Buscar:aus music

STUNNING HEAVY NEW ALBUM! Sounds like Can meets Hawkwind!

Unbelievably killer and super, super heavy brand new Psychedelic Rock/Krautrock album coming out of nowhere from the group Brown Spirits, new on Soul Jazz Records!

Brown Spirits are from Melbourne, Australia. Their stripped down and tight musical unit is a trio (think Cream or Hendrix!) of raw bass, drums and shared guitar/keyboards meets the D-I-Y attitude and punk/post-punk intensity giving them a unique hi-octane sound.

Includes the full length versions of both singles.

With a range of influences that range from Neu! to Soft Machine, Gang of Four, Miles Davis, Hendrix, Argent, Lonnie Liston Smith, King Crimson and beyond, their powerfully progressive hard and hypnotic sound is truly unforgettable.

After two exclusive 100-pressing white label 45s sold out in less 30-mins, Soul Jazz Records are now releasing this their first album for the label.

Like their labelmates Trees Speak, Brown Spirits have a love all things Krautrock - mixed with an overwhelmingly powerful lo-fi psych and punk attitude. The album features super heavy and raw drums, tough basslines, heavy fuzzed-out wah and psyche guitar and analog moog synthesizers, all recorded on analogue ¼ inch tape.

"Bastian Epple makes an eagerly anticipated return to marionette under his elusive MinaeMinae guise that imagines rich sonic architectures for the journeying spirit to voyage to. Räumlichkeit is Epple’s debut album and third release to date following Gestrüpp from 2020, venturing further into melodic electronic nostalgia and percussive beat oriented soundscapes.

Growing up in a small village in southern Germany, Bastian Epple was never interested in kitschy folk sounds, rather he took solace in the time he would spend meditating to repetitive and hypnotic patterns. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to tread on this self-taught path of developing his own musical language. This led him to start experimenting with a tape recorder and layering sounds with non-musical samples to eventually working with a DAW.

Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe and graduated with a diploma in film and documentary media - where he now works as a freelance filmmaker and lecturer at Stuttgart Media University. However, this never stopped him from creating and playing with wide-eyed sounds, eventually amassing a vast collection of tunes and finally emerging from this anonymity.

Utilizing modular synth, self made tape echos, synthetic sounds, recordings of ethnic percussion and guitar, MinaeMinae understands musical material similar to documentary footage which he would splice, repitch, and rearrange intuitively into captivating worlds."

Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry.

The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.
Cable Ties are dedicated to their local community and independent networks, and to playing diverse and inclusive shows. They have toured Australia a number of times and have developed into a lean and efficient touring band who deliver powerful and meaningful shows. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. They have also self released three 7” singles which have all sold out. The debut album is on its third vinyl pressing.

The band toured UK/Europe in 2017 supporting Jen Cloher, and played Punk’d Festival in Berlin. They returned to the UK in May 2019 to play The Great Escape and shows with Tropical Fuck Storm and Amyl & the Sniffers. In Australia they played Bigsound 2018 and festivals such as the national Laneway Festival tour in 2018, Boogie Festival 2018, The Plot 2017, and Meredith Music Festival in 2016. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.

Gold farbenes Vinyl! De Augustines erstes Soloalbum seit seinem dritten Album, dem von Thomas Bartlett produzierten Tomb (2019), und dem Nachfolger von A Beginner's Mind (2021), einer von der Kritik gefeierten Kollaboration mit Sufjan Stevens, ist eine Rückkehr des südkalifornischen Künstlers zu dem in sich geschlossenen Ansatz seines Debüts Spirals of Silence (2015) und Swim Inside the Moon (2017). De Augustine verbrachte fast drei Jahre damit, allein zu arbeiten und die unendlichen Weiten seiner Vorstellungskraft zu erforschen, um ein allumfassendes Werk zu schaffen, das nach seiner eigenen quixotischen Logik existiert und eine psychische Landschaft bewohnt, die so sublim und mystisch ist wie ein Fiebertraum oder ein Märchen. Er schrieb, arrangierte, nahm auf, produzierte und mischte Toil and Trouble allein und formte den kunstvollen, detaillierten Sound des Albums, indem er auf 27 verschiedenen Instrumenten spielte (darunter so seltsame Dinge wie ein Xylophon aus Glas). Inmitten dieses höchst experimentellen Prozesses durchlebte er eine ephemere, aber alptraumhafte Zeit mit jenseitigen Empfindungen und übernatürlichen Visionen - eine Erfahrung, die die Entstehung des Albums kurzzeitig unterbrochen hat, aber letztendlich dazu beitrug, die immense emotionale Tiefe von Toil and Trouble zu bereichern. "Dieses Album entstand aus dem Nachdenken über den Wahnsinn der Welt und wie überwältigend das sein kann", sagt De Augustine. "Ich habe eine Art Gegenwelt als Leitfaden benutzt, um zu verstehen, was hier eigentlich vor sich geht - ich musste mich selbst aus der Realität herausnehmen, um zu versuchen, die Realität zu verstehen." Das Ergebnis ist das bisher visionärste Werk eines einzigartigen Songwriters, das abwechselnd betörend, niederschmetternd und unaussprechlich schön ist und seine tiefe Fähigkeit offenbart, Schmerz in außergewöhnliche Schönheit zu verwandeln.

The Expert vereint auf RITUAL Elemente aus Jazz und 1960er Psychedelia. Kombiniert mit MC Stik Figa in seiner ehrlichsten und persönlichsten Form, wird das Album zu einem überwältigenden Gesamtkunstwerk. Die Art und Weise, wie Jazzeinflüsse mit psychedelischer Produktion kollidieren, treibt sowohl den Dubliner Produzenten als auch den MC aus Kansas in neues Hip-Hop-Terrain. Zu allem gesellen sich Features von Blu, Solemn Brigham (Marlowe), Defcee, Sleep Sinatra, Tanya Morgan und Daniel Luke hinzu.

"The record is colorful, psychedelic, energetic. Revolutionary hip-hop." - NPR Music

"A psych-rock-tinged boom-bap opus." - Okayplayer

Hannah Peel's viel beachteter Score zur sky orignal Science-Fiction-Serie 'The Midwich Cuckoos'. Nominiert für den Music Producers Guild Award in der Kategorie "Original Score Recording Of The Year".

Die sky orignal Serie 'The Midwich Cuckoos' basiert auf dem Science-Fiction-Roman von John Wyndham aus dem Jahr 1957 und erzählt die Geschichte eines englischen Dorfes, in dem die Frauen auf mysteriöse Weise schwanger werden.
Einzigartig und aufwändig produziert, harmoniert Hannah Peel's Klanglandschaft nahezu perfekt mit dem Sounddesign der sky-Adaption.
Mit analogen Synthesizern, Tonbandmanipulationen, Drones, Holzbläsern und Melodien, die den Gesang des Kuckucks widerschallen, schafft Peel einen Score, der ein perfektes Gleichgewicht herstellt zwischen den organischen Instrumenten und Melodien und der zunehmend düsteren elektronischen "Invasion".

Für ihren Score wurde Hannah Peel für den Music Producers Guild Award in der Kategorie "Original Score Recording Of The Year" nominiert.

- Ltd. Col. LP: (Transparent Yellow Vinyl)

FOR FANS OF: AC/DC, GUNS N`ROSES.

AC/DC sind eine der erfolgreichsten, bekanntesten und beliebtesten Heavy-Rock-Bands der Welt. Doch was machten die einzelnen Musiker früher?

In welchen Bands spielten die Aussie-Rocker vor der Gründung von AC/DC? The Music Roots Of AC/DC blickt zurück in die 60er und 70er Jahre.

Diese limitierte 10" Schallplatte beinhaltet Songs und Interviews von Bon Scott, Angus Young etc. vor dem Start der Rock-Gruppe AC/DC.

Two of the Bronx’s most skillful emcees have paired up for one of the most promising collaborative albums of 2023. Appropriately titled, Gunz X Bars, the boogie down’s own Cory Gunz and David Bars have joined forces with Respect the Vision (RTV) under the watch of DITC Studios, the label and recording studio akin to one of hip-hop’s most revered crews, comprised of Lord Finesse, Diamond D, Big L, O.C. Fat Joe, Buckwild, Showbiz and A.G. And as you’d expect, the result is top tier lyricism over a soundscape that epitomizes the essence of New York hip-hop. For the past two plus decades, Cory Gunz has made his bones by proving his lyrical prowess time and time again. Son of rapper Peter Gunz (of the famed duo, Lord Tariq and Peter Gunz), it didn’t take long for his talents to be recognized by Lil Wayne, where he appears on his single, “6 Foot 7 Foot” off Tha Carter IV. Gunz also starred in his own befittingly-titled reality show, Son of a Gun (MTV) which documented his journey to fulfill his career in music. David Bars’ trajectory also started at a young age, where he made his name at high school talent shows and industry showcases throughout the city. Releasing his debut project Barcode in 2019, the quick-witted spitter found himself rapping alongside the legendary Fat Joe who appears on the single, “A Star is Born.” However the co-signs weren’t limited by Joey Crack, as the inimitable DJ Premier lent his boom-bap magic to the album cuts, “Beat the Odds” and “Just Like That.” Throughout the project’s eight tracks, Gunz and Bars prove themselves to be both lyrically and sonically compatible. Gunz’ staccato-type flow melds seamlessly with Bars’ smooth delivery. To boot, the production value throughout plays to the strengths of both emcees, with beats provided by So Special, Track Pros, Kofi Cooks and more. It’s no surprise that two of the BX’s most raw and uncut talents would eventually unite, and what better way to join forces than under the auspice of DITC Studios.

Egyptian-Australian DJ/producer moktar announces his second boundary-pushing five track EP, ‘Immigrant’. An expressive and considered journey that combines his Middle Eastern heritage and influential club sounds in one.

‘Immigrant’ sees moktar continue to bring traditional Arabic instrumentation into the club by weaving samples like polyrhythmic drumming and the Arabic Oud into experimental club music which has captured the attention of many tastemakers. Giant Swan, Anz, Tash LC, Raji Rags, Jamie XX, Bonobo, Groove Armada, Hudson Mohawke, Mary Anne Hobbs and Jamz Supernova all championed his highly favoured self-titled EP in 2021, which topped the Australian community radio charts as a number #1 most played alongside the global support it received. The release represented re-learning the value of his Egyptian heritage following racism and stereotyping growing up. ‘Immigrant’ expands on the story.

Debut single ‘Immigrant’ was released in September and served as a backdrop for moktar to air the stories of many as well as his own, told through a chopped vocal sample of Arsenal Football Club’s host and hype man, Frimpon. ‘North Africa’ and ‘Al-Duqqi’ are a homage to moktar’s roots. ‘Crossroads’ represents his need to push himself and grow in life and music, and ‘Send it’ (a term in Australia that means you're about to do something wild) also aims to represent Middle Eastern communities in Bankstown, Sydney.

moktar explains - “Through Immigrant I wanted to highlight the struggle many people all over the world go through to be accepted, while representing the community in Egypt, North Africa and Australia. Fusing Middle Eastern sounds into sounds into my music has been a big part of helping me become proud of who I am. I feel passionate about bringing these sounds to a wider audience in the hope it helps others in the identity struggle feel a sense of pride too”

The EP falls just as moktar’s highly anticipated debut EU tour comes to a close, playing b2b with DJ Plead at Phonox for Yung Singh, Adaptations Festival, Repercussions Festival, Werkhaus Festival, b2b with Mr Scruff at Field Day, Lost Village, Amsterdam for ADE with Kode 9, Rex Club in Paris, and Takseer festival Berlin.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

When I first heard Natalie Rose LeBrecht's time-suspending, air-ionizing music, more than twenty years ago, I thought "this kid is on to something." She's been proving that thought right ever since. Her recordings, from the teenage 4-track tapes she made as Greenpot Bluepot to the recent albums under her own name, have been fascinating dispatches from her progressively deeper dives into her gorgeous, weird, wildly idiomatic aesthetic. Holy Prana Open Game is a jewel of intensely personal cosmic music, created through a remarkable process of openness, craftiness, addition and subtraction. It belongs to a tradition of albums that document a rich, meditative sound as it rises up to join the world outside its creators' minds: Alice Coltrane's Universal Consciousness, Harmonia's Musik von Harmonia, Philip Glass's North Star, Talk Talk's Laughing Stock.

"Meditative" is specifically the idea here: Holy Prana Open Game had its origins in the fourteen days LeBrecht spent silently meditating in her home's small music room in the summer of 2019. "I came out of that bursting with the will to create new music," she says, and she created it sound-first. LeBrecht taught herself to program an analog synthesizer's timbres from scratch, and built a new set of glacial, heady compositions out of them, eventually singing to accompany the keyboard parts she was playing.

Then she closed her eyes at her computer, "let my mind be clear and open, imagined light pouring down through me, and began auto-writing to my memory of the music playing through my mind. Most of the lyrics emerged this way, and then I used my conscious mind to refine them a bit at the end." One other song came along with LeBrecht's new pieces, a cover that seems wildly unlikely from the outside and makes total sense in its context: it's a version of Atoms for Peace's "Amok" (which had been created by improvisation and editing, too), mutated into her own idiolect.

In early March of 2020, LeBrecht recorded Holy Prana Open Game's analog synth parts with Martin Bisi at his studio in Brooklyn--and then the world shut down. As you may have gathered, LeBrecht is very much a spiritual, head-in-the-stars type. She is also extremely hardcore, and if making the art she wants to make means doing things the hard way, she cracks her knuckles and gets down to it. Within weeks, she had taught herself how to record, mix and edit with a digital audio workstation. She recorded her vocal parts (sometimes multi-tracked into a radiant choir) at home, assembled a rough mix of the album, and sent it off to her collaborators.

LeBrecht spent some years studying with and assisting La Monte Young and Marian Zazeela at their legendary sound-and-light installation, the Dream House. As with their work, her singular, precisely focused vision is shored up by its openness to artistic voices beyond her own. For Holy Prana Open Game, she worked with the Australian guitarist Mick Turner and drummer Jim White (both of Dirty Three, the Tren Brothers and innumerable other projects), as well as woodwind player David Lackner, a longtime presence on her recordings.

Turner and White have been playing together in one context or another since 1985; in the summer of 2020, they were only blocks from each other in Melbourne, Australia, whose strict lockdown meant they couldn't meet up to record together. So both of them, as well as Lackner, recorded their improvisational additions to LeBrecht's rough mixes individually, often without hearing each other's contributions. "I had asked them to play as much as they could on each track," she says, "and told them that I would edit it all down in post, so I had a lot of source material of theirs to work with."

LeBrecht arranged and edited the recordings from all four of their homes to flow together like breath across the duration of her suite. Prana, one of the album's central conceits, is in fact the Sanskrit word for breath, with the connotation of the breath of life. Like LeBrecht's music, prana flows at its own pace, and demands stillness to take in fully--but it's also subtly playful and surprising, a force that can be as light as air or as immersive as the atmosphere itself.

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

Über Iris aus dem Raum Stuttgart/Esslingen ist nicht viel bekannt. 1981 hat die siebenköpfige Band ihr einziges Album für das kleine Label PEAK aufgenommen, die natürlich nicht die finanziellen Mittel hatten, Iris zu etablieren. Zudem klang das anspruchsvolle und dennoch teils hart rockende Material nach dem, was man allgemein als Krautrock bezeichnet, oder bezeichnen kann. Somit war ein Drängen in die damals angesagte NDW-Richtung absolut ausgeschlossen.

Der Übergang von den späten Siebzigern zu den frühen Achtzigern war musikalisch auch in Deutschland extrem spannend. Iris hielten stilistisch eher an den Siebzigern fest, was ihnen heute mit dieser Wiederveröffentlichung posthum neue Fans bringen wird. Auch in der Hardrock- und Heavy Metal-Szene gibt es immer mehr junge Bands, die mit der Klangästhetik spielen, die auch auf „Iris“ zu hören ist. Ein
„veralteter Sound“ wird wieder modern.

Die CD und LP kommt mit Liner Notes von Fachmann Michael Lörber. Ausserdem wurden alle Komponenten des Albums, also auch das Textblatt, gescannt und hinzugefügt. Den Audiotransfer hat Patrick Engel (Sony Music, High Roller, etc.) vorgenommen, das Remastering erfolgte durch Neudi.

Ein in Zukunft nicht mehr vergessenes Stück deutscher Rockgeschichte!

Not much is known about Iris from the Stuttgart / Esslingen area.

In 1981, the seven-member band recorded their only album for the small label PEAK, which of course did not have the financial means to mainstream Iris. In addition, the sophisticated yet sometimes hard rocking stuff sounded like what is generally called, or can be called, Krautrock. Thus, a push towards the NDW style that was in vogue at the time was absolutely out of the question.

The transition from the late seventies to the early eighties was musically extremely exciting, even in Germany. Iris stuck stylistically more to the seventies, which will bring them new fans posthumously today with this re-release. Also in the hard rock and heavy metal scene there are more and more young bands playing with the sound aesthetics that can also be heard on „Iris“. An „outdated sound“ is becoming modern again.

The CD and LP comes with liner notes by expert Michael Lörber. In addition, all components of the album, including the lyric sheet, were scanned and added. The audio transfer was done by Patrick Engel (Sony Music, High Roller, etc.), the remastering was done by Neudi.
A piece of German rock history that will not be forgotten in the future!

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12"-EPs mit Musik der ersten und erfolgreichsten Wegbereiter. The Neon Judgement aus Leuven bei Brüssel waren mit ihrem Sound schon immer allen eine Schritt voraus und veröffentlichten eine reihe von faszinierenden Alben. 'Chinese Black', 'TV Treated' und 'Miss Brown' waren (und sind) reine Underground-Hits auf dem Höhepunkt der New Wave. Es ist daher kein Zufall, dass sie zu Recht als Pioniere des EBM-Genres gelten.

Im Juni 1999 trat Jennifer Lopez, die bis dahin für ihr schauspielerisches Talent bekannt war, mit "On the 6" (eine Anspielung auf die Linie 6 der New Yorker U-Bahn, die ihr Heimatviertel in der Bronx bedient) in die Musikwelt ein. Ihr Debütalbum war voller Hits (If You Had My Love, Let's Get Loud, Waiting for Tonight,....) und gilt heute als eines der meistverkauften Latino- Albums. Standard-Doppelvinyl-Ausgabe.


g B3 No Me Ames (Tropical Remix) Featuring Duet With – Marc Anthony

[m] D1 No Me Ames (Ballad Version) Featuring [Duet With] – Marc Anthony

FullTime Production is honored to present the new vinyl of "Kano - Turn It Up/Unconditional Lover" featuring remixes by Danny Krivit, Les Inferno, FrescoEdits and Dr Packer! Pages and pages of music culture and clubbing packed into one vinyl! Danny Krivit the living history of a world that no longer exists and thanks to him we listen to its vibes and imagine dancefloors on the edge of the underground.

Dr Packer Australian artist who boasts major collaborations, has
released singles and albums for international labels and is also already featured in FullTime Production's catalog.

Les Inferno established Italian DJ and producer, mine of knowledge of
Italian clubbing and vinyl connoisseur of the afrobeat, funk and disco
genres.

FrescoEdits is an artistic project that has based its success from the
love and art of sampling big hits as well as a label and a community.

The Great Divide ist das 50. Studioalbum des amerikanischen Country-Sängers Willie Nelson und wurde 2002 das erste Mal veröffentlicht. Es enthält mehrere Duette und musikalische Kollaborationen mit Künstlern wie Rob Thomas von Matchbox Twenty, Lee Ann Womack, Kid Rock, Sheryl Crow, Brian McKnight und Bonnie Raitt. Ausserdem erreichte es im Release Jahr Platz 43 der US-Billboard 200 Charts.

Ab dem 23.06.2023 als 1LP über die Universal Music Katalog erhältlich.