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The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's `Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term `regret pop' to describe the music they made on the `Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here."Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Reissued for the first time on vinyl, an amazing showcase of roots & reggae lovers, originally released on Trojan in 1977. Although his place as a reggae pioneer cannot be questioned, Owen Gray has felt for many years that he never got his due from Jamaica, his homeland. On August 6 2023, the government finally recognized his contribution awarding him with the honour of Order Of Distinction, Jamaica’s sixth-highest honour. Gray, now 87, is ecstatic about what he considers an overdue and deserved reward. In the rocksteady era, he recorded for producer Sir Clancy Collins AKA sir collins. His popularity continued throughout the 1960s, working with producers such as Clement Dodd, Prince Buster, Sydney Crooks, Arthur "Duke" Reid, Leslie Kong, and Clancy Eccles, including work as a duo with Millie Small, with songs ranging from ska to ballads. He continued to record regularly, having a big hit in 1968 with "Cupid". His 1970 track "Apollo 12" found favour with the early skinheads, and in 1972 he returned to Island Records, recording reggae versions of The Rolling Stones' "Tumblin' Dice" and John Lennon's "Jealous Guy", although they met with little success. During this period, he regularly had releases on Pama and Pioneer Internacional label, Camel Records, and one single on Hot Lead Records. He had greater success in Jamaica, however, with "Hail the Man", a tribute to Emperor Haile Selassie, which was popular with the increasing Rastafari following.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Escape From Wonderland, Deutschlands neuester und heißester Metalcore-Export aus Stuttgart, machten 2018 ihre ersten Schritte in der Szene und sind seitdem quer durch das Land getourt und haben die Bühnen mit einigen der größten Acts der Metalszene geteilt. Nach der Veröffentlichung einer EP und einiger Singles unterzeichnete die Band ihren ersten weltweiten Plattenvertrag mit Drakkar Entertainment / Soulfood in Hamburg. Das kommende Debütalbum "Pieces" wurde von dem renommierten Produzenten Nils Lesser (Cypecore) bei Vaultroom Productions aufgenommen und gemastert. Escape From Wonderland ist nun bereit, die Szene des modernen Metalcore im Sturm zu erobern.

Today we announce The Vinyl Collection, Vol. 2, an 11-LP boxset to follow 2021’s Vol. 1, which includes the remainder of Billy’s catalogue: Glass Houses, The Nylon Curtain, An Innocent Man, The Bridge, Storm Front, River of Dreams. It exclusively features Fantasies & Delusions & Live from Long Island on vinyl for the first time. The boxset includes a 60+ page booklet that highlights the era through photos, quotes, and an essay by Rob Tannenbaum. All albums remastered from original sources at Sterling Sound.

"The Twits" wurde von der Band im Februar 2023 innerhalb von nur acht Wochen in einem provisorischen Heimstudio auf Mallorca aufgenommen und von Marta Salogni abgemischt. Nach einem Kinderbuch von Roald Dahl benannt, zeigt sich das Songwriting von bar italia in rauen, mystischen, ungebürsteten und gelegentlich düsteren Arrangements. Songs wie "my little tony" mit seinen harten Riffs und dem kathartischen Sound ist ein klassischer Indie-Banger für die große Bühne. In anderen Momenten wagt sich die Band auf bisher unbekanntes Terrain, auf dem sie eine hypnotische Dissonanz ihrer Stimmen schaffen. "Jelsy" zum Beispiel spielt sich wie ein Gespräch zwischen Freunden über wehmütigen, summenden Country-Blues ab, wobei die Stimmen abwechselnd tröstlich, ironisch und hoffnungslos sehnsüchtig sind. Der geschmeidige, langsam brennende Walzer "Twist" besticht durch seine nackte Lyrik und scheint jedes Bandmitglied zu einem individuellen Bekenntnis einzuladen. Während "Tracey Denim" von seinen kompakten 2-3-minütigen Songs lebte, besticht "The Twits" durch seine eher offenen und mitunter uferlosen Kompositionen. "glory-hunter" nimmt z.b. spielerische Wendungen, bevor es an einem völlig anderen Ort endet, als es begonnen hat. Das abschließende "bibs" ist ein seltener Fall, in dem alle drei im Einklang zu hören sind. Eine Prozession geradezu geisterhafter Akkorde mit einer zerreißenden Rückkopplung bildet den Abschluss des Albums. Das im Mai veröffentlichte Matador-Debüt "Tracey Denim" von bar italia wurde schnell zum Gesprächsthema der weltweiten Indieszene. Publikationen wie The Guardian ("eines der Alben des Jahres 2023 bisher"), The Times ("excellent debut album"), The Observer ("Artist To Watch"), NME ("a lasting impression that"s all of their own making"), The Quietus ("endlessly evocative") und Pigeons And Planes ("quickly establishing themselves as one of the most enticing upcoming bands") feierten das Album. Im Juni gaben bar italia ihr Live-Debüt in den USA mit fünf ausverkauften Konzerten in New York sowie vier in Los Angeles und auch ihre Debüt-Show in Berlin war binnen kürzester Zeit ausverkauft. Über einen der New Yorker Auftritte schrieb Brooklyn Vegan: "Live spielt die Band ganz natürlich und großartig auf, mit Songs wie "Punkt", "Changer" und "Nurse!" (...), die Post-Punk der frühen 80er mit Indie-Rock der 90er und einem Hauch Trip-Hop mischen".

1988 in Hamburg gegründet (und 1991 wieder aufgelöst), war die Kolossale Jugend neben OZSWMK und Cpt. Kirk eine der ersten maßgeblichen Bands, die der so genannten "Hamburger Schule" zugeordnet wurden. 1989 erschien beim Label L'age d'or die erste LP "Heile Heile Boches" und 1990 folgte das zweite Album "Leopard II". Die dritte LP des Boxsets enthält Raritäten (Sampler-Beiträge, Single-Versionen) und Aufnahmen eines bislang unveröffentlichten Live-Konzerts aus dem Forum Enger (22.9.1989). "Heile Heile Boches" erschien 1989, im Jahr des Mauerfalls. International gab es zwar Hip Hop, Crossover, Hardcore und Alternative-Punk; in Deutschland lediglich deren Simulation oder Imitation, und außer einem inzwischen längst redundanten, wenn auch unverwüstlichen Deutsch-Punk nur wenig, das in der Musik als Bollwerk gegen den neu aufkeimenden Nationalstolz hätte dienen können. Aber es gab die Kolossale Jugend. Seit jeher am reingrätschen, nerven, ständig sich austauschend, vorantreibend und völlig immun gegen Versuche der Politik, Wirtschaft und Volksgemeinschaft sie für die heraufbeschworene Pop Nation Deutschland zu vereinnahmen. Schicksalsjahre einer Kaiserin: die Wendezeit. Das zweite Album, 1990, wurde folgerichtig "Leopard II" betitelt. Mithin sind Musik und Text auch denkbar schlecht für eine groß angelegte Verwertung geeignet; sie passieren in einem irrwitzigen Tempo. Die Texte sind maßlos, schwer zu fassen und immer einen Schritt voraus. Scheinbar ohne Anfang und Ende prasseln und hämmern sie so gewaltig drauflos, wie die Band auf ihre Instrumente drischt. Wir hören, wie jemand denkt und seine Kollegen verschaffen ihm den musikalischen Nach- und Ausdruck, den das Denken in so intellektfeindlichen Zeiten damals wie heute verdient. Aber das hat mehr mit Rockmusik zu tun, als das eingangs erwähnte, auch wenn man damit glaubte, nah am Original zu sein, denn die Reduktion und die Leerstellen sind kolossal. Und doch stand die Kolossale Jugend - die Band, die vom Himmel fiel, weil sie aus keiner klar definierbaren Tradition kam - am Anfang von etwas Neuem. Als sie sich 1992 auflöste, konnten sich weitere Akteure in und außerhalb Hamburgs an neuen Referenzrahmen mit Überschriften wie "Halt's Maul Deutschland"* oder "What's so funny about L'Age Poly d'Or" ** orientieren. Pascal Fuhlbrügge gründete und verließ L'Age d'Or, machte danach Musik mit Erneuerbare Energien, Sand 11 oder 8, sowie für Theaterproduktionen. Heute entwickelt er neben der Musik eigene Theaterstücke und spielt sie auch. Christoph Leich war dann lange Schlagzeuger bei Die Sterne und ist heute in der Musikbranche im Bereich Logistik tätig. Klaus Meinhardt zeichnete das L'Age d'Or Logo, gestaltete die Jugend-Cover, war Gitarrist beim Heinz Krämer-Werner Hornig Sextett und arbeitet als Illustrator. Kristof Schreuf starb völlig überraschend am 9. November 2022, er war Bourgeois with Guitar, Autor, Sänger und Texter der Band Brüllen. Seine Texte u.a. für taz, Jungle World und die Süddeutsche Zeitung waren Ereignisse. Die vorliegende Wieder- und teilweise Neuveröffentlichung ist ihm gewidmet.

There's no denying Marcel Fengler's profound impact on the ever-changing techno landscape. A pioneer in his own right, Fengler's works have flooded dancefloors and set lists worldwide for decades, and that shows no sign of changing anytime soon. His latest work is an all-encompassing four-track EP titled "Unleashed", including a remix from sought-after Stuttgart duo SHDW & Obscure Shape.

Kicking off with the title track, "Unleashed" introduces the EP with high-octane rhythms, pulsating low frequency sonics and rave like harmonic layers. An unrelenting onslaught of fast paced thumping techno, built around long, sweeping notes, vocal injections and a piston-like bassline, this one was made for the height of the party. "Caution" is next to feature, presenting itself as a robust industrial number with harsh percussive drive and endless layers of cadence throughout the mix. Weighty yet groovy in a unique up-tempo way, its robotic vocal splashes make the perfect accomplice for its potent warehouse vibes.

"Cypher" pulls you into the second half of the EP with rattling rhythms and more gritty sweeping musicality. Exhibiting the depth in his production skills, Fengler loads up the mix with a kaleidoscope of percussive elements alongside thumping kicks, surging synths, and another haunting robotic vox before SHDW & Obscure Shape get their teeth into a signature remix. Taking it deeper and darker, the duo's emphasis on subtle progressions and increasing intensity throughout the mix with offbeat trickery and creative unpredictability make their remix of "Cypher" a certified peak-time bomb.

"It has been quite a journey with this EP, as I've been exceptionally discerning about the sound and the entire production process. My goal was to create a release tailored for the dance floor, with the right amount of energy for peak-time moments, while also ensuring a profound and well-structured sonic experience. After testing potential tracks in my DJ sets, I distilled what I believe captures the essence I want to share with the audience. Furthermore, I'm thrilled to have SHDW & Obscure Shape on board for a formidable remix. Their work carries echoes of the raw and forceful sonic textures from earlier times, which I hold in high regard. I'm genuinely delighted with how everything has come together, and I hope you enjoy it!" - Marcel Fengler
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Crisix war vielleicht gezwungen, ihren Namen zu ändern, weil er zu sehr an ein klassisches Videospiel erinnerte. Aber die spanische Band hat nie eine Identitätskrise durchgemacht. Still Rising...Never Rest" wird ihrem langjährigen Ruf für mitreißenden Thrash Metal gerecht. Machen Sie sich darauf gefasst, dass Sie noch mehr mitreißende Riffs und Ganggesänge über Evil Dead und Dragon Ball Z ins Gesicht bekommen. Das ist kein Thrash, das ist Ultra Thrash! Neuaufnahme ihres 2013er 2. Albums "Rise...Then Rest"

In der Musik einer der einflussreichsten Bands von Lomé kommt eine große Vielfalt von Einflüssen zum Ausdruck: Togo All Stars. Die Gruppe fügt ihrer Musik ein weiteres sehr originelles Element
hinzu: den togolesischen Sound, der in Voodoo-Rhythmen und Afrofunk verwurzelt ist.

Spirits", das neue Album der Togo All Stars, ist dem spirituellen Erwachen der Welt und insbesondere des afrikanischen Kontinents in diesen unruigen Zeiten, die wir derzeit erleben, gewidmet. Jeder
muss aufwachen, seinen Beitrag leisten und seine Rolle spielen, das ist die Botschaft. Dabei kommt dem Künstler eine besondere Rolle zu.
Seit ihrem Debüt im Jahr 2018 hat die Band nie aufgehöt, sich
eiterzuentwickeln und ständig an ihrem Handwerk zu feilen. Der kreative Kopf Energy Federator (Ekue Leopold Messan) hat für das
neue Album Musiker aus dem Ausland rekrutiert, was zu einer erfrischenden Mischung aus Stilen, Techniken und Ansätzen beiträgt.
Der Einfluss der westafrikanischen Religion auf die moderne Musik sollte nicht unterschätzt werden, und doch geschieht dies ständig. Eigentlich ist die Verbindung von Voodoo und Funk eine sehr
logische, wenn man bedenkt, dass Voodoo mit dem Sklavenhandel nach Amerika gebracht wurde.

In der "Neuen Welt" wurde er von den Plantagenbesitzern verboten, die Angst vor der Spiritualität und dem Rhythmus der Trommeln hatten. So kam Voodoo unverdientermaßen zu seinem schlechten Ruf.
Aber er überlebte im Untergrund, in der Musik selbst. Die Gesänge und Beats haben sich in das eingebettet, was wir heute Jazz, Salsa, Blues und Funk nennen. Wenn Sie die ursprünglichen Rhythmen der funkigsten Götter der Welt hören wollen, müssen Sie die Landkarte zücken und nach Togo reisen. Oder Sie gehen hin und sehen und hören den Togo All Stars zu, die diese musikalische Tradition wie keine anderen ehren und am Leben erhalten, auch jetzt - vor allem jetzt.

"The Vinyl Collection, Volume 2" vereint Billy Joels monumental erfolgreiche Alben aus dem späteren Teil seiner Karriere: "Glass Houses" (1980), "The Nylon Curtain" (1982), "An Innocent Man" (1983), "The Bridge" (1986) und "Storm Front" (1989), "River of Dreams" (1993). Außerdem gibt es 2 Titel zum ersten Mal auf Vinyl: die Doppel-LP "Fantasies & Delusions" und die 3er-LP "Live from Long Island" aus dem Jahr 1982. Alle Songs stammen von den Original-Album-Mastern, Zudem ist ein über 60-seitiges Booklet mit Billys persönlichen Anmerkungen und einem Essay von Rob Tannenbaum enthalten

Collignon is a three-piece band with Yves Lennertz on guitar (and bass), Gino Bombrini on drums (and percussion) and Jori Collignon on the keyboards (and taking care of the production). The three friends have been making music together for some time, collaborating in different groups and settings, Jori and Gino as part of the band SKIP&DIE, Gino as a producer for Yves’ former group, YĪN YĪN.

After a decade of touring the world, Jori settled in the quiet and dusty village of Lagoinha, Portugal, where he built a studio complete with a guesthouse, a small piece of land, and a few chickens. From here, Jori worked with a global range of artists from La Reunion, Colombia, Argentina, Mozambique, Angola, Brazil, Cape Verde, Guiné-Bissau, and beyond. All these experiences led to the creation of his first album, suitably named ‘Lagoinha’.

Shortly after its release, Gino and Jori jumped on the tourbus again, and later, Yves joined them to complete the band. They initially started developing new material live on stage, allowing for improvisation and exploration. After finalizing these new songs in the studio, the result is an explosive and high-energy mix of sounds that has surprised audiences all over Europe during the past summer.

Das Album "Yoshimi Battles The Pink Robots" der Flaming Lips aus dem Jahr 2002 war im Vereinigten Königreich ein großer Erfolg und wurde mit über 300.000 verkauften Einheiten mit Platin ausgezeichnet. Der Erfolg wurde von 4 Hit-Singles getragen, darunter der Titelsong und der beliebteste Song der Lips, "Do You Realize".

Die Band tourte während des Albumzyklus häufig durch das Vereinigte Königreich, spielte in größeren Hallen als bei früheren Touren und war häufig zu Gast in verschiedenen Radioshows.

Bei dieser Veröffentlichung handelt es sich um einen Mitschnitt der letzten Show der UK-Termine im Januar 2003 im Londoner Forum Theatre. Die 15 Songs umfassende Show wurde landesweit von der BBC ausgestrahlt. Zusätzlich zu den Schlüsselsongs des "Yoshimi"-Albums enthält die Setlist Fan-Favoriten wie "She Don't Use Jelly", "Waitin' For A Superman" und "Race For The Prize".

Cold War Kids have announced their 10th studio album, Cold War Kids, that will arrive on November 3 via AWAL. The band’s singer and songwriter Nathan Willett describes: " This is our self titled record . Everybody gets one . This felt like the right time because the sound of this record is the sound that makes Cold War kids unlike any other . I’m so proud of these songs. They took a long time to come together . The longing and struggle and joy I wanted to express are personal to me and i am so excited to share it with our fans who have come with us on the journey.”
The epic tale of Cold War Kids has long been informed by deeply personal songcraft, enthusiastic experimentation, and an avowed commitment towards forward motion. The band continues their ascent, becoming one of the biggest rock bands of their generation amassing more than half a billion streams, consistently churning out alternative radio hits, selling out tours and headlining festivals worldwide.
Over the course of nine studio albums and numerous EPs, Cold War Kids have become a major part of the modern musical landscape, with “First,” their Platinum-scanned 2015 single, named as the Most Played track at Alternative radio outlets nationwide over the last decade. As well as 600+ million career streams, 2.2 million singles sold, and over 600,000 albums sold. The band’s current lineup – Nathan Willett (vocals, piano, guitar), Matt Maust (bass guitar), David Quon (guitar, backing vocals), Matthew Schwartz (keyboards, backing vocals, guitar, percussion), and Joe Plummer (drums, percussion) – coalesced in 2016 and have since maintained a dynamic presence in both the studio and on stages around the world.

The Blowback is the new album by Emily Wolfe. Emily wrote or co-wrote most of the tracks with bassist Evan Nicholson. Produced by Emily Wolfe Engineered by Matt Gerhard (Spoon, Tennis, Future Islands) Mixed by Cian Riordan (St. Vincent, Sleater-Kinney, Paul McCartney, Lana Del Rey) Mastered by Chris Gehringer - Sterling Sound Emily Wolfe asserts her talent as a dynamic vocalist, sharp songwriter, and an accomplished guitarist and producer. She delivers a brand of rock ‘n’ roll that’s raw and relevant, anchored by emotionally charged lyrics and a powerhouse stage presence. This young and impassioned artist has amassed millions of streams and garnered widespread acclaim from The Wall Street Journal, MTV, Guitar Player, PASTE, American Songwriter as well as her hometown paper, the Austin-American Statesman and many others. Recognized as a force on the instrument, Emily has collaborated with Epiphone/Gibson Guitars on two signature Sheraton models which is a rarity for an artist that isn't yet selling out stadiums. After quietly emerging as a phenomenon, Emily projects her voice like never before on her third full-length album, which she produced

OLAYA SOUND SYSTEM, Peruvian band founded 15 years ago and with a discography of 6 CDs, present their first vinyl release, comprising some of their most outstanding productions recorded between 2015 and 2022. Their songs explore the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century.
Just like Chico Trujillo, Frente Cumbiero or Son Rompe Pera are also doing, OLAYA SOUND SYSTEM are reaching a global impact modernizing tropical music.
This album is released on the recently revamped Peruvian label Rey Record, one of the essential and most iconic record labels during the golden days of cumbia and chicha, decades ago. Olaya Sound System was founded in Chorrillos, Lima (Peru), in 2009 and since then they have developed a very particular exploration of the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century. Both on the dance floor and in meditative listening, Olaya Sound System take us with this LP on a journey through bucolic landscapes of the Andes, the Amazon and the infinite Pacific Ocean, essential locations that constitute their native Peru and that have inspired very perceptibly their sound. This album, the band's first release on vinyl, comprising some of their most outstanding productions recorded between 2015 and 2022. Cultivators of a very particular tropical musical style, they collect and adapt the Peruvian traditions of the cumbia, chicha and huayno genres, and then blend them with a melting pot of contemporary Latin and global influences such as reggae, salsa, rock, among others.
Emerging from the Peruvian independent scene, Olaya Sound System reflect relevant social topics in its lyrics, such as the search for individual and collective consciousness, with a strong content of social issues. The band has become, from their native Peru, in one of the most interesting projects that modernize tropical music today, just like groups like Chico Trujillo, Frente Cumbiero or Son Rompe Pera, are also doing from different Latinamerican territories, reaching a global impact

"Rural" is the first long-play work of Carlos Asimbaya aka Kaifo, which sees a fully matured vision of Ecuadorian keyboard tradition catapulted into the future and rhythmically sustained by the "bomba" percussion; an Afroandean element that bears witness to the unique history of this country.

Trained in classical music composition and inspired by jazz, Kaifo's repertoire features haunting, extensive melodies and scales that inform listeners on the landscapes of Andean styles while delivering a postmodern dancefloor experience. " Carlos Asimbaya is a keyboardist, composer and producer hailing from the small town of Machachi, Cantón Mejía, Province of Pichincha Ecuador. In 2016 he began a process of personal research and exploration of various musical expressions of traditional music, collecting sonic resources from remote localities such as Aloag, Machachi, Chalguayacu, Cotacachi, Alausi, Borbon, Santo Domingo de los Tsachilas and more - customs that identify the history of Ecuador.

In June 2019, he finally published his first single "Desvío" - a warm fusion of bomba, albazo, dembow, global bass, etc. followed by other digital releases culminating in the EP "Curtido" as part of the 'Kipus' series of Eck Echo Records. With "Rural" Kaifo uplifts the Ecuadorian organ tradition inaugurated in the mid-1960s by the likes of Polibio Mayorga into futuristic clubbing arenas. "Tres Caminos" is a magnificent opener where psychedelia meets the soft snare elegance of the "albazo", the indigenous genre that defines the soul of this country. "Monte Espeso" introduces clubbers worldwide to the contagious grooves of "bomba", the trademark rhythm of Afroecuadorian communities. The raw keyboard melody strikes fast like a proverbial lightning. "Hecho Leña" sounds like the one-man orchestra that is Kaifo. Relentless timbales fills and an alcohol-fueled family vibe characterize this unique "chicha" track.

Off World presents the final album in its trilogy of surreal and spacious leftfield electronics. "A stellar project headed by Sandro Perri, one of the most singular producers in contemporary music" (Boomkat), this third volume is another distinctive collection of tracks constructed from semi-improvised ensemble recordings made over the past decade with a varied cast of coconspirators. Drew Brown, Matthew Cooper, Susumu Mukai and Andrew Zukerman join Perri again on a variety of synths and machines, along with violinist Jesse Zubot (Tanya Tagaq, Fond Of Tigers). Perri also continues to add organ and piano to the mix, while Volume 3 notably features first-time Off World contributors Nicole Rampersaud on trumpet and Martin Arnold on guitar, both mainstays of Toronto's vibrant improv and out-music scenes. The Quietus calls Off World "genuinely explorative_the musical equivalent of a Dali-esque landscape" which through all sorts of genre-defying twists and turns, at times evokes "offkilter, late Miles Davis ambience". Off World 3 doubles down on that jazz-adjacent trope in certain respects, while holding fast to Pitchfork's dictum that Perri "cultivates his own genreless brand of futurism." Marked by longer tracks than previous collections, three of the album's five songs clock in around the 10-minute mark, where overtly improvised instrumental playing wends its way across alternately bubbling and woozy electronic beds. "Impulse Controller" is a languidly skewed rhumba where ambling melodic undercurrents and dubby electronic pointillism provide a dulcet promenade for Rampersaud's Miles-esque trumpet excursions. "Ludic Loop" see-saws along in a slow synthy two-step, punctuated by Perri's restrained piano chords and Arnold's fried electric guitar. "Empasse" is perhaps most reminiscent of earlier Off World collections, though again slowed and stretched, with oozing synth bass ostinatos counterposed by ambient layers of viola and violin filigree from Zubot. These three centerpiece longform tracks each highlight one of the album's instrumental improvisers, and taken together, make for the most scintillating sedate and ruminant album in the trilogy. Off World 3 sounds as sui generis as ever, but in wrapping up the series, Perri sprinkles the project's emblematic alien surrealism with decidedly anthropic elements and temporalities. This final volume in the trilogy could also be seen as a re-statement of Perri's politico-aesthetic mission, as aptly celebrated by Pitchfork and its glowing 8.0+ reviews of Perri's 2018/2019 solo albums In Another Life and Soft Landing (released between Off World 2 and the present volume): a uniquely purposeful, subtly detailed cannon of songs "busy, vibrant, and bursting with life, but that aren't ever in a rush to get anywhere."

Transparent rotes Vinyl. Weihnachtslieder gibt es viele. Die meisten sind weichgespült und kitschig und verfolgen die geplagten Eltern häufig noch als unangenehmer Ohrwurm, wenn Lametta und Kugel längst wieder im Keller verstaut sind. Und wer sagt eigentlich, dass Kinder auf seichtes Gedudel stehen? Niemand! Und genau deshalb ist es gut, dass es die Band "Randale" gibt. Die vier Musiker Jochen Vahle, Christian Keller, Garrelt Riepelmeier und Marc Jürgen machen Rockmusik für Kinder. Manchmal laut und krachig, manchmal nachdenklich und leise, aber mit einem Augenzwinkern und viel Witz. Jetzt legen die Bielefelder mit ihrer wiederveröffentlichten CD ein ganz spezielles Weihnachts- Album vor: 10 Songs, die in bewährter Randale-Manier auf die besondere Zeit einstimmen. Und das heißt: Als Country-, Reggae-, Rock- oder Punkversion. 6 Titel stammen von der original CD von 2006. "Harald und Peter feiern Weihnachten" sowie "Jeder kann helfen" sind brandneu. "Der Kuckuck und der Esel" streiten nicht über die schönste Stimme, sondern über den schönsten Baum. Und die "Affendisco" verwandelt sich in die "Weihnachtsdisco". Die Fangruppe wächst und wächst. Fazit: Dieses Album gehört nicht unter den Baum. Es sollte spätestens zu Nikolaus in der Tüte beziehungsweise im Strumpf stecken! Und was wünscht sich die Band? "Dass die CD zusammen mit dem Christbaumschmuck sicher verstaut wird und damit auch in den nächsten Jahren zum festen Bestandteil des Festes wird!"

Österreichs Crossover-Legenden KONTRUST melden sich zurück!

Die österreichischen Crossover-Legenden KONTRUST melden sich nach neun langen Jahren endlich mit ihrem mit Spannung erwarteten, neuen Studioalbum zurück. madworld erscheint am 3. November 2023 via Napalm Records. Auf dem Nachfolger des 2014 veröffentlichten Explositive stellen KONTRUST die beiden Neuzugänge, Sängerin Julia Ivanova und Schlagzeuger Joey Sebald, zum ersten Mal auf Platte vor.

Beide präsentierten bereits 2022 ihr energiegeladenes Live-Potenzial auf den Hauptbühnen einiger der größten europäischen Festivals - wie dem Graspop Metal Meeting, Hellfest Open Air, Barcelona Rockfest oder Resurrection Fest. Sängerin Julia hat sich zudem bereits durch ihren Auftritt bei der ukrainischen TV-Show ”X-Factor” einen Namen gemacht und zeigt jetzt ihr beeindruckendes Talent auf den insgesamt 11 Tracks der neuen Scheibe.

KONTRUST gehören zweifelsohne zu den ausgefallensten und aufregendsten Acts der Szene. Die Band begeistert Fans und Kritiker gleichermaßen durch ein unnachahmliches Gespür, verschiedene Genres wie Reggae, Pop und Dance mit schweren Hardrock-Riffs zu fusionieren. Gepaart mit ihrer ganz eigenen Art, die Wurzeln ihrer Heimat klanglich und visuell zu repräsentieren, liefern KONTRUST ein einzigartiges aufregendes Gesamtpaket. Mit ihrem neuen Album madworld beweisen KONTRUST, dass sie voller Überraschungen stecken und bereit sind, alles bisher Erreichte zu toppen!