Atomic Garden, and even took on mixing duties alongside Shirley for the first time. Opting to stay off the computer "even more than usual" and record to tape with outboard gear, the result is a lived-in sound that gives each song its own individual voice and organic energy. After building a cult following with the acerbic ska-punk of the Arrogant Sons of Bitches and DIY heroics of Bomb the Music Industry!, Rosenstock's first proper solo record, 2015's We Cool?, was a step into uncharted territory, fully untethered from genre and expectation. Followed by 2016's WORRY. and the surprise New Year's Day launch of POST- in the early hours of 2018, Rosenstock was facing down that least punk of opportunities: a career playing music. Having taken some time away from his work as a solo artist to recalibrate and reset over the last year, Rosenstock stayed busy playing alongside Mikey Erg, recording and touring with the Bruce Lee Band, releasing a Neil Young covers record with frequent collaborator Laura Stevenson, reissuing two of his own out-of-print early albums, compiling a live album which was recorded during a run of four sold-out shows at Bowery Ballroom, making a 76 page photo book, and scoring over 80 episodes of the Cartoon Network series Craig of the Creek. In fully returning to his own voice, it's no surprise that Rosenstock's output has never been more eclectic, reflected across NO DREAM's 13 songs.