"Die Illusion ist perfekt. Nach einer EP und einer Single veröffentlichen die Franzosen Tentation ihr Debüt, und das klingt erst mal als ob man im Secondhand-Laden eine Scheibe von Devil's Records oder Axe Killer erworben hätte. Diese French-Metal-Attacke zieht sich dann auch durch das gesamte Album, welches man problemlos als verschollene Perle von 1985 verkaufen könnte (…) Aber auch ohne diese Argumente überzeugt die Musik auf 'Le Berceau Des Dieux', denn der energiegeladene Heavy Metal hebt sich von den meisten ähnlich gelagerten aktuellen Scheibenein gutes Stück ab. Neben dem Gesang in Landessprache ist es dieses erwachsene Songwriting, das trotz viel Melodie niemals in Fröhliche abdriftet. Die leicht verhallte, aber durchaus fette Produktion passt zudem wie die Faust aufs Auge und schreit nach einer Vinylversion! (…) Nicht nur eine gute Band, sondern auch nachhaltig."
Die experimentierfreudigen US-Metaller EIGHT BELLS aus Portland, Oregon haben ihr Songwriting im dritten Anlauf stark gestrafft und verfeinert. Dieser Soundtrack für das Ende der Welt unter dem Namen "Legacy of Ruin" bietet aber auch Kontinuität der besten Elemente wie die für das Trio typischen Gesangsharmonien, die zusammen mit mal schrillen, mal impressionistischen Gitarrenriffs eine eindringlich berauschende Atmosphäre aus Licht und Dunkelheit schaffen. Inhaltlich liegt der Fokus von "Legacy of Ruin" auf Themen wie die Natur des Menschen, Umweltzerstörung, Tod,, Verlust, Bösartigkeit und Rache.
EIGHT BELLS wurden im Jahr 2010 als Songwriting-Projekt von Melynda Jackson gegründet. Die Gitarristin und Sängerin benannte ihre neue Band nach dem letzten Album ihrer vorherigen Wirkungsstätte SUBARACHNOID SPACE. Nachdem bei dem Trio zu Anfang die Besetzung mehrfach wechselte, wird Melynda mittlerweile von Sänger und Bassist Matt Solis (CORMORANT, URSA) und Brian Burke (NO SHORES, CAVE DWELLER) am Schlagzeug unterstützt.
Nach der amerikanischen Veröffentlichung der "Isosceles"-EP (2011) erlangten EIGHT BELLS bald auch internationale Anerkennung für ihr Debütalbum "The Captain's Daughter (2013)". Das Trio tourte anschließend als Support für SUBROSA durch Nordamerika. Mit ihrem zweiten Album "Landless" (2016) festigten EIGHT BELLS ihren Ruf als heißer Underground-Tipp. Die folgenden Einladungen von VOIVOD für eine US-Tour an und zum Psycho Las Vegas Festival nahm das Trio gerne an.
Nun sind EIGHT BELLS reif für den nächsten großen Schritt auf der Karriereleiter und die weite Welt. "Legacy of Ruin" wurde von keinem Geringeren als Billy Anderson (AMENRA, BELL WITCH, LEVIATHAN, SWANS) produziert, wodurch sich dem Trio eine neue Dimension der Klangqualität eröffnet hat.
"Legacy of Ruin" bestätigt eindrucksvoll, dass zeitgenössischer Metal sowohl künstlerisch anspruchsvoll als auch gleichzeitig frisch und eingängig in seinem Ausdruck sein kann. Höchster Zeit, um sich zurückzulehnen, die Augen zu schließen und sich mit EIGHT BELLS eindringlichem Abgesang auf einen sterbenden Planeten von wundervollen Klangwellen überrollen zu lassen.
So auch am 2. Weihnachtstag 2019 im „Gruenspan“ in St. Pauli anlässlich des 25jährigen Bandjubiläums.
Sobald OHRENFEINDT die Bühne entern, wird aus allen Rohren gefeuert. Der Kiez-Dreier macht keine Gefangenen. Wer bisher lediglich ihre Studioalben kennt, wird sich wundern, was für eine Schippe die Jungs live nochmal obendrauf packen.
Zwei Stunden volle Pulle Riff-Rock-Hits aus einem Vierteljahrhundert. Drei bis in die Haar- bzw. Bartspitzen motivierte Roggenrohl-Vollblüter ohne Netz und doppelten Boden. Da ist nix gedoppelt, da kommt kein Ton aus der Dose, selbst der Schweiß ist echt.
Purer, aggressiver traditioneller Metal, der den Geist von NWOBHM für das 21. Jahrhundert einfängt! Auf ihrem selbstbetitelten Album beleben Vancouvers Maule die Sounds der frühen 1980er mit einem frischen, energiegeladenen Twist und machen es zu einem der aufregendsten Debüts des Jahres! Mehr als vier Jahrzehnte nach ihrer Ankunft inspiriert die New Wave of British Heavy Metal (NWOBHM) weiterhin neue Musiker. Ihre erste Welle trug natürlich dazu bei, Thrash zu kreieren und legte den Grundstein für die europäische und US- Metalszene, die im folgenden Jahrzehnt Gestalt annehmen sollte. Und während Iron Maiden und Saxon als Speerspitzen des Stils auftauchten, etablierten sich auch Bands wie Angel Witch, Blitzkrieg, Diamond Head und Tygers of Pan Tang, die jetzt durch Bands einer weiteren Generation entfernt weiterleben, darunter Vancouvers Maule.
CD & LP (Black Vinyl + Inner Sleeve & Download Card)
"Astreines Futter für diejenigen unter euch, die gerne einen Ausflug zum Keep It True, Headbanger´s Open Air oder Muskelrock machen, erreicht uns diesen Monat (wie so oft) aus Kanada. MAULE konnten schon 2019 mit ihrem "From Hell"-Demo erste Wellen schlagen, jetzt steht der Release der Debüt-Langrille ins Haus. Erfreulicherweise hat sich musikalisch im Vergleich zum ohnehin schon sehr guten Demo nicht allzu viel verändert, MAULE setzen auch drei Jahre später auf Heavy Metal mit starker NWOBHM-Schlagseite. Vor allem Sänger Jakob Weel hat in der Zwischenzeit aber einen ordentlichen Zahn zugelegt, der Mann klingt deutlich versierter, klarer und druckvoller als auf "From Hell". Der Rest der Band tritt derweil gut aufs Gaspedal und klöppelt sich in weiten Zügen mit ordentlich Schmackes durch die neun kurzweiligen Tracks. Sehr schönes Ding!"
(Rock Hard Soundcheck # 3)
Debütalbum der Bergener Band! Kosmodome, noch so ein aufsteigender Stern am Firmament der florierenden norwegischen Prog-Musikszene, mit psychedelisch klingenden Rock in der Atmosphäre der späten 1960er Jahre. Kosmodomes Musik ist die Idee der beiden Sandvik-Brüder und ist riffbasierter Rock mit Stoner-Elementen. Gemeinsam überbrückt das Duo die Lücke zwischen dem explosiven Drive von Bands wie Mastodon mit melodischer Magie und retrospektivem, cleverem Songwriting. Während des gesamten Albums verweilen Kosmodome im Melodischen und Groovigen, Instrumentale Abschnitte sind von zentraler Bedeutung für ihr musikalisches Geschichtenerzählen. Zusätzlich unterstützt durch lyrische Themen: Introspektion und Staunen, Nachdenken über die menschliche Verfassung und Frustrationen gegenüber der zeitgenössischen Gesellschaft.
Für Fans von Motorpsycho, Black Mountain oder King Gizzard And The Lizzard Wizzard.
Diese 34-Track-Doppel-LP auf 140 Gr. rotem und gelbem Vinyl ist die erste, die die gesamte Karriere der Punk-Legenden abdeckt
Die wertige Vinyl-Ausgabe enthält die Hitsingles „Stranglehold“ (# 26), „Tomorrows Girls“ (# 28), „She's Not There“ (# 36), „Warhead“ (# 30), „Teenage“ (# 32), „Party In Paris“ (# 37) und „Keep On Running“ (# 41).
Die Tracks stammen aus der über 40-jährigen Karriere der legendären Band, in der sie für jeden Buchstaben des Alphabets ein Album veröffentlicht haben! Angefangen von „Another Kind Of Blues“ von 1978 bis „Ziezo“ im Jahr 2015!
Doppel-LP in Kastentasche mit bedruckten Inner Sleeves!
Zweites Album der der norwegischen Psychedelic Rock Band!
Aus den dunklen psychedelischen Schatten Bergens kehren Himmellegeme mit ihrem zweiten Album zurück! Himmellegemes Musik ist beeinflusst von atmosphärischem Progrock. Mit ihren knallharten Riffs, manchmal chilligen Melodien und melancholischen Texten schaffen Himmellegeme Musik, die vergangene Ereignisse in ihrem eigenen Leben und im Leben anderer abbildet. Die übergeordneten Themen des Albums sind der Einfluss, den wir Menschen auf den Planeten Erde haben, und die Zerstörung, die wir überall hin mitnehmen. Nicht nur im Hinblick auf den Planeten selbst, sondern auch auf die Menschen, die ihn bewohnen. Es ist kein Konzeptalbum an sich - die Texte sind fiktiv mit Wurzeln in der Realität, basieren aber auf neueren und älteren Ereignissen aus unterschiedlichen Blickwinkeln. 'Variola Vera' wurde in einem der besten Studios in Bergen, den Broen Studios, aufgenommen und von Anders Bjelland (Electric Eye / Hypertext) produziert, der auch als Klangzauberer an dem Album mitwirkte.
Für Fans von Sigur Rós, Pink Floyd, Seigmen, Jeff Buckley, Radiohead, Queens of the Stone Age u.a.
Nach dem Erfolg von 'A Day At The Beach' im Sommer 2020 wollten Airbag die Songs unbedingt live präsentieren. Leider war eine Tour aufgrund der Covid-19-Beschränkungen nicht zu realisieren. Stattdessen ging die Band ins Subsonic Society Studio in Oslo, wo sie auch ihre letzten Studioalben aufnahm, um ein Akustik-Set aufzuführen, das dann im Frühherbst 2020 gestreamt wurde. Neben akustischen Versionen von drei Songs aus 'A Day At The Beach' und den Klassikern 'Colours' und 'Sounds That I Hear' enthält diese Veröffentlichung den bisher unveröffentlichten Song
'Come on In' als Bonus. Das CD+DVD-Set enthält natürlich die komplette Session auch als Film.
Eine wertig ausgestattete 2LP-Version (180 Gr. Clear Vinyl) wird dann Ende Januer erscheinen.
Für Fans von Pink Floyd, Porcupine Tree und Marillion u.a.
Die Band um Bandleader und Multi-instrumentalist Sam Fossbakk stammt ebenfalls aus Norwegen, einem Land, das ganz offensichtlich eine Progrock-Renaissance erlebt. Auf dem sechsten Album 'Lanes Of Time' das auf dem Genre-spezialisiertem Label Apollon Records erscheint, gibt sich wiederum die deutsche Sängerin und Keyboarderin Sonja Otto die Ehre. Wunderschöner Symphonic Prog mit deutlichem Retro-70er Anstrich. Fans von Bands wie Camel, Renaissance oder Earth & Fire sollten hier unbedingt reinhören.
Das Warten hat ein Ende! 30 Jahre nach Bandgründung melden sich die Diamond Dogs, Schwedens Boogie-Rock-Legende, mit einem neuen Studioalbum zurück. 'Slap Bang Blue Rendezvous' ist eine Doppel-Album mit insgesamt 24 Songs, das von Tomas Skogsberg produziert und gemischt wurde. Skogsberg beschreibt es wie folgt: 'This is my masterpiece, my White Album'! Musikalisch bieten die schwedischen Rock 'n' Roller ihre spezielle Mischung aus UK-Glam und Blue-Eyed-Soul der frühen 70er Jahre. Klingt wie The Faces, Slade, Mott The Hoople, Kinks oder Rolling Stones!
Das Warten hat ein Ende! 30 Jahre nach Bandgründung melden sich die Diamond Dogs, Schwedens Boogie-Rock-Legende, mit einem neuen Studioalbum zurück. 'Slap Bang Blue Rendezvous' ist eine Doppel-Album mit insgesamt 24 Songs, das von Tomas Skogsberg produziert und gemischt wurde. Skogsberg beschreibt es wie folgt: 'This is my masterpiece, my White Album'! Musikalisch bieten die schwedischen Rock 'n' Roller ihre spezielle Mischung aus UK-Glam und Blue-Eyed-Soul der frühen 70er Jahre. Klingt wie The Faces, Slade, Mott The Hoople, Kinks oder Rolling Stones!
„Seventh Sun“ ist weit mehr als nur eine Single, es ist ein exemplarischer Song, der die SCORPIONS ihre unverwechselbare, legendäre DNA im neuen, harten Sound zelebrieren lässt. Rudolf Schenker gelingt es am Anfang von „Seventh Sun“ perfekt, uns mit seiner Flying V fast mystisch in diesen kraftvollen Song
zu holen, ganz in der Tradition von Scorpions-Klassikern á la „Animal Magnetism“ oder „China White“.
Einmal mehr unterstreichen solche künstlerischen Bausteine die
Absicht der Band, mit ihrem neuen Album „Rock Believer“ die große DNA der Scorpions immer wieder zu bestätigen.
Das spektakuläre Cover der Single stammt von Klaus Voormann, dem Grammy-Gewinner („Bestes Schallplattencover 1966“), der u.a. für das ausgezeichnete Beatles-Album „Revolver“ das Album Cover entworfen hat.
Together, sisters Noa, Naomi and Nataja form the band Velvet Volume. Things have moved quickly for the trio since their first concert in 2013. They have already released two albums, played at a myriad of festivals such as Northside, Tinderbox, Smukfest, Reeperbahn, Eurosonic, JA JA JA, Musik i Lejet, Rolling Stone weekender and Alive Festival. They have also performed at both The Crown Prince Couple's Awards, Gaffa Award and several times at P6 Beat Rocker. Velvet Volume has always been the guarantor of a fantastic live experience, where the audience gets to feel the sibling-energy, with all its synergy, love, and temperament - they are sisters with the same origin, but they are also three women, three individuals, and three personalities, unfolding the second they enter the stage. With new music on the way, they continue the study of their own musicality, which stands as an independent and unique sound in the Danish music landscape. What started as three girls playing rock music has now evolved into three young women who are so much more than that and who challenge the genre melodically and musically. Deep engagement to their different instruments – Bas, Guitar and Drums taking their playing to new heights and also now dareing to thing and work with more melody and listener friendly productions. Their third album “nest”will be released in Feb. 2022.
C-L-A-S-S-I-C library breaks and beats set of super-heavyweight espionage-funk.
One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Background Action from Sammy Burdson, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.
Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.
Background Action’s first side is all Blaxploitation wah-wah, funky clav and heavy, heavy drums. It’s top-quality takes on the sort of hard-knocking psychedelic sleuth-funk that the library labels gave us in spades. However, we think the real killers are over on side B. Styles upon styles upon styles is what we have. The trio of swish “Water Pollution” variations are pure gold. The two-part mid-tempo b-boy drumathon “News Background” is nothing short of epic whilst the sensational “Kabul Trip A” and “Kabul Trip B” are two different takes on some tough funk, street jazz style with some dope organ, bass and drum sounds. In short, this is a must for both DJs and producers.
The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.
Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.
This re-issue of Background Action has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
C-L-A-S-S-I-C library breaks and beats set of heavy drums and louche funk.
One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Dramatic Tempi / Larry Robbins Background Rhythms, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.
As a single LP, Dramatic Tempi / Larry Robbins Background Rhythms is two distinctly different collections of music. The first side, Dramatic Tempi, is made up of four tracks each from Sammy Burdson and Klaus Weiss.
Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.
About as cult as it gets when it comes to library music legends (German or otherwise) Klaus Weiss produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Having started his career at the age of 16 as a jazz drummer, the Klaus Weiss trademark electronic sound is unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.
The second side is both titled and also credited to Larry Robbins Background Rhythms. We have to admit to being stumped as to who Larry was, but we don’t think it’s too much of a stretch to assume it might well be yet another incarnation of Gerhard Narholz’s.
First up from Dramatic Tempi are the phased, gargantuan hip-hop beats of Sammy Burdson’s impeccable “Pop Waves”. This is otherworldly funk on a whole new level. Hearing is believing. The magnificently titled “Cyclodrom” is up next, a beast of booming bass and wah wah guitars over frenetic funk drums. “Devils Drive” is dramatic, blaxploitation street funk with rolling, pounding drums. “Crime Ways” is an acid-squelch, slow-pace neck-snapper.
Klaus Weiss starts by askings us “Is It Hip” and we can only answer “yes it is!” to the clean, skipping drums, booming bass and proto-hip-hop bells, layered beneath laconic and melodic guitar shredding. This is just horizontal soul perfection. “The Camp”, propelled by jazzy guitar à la Joe Pass over fast drum and conga breaks, gives way to the dark guitars and cymbal crashes of “Tomorrow”. It sounds like an early New Order jam session. Closing out a pretty startling side of library greatness, “Rhythm Trip” presents early stuttering funk before easin' on in to a jazzy, soulful groove; all breezy guitar and warm keys. Lush.
Larry Robbins Background Rhythms is a lighter, poppier affair, but it’s not without its drum-heavy bangers. “Vox Pop” and “Pop Phase” each have clean, open-ish drum breaks, ripe for sampling or more daring DJ sets. “Pop Twang” is a short and sweet beat-heavy number that gives way to the fantastically out-there “Canned Pop”. We‘d love to know if this was ever actually licensed for something! The final seven tracks are a set of 1-to-2 minute “Percussion Takes”. All compelling, and all equally useful for any number of production needs. Get sampling.
The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.
Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.
This re-issue of Dramatic Tempi / Larry Robbins Background Rhythms has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
The second Be With foray into the archives of revered German library institution Selected Sound is one of our favourites, Sound Inventions from Klaus Weiss Rhythm And Sounds, originally released in 1979.
From the notoriously strong mind of Niagara drummer / library-funk overlord Klaus Weiss, Sound Inventions is loaded with tripped out studio funk-freakery, mad samples and swaggering abstract funk grooves. From dramatic deep disco with dark Italo/Moroder leanings to heavy German funk breaks, this is absolutely sensational. Absolute synth-and-string-drenched magic.
Born in 1942 in Gevelsberg, Germany, Klaus Weiss began his career as a jazz drummer at sixteen (with a group called the Jazzopators) before working with the internationally successful 60s groups the Klaus Doldinger Quartet and the Erwin Lehn Big Band. In 1965 he formed his own trio, the first of many groups to bear his name, and as his renown as a bandleader grew over the next decade it naturally lead to working in production music.
About as cult as it gets when it comes to library music legends (German or otherwise), he produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Collections of music in the trademark Klaus Weiss sound of electronics unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.
Sound Inventions is one of those library records with a hefty track list, 22 in total, but they’re all pretty stunning. That’s not something you can often say and picking out the highlights is almost impossible. If pushed, we’d steer you towards the tough teutonic funk of “Drumcrazy”, the by turns juddering and sweeping majesty of the title track “Sound Inventions”, the aquatic serenity of “Glide”, the elegant strut of “Greenwich Street”, the muted, eerie cosmic-funk of “Air Space”, the squelchy acid-clavs of “Rhythm Function”, the calming, melodic “Waves”, the stuttering proto-Timbaland sensation that is “Rainbows” and the percussive funk-fuelled workout of “A Few Cuts”. Phew. Heavy indeed!
Founded in the late 60s by German composer and musician Klaus Netzle, Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.
This re-issue of Sound Inventions has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.
In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.
This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.
The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.
By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.
Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.
"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy
of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in
this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow
Brazilian funk-soul at it's finest. Both tracks taken from the increasing more expensive and sought after 'Cartão Postal' LP, originally released on Odeon Brazil from 1971.
Both tracks are heavy on the drums, bass and horns, with Evinha's lead to top them off. 'Esperar Pra Ver' is a mid tempo funk soul jam, and 'Que Bandeira' moves between funk/soul and bossa/MPB grooves.
'Que Bandeira' was released on a 7' EP, featuring tracks from 'Cartão Postal' LP, on Odeon under the artist name 'Eva', in 1972... Ridiculously expensive now, as you have no doubt come to expect - so, released here for your affordable pleasure!
Limited coloured marbled vinyl edition of this album Booker T. & the M.G.s formed as the house band for Stax Records and provided playbacks for numerous singers, including Wilson Pickett and Otis Redding. During a - recording break for Billy Lee Riley, 17-yearold keyboardist Booker T. Jones, guitarist Steve Cropper, Lewie Steinberg on bass and Al Jackson Jr. on drums began messing around with a bluesy organ riff. The president of Stax Records, Jim Stewart, was at
the mixing board. He liked what he heard and recorded it. The result: „Green Onions,“ with „Behave Yourself“ as the B-side.
The record became a hit when radio DJ Reuben Washington played it four times in a row, even before the band had a name. The single went to #1 on the US R&B chart, #3 on the pop chart, reached #7 in the UK
and sold over a million copies. The song was listed as one of the 500 greatest songs of all time by Rolling Stone magazine and received a Grammy Hall of Fame Award in 1999. It was followed by the allinstrumental album „Green Onions“, which is now a classic of the era.
The album was included in Robert Dimery‘s 1001 Albums You Must Hear Before You Die. Booker T. & the M.G.s have been called the most influential stylists in modern American music. Until the 2000s, they
played as the house band for countless world stars such as Bob Dylan, Stevie Wonder, Johnny Cash, Eric Clapton, George Harrison, Neil Young and many others.
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Led By Saxophonist Rob Mitchell, Abstract Orchestra Have Been A Consistent Presence On The U.k. Music Scene, Touring Constantly In Promotion Of Their Debut Lp "dilla" And Follow Up 45 "new Day Feat. Illa J", Steadily Building A Loyal And Supportive Fanbase.inspired By The Legendary Live Performances Of The Roots With Jay-z And The 40 Piece Orchestral Arrangements By Miguel-atwood Ferguson Of The Work Of J Dilla, Classic Arranging Techniques Underpin Modern Loop-based Structures, Breathing New Life Into Familiar Material.
The Band Itself Is Based On The Classic Jazz Big Band Instrumentation Of Saxes, Trumpets And Trombones And Features The Cream Of The North Of England's Jazz Scene Who Collectively Have Played With Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & The Roots, Roots Manuva And Amy Winehouse.
"madvillain Vol. 1" Takes The Template Of Their Debut Lp "dilla" And Applies The Same Approach To The Collaboration Ofmf Doomandmadlib, Akamadvillainand Their Albumsmadvillainyandmadvillain 2. Sampling The Likes Of Sun Ra, Bill Evans, Freddie Hubbard, George Duke, Dr. Lonnie Smith, Quincy Jones And Stevie Wonder Gave The Albums A Jazz Oriented Feel And Ethos Which In Turn Lend Themselves Perfectly To The Deconstruction And Re-imagining Of Abstract Orchestra. As With Their Debut, All The Tracks Were Recorded Live In The Studio With Very Few Overdubs.
Abstract Orchestra'smadvillain Vol 1. Explores The Jazz, Tv Soundtrack And Film Score Aspect Of The Original Work, Combining It With Classic Big Band Writing And A Focus On Improvisation. There Is A Strong Influence Ofquincy Jones, Lalo Schifrinanddavid Shire(composer Of The Soundtrack Tothe Taking Of Pelham 123) On The Album, And The Arranger Rob Mitchell Crafts His Own Sound That Inhabits The Space Between Madlib's Production And Quincy Jones' Writing. Bandleader And Arranger Rob Mitchell Says Of The Record: "'madvillainy' Is A Jazz Album As Much As It Is A Hip-hop Album And I Wanted To Explore This Reciprocal Territory There Has Always Been Between Jazz And Hip-hop. 70's Cop Show Soundtracks Have Always Captured My Interest And Imagination, And I Discovered So Much Amazing Music Through Tv Themes, Quincy Jones And Lalo Schifrin In Particular. They Explored Sounds That Were Menacing, Angular, Dissonant, Frantic And Yet Captivating. They Were Also Able To Write Music That Was The Flip Side Of All That Dark Chaos, And Write Lush And Beautiful Music. Arranging And Scoring Up Madvillain Vol 1. Has Allowed Me To Explore These Sounds That I've Always Loved, Yet Keeping A Strong Hip-hop Identity As The Core Of Its Sound."
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The duo from North of England (Silverdale) is finally back with their 3rd studio album ‘A Safe Place To Be’. ‘A Safe Place To Be’ comes as the most personal and up-close album from the band.
It’s an album the two of them have been working on, on and off for 2 years, and they and it has been through so much in that time.
The creative aspect of this album (shown in the artwork, videos, and physical formats) is a huge part of this album. The detailed model village where everything was captured, is based on the band’s memories old and new. It’s set in the village (Silverdale) where they both grew up and each song holds a special place in that model village for the two of them. It itself is the band’s ‘Safe Place To Be’, their memories, their hometown, and the songs of this album all in one place. It’s a journey they’d like to take their fans and listeners onto and hopefully, they can find or return to their own ‘safe place to be’.
Ilmiliekki Quartet from Helsinki return with their new self-titled album on We Jazz Records on 11 February 2022. The group, including Verneri Pohjola (trumpet), Tuomo Prättälä (piano), Antti Lötjönen (bass) and Olavi Louhivuori (drums) is a mainstay in the Finnish scene and the band has been steadily developing their sound for nearly two decades now. It could be said that the group's musicians, each also a solo artist of note these days, has grown with and through performing together with this regularly working quartet. Ilmiliekki Quartet's music has a song-like melodic quality, which pairs naturally with their often freeform search for new musical landscapes.
As testament of Ilmiliekki Quartet being a Band with a capital B, the songs on the new album come from each of the four members. As before, the band also takes a borrowed tune in for a loving rendition, this time tackling "Aila" by the Finnish dream pop group Karina. All in all, there's a deep, moody element to the music, yet at the same time, their sound flows with remarkable ease and lightness of touch. This brings out a wide range of color in their music, which is easy to fall in love with.
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Mourn The Light were formed in early 2018 by
Dwayne Eldredge, also co-founder of The New
England Stoner And Doom Festival.
Driven by his passion for thunderous, traditional
doom metal mixed with lofty progressive and
power metal leanings, Dwayne was hell-bent on
creating a band that could sonically push a
message of hope in spite of despair.
Following their highly acclaimed 2019-debut EP,
‘Weight Of The World’, and touring the US and
Canada on the back of this, Mourn The Light
returned to the studio to record their first album.
Entitled ‘Suffer, Then We’re Gone’, the band’s
debut album showcases a plethora of influences.
At one moment, Mourn The Light deliver crushingly
massive riffs, only to jump at the next turn,
galloping along with shades of classic heavy,
progressive and power metal taking hold and
leading the way, all the while focusing on incredibly
memorable songs with catchy hooks and anthemic
choruses.
For fans of Solitude Aeturnus, Savatage, Psychotic
Waltz, Trouble, Black Sabbath, Saint Vitus,
Candlemass.
Since their debut in 2017 and the highly acclaimed
latest album ‘No God? No Problem’ (released in
2019,’ Detroit freak rockers The Lucid Furs have
performed over 100 out of state shows, invading
music venues to wash minds with their heavy
blues rock concoctions.
The band‘s live performances build up with a big,
head bang energy, winding down to sultry blues,
then blasting back into hard rock with a dash of
funk you can’t help but dance to.
Their new album won’t make any exception. The
band’s heavily grooving talent and soul of the
blues is immediately evident, driven by a vibrant
70’s vintage vibe.
Their songs embody a culmination of each
member’s early influences, ranging from rock
classics like Alice Cooper and Heart, to Chicago
blues like Howlin’ Wolf and Buddy Guy, to the era
of alternative rock groups like Soundgarden and
Queens Of The Stone Age.
For fans of All Them Witches, Janis Joplin, Led
Zeppelin, Rival Sons, Cream, Queens Of The
Stone Age, Jefferson Airplane, Blues Pills.
Red coloured vinyl LP.
2022 may bring much much uncertainty to the world but one thing we know for a fact is that we are introducing our most innovative and intriguing new act in years – the French duo Archil & Leon with their five track debut (appropriately called) “Blooming”.
Having both released in the past independently, Archil & Leon were originally brought together thanks to their teenage band His Majesty and from there, their passion to create music together never has faltered. Leon is a veteran session and live drummer who also produces music for his own dance project Ongaeshi and the dance collective moovance. Archil is an accomplished solo electronic musician and the force behind Archil Lab handmade musical devices. Using elements like springs (Springophone) and wheels (Roulettophone), his instruments are lovingly manufactured in wood and somehow carry the characteristics of modular gear but in the most unconventional way possible.
At a first listen, Archil & Leon’s music comes off as a well oiled live jam but as you dig deeper, it’s clear these tracks have a precision and style that separates them into a category of their own. Their EP “Blooming” is the result of two full years of being locked in their studio, writing and experimenting together. Indeed, an underlying flow of 70’s funk permeates throughout their music, however pigeonholing them into such a stereotype would be a travesty as they have impeccable song writing skills and their self made instruments conjure an experimentalism which is through and through rooted in electronic music. We can only hope that fans of now-classic Jamie Lidell / Super_Collider will appreciate where they are coming from, and you agree their “sound” is brilliantly individual. After all, they created their tracks literally from the ground up.
Watch more about Archil & Leon and their wonderfully outlandish instruments.Das Jahr 2022 mag viel Ungewissheit in die Welt bringen, aber eine Sache, die wir mit Sicherheit wissen, ist, dass wir euch mit dem französischen Duo Archil & Leon unseren innovativsten und faszinierendsten neuen Act seit Jahren vorstellen werden. Passenderweise trägt ihre ihre Debüt 5-Track EP den Titel "Blooming".
Archil & Leon haben beide in der Vergangenheit unabhängig voneinander Musik veröffentlicht haben und kamen ursprünglich durch die Teenager-Band His Majesty zusammen. Von da an hat ihre Leidenschaft, gemeinsam Musik zu machen, nie nachgelassen. Leon ist ein erfahrener Session-Musiker und Live-Schlagzeuger, der auch Musik für sein eigenes Tanzprojekt Ongaeshi Studio und das Tanzkollektiv moovance produziert. Archil ist ein versierter Solo-Elektro-Musiker und die treibende Kraft hinter den handgefertigten Musikinstrumenten des Archil Labs. Seine unter Verwendung von Elementen wie Federn (Springophone) und Rädern (Roulettophone) hergestellten Instrumente sind liebevoll aus Holz gefertigt und erinnern irgendwie an modulare Geräte, aber auf sehr unkonventionelle Art und Weise.
Auf den ersten Blick wirkt die Musik von Archil & Leon wie ein gut geölter Live-Jam, aber wenn man tiefer gräbt, wird klar, dass diese Tracks eine Präzision und einen Stil haben, die sie in eine eigene Kategorie einordnen. Ihre EP "Blooming" ist das Ergebnis von zwei Jahren, in denen sie sich im Studio eingeschlossen haben, um gemeinsam zu schreiben und zu experimentieren. Ein unterschwelliger Flow von 70er-Jahre-Funk durchdringt ihre Musik, aber sie in eine solche Schublade zu stecken, ginge gehörig am Thema vorbei, denn die beiden haben tadellose Fähigkeiten was das Songwriting angeht und ihre selbstgebauten Instrumente zaubern einen Experimentierfreude hervor, der durch und durch in der elektronischen Musik verwurzelt ist.
Wir sind uns sicher, dass Fans von dem jetzt schon klassischen Jamie Lidell / Super_Collider Material ahnen, woher der Wind hier weht und von welch individueller Brillanz Archil & Leon's Sound ist. Immerhin haben die Jungs ihre Musik wirklich von Grund auf neu kreiert. Schaut Euch ihre wundervollen, außerweltlichen Instrumente auf ihrer Website oder YouTube an
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White Lies’ new album ‘As I Try Not To Fall Apart’ was
recorded at Sleeper Sounds and Assault & Battery
studios in West London, and sees long-term
collaborator Ed Buller, who has worked on many of the
band’s albums, including their debut ‘To Lose My
Life…’, return to produce several tracks along with
Claudius Mittendorfer (Weezer, Panic! At The Disco),
also producing and mixing the entire record.
Arguably one of the biggest guitar bands in the UK,
White Lies’ last album, ‘Five’, garnered much acclaim
in 2019, with a sold out UK tour including multiple
Brixton Academy shows.
Having also released ‘Ritual’ in 2011, ‘BIG TV’ in 2013
and ‘Friends’ in 2016, the past decade has also seen
the band establish themselves globally with sold out
tours in Europe and beyond, and they recently
announced details of an extensive run of shows in the
spring of this year.
Es gibt keinen perfekten Weg, um das New Yorker Duo Water From Your Eyes zu beschreiben, sie allein auf Zahlen zu reduzieren wäre ungenau und leichtsinnig. Bestehend aus Nate Amos (er/sie) und Rachel Brown (sie/sie), die beide auch für ihre Soloarbeit unter den Namen This Is Lorelei bzw. Thanks For Coming bekannt sind, ist die Gruppe seit 2016 zusammen und hat einen klarsichtigen Ansatz für zukunftsweisende Tanzmusik entwickelt, die Strenge, Charme und Satire in einem Paket vereint, das durchweg innovativ und anders als alles ist, was ihre Zeitgenoss*innen in der Brooklyner DIY-Szene oder außerhalb davon machen. "Structure" ist ein Album, das sich an Widersprüchen erfreut und mit augenzwinkerndem Witz und unzweifelhaftem Know-How durch geradlinige Subgenres watet - ein Album, das das bisher erstaunlichste Projekt von Water From Your Eyes darstellt. Beeinflusst von Scott Walkers einziger Veröffentlichung aus den 80ern, "Climate Of Hunter", und den nachhallenden Werken des Farbfeldmalers Mark Rothko, ist "Structure" ein Konzeptalbum, das sich über die Idee von Konzeptalben lustig macht. Wie aus Höhlen zu kommende Tanzstücke dienen als hypnotisches Fundament zwischen Spoken-Word-Monologen, cineastischen Nummern und einem scheinbar fröhlichen Opener. Die siebenminütigen Epen "My Love's" und ""Quotations"" sind ausufernde, an Industrial gemahnende Stücke, wobei beide Tracks sägezahnartige Loops und Grooves einsetzen, die in der Lage sind, selbst die passivsten Zuhörer zu hypnotisieren. Wie Rothkos widersprüchliche Darstellung des Statischen und Kinetischen laden Water From Your Eyes dazu ein, an der stoischen Fassade von "Structure" zu kratzen, einen genaueren Blick auf die detaillierte Handarbeit zu werfen und die Risse im Spiegel zu verfolgen. Trotz der titelgebenden Implikationen und der kunstvollen konzeptionellen Ästhetik ist "Structure" eher unbeschwert als ernst. Sowohl Rachel Brown als auch Nate Amos, die in ihren jeweiligen Solo-Projekten bissig witzig sind, wenden ihren Humor natürlich auch auf "Structure" an, eine Platte, die den kreativen Prozess der Band widerspiegelt. Eifrige Hörer werden sich an wiederholten Durchläufen erfreuen, um die melodischen Feinheiten, die rhythmischen Kleinigkeiten und die lyrischen Wiederholungen der Platte zu entdecken. "Structure" ist eine erstklassige Errungenschaft des "brutalen" Pop: Es ist verträumt und dissoziativ, nuanciert und hypnotisch und webt Fäden zusammen, die der Hörer mit jedem Durchlauf neu entwirren kann.
Re-mastering by: Cicely Baston at Alchemy/Air Mastering
Recorded in 1986 in Paris and originally released only in France, Great Friends mines the John Coltrane spiritual legacy with fervent incantatory playing and an ecstatic charge. Not that alto saxophonist Fortune and tenor man Harper necessarily speak with Trane’s voice, but the intensity of their playing and their use of certain scales and modes produce a Tranelike atmosphere. Drummer Hart (who organized this band at the request of a Japanese promoter), bassist Workman and pianist Cowell form a hard-hitting team alongside the horns.
Things begin with “Cal Massey,” a tribute penned by Cowell. Harper sets the spiritual vibe in motion with a big-toned, take-no-prisoners solo. The Texas tenor man has the heaviest low-register sound in the business. On Workman’s “East Harlem Nostalgia,” he chomps into the low notes as a prelude to wailing runs into the upper register. Harper’s up tempo “Insight” is the album’s tour de force, with rippling solos and torrid exchanges between the saxophonists. Fortune’s searing tone is well suited to the exuberant joyride of this performance.
The rhythm section can be compared to the McCoy Tyner, Jimmy Garrison and Elvin Jones triumvirate that backed Trane. Equally heavyweight and agile, it is relentless in its conviction and spiritual attitude.
Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.
An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”
Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.
Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.
For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”
“It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”
Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.
Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.
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Das dritte Album der Belgischen Doom/Black Metaller HEMELBESTORMER beschwört auf "Collide & Merge" die unumgängliche, erdrückende Schwere von Myriaden schwarzer Löcher!
Mit Download code für Bandcamp sowie 2-seitigem Din A2 Poster
The Nonesuch debut of Hurray for the Riff Raff (aka Alynda Segarra), LIFE ON EARTH, is a departure for the Bronx-born, New Orleans-based singer/songwriter. Its eleven new “nature punk” tracks on the theme of survival are music for a world in flux – songs about thriving, not just surviving, while disaster is happening. Hurray for the Riff Raff tours North America this spring, beginning March 19 in Atlanta and continuing through April 20 in Nashville, with stops in Austin, Chicago, Los Angeles, and New York, among others. International tour dates will be announced shortly.
For her eighth full-length album, Segarra (they/she) drew inspiration from The Clash, Beverly Glenn-Copeland, Bad Bunny, and the author of Emergent Strategy, adrienne maree brown. Recorded during the pandemic, Life on Earth was produced by Brad Cook (Waxahatchee, Bon Iver, Kevin Morby).
Life on Earth’s first single, ‘RHODODENDRON’, is about “finding rebellion in plant life. Being called by the natural world and seeing the life that surrounds you in a way you never have. A mind expansion. A psychedelic trip. A spiritual breakthrough. Learning to adapt, and being open to the wisdom of your landscape. Being called to fix things in your own backyard, your own community,” says Segarra.
Of the ‘Rhododendron’ video, which was directed by New Orleans-based artist Lucia Honey, Segarra says: “It is really far out and fun. I got this bodysuit that just looks like the inside of the human body. It looks like you’re skinless. It’s in a scene where I’m playing to an audience of plants. Just really absurd, but I put that suit on and I was like man, this feels really good. It feels like, ‘This is who I am. Let’s just take the skin off.’
“It reminds me a little bit of Kids in the Hall,” they continue. “With this ‘Rhododendron’ shoot, something clicked in me where I was like, ‘All I have to do is be myself.’ I had been thinking that I had to be something bigger than myself. I felt like I was just never quite making the mark and then something clicked where I was like, ‘I just gotta be me. I could do that. I could show up and be me. And if people don’t like it, then I don’t know what to fucking tell them.’ It was like a brain shift of, ‘Oh, this can be fun. It doesn’t have to be suffering.’ With so many videos and photo shoots before, it really felt like suffering. I felt so uncomfortable being perceived. I didn’t know who I was.”
Honey adds: “We wanted to create something surreal, playful, and saturated that indulged heavily in the aesthetic of the early ‘90s. Alynda and I had many overlapping visual and philosophical references which sparked the initial collaboration. We wanted to make this video an homage to Gregg Araki’s Teenage Apocalypse trilogy but as a nature documentary crossover. I came across Araki’s work as a queer teenager, and he’s always been a big inspiration. Sex, blood, punk rock, camp, etc.
“We live in a moment where the future is bleaker and more unknown than ever, so there becomes a deep comfort in nostalgia and reliving the past. Through our talks, I realised Alynda’s new album touches on many of these same subjects, but perhaps in reverse; running from a past that is always haunting you. Shifting into a more refined self/identity through confronting one’s trauma and baggage. It was easy to reach collaborative synergy for this video project because we’re both interested in tackling similar issues.”
Alynda Segarra was born and raised in the Bronx, which they left at the age of seventeen, running away from everything and everyone they knew, hopping freight trains or hitchhiking across the country in the company of a band of street urchins. Segarra moved to New Orleans in 2007 and formed two bands: Dead Man’s Street Orchestra and Hurray for the Riff Raff. In 2015, Segarra decamped to Nashville, then to New York, to make her most recent album, 2016’s critically praised The Navigator, an ambitious and fully realized concept album that was her quest to reclaim her Puerto Rican identity. Segarra’s previous records as Hurray for the Riff Raff are Crossing the Rubicon (EP, 2007), It Don’t Mean I Don’t Love You (2008), Young Blood Blues (2010), Hurray for the Riff Raff (2011), Look Out Mama (2012), My Dearest Darkest Neighbor (2013), and Small Town Heroes (2014).
Mit nur zwei Demos seit Gründung im Jahr 2018 scheint es, dass MALIGNANT ALTAR nach modernen Maßstäben etwas zu ruhig gestartet waren. Doch dieses Monster hat nicht geschlafen oder sich auf seinen Lorbeeren ausgeruht, sondern das ranzigste, obszönste Album geschaffen, das man sich vorstellen kann. Aus dem tiefsten Schlund 80er-Horror-Einflüssen ergießt sich eine Flut von Innereien in Form von eitrig faulen Riffs und zermürbenden Drums in einem dicken teerigen Matsch instrumentalen Verfalls über den Hörer. Gesanglich wird purer Ekel ausgekotzt, der sich glorreich klebrig über die letzte Ritze bösartig hypnotisierender Rifflandschaft einfügt und wie verfaulte Leichenreste aus euren Lautsprechern tropfen. Wenn das alles nach einer Demo-Band mit begrenzten technischen Spielfähigkeiten klingt - Nichts wäre weiter von der Wahrheit entfernt, da MALIGNANT ALTAR mit gnadenlosem Drumming und technisch ausgefeilten Riffs aufwarten können.
Über fünf typische Tracks und einem spektralen Zwischeninstrumental ist die Platte zwar gnadenlos brutal, verzichtet aber dennoch nicht auf Dynamik. Diese Texaner haben Würze in ihrem Death Metal und wissen genau, wann unausweichliche Attacke oder zermürbender Groove bis hin zum Pulverisieren der Nackenwirbel gefragt ist!
The occult and folk music have been friends for a while. In the 21st century, hauntology and the resurface of some cult soundtracks from the 1970s and 1980s helped to create a new sense of folk, not associated with the typical acoustic feeling, but more relatable with library, krautrock/kosmische and industrial music. João Kyron and Tony Watts, long time collaborators since the late 1990s with their band Hipnótica, and more recently with Beautify Junkyards (Ghost Box) are well acquainted with this friendship. Hidden Horse is their new project as a duo and “Opala” their first release.
With eight tracks and almost thirty minutes, their first release explores dense and greyish urban utopias. The song titles explore ideas that mix sci-fi, horror, science, space and urban phobia, and the music Kyron and Watts create delivers, using electronics and drums with great relish. Their relationship as musicians, which spans more than two decades, can be felt in the way their music flows with a continuous dialogue.
“Opala” is always keen to take you to another dimension. It lives in its own twilight zone, where the obscure entangles the most obvious senses of reality. It sounds like Jacques Tati “Playtime” with a hauntology soundtrack: it kind of feels that this imaginary world is real, but it’s not. And it sucks you in to be a part of it and enjoy it: close your eyes and let yourself go while listening to “Levitação Magnética” or “Fantasmas do Planeta”. You will feel like a foreigner in a new city.
Modern metallers DAGOBA are back! After putting their stamp on the metal scene with a unique blend of metal and neckbreaking grooves, relentlessly touring and sharing the stage with legendary acts like Metallica, Machine Head and In Flames, DAGOBA have signed with leading Austrian metal label Napalm Records and are prepared to hit the next level. The French four-piece returns with the band’s most ambitious material yet: punishing vocals, groove and modern metal infused guitars and hard-hitting production shows DAGOBA on top of their game, pushing boundaries and incorporating electronic elements seamlessly into a unique modern metal formula. Vocalist Shawter impresses with a high variety in his singing by covering a wide span from intense and deep growls, strong shouts and precise clean vocals. The album starts off with an electronic intro that bursts into the massive attack „The Hunt“, that has already been released in July 2021 as a standalone single and includes all the significant trademarks: melodic passages with clean vocals alter with intense breakdowns and all of this underlined with electronic elements. This mixture leads to a catchy sound as showcased on the dramatic „Bellflower Drive“ or the melodic „City Lights“. Furthermore the sound of DAGOBA stands out for dominant drumming that oscillates between double bass, blast beats and forward going up tempo drumming as it occurs on „The Last Crossing“ or „Sunfall“. Between all the action, there is also space for calmer parts such as the interlude „Break“ or the track „On the Run“ that begins with female vocals that gradually build up into another hymn lining up brilliantly with the other songs of the album. DAGOBA manages the balancing act between harsh breakdowns, dense soundwalls and grooving passages with ease. Even on its hardest passages, the album never gets too enigmatic - quite the opposite: One smashing track is followed by the next, the record just flies by and leaves no time to breathe. By Night is a beast of an album showcasing how far DAGOBA can take electronic influences on the upcoming material – a must-have for true fans of modern metal! alone!
Durch eine unerschütterliche Hingabe an die Progression schärfen Wage War mit jeder weiteren Entwicklung ihre patentierte Mischung aus schwerer, technischer Technik und hypnotischen Melodien, die man mitsummen muss. Das Debüt der Gruppe aus dem Jahr 2015, ”Blueprints”, brachte mehrere Fan-Lieblinge hervor: ”Alive” knackte die Marke von 12 Millionen Spotify-Streams und ”The River” überschritt bis heute 8 Millionen. In der Zwischenzeit etablierte das 2017er Album ”Deadweight” die Jungs als aufstrebende Kraft.
Mit insgesamt fast 50 Millionen Streams in zwei Jahren erreichte die Single ”Stitch” 14 Millionen Streams auf Spotify, während ”Deadweight” von Metal Injection, New Noise, Metal Hammer und Rock Sound gelobt wurde, die das Album als ”ein unerbittliches, das Genre veränderndes Vergnügen” bezeichneten. In der Zwischenzeit tourten sie mit Bands wie I Prevail, Of Mice & Men, Parkway Drive und A Day To Remember und legten unzählige Kilometer auf der Straße zurück.
Jetzt sind Wage War mit ihrem neusten Longplayer ”Manic” zurück und begeistern erneut Fans und Kritiker
zugleich.
"It’s a voice that soars –pure, clear and true —above bass and synths, traditional percussion and infectious Mande guitar grooves. A stop-you-in-your-tracks voice instantly familiar to anyone in Mali, West Africa: Rokia Koné, aka the Rose of Bamako. On her debut international release, she’s teamed with Irish-born, California-based rock producer Jacknife Lee —and reimagined the Malian sound in ways leftfield and ground breaking.
BAMANAN is a collaboration that connects the great ancient kingdoms of Mali and the bustling modern street life of its capital, Bamako to a remote recording studio nestled within California’s Topanga Canyon. That bridges deep tradition and forward-facing innovation. One of Mali’s most beloved and dynamic artists, Rokia Koné is a force to be reckoned with. Her captivating performances in the city’s local maquis clubs very often last for hours, as Koné runs the gamut of emotion from joy to despair, fury to tenderness, wielding that astounding voice with grace and power. In 2016, she joined feminist supergroup Les Amazones d’Afrique and made her debut on an international stage alongside the likes of Oumou Sangaré, Angélique Kidjo and Kandia Kouyaté. Jacknife Lee is the acclaimed producer of bands including U2, R.E.M and The Killers, and has a Grammy for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality. Yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved on this exciting debut."
Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.
An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”
Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.
Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.
For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”
“It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”
Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.
Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
