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Blah Blah Blah is the 1996 debut album by Brooklyn-based hip hop duo Blahzay Blahzay, composed of DJ P.F. Cuttin' and rapper Outloud. Their big breakthrough was the single "Danger", which was issued as the lead single of their 1996 album Blah Blah Blah. The single contains many samples, including Beastie Boys and Q-Tip "Get It Together", Gwen McCrae "Rockin' Chair", and Jeru The Damaja "Come Clean". It reached #4 on the Billboard Hip Hop Chart and #46 on the Billboard Hot 100. The tracks "Pain I Feel", "Good Cop/Bad Cop" and "Danger, Pt. 2" also gained traction. The album featured guest performances by Dark Man, Smoothe Da Hustler and Trigga Tha Gambla.

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”









g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

Love & Rage, the brilliant 2024 debut album from London Queercore trio Shooting Daggers turned many heads with its jaw dropping depth and melody as well as blinding energy, feminist fury and angst. It has to be said that the band are not just bashing it out here. The playing is knockout and the vocals in particular are a standout. Singer Sal proving that she can do hard and fast and cool and melodic with equal aplomb. Add in some really inventive vocal arrangements and harmonies, and you have a band that is pushing that hardcore envelope big time. 2nd edition in Pink vinyl, full colour single outer sleeve, with a full colour printed inner sleeve, with an exclusive A4 poster included as well as a full download code. `Shooting Daggers may well have already made 2024's finest punk album'- Metal Hammer 'a ferocious brand of self-styled queercore punk rock that takes no prisoners' - Kerrang. 'a truly empowering album' - Noizze.

Second part of second album! Originating from Normandy, France, psychedelic noise-pop quartet You Said Strange presents a unique blend of indie rock that incorporates elements of psych pop-rock, shoegaze, and proto-grunge. Thousand Shadows volume 2, a second chapter was needed to highlight the many shadows that still linger everywhere. The shadows that linger on the borders, hiding the violence of the fights for them. The shadows that time has on the relationships and their persistence, because the shadows move. Plato's cave, modern version, would be the one of toxic relationships, antidepressants and the acceptance of the regression of freedom and/or the vision of a dying world... Between shoegaze, noise pop and psychedelic rock, You Said Strange absorbs its time to incant a music in which melancholy, love and the search for plenitude meet. The band recorded their first album, Salvation Prayer, in 2018 in Portland (USA), with Peter G. Holmstrom from The Dandy Warhols, which saw release via Fuzz Club Recirds. In 2022, the band shared their LP Thousand Shadows Vol. 1. Mythomaniac kings, the Mediterranean, the colors of mourning _ these are the detailed subjects, described against a backdrop of psychedelic pop, proto grunge, and shoegaze. The first part of a powerful, reverberant, melodious second album, drawing its inspiration and production stem from encounters during their 2022 European and North American tours, between Normandy, New York, and Oregon. Most recently, You Said Strange shared the second part of their sophomore release, a follow-up to Vol. 1 entitled Thousand Shadows Vol. 2.

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

20th Anniversary Edition of «The Creep» by Slomo, this ambient doom masterwork is available on vinyl for the first time via Ideologic Organ. This is a storied album of verbal history, and emerged from a figurative long barrow deep within a virtual space of great depth and contemplation, an inverted framing of acoustic space with heavy floors ranging from the wake of COIL to the heaviest Japanese fire of psychedelia to the monuments of drone coagulating in the early ‘aughts. A first CDR edition in 2005 garnered focus of heavyweights like SUNN O))), Julian Cope, the esoteric legendary record store Aquarius, and the Wire.
Ideologic Organ are honoured to have been tasked to bring this to a limited LP for the very first time, and collaborated with mastering genius Rashad Becker to create a 61 minute single LP in a perfect cut.
Highly Ritualised Somnambulant Glumbient Downer band from Yorkshire, UK.
‘Slomo is a 2-piece made up of myself, Holy McGrail, and Howard «Iron Man» Marsden. Our debut album THE CREEP was released in a run of 100 copies on FUCK OFF & DI in 2005, after attracting a great buzz in its earlier promo form. THE CREEP is a single 1-hour-long track recorded live with minimal overdubs & zero eye-contact. Malnourished musical structures flourish, flounder and flag in virtual stasis.

Teppana Jänis was born in the village of Uuksujärvi in Suistamo on 21 June 1850. After becoming blind in the late 19th century, he went house to house, supporting himself by playing the kantele, a traditional Finnish and Karelian plucked string instrument belonging to the southeast Baltic box zither family. He performed at dances and in schools, and also participated in the Suistamo kantele and runosong competitions in 1911.

In the summers of 1916 and 1917, the young folk music researcher Armas Otto Väisänen (1890-1969) made collecting trips to Border Karelia. His aim was to collect kantele tunes, laments and shepherd melodies, which were confusingly few in the archives. The 1916 trip was financed by the Finnish Literature Society, who provided a phonograph for recording purposes. In 1917, the trip was financed by the Kalevala Society and the recording was carried out using a parlograph. During these two summers, Väisänen recorded kantele players in the parishes of Suojärvi, Korpiselkä, Suistamo, Tuupovaara, Kitee and Impilahti. Väisänen met Teppana Jänis in both summers and transcribed 22 kantele melodies from him. He recorded 14 of these on wax cylinders.

This LP, titled simply 'Teppana Jänis' fuses and intertwines the original raw cylinder recordings with replayed pieces by Kantele player and researcher Arja Kastinen together with the now late Finnish folk musician Taito Hoffrén, taking into account the additional information and notes found in Väisänen's sheet music manuscripts. Warm thanks to the Finnish Literature Society for permission to use the archive recordings, to Risto Blomster for his invaluable assistance, and to the Karelian Cultural Foundation.

In truth, singing is not all that different from acting. Performing a song is very similar to playing a role in a theatrical production. A singer's delivery — the way they interpret and emphasize certain parts of a song — is much like what an actor does with their character.

That's why we often find singers who go on to gain popularity as performers — some on stage, but more often on the silver screen (film).

These are called 'singing stars' — vocalists who are also featured actors, usually given roles specially created to suit their primary strength: singing.

Among them, a few have become even more famous for their acting talents, which sometimes surpass their singing ability. However, the number who manage to do this successfully is very small. Oslan Husein is lucky enough to be counted among that small number. As his fame as a singer began to rise sharply, he also began his film career as an actor. It's true that he had previously appeared in a film, but only as an extra, alongside the orchestra he performed with.

Following that, he appeared in several other films, including Detik-detik Berbahaya, 1000 Langkah, Kasih Tak Sampai, Hadiah 2.000.000,-, Maut Menjelang Magrib, and Antara Timur dan Barat. Six films over a span of just about 2.5 years — quite an impressive achievement.

Over time, a number of songs that Oslan had performed in his films began to accumulate. Together with a few additional songs — also from films — there were eventually enough to compile into one long-playing (LP) record.

And so, accompanied by Jack Lemmers — who, for this project, created special arrangements and musical treatments unlike the usual (for example, the use of four guitars at once) — Oslan carried out the recordings at Irama studios.

By releasing this LP of songs from the silver screen, Irama took an exciting step forward and opened many new possibilities in its history. Because the world of recorded music and the world of film, wherever they are in the world, are like siblings — and they work best when they collaborate, shoulder to shoulder, in harmony.

Mit ITALIA begibt sich Europas erfolgreichster Jazzmusiker hinein in den sonnendurchfluteten Soundtrack Italiens der 70er-Jahre.
Dolce Vita trifft auf höchste Klangqualität: In Rom und Apulien entstanden neue Versionen italienischer Klassiker
Mit dabei: hochkarätige Feature-Gäste wie Giovanni Zarrella, Mandy Capristo, Chiara Civello und Mario Biondi.
Starke TV-Präsenz rund um die VÖ u. a. 03.09. ARD & MDR, 04.09. BR, 09.09. ZDF & WDR, 10.09 rbb & Sat.1.
Breit angelegte Online-Kampagne und überregionale Plakatwerbung
Titelstory im tonart-Magazin (Auflage: 70.000, EVT 25.07.).
Drei Singles, begleitet von hochwertigem Bewegtbild-Content.
Till Brönner steht seit jeher für musikalische Exzellenz: Über eine Million verkaufte Tonträger in Deutschland belegen das eindrucksvoll.

Leon Michels ist still und leise zu einem der gefragtesten Produzenten der Musikszene geworden. Sein unverwechselbarer Sound hat die Aufmerksamkeit des Mainstreams auf sich gezogen und inspiriert gleichzeitig weiterhin die Underground-Szene. Seit dem 2023 erschienenen Album Glorious Game von El Michels Affair & Black Thought war Michels als Produzent für andere Künstler aktiv - darunter Norah Jones' Grammy-prämiertes Visions, Clairos Grammy-nominiertes Charm, Kali Uchis' ,Moonlight" sowie Alben für seine Labelkollegen Brainstory, Derya Yildirim & Grup Simsek, Thee Heart Tones und Liam Bailey. Sein neues Album 24 Hr Sports markiert die langersehnte Rückkehr unter seinem eigenen Namen: El Michels Affair.24 Hr Sports wurde inspiriert von Mode und Grafikdesign der Sports-Illustrated-Magazine der 80er- und 90er-Jahre, MF DOOMs Special Herbs-Alben, den dort verwendeten Sample-Quellen und Gospelmusik à la Pastor T.L. Barrett. Die Summe dieser Einflüsse, gepaart mit Michels' unfehlbarem kreativen Gespür, ergibt ein Rezept für einen Instant-Klassiker - ein Werk, das zweifellos zu den meistgefeierten Veröffentlichungen des Jahres 2025 zählen wird.Der Album-Opener ,Drum Line" ist ein hymnischer, mitreißender Track mit Marschband-Schlagzeug und donnernden Bläserarrangements, die sofort alle Aufmerksamkeit auf sich ziehen und den Ton für das folgende Album setzen. 24 Hr Sports bedeutet eine deutliche Abkehr von der bisher überwiegend instrumentalen Musik im Katalog von El Michels Affair. Mit einer Vielzahl von Gesangsfeatures spiegelt das Album das schwer einzuordnende Genre seiner Musik wider.Das erste dieser Features ist ,Mágica" mit dem brasilianischen Künstler Rogê, der die ohnehin energiegeladene Nummer mit seinen fußballinspirierten Lyrics auf ein neues Level hebt. Weiter geht es von Brasilien nach Ghana: In ,Say Goodbye" feiert Florence Adooni ihre Individualität mit lässigem Selbstbewusstsein und wechselt mühelos zwischen Frafra und Englisch, besonders eingängig im Refrain: ,never gonna find a girl like me_".Labelkollege und weltbekannter Trompeter von The Roots, Dave Guy, veredelt den 70er-Jahre-Groove von ,Oakley's Car Wash" mit seinen charakteristischen Bläserlinien, bevor der Track in ein Dub-artiges Outro übergeht. Vom wilden zum sanften Klang: ,Anticipate" mit Clairo knüpft an die musikalische Chemie an, die das 2024er-Album Charm hervorgebracht hat. Clairo gleitet über die typischen EMA-Arrangements, während sie sich nach unerreichbarer Liebe sehnt - getragen von einer perfekt eingespielten Band.,Eastside" ist ein Stück, das einen Sonnenaufgang am Meer vertonen könnte - Leon Michels' Sinn für Raum und Arrangement wird hier besonders deutlich. Aus Japan ist der Suginami Children's Choir auf dem üppigen Track ,Clean The Line" zu hören - sie singen ein Lied über den Mond, die Sonne und Vögel. Danach reißt ,Cortex" mit verzerrten Gitarren und donnernden Drums die Tür auf - ein Moment purer, filmreifer Intensität in der Mitte des Albums.Leon Michels übernimmt selbst den Lead-Gesang auf ,Shining", einem Song über die Suche nach einem Freund, mit dem man die Freude eines sonnigen Tages teilen kann. Der international gefeierte Shintaro Sakamoto ist auf ,Indifference" zu hören - ein lässiger Song mit federnden Basslinien und gefühlvollen Flöten, in dem Sakamoto zwischen Gesang und gesprochener Poesie über eine vergängliche Liebe reflektiert.Das Grammy-prämierte Duo Norah Jones und Michels kommt auf ,Carry Me Away" erneut zusammen: Jones' honigsüße Stimme schwebt über einem schwer einzuordnenden, aber sofort liebenswerten Track. Michels lehnt sich hier wieder mehr in Richtung El Michels Affair-Stil, der sich klar von seinen bisherigen Produktionen für Norah Jones abhebt. ,Take My Hand" stellt den Gospel-Einfluss in den Vordergrund - mit dem Fabulous Rainbow Singers Choir im Refrain und einem Saxophon-Solo der verstorbenen Jazzlegende Rahsaan Roland Kirk.,Open Season", ein Piano-getriebener Midtempo-Track mit Gruppenrufen wie ,we want the gold, we want the gold_", könnte den perfekten Soundtrack für eine Slow-Motion-Highlight-Reel liefern. Der treffend betitelte Albumabschluss ,Victory Lap" schließlich ist ein traumhafter, euphorischer Ausklang, der dem gesamten Werk würdig ist.Am Ende spricht die Trophäe auf dem Albumcover Bände: El Michels Affair ist Champion Sound - und 24 Hr Sports macht das unmissverständlich klar.

Hip Hop Collected will take you on a musical journey through the history of hip hop. This 2LP covers the first 20 years of the genre, showcasing 25 early pioneers who participated in the rise of hip hop. This compilation features music from the new labels that started to rise from the underground scene, like Sugar Hill Records, Profile and of course Def Jam. Including artists that defined a genre, a lifestyle and most of all, artists that inspired millions of young kids with both socially critical lyrics as well as classic party anthems.

This hip hop compilation album is part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia and uncovering new musical grounds at the same time.

The 2LP features Kurtis Blow “The Breaks”, Grand Master Flash & The Furious Five “The Message”, Beastie Boys “She’s On It”, Rob Base & DJ E-Z Rock “Get On The Dancefloor”, and Eric B. & Rakim “Paid In Full” amongst many others.

Hip Hop Collected is available as a limited edition of 5000 individually numbered copies on red (LP1) and white (LP2) coloured vinyl. The album includes an insert with liner notes, photos and credits.

* 180 gram audiophile vinyl
* Includes insert
* Guest performances from Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx and Mick Mars (both of Mötley Crüe) and many more
* Featuring the hit-singles "Hey Stoopid" and "Love's a Loaded Gun"

Hey Stoopid Is The 19th Studio Album By Rock Singer Alice Cooper, Released In 1991. After His Smash 1989 Hit Album Trash (movlp1862), Cooper Continues His Success With This Follow-up Album, Which Features Guest Performances From Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx And Mick Mars (both Of Mötley Crüe).

Hey Stoopid Was The Last Music Album To Feature Bassist Hugh Mcdonald Before He Joined Bon Jovi As Their Bassist In 1995.

The Song "feed My Frankenstein" Features Famed Guitar Duo Steve Vai And Joe Satriani Playing Together, Accompanied By Nikki Sixx On Bass. In 2014, "dangerous Tonight" Was Featured In The Video Game Watch Dogs.

Obsolete is the third studio album by American industrial metal band Fear Factory, released in 1998. It was produced by Fear Factory, Greg Reely and Rhys Fulber, the latter of whom wrote, arranged and performed all of the album's keyboard parts, and this was the band's first full album to feature bassist Christian Olde Wolbers.

Musically, the album saw Fear Factory experiment with their sound and it was the band's first fully fledged concept album. Obsolete revolves around a story penned by vocalist Burton C. Bell, "Conception 5", set in the year 2076 where machines have taken over mankind.

Obsolete would break Fear Factory into the mainstream and remains their highest selling album.

Obsolete is available as a limited numbered edition of 3000 copies on crystal clear & black marbled vinyl and contains a 4 page booklet