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Im Jahr 2015 spielte die amerikanische Supergroup Hollywood Vampires ihr wohl größtes und eines ihrer legendärsten Konzerte vor über 100.000 Fans. Rock in Rio ist nicht nur eines der bekanntesten Festivals, sondern auch der Ursprung des ersten Live-Albums der Hollywood Vampires.

Mit Alice Cooper als Frontmann, Hollywood-Superstar Johnny Depp, Aerosmith-Legende Joe Perry und Produzent und Songwriter Tommy Henriksen verfügt die Band bereits über ein hochkarätiges Line-up. Doch damit ist die Liste der Superstars noch nicht zu Ende. Mit auf der Bühne stehen Duff McKagan (Guns N' Roses), Matt Sorum (Velvet Revolver) und Bruce Witkin (Grammy-nominierter Produzent). Zu
den besonderen Gästen gehören Lzzy Hale (Halestorm), Andreas Kisser (Sepultura) und Zak Starkey (The Who / Oasis).
Eine Starbesetzung, die es so noch nie bei einer einzigen Show gegeben hat.

Das Album wurde von Bob Ezrin (Deep Purple, KISS, Pink Floyd, etc.) produziert.

A classic NYC club anthem gets a re-work from Charles D. 'Final Chapter' by Mike Macaluso was first released in 1999 on Dieselgroove and immediately became an omnipresent classic. "I would hear it all the time on every house music mix CD I got my hands on," buzzes Charles D. "Once I started actually going out in the mid-2000s, it was still being played at legendary clubs such as Sound Factory, Tunnel, Pacha and Avalon. It was quite literally the soundtrack to New York nightlife at the time."

The original, clocking in at over nine minutes, is a golden dancefloor trip taking in elements of house, trance and Hi-NRG, and is famous for its rousing bell sample throughout. It's an iconic sound signature that brought many a dance fan to a weepy state of delirium.

Paying due respect to the original, Charles D gives it a modern techno touch up, retaining elements of the melody and famous bells throughout.

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour lyric sheet / poster exclusive to this edition.

After releasing the critically acclaimed Alphabet 1968 on the seminal Type label (Grouper, Jóhann Jóhannsson, Yellow Swans), Richter chose De Stijl for this 2012 album, an American label that had just put out future classics by the likes of Circuit Des Yeux, Hype Williams and Wolf Eyes.

EARTH is a 2009 silent film by Ho Tzu Nyen, one of Singapore's foremost visual artists. After hearing Black To Comm's Alphabet 1968 Ho Tzu Nyen invited Richter to accompany the film at Berlin's Asian Film Festival, Unsound in Krakow and several other art biennals and music festivals around the world.

In his own words: "Most of the music was composed under the influence of heavy pain killers while recovering from a broken leg (the recordings literally took place in bed). The music (like the film) is about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. The film is a post-apocalyptic collage based on paintings by classical European painters (Caravaggio, Delacroix, Rembrandt, Gericault) -- the music translates this concept employing corresponding collage-based sampling techniques using loops made from vintage vinyl and shellac records combined with acoustic and electronic instrumentation and voice."

From the original De Stijl one-sheet:
"Richter’s already formidable expressive power stretches over all of EARTH. Reflecting the countless cyclical forces that make up, oh, more or less everything we know and are, the music on EARTH is bracing, lovely, bustling and still, and at times bittersweet, a commingling of sensations and emotions that can’t be neatly separated from one another. (EARTH is complex, as you know.) Guests on EARTH include David Aird, a.k.a Vindicatrix (on the Mordant Music label), contributing startling vocal work; Renate Nikolaus on an array of instruments and noise devices; Rutger Zuydervelt (singing bowls); and Christopher Kline (singing saw). EARTH is Black to Comm’s seventh album and his debut for De Stijl, following the acclaimed Alphabet 1968 (on Type) and last year’s vinyl-only collaboration with Mike Kelley of Destroy All Monsters (on the En/Of label)."

Alex Neilson in The Wire:
"The most marked aspect of Earth is the voice of David Aird, aka Vindicatrix. Imperious and dolorous, he has the gravity of post-Climate Of Hunter Scott Walker, David Sylvain or Klaus Nomi stripped of the pathetic ritz. This is something that's easy to do badly, but Aird pulls it off with aplomb. On "The Children" he breaks into a morose yodel, rolling the words around his palate and colouring each syllable black before gifting them to the air. The meaning isn't understood verbally as much as viscerally. Beneath Aird's ululations, Richter casts handfuls of angelic debris from keyboards and digital devices, generating a celestial electronic tapestry reminiscent of Japanese musician Nobukazu Takemura. Sounds vie and twist at frequencies you can't so much hear as feel in the bridge of your nose, and the variety and full-bloodedness of the accompaniment is what prevents Aird's vocal from occassionally lapsing into shtick."

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

ME LOST ME led by Newcastle-based artist Jayne Dent announces a new album RPG via Upset The Rhythm on 7th July, and is touring across the UK including support dates with Pigs x7. RPG (recorded in Blank Studios with Sam Grant of Pigs x7) is ME LOST ME’s fourth outing as a collective, having transitioned from an ambitious solo project in 2017, Jayne now regularly collaborating with acclaimed North-East jazz musicians Faye MacCalman and John Pope.
ME LOST ME delights in experimenting with songwriting and storytelling, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully weave together disparate genres, drawing influence from folk, art pop, noise, ambient and improvised music. Hauntological in part, RPG is concerned with tales and with time - are we running out of it? Does insomnia cause a time loop? Do the pressures of masculinity prevent progress? Jayne Dent asks these questions and more on RPG, her homage to worldbuilding and the story as an artform, calling back to those oral traditions around a campfire, as well as modern day video games - bringing folk music into the present day as she does so.
ME LOST ME presents sound reaching in opposite directions, straddling time towards the archaic and timeless traditions of folktales, and towards the possible and potential futures of pastoral Britain and the world at large. Part speculation, part reminiscence, what results on the new album RPG is music that sounds ultimately displaced and yet omnipresent, adjacent to a hapless Vonnegut hero whose life is scattered throughout time and history, but full of wonder and curiosity rather than fear.
On track “The Oldest Trees Hold The Earth”, we see time stretched out between the branches of impossibly old beings in the woods. This track was co-written in Aarhus, Denmark with fellow Newcastle folk musician (with Danish heritage) Ditte Elly. The pair wordlessly passed a sheet of paper between each other to write the lyrics, inspired by Højbjerg and Mosegård, the woods they were sitting in. “How long should I wait/Before the moss grows?/On my skin, on my outstretched arms,” the lyrics are sung in a round, the close harmonies delicate and detailed.

A central thesis of this album is the joy of creation, something which is paid homage to in the album’s final track, “Science And Art” (Not because we need it to last/just because we needed to make it - so we invented the words/this language). It is also reflected in the definition that Jayne gives for “folk” itself. She comments, “To me, folk is quite an expansive idea. I think of it as creative work that's often made ad-hoc, with things that are at hand and more often than not it's born of a DIY ethos. It is songs and stories of the people, as in the traditional sense, but also creative coding, game design etc. Whatever outlet someone has for their creative expression could be described as folk. It's the things we make because humans need to make things, and the stories we tell about ourselves and the world around us.”
Crucially, on latest album RPG, Dent expands her songwriting and looks towards the unreal locations of worldbuilding in video games for inspiration. She comments, “I think the main similarity is the importance of a song's setting/environment to inform its narrative and textures, I'm often most inspired when out walking in the natural landscape, in cities and travelling to places I've never been before - the environment I'm in really impacts the work I make. While writing this album, however, I found myself inspired by imaginary landscapes, those in video games, paintings, etc. I was writing stories into these unreal locations instead. Even the songs inspired by real places, like The Oldest Trees Hold the Earth, have a very surreal quality to them in the songs, like they're being warped and turned into something not of this world. I think that's the main difference for me in terms of the thematic content and inspiration behind this album - I've been getting more and more interested in balancing surreal and fantastical environmental elements with ordinary and everyday settings.”
RPG upends the concept of the eternal return - we may be in the midst of inevitable repetition, but we tell stories whilst awaiting the passage of time.
"Being familiar with, and a fan of Jayne's earlier work, it was great to get the opportunity to work with her on the production of her new record. I had in mind a sense of what the record might be, but what came of the sessions, led by the vision Jayne had for the record, totally exceeded my expectations. As far as albums go, it has a breadth of writing and a sonic depth that made it a truly brilliant record. Having Jayne join us on a leg of the Pigs x7 tour in April is going to be ace. The creative nature, the sincerity and bold strokes of ME LOST ME put it in that space outside of any genre pigeonholes, and between our two sets I imagine the audience is going to have a proper sonic bath..."
Sam Grant, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, 2023
“The music of Me Lost Me is beguiling, idiosyncratic and cinematic - or should that be video-game-omatic? This suite of songscapes often hits the sweet spot between ancient and modern with its masterful blend of stark folk, neon electronic burbling and unusual arrangements. Jayne's singing is refreshingly straightforward and nuanced - it's exquisite! - and perfectly punctures the nebulae of synths and brass which billow around the old wooden frames of the songs. Whilst listening I had images in my mind of what Northumberland might look like through the eyes of Simon Stalenhag - foggy moors, a robot looking across the sea to Lindisfarne, twinkling lights on metal towers.... that sort of thing. It's a really great album.”
Richard Dawson, 2023

Für ein beeindruckendes Gemeinschaftsprojekt tut sich Ellen Allien mit der italienischen Synth-Wave-Band Ash Code zusammen. Auf drei Tracks bündeln sie ihre kreative Energie, um die eindrucksvolle EP "Dance and Kill" zu produzieren.
Die drei Tracks der EP stellen eine perfekte Verbindung zweier starker und unverwechselbarer Soundwelten dar, wobei beide Acts aus allen Rohren feuern. Unheimliche Gesangseinlagen, kraftvolle Percussion, stampfende Bässe, verzerrte Vocals und bedrohliche Instrumentierung zeigen die Parallelen zwischen den beiden Klängen auf. Der Eröffnungstrack "Dance and Kill" verkörpert diese Verschmelzung von Techno- und Cold-Wave-Elementen. "Shining On You" mit Ellens Gesang und donnerndem Drum-Programming ist ein düsterer, aber unwiderstehlicher, tanzbarer Track. Everything Collapses" schließlich entfesselt kräftige Percussions und einen knurrenden Bass, der von einem Chor überirdischer Stimmen angehoben wird.

Penguin Cafe kündigen heute ihr fünftes Studioalbum Rain Before Seven... an, das am 7.Juli 2023 bei Erased Tapes erscheinen wird.



Eine zuversichtliche Grundstimmung durchzieht das fünfte Studioalbum von Penguin Cafe, Rain Before Seven…, wobei es sich keinesfalls um jenen extrem selbstbewussten, fast schon prahlerischen Optimismus handelt, sondern eher um so eine auf bescheidene Art hoffnungsvolle Grundhaltung, die man den Menschen auf der Insel ja häufiger nachsagt. Auch wenn alle Anzeichen das Gegenteil behaupten, spürt man hier sofort diese Gewissheit, dass sich alles doch noch irgendwie zum Guten wenden wird. Vermutlich zumindest.



Der Titel des Albums geht auf eine alte Bauernregel zurück, wobei die gereimte Vorhersage – „… fine before eleven“: ab 11 Uhr also wieder alles klar – auf ein baldiges gutes Ende hindeutet, vollkommen unabhängig davon, was die Wissenschaft sagt: „Ich habe diesen Spruch in einem Buch entdeckt. Davor hatte ich ihn noch nie gehört“, erzählt Arthur Jeffes, der Kopf von Penguin Cafe. „Er hat so einen dezent optimistischen Beigeschmack, und das gefällt mir sehr. Man verwendet ihn heutzutage kaum noch, aber der Reim beschreibt tatsächlich Wetterphänomene in England, die vom Atlantik aus über die Insel ziehen.“



Angefangen beim leinwandgroßen und schwärmerischen Eröffnungstitel „Welcome to London“, der mit einem Augenzwinkern auf Morricone anspielt, bis hin zum „Goldfinch Yodel“, jenem „Maibaum-Banger“ (um es mit Arthurs Worten zu sagen), mit dem das neue Album ausklingt, zieht sich ein angenehmes Gefühl von Leichtigkeit und Lebensmut durch den Longplayer, unterfüttert mit der Ausgelassenheit exotischer Rhythmen. Alles wirkt spielerisch und verspielt, und selbst der Titel ist eine Anspielung – auf A Matter of Life… aus dem Jahr 2011, der letzten Veröffentlichung, deren Titel in eine Ellipse mündete Jenes Debütalbum von Penguin Cafe diente einst als Bindeglied und Brücke – zwischen dem legendären Penguin Cafe Orchestra, das einst Arthurs Vater Simon Jeffes leitete, und dem gefeierten Nachfolger, als dessen Mastermind seither Arthur verantwortlich zeichnet.



„Ich glaube, das wirklich Neue an seinem Ansatz bestand darin, spannende und schräge Ideen zu nehmen – und dann seltsame Dinge damit anzustellen“, meint Arthur, „dabei aber konstant im Blick zu haben, dass es hinterher auch schön klingt und emotional ansprechend bleibt.“ Dieses Ethos lebt weiter in der Musik von Penguin Cafe: „Dazu haben wir uns entschlossen, als ich daran anknüpfte, schließlich spielen wir die Sachen meines Vaters und machen dazu auch neue Musik, die im selben Klanguniversum angesiedelt ist. Das bedeutet, dass ich gewissermaßen moralisch dazu verpflichtet bin, den ursprünglichen roten Faden im Auge zu behalten – und dafür zu sorgen, dass wir nicht plötzlich in Richtung Thrash-Metal abbiegen.“



Dennoch waren die rhythmischen Elemente, die zum Teil sogar an elektronische Sounds erinnern, noch nie so präsent und tonangebend wie auf Rain Before Seven…, was durchaus auch dem Co-Produzenten Robert Raths geschuldet ist. „Find Your Feet“ etwa hat ein Beat-Fundament, das weit über einen bloßen Pulsschlag hinausgeht. Abgemischt von Tom Chichester-Clark, blitzt an Stellen wie diesen etwas auf, das Arthur selbst als „fast schon elektronischen Vibe“ bezeichnet, um dann ganz aufgeregt zu ergänzen: „Es geht vor allem auch einfach ums Spaßhaben, was auf den letzten drei Alben nicht so zu hören war.” Extrem ausgelassen klingt auch „In Re Budd“, das dem verstorbenen Ambient-Urgestein Harold Budd gewidmet ist. Arthur erfuhr von dessen Tod an jenem Tag, als er diesen feierlichen Ohrwurm komponierte, dessen Synkopen deutlich komplexer sind, als sie auf den ersten Blick wirken. Auf einem präparierten Klavier gespielt, wobei die Filzstücke dem Track zusätzlichen Bounce verleihen, setzt Jeffes hier auf einen Afro Cuban Cafe-Vibe – was wunderbar zum widerspenstigen Geist des verstorbenen Budd passt.



Und schließlich wäre da noch das bereits erwähnte „Welcome to London“, das seinen Titel erhielt, als sich die Welt gerade wieder zu öffnen begann und die Menschen auch wieder Fernreisen antreten durften. Jeffes, der somit nach langer Zeit endlich wieder einen Fuß auf britischen Boden setzen konnte, war sofort beeindruckt von filmischen Soundtrack-Qualitäten (à la John Barry) dieses Stücks, als er mit dem Taxi von Heathrow nach West-London fuhr und zur Musik die opulente, in Dämmerungslicht getauchte Metropolenkulisse auf sich wirken ließ. Hier kann man deutlich die eingangs erwähnte Zuversicht raushören – und dazu vielleicht auch einen Hauch von bissiger Ironie: „Robert Raths hat der Sache noch eine Nuance hinzugefügt, die ich interessant finde, weil doch so viele Londoner ursprünglich gar nicht aus London stammen. Man schlägt also in London als Zugezogener auf, man weiß noch nicht, zu welchem Lager man sich zugehörig fühlen soll, und dann wird man auf der Straße überfallen und ausgeraubt – und in dem Licht betrachtet, hat dieses ‘Welcome to London’ doch einen eher sarkastischen Beigeschmack.“

Published in 1989 in the "Weekly Shônen Magazine", "Hajime no Ippo" by George Morikawa has become over the years a cult sports manga, and remains to this day one of the longest river series, still being published, counting more than 130 volumes.

It is only natural that an animated version was born in 2000, produced by Madhouse, under the name of “Hajime no Ippo: The Fighting! of 76 episodes (covering the first thirty volumes of the series). This narrates the beginnings and the rise of a high school student, Ippo Makunouchi, in the world of professional boxing. Find now a selection of the best anime music with rock and jazz accents with the final destination: The ring! Three composers worked for this selection: Tsuneo IMAHORI (TRIGUN and GUNGRAVE), Hideki TANIUCHI (in collaboration with Yoshihisa HIRANO on DEATH NOTE) and Naoya MORI.

"Unsettling Whispers", das erste vollständige Album von GAEREA, war bei seiner Veröffentlichung 2018 ein großer Schritt nach vorne für die junge Band. Auf diesem Album zeigen die Portugiesen angriffslustigen Black Metal, der auf eine Reise über intensive, seelenzerreißende Gipfeln und durch abgrundtiefe Täler führt. In vielerlei Hinsicht ist "Unsettling Whispers" die Verwirklichung des kathartischen Black Metals, der zu ihrer Stärke geworden ist und den sie zu neuen epischen Höhepunkten treiben.

"Unsettling Whispers", das erste vollständige Album von GAEREA, war bei seiner Veröffentlichung 2018 ein großer Schritt nach vorne für die junge Band. Auf diesem Album zeigen die Portugiesen angriffslustigen Black Metal, der auf eine Reise über intensive, seelenzerreißende Gipfeln und durch abgrundtiefe Täler führt. In vielerlei Hinsicht ist "Unsettling Whispers" die Verwirklichung des kathartischen Black Metals, der zu ihrer Stärke geworden ist und den sie zu neuen epischen Höhepunkten treiben.

PUTAS VAMPIRAS Vol.1 is the debut release of PUTAS VAMPIRAS, a DJ and producer who is an icon of Sao Paulo's queer underground scene.

As the organizer and mother of the infamous VAMPIRE HAUS raves and its community of vampires, her work is a celebration of DIY culture, resistance and an unapologetic commitment to inclusion and the freedom of the Brazilian LGBTQIA+ community.

Over the last decade VAMPIRE HAUS has become much more than a rave, its an aesthetic, a mind-set and a movement that spans across the whole of Latin- America. After almost 10 years, it is finally debuting as a record label.

In this first release, PUTAS VAMPIRAS reimagines post-punk attitudes and the frenzied energy of a rock and roll mosh pit through the lens of the queer Sao Paulo underground. The album's tracks were built to withstand the heat of the VAMPIRE HAUS raves, and to satisfy the legions of dissident ravers, drag monster queens, techno lovers, and "vampiras" from all around the world. She describes her sound as VAMPIRE TECHNO, the perfect soundtrack to a kinkier and queerer alternative reality version of Tony Scott's "The Hunger" movie.

All the tracks on this compilation are anthems at the VAMPIRE HAUS raves and part of PUTAS VAMPIRAS' live performances in recent years, with the track "Puta Vampira Bixa Loka" becoming the soundtrack of LGBTQ freedom and empowerment in Sao Paulo.

Using a hybrid setup of analog drum machines, modular synths and vinyl during her performances, PUTAS VAMPIRAS made thousands of "vampiras" dance like there was no tomorrow.

She has performed on BOILER ROOM and extensively toured across the world, playing amongst many places in the UK, USA, India, Turkey, Ukraine, Chile, and Paraguay and being the first Brazilian to perform a hardware live set on the main floor of Berghain.

PUTAS VAMPIRAS has become a household name and a symbol of LGBTQ+ empowerment, liberation, and resistance and her music will carry the VAMPIRE TECHNO spirit into more corners of the world.

Die Musik von Unloved hat die Stimmung der bahnbrechenden BBC-und Netflix-Serie 'Killing Eve' perfekt untermalt. Während der vier Staffeln trugen ihre Tracks dazu bei, die Welt zu erschaffen, durch die sich Villanelle und Eve bewegten; ihr Sound war so unverwechselbar, dass er fast zu einem weiteren Charakter wurde. 'Ode To The Lovers' versammelt alle Unloved-Tracks, die während der Killing Eve-Staffeln 1 - 4 zu hören waren und erscheinen nun erstmals auf einer Vinyl. Diese Sammlung ist faszinierend und schön, voll von zeitloser Musik. Egal, ob Sie 'Killing Eve' gesehen haben oder nicht, dies ist ein Sound, der für Liebhaber gemacht ist - wo auch immer sie sein mögen.

Wenn Du auf der Suche nach dem härtesten, schnellsten und brutalsten Thrash Metal bist, solltest Du es nicht versäumen, Dir die begehrten ersten beiden Alben "Tortured Existence" (1990) und "Epidemic Of Violence" (1992) von DEMOLITION HAMMER zu besorgen. Diese gnadenlosen Alben der legendären New Yorker Band, die seit 2016 für umjubelte Live-Auftritte auf der ganzen Welt wiedervereint sind, sind endlich wieder bei Century Media Records in farbigen Vinyl-Editionen erhältlich und bieten den für die Band typischen rabiaten Gesang, rasende Riffs, wütende High-Paced-Beats, headbangfreundliche Moshparts und Brutalität en masse. Nachdem sie mehrere Jahre lang vergriffen waren, kannst du dir diese definitiven Versionen von "Tortured Existence" und "Epidemic Of Violence" jetzt wieder zu einem fanfreundlichen Preis sichern! Thrash or be thrashed!!!

Ein exzellentes Album, das jedem Black, Death oder Symphonic Metal Fan gefallen sollte! Zum ersten Mal auf Vinyl! Hollenthon ist eine Symphonic Death Metal-Band, die von Martin Schirenc von Pungent Stench gegründet wurde. Hollenthon debütierten 1999 mit "Domus Mundi" und erlangten mit ihrem zweiten Album "With Vilest of Worms" Kultstatus.mit ihrem zweiten Album "With Vilest of Worms to Dwell" im Jahr 2001. Nach diesem Album wurde es ruhig an der Hollenthon-Front, da Schirenc sich darauf konzentrierte, Pungent Stench wieder zusammenzubringen. Nach zwei Pungent Stench-Alben kehrte Schirenc jedoch zu Hollenthon zurück und "Opus Magnum" war das Ergebnis."Opus Magnum" zeigt eine neue Entwicklung des Bandsounds, da die symphonisch-orchestralen Elemente nahtlos mit dem gebotenen Death Metal verschmelzen. Das Album zeichnet sich durch großzügige Chöre, Synthesizer, Streicherarrangements und weiblichen Soprangesang aus, die sich perfekt mit Schirencs
klassischen und ethnischen europäischen Folk-Elementen verbinden. Das Gitarrenspiel hat ein neues Niveau erreicht, mit unglaublichen Soli auf dem gesamten Album. Das Album ist ein perfektes Ganzes, bei dem jeder Song anders ist, aber dennoch einwandfrei zusammenarbeitet. Hollenthon experimentiert auf diesem Album furchtlos mit verschiedenen Sounds, und das funktioniert unglaublich gut. Das Album ist ein durchgehendes, hochenergetisches Erlebnis, und jeder Song ist einzigartig und doch zusammenhängend. Fans von Therion und Symphonic Extreme Metal werden "Opus Magnum" lieben, das unserer Meinung nach sogar besser ist als alles, was Therion seit langem veröffentlicht hat. Insgesamt,"Opus Magnum"
ist eines der besten Extreme-Metal-Alben des Jahres 2008! Sehr empfehlenswert!

"With Vilest of Worms to Dwell" ist ein episches und majestätisches Kraftpaket! Dieses Album mischt Folk, Pagan Metal mit Death Metal Tendenzen.
Zum ersten Malauf Vinyl!Dieses Album ist ein Kraftpaket, ja, wir haben es gesagt... Mit Anflügen von Therion, gemischt mit melodischen Death Metal Tendenzen, bricht "With Vilest of Worms to Dwell" in seiner ganzen majestätischen und epischen Ausmaß und ist auch 22 Jahre nach seiner ersten Veröffentlichung im Jahr 2001 noch immer ein großes Vergnügen zu hören. Hollenthon demonstrieren ihre symphonischen Elemente von Anfang an, und die ersten drei Tracks sind geniale Kompositionen, die, obwohl sie unglaublich sind, dem Hörer Geduld abverlangen, die dann aber mit einer großen Belohnung belohnt wird. Hollenthon hat ein zugängliches Album geschaffen, aber man hört bei jedem Hördurchgang etwas Neues.Gleich zu Beginn springt "Y Draig Goch" mit einer wunderbaren "Aufbau"-Strophe heraus, bevor er in einen der headbangfähigsten, erhebenden Refrains mündet, die man seit langem hören wird.Zeit hören wirst. Klingt nach Power Metal? Weit gefehlt, Hollenthon spielen eine mitreißende Mischung aus Death Metal und orchestraler Musik, die an Therion meets Morbid Angel erinnert, aber viel, viel besser als dieser schlechte Vergleich klingen mag.

Wenn Du auf der Suche nach dem härtesten, schnellsten und brutalsten Thrash Metal bist, solltest Du es nicht versäumen, Dir die begehrten ersten beiden Alben "Tortured Existence" (1990) und "Epidemic Of Violence" (1992) von DEMOLITION HAMMER zu besorgen. Diese gnadenlosen Alben der legendären New Yorker Band, die seit 2016 für umjubelte LiveAuftritte auf der ganzen Welt wiedervereint sind, sind endlich wieder bei Century Media Records in farbigen Vinyl-Editionen erhältlich und bieten den für die Band typischen rabiaten Gesang, rasende Riffs, wütende High-Paced-Beats, headbangfreundliche Moshparts und Brutalität en masse. Nachdem sie mehrere Jahre lang vergriffen waren, kannst du dir diese
definitiven Versionen von "Tortured Existence" und "Epidemic Of Violence" jetzt wieder zu einem fanfreundlichen Preis sichern! Thrash or be thrashed!!!

Freakazoid was written mostly in the months before the pandemic. When we were ready to start tracking, we found ourselves with a lot of free time to be creative but no opportunity to get together, so we tried something we'd never done - recording an album all by ourselves in isolation. To create the sessions, we would record instruments separately in our houses and email the tracks to each other. That was an extremely frustrating and time-consuming process that took from the fall of 2020 until late 2022 to complete. We were used to banging out albums in a studio in a few weeks so it was a blessing and curse to have all the time in the world to work on it. They say great art is never finished, it is only abandoned and that's how it felt to wrap this up. There are still little changes I wish I could make from time to time but I've had to learn to just let it go. That being said, I'm so proud of the album and so happy that the reaction has been so incredibly positive so far.

Das Album „Queen Radio: Volume 1” der amerikanischen Rapperin und Sängerin Nicki Minaj ist ab dem 07.07. als 3LP erhältlich!
„Queen Radio: Volume 1“ ist das erste Greatest-Hits-Album der amerikanischen Rapperin und Sängerin Nicki Minaj.

Es wurde am 26. August 2022 über Young Money Entertainment und Republic Records veröffentlicht.
Das Album wurde zwei Tage später erneut veröffentlicht, um einen Remix von Skengs 2022er Single ”Likkle Miss” hinzuzufügen.

Das Album enthält Songs aus all ihren Studioalben—”Pink Friday“ (2010), „Pink Friday: Roman Reloaded“ und seine Neuauflage „The Re-Up“ (beide erschienen 2012), „The Pinkprint“ (2014) und „Queen“ (2018).
Songs aus dem Mixtape „Beam Me Up Scotty“ (Originalversion von 2009 und Neuauflage von 2021), der Young Money Entertainment-Compilation „Rise of an Empire“ (2014) und einigen Nicht-Album-Singles, die sie 2022 veröffentlicht hatte. Es wurde überraschend ohne vorherige Ankündigung veröffentlicht. Eine der Singles von 2022 und der Eröffnungstrack des Albums, ”Super Freaky Girl”, debütierte und erreichte den Höhepunkt der Billboard Hot 100.

Catorce reflexiones sobre el fin (Fourteen Reflections on the End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.

Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.

During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm?

First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.

To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.

Ma fin est mon commencement Et mon commencement ma fin (2)

After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces (3) with hints of harpsichord and bells.

The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen, tides, and birdsongs.

An immersion into deep waters.

And in the end, we all commit sins! Queste maledette! (4)

Lorena Moreno Vera, 2023

Lange vergriffene Aufnahme aus den zweiten 70er Jahren von Beverly Glenn Copeland und bei Sammlern sehr begehrtes klassisches Album. Für diese Veröffentlichung von Guy Davie remastert und neu geschnitten, mit 'Color of Anyhow' und 'Erzili'.

BLACKSCAPE ist der Schlag ins Gesicht, nach dem du dich sehnst. Verschwende keinen Gedanken an den Schmerz, wenn du dich dieser musikalischen Lawine hingibst, denn du wirst reichlich belohnt werden!
"Suffocated By The Sun", das Debütalbum des schwedischen Trios ist vollgepackt mit schweren Riffs und einer Mischung aus Thrash Metal und Death Metal, die dich mit ihren majestätischen Melodien in ihren Bann ziehen und dich mit einer heftigen Dosis Metal fertig machen wird.
Die eingängigen Kompositionen des Albums beinhalten eine Fülle an innovativer Gitarrenarbeit, halsbrecherische Drums, kreischende Soli und brutalem Leadgesang.
Taucht tief in die Lyrics ein und erforscht die inneren menschlichen Konflikte in absurden Realitäten und schmerzhaften existenziellen Erweckungen.
Die Tracks des Albums verkörpern Metal in Perfektion und markieren den Beginn einer neuen skandinavischen Metal-Macht, die man im Auge behalten muss: BLACKSCAPE.

Fünf Grammys gab's für diese ScheibeLauryn Hill kommt (ebenso wie ihre beiden Fugees-Kollegen Wyclef Jean und Pras) auch als Solistin prächtig zurecht. Ihr 1999 veröffentlichtes Longplay „The Miseducation Of Lauryn Hill“ wurde innerhalb kurzer Zeit mit Edelmetall ausgezeichnet und kassierte im Februar 1999 von den insgesamt elf Grammy-Nominierungen gleich fünf der begehrten Trophäen, u.a. für das „Album des Jahres“. Als Singles enterten die Songs „Ex-Factor“, „Doo-Wop /That Thang)“ und „Everything Is Everything“ die Charts.

On behalf of re:discovery records, it is with great excitement that we announce the reissue of the illusive 1993 EP 'Clouds Over Europe' out of Sweden.

This EP was orginally only 100 promo white labels without a proper full production release due to pre-internet slow communication from pending labels that were interested but never followed through. Music was changing so fast at that time, a year later perhaps those labels changed their mind. We will never know. Aquarian Atmosphere 'White Clouds' is the most highly regarded track from this album for many diggers.

An amazing ambient techno track that sounds like classic Rising High records material to us. Sure to be played at chill out rooms everywhere. In 2021 re:discovery released a cd of unreleased music from Unit21. He is also featured here with an unreleased and we think even better version than the original of Clubbtraxx (Movement 1) along with a trance track from 39626 named 'Elixir of Life'. Surrounding those 3 tracks are 2 more unique 90's gems from Aquarian Atmosphere. Original copies of this white label being exchanged for $100 a copy isn't unusual at record fairs and online. We are really proud to finally help bring this piece of Swedish ambient techno history to a wider audience. Dare to Dream isn't just our credo but a lifestyle of listening to space music among the stars.

La Escuela Moderna launches with a retrospective revisiting the UK electro and breaks scene at the turn of the millennium. A double album featuring eight tracks, Tactical Shifts covers the years 1995 - 2003, presenting a vibrant era celebrating the creativity and innovation that characterised this pivotal era in British electronic music.

The compilation opens with the starry-eyed Ayemooth, an early transmission from The Wee Paton (The Wee Djs, Distorto). Followed up by The Illistines channelling the free spirited Castlemorton. Re-Incarnated sees the trio on a percussive funk roll. Opening the B-side, System UCS (Neil Keating and Harold Slater) provide a growling electro track with Memory Trace, first released on Break/Flow. The first record closes with a rugged breakbeat number by Milo Smee AKA Kruton.

Rag and Bone co-founder NoYeahNo opens the B-side with the rollicking Pushing Percussion, an early entry in the seminal label. Nick Philphin and John O'Donnell's Orphic project brings the relentless beat science of Obvious Intruder. Lunar builds momentum with the bleepy breaks of Orbiting Ganymede and Phil Holmberg AKA Schematix wraps up the comp with the sinuous pads of Magnum Six.

Another week, another new release from the unstoppable ambient powerhouse that is zake. His latest full-length LL has two new cuts by the American maestro with remixes from a hefty selection of equally prolific producers all served up on his home label Past Inside the Present and no fewer than six sides of vinyl.

Across this immersive two hours of music, there is a mix of ambient, drone, drum & bass, electronica, and deep techno from Warmth, Aural Imbalance, ASC and Bvdub. It is yet another essential release from zake and co.

Repress

The first SK11_X of 2021 is from Arkan, a young Parisian producer with a bright future.

With notable releases on his imprint Autonome Records alongside Oktobr and amazing remixes in the last year, this record is really one to put Arkan on the map. The "Skalter" EP is 4 tracks full of groove and energy, already being supported by top names in the scene.

Singular Texan musician Craig Clouse hurtles unstoppably towards the 20th birthday of his dancefloor-splintering electronic project Shit And Shine, releasing a landmark LP, his first full-length for The state51 Conspiracy, ‘2222 And AIRPORT’. Acid house, minimal techno, electro, funk, krautrock, hip hop, found sound, spoken word, live percussion and industrial are blown apart stupendously and then reassembled – mad-scientist style, in a way peculiar to Clouse – into 13 hypnotic and transportative tracks.

Lead single SWISS, out 24 March, is a gloriously minimalist funk jam that sounds like the exact point at which someone turns the lights off at a lowkey house party and a wild night for the ages gets under way. An almost scornfully skeletal riff, sounding like a misfiring Cyberdine Systems Model 101 summoning up a Prince circa Sign “O” The Times riff while crashing head first into the hyper-processed early work of Prefuse 73, also featuring a cheeky sample of revered Mancunian DJ Luke Una talking about “existential fucking darkness”.

This is followed on 4 April by INFINITE SHITE, arguably the epic central track to the album, is a Shit And Shine banger for the ages, its dancefloor affect, undeniable. An unforgiving, pulsating Byetone-style bass drone worthy itself of being blasted on a Funktion-One rig, is just the background for a colossal acid b-line, destroying all in its path.

Micro details bristle at the liminal level, threatening to only reveal themselves to those in a club, those listening on headphones or those experiencing a heightened sensory state.

Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.

The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to.

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

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

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

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

On their sophomore effort Tusky, surrealist duet Robbie & Mona ascend beyond the lo-fi scrawlings of their debut album to something altogether more grandiose. Between the lights down drama of sprawling opener ‘Sensation’, to the ‘roll credits’ coda of closer ‘Always Gonna Be A Dead Man’, Tusky exists as a glitzy, lucid journey playing out before the listener.
While debut album EW captured William Carkeet and Ellie Gray as they were finding their feet with one another, creating Tusky was a wholly symbiotic process from day one. “We got better at knowing what each other wanted,” William offers. “This was the album that we were trying to make from the beginning.”

Simultaneously evoking multiple eras of music, the album drifts through worlds of synth pop, jazz, trap, drill, ballroom waltz and leftfield electronica, with the scatterbrain sound palette melded by a peppering of instrumental motifs and William’s addiction to sampling sounds across multiple tracks. “I wanted there to be this weird dimensional thing going on,” William explains, “where songs from the album are playing in multiple places.”

The record sees an expansive cast of musicians assembled, with a much heavier focus on live instrumentation than previous outings. Alongside the expected fare of crackly synths, samplers and drum machines, Tusky gets its glossy sheen from a rich tapestry of jazz drums, double bass, grand piano and saxophone.

Most of the tracks are laden with improvised saxophone from Campbell Baum (Sorry, Broadside Hacks) and Ben Vince (Housewives, Joy Orbison), much of which was scrambled by William in post-production, lifting scraps from one song and layering them atop an entirely different track. Elsewhere, session musicians were cherry picked, including Bingo Fury, his drummer Henry Terrett, and a string ensemble led by Caelia Lunniss and Jo Silverston (Spindle Ensemble).

Most surprising is a rap feature from Monika (of South-East London collective Nukuluk), who brings album centrepiece ‘Mildred’ to new heights with a fiery verse on pain. Aside from being the most unlikely addendum to a sombre piano ballad, it demonstrates Robbie & Mona’s natural state of playfulness, forever following emotions and sensuality over any notion of traditional compositional boundaries.
Many of Tusky's tracks owe their inception to cinema, be it the soundtrack to Betty Blue, the glowing films of Wim Wenders, or the surprising parallels between La Belle Et La Bete and Bad Boys. Equally, much of Robbie & Mona's new-found sense of tension and spectacle comes from William’s recent work soundtracking independent filmmakers, while Ellie gave greater priority to threading a narrative through her stream of consciousness writing style.

In all its majesty, Tusky celebrates creativity with creation. “If you begin to see fiction as real, you can reincarnate and become different things. You can grow,” Ellie implores. “Nothing stays the same. You can shed old characters in yourself. There’s great joy in that.”

Foundation music are proud to present our second project with the formidable talent that is Crooked Man aka Parrot, known to his mother as Richard Barratt.

The DJ turned producer from Sheffield, founder and resident at the seminal Jive Turkey night, member of Warp’s Sweet Exorcist, musical partner with the late great Richard H Kirk (Cabaret Voltaire), producer to such maverick talents as Roisin Murphy and Add N to X, longtime Jarvis Cocker collaborator and remixer to a myriad of artists over several decades.

More recently, Parrot's project with internationally renowned Jazz singer Lady Blackbird, Athletes Of God, released two singles on Foundation Music ‘Don’t Want To Be Normal’ and the clubland hit ‘Fontella’ that were both playlisted by 6Music.

Lady Blackbird now flies the nest, with the divine Earth Angel swooping into her place. A seminal, reclusive, heavenly voiced singer, also from Yorkshire and with deep roots in the soul and dub scenes… And no, it's not Lisa Stansfield!

A project that has its roots way back in the Sheffield’s Blues parties and Jive Turkey itself. The club being a home to all forms of exciting new Black music, from ’85 through to the early days of the UK’s dance explosion. It sees Parrot take all that he has achieved, written and learnt over the years at the cutting edge of electronic, dance-inflected, production and DJing returning to those heady days of down tempo, body moving, speaker shaking music that would move the British underground soul/funk scene in the mid to late 80’s.

Call it 'street soul', '80’s soul', 'electro soul'… Earth Angel is all of those things but it is also very firmly rooted in the NOW! Not some retro pastiche, it incorporates so much more. With elements of techno, bleep, dub and any other studio trickery that Parrot cares to employ in order to suck you into Earth Angels’ druggy, hypnotic, sexy, “Mogadon Soul”. A four songed, eight tracked vinyl EP, featuring some classic songwriting from the glory days of soul and Crooked Man’s bass heavy electronic rhythms.

Welcome to the heavenly world of Earth Angel, the journey starts here.


DJ Support:

Luke Una, Ross Allen, Sean Johnson (ALFOS) & Kebal.

Three timeless tracks from the esteemed D.C. LaRue back catalogue get brand new remixes from three equally exciting producers to give a modern spin to these ‘70s classics.

LaRue joined the music industry by recording two top 40 pop records influenced by the teen-idol era. In his early adulthood, he began writing songs about the fast-growing club and bar subculture he frequented where the most outcast of society’s young and marginalized could safely congregate after being ostracized in work, church, school, and often family. In this relatively brief selection of LaRue classics, contemporary remixes paradoxically bring out the timelessness of his songs, in tone, message and musicality.

First up, ‘Do You Want the Real Thing’ gets a fresh update from re-edit royalty Opolopo in the style of the lush yet sharp Motown and Philadelphia production pieces that inspired the arrangement originally, still resonates as a nightly inner dialogue or negotiation, another of LaRue’s literary signatures.

‘Let Them Dance’ greeted in its time as a one of the breakthrough moments of new music technology, is reinterpreted by Dr Packer mainly with its live acoustic tracks, also retaining bright, rhythmic synthesizer hooks with results that are still true to his intentionally oblique lyric, a novelistic portrayal of the drug dealers, the LGBTQ+ underground community, and the powerful upper class elite that made up the multi-racial, socially integrated crowds on the dance floors at the height of disco.

Last up, ‘Indiscreet’ from LaRue’s 1976 concept album, ‘The Tea Dance,’ tells much of the story about how disco had already birthed its own far more popular and influential successor form, Hip-Hop, by the time it was declared dead by the superannuated establishments of the radio, media, and record businesses. Released in a highly limited, personally inscribed 12-inch 45 rpm edition for a select list of top disco DJs, its complex, elastic polyrhythm made it as irresistible to younger black DJs and breakdancing teens as any of the year’s other big street breakouts. Only Good Vibes Music head honchos and Scotland’s finest The Knutsens give it the magic touch for the modern dancefloor.

Graham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, Aphorisms, his first major solo outing since Community (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, Aphorisms assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, Aphorisms superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001) recorded between Folkestone and Miami Aphorisms ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.” Aphorisms continues Lambkin’s synthetic-naturalist approach to sound-making, twisting disparate and unique elements together to create the sensation of a coherent sonic space. At the heart of his practice is the illusion of form, whereby Lambkin combines sonic elements, documenting the moment that they coalesce into music only to disintegrate back into incidental sound. The album is centered around two pianos, one in New York and one in London, sounding together as if through the ether, creating a spectral atmosphere that Lambkin fills with melodic snippets, fragments of songs, spoken-word musings, and guttural barks or “the animal purity of voice,” as he has it. The superimposition of the two spaces is maximized in the album's closing titular track, where, much like on earlier works such as Salmon Run (Kye, 2007) and Softly Softly Copy Copy (Kye, 2009) fragments of familiar melodies float through the mix as though being played from afar. Aphorisms is Lambkin at his best, extending methodologies only hinted at previously and taking his now-idiosyncratic mission statement to a new chapter.

Triple LP box-set on coloured 180g vinyl. Includes 62x62cm poster. Artwork and remaster exclusive to Fuzz Club Bootlegs. This King Gizzard And The Lizard Wizard’s ‘Live In Milwaukee’ bootleg album was recorded when the prolific Australian group descended on the Riverside Theatre in Milwaukee, WI, USA on August 23rd.

The resulting 19-track triple LP sees King Gizz storm through tracks from ‘Nonagon Infinity’, ‘Murder of the Universe’, ‘Fishing for Fishies’, ‘Gumboot Soup’ and ‘Chunky Shrapnel’. This bootleg is remastered exclusively for Fuzz Club and arrives as a triple LP box set with new and exclusive artwork by Elzo Durt. Each box-set also includes a 62cm x 62cm poster

Born of a thousand nights lost in a surrender to stillness and contemplation, In The Air is Anna St. Louis’ second full length album and her most considered work yet. St. Louis’ debut If Only There Was a River seemed to emerge fully formed out of the recesses of her mind; a gritty, mesmerizing affair, filled with jagged edges and ghostly apparitions. The type of record that announces a new voice; one haunted by what has come before.

But this time, St. Louis is no longer concerned with what could have been and sets her sights to exploring what could be. It’s an outlook on the world that was formed when her immediate one was small. The intervening years since her last album found St. Louis in a small one-bedroom cabin in the middle of the woods of upstate New York with a new love and time to think of what she wanted to express with her music. For weeks on end, the only trips she took were to and from her job as the front desk clerk at a nearby hotel. The previous years she had spent on tour and performing constantly in the venues of Los Angeles felt like they had occurred in another lifetime.

“It really compelled me to surrender to the unknown,” she says. And in this surrender, she found liberation. St. Louis is more self-assured, open-hearted and ready to say what she wants. St. Louis describes the writing period as one of a slow harvest; a fertile time but one that required a newfound patience. Instead of documenting her first thoughts, she spent more time with each song, going deeper with the themes and ideas she wanted to express.

This slower approach also guided the sonic textures of the album. Working with producer Jarvis Taveniere (Purple Mountains, Woods) in two extended recording sessions in Los Angeles in 2021, St. Louis used the studio in a previously unexplored way, opening up her songs to more experimentation featuring brighter tones and a more orchestral sound to accompany her new perspective. To that end, she was aided by a cast of friends and collaborators including Jess Williamson, Kacey Johansing, Oliver Hill (Kevin Morby, Vagabon) on strings, Alex Fischel (Spoon) on piano, Josh Adams on drums (Bedouine, Tim Heidecker) and Keven Lareau (Cut Worms, Hand Habits).

In the Air has the sound of a joyous consideration of the present moment; a quiet morning revealing a new snowfall outside, steam coming from the kettle, just before it whistles, St. Louis with her guitar, staring out the window, with a few free hours before work. She’s reflecting on the scene in front of her, imagining the times yet to come. You can hear it; she’s a long way from the noisy bars of Los Angeles, the rigors of the road. As she intones in “Rest”: “You spend your whole life believing in the chase. And then you realize that being somewhere doesn’t matter like it used to.” She doesn’t need a river to carry her anymore ... She’s in the air.

Ein Album, das sich mit beiden Seiten von Liebe, Freundschaft und Erlösung beschäftigt, nicht mit Trostlosigkeit oder Verzweiflung. Allerdings gibt es in diesen zehn Liedern jede Menge menschliche Schatten. PJ Harvey hat drei Songs geschrieben. Nick Cave war Co-Autor von drei Tracks und seine Bad Seeds unterstützen bei diesen Tracks. Außerdem schrieb Faithful jeweils einen Song zusammen mit Damon Albarn von Blur und dem Komponisten Jon Brion. Neben Harvey und Cave halfen Rob Ellis und Hal Willner bei der Produktion. Die Lieder sind tadellos sequenziert und wirken alle wie ein Stück, verbunden durch emotionale Themen. 'Before the Poison' ist poetisch und beunruhigend. Es steht im Marianne Faithful-Katalog ganz für sich, ähnlich wie 'Broken English' - dieses Mal jedoch auf der anderen Seite des Spiegels. Die wertige limitierte 180 Gr.-LP-Neuauflage kommt in Clear Vinyl!

Write a blurb about the new four-track EP by Ghost in the Machine. It is the ninth release on their label Genosha Basic.
The title of the EP is "Brown for Whatever".

The first track is called Just a Dream. Mention something about it being very dreamy and heavy.

The second track is called Somebody's Cream, which the artists must think is a very clever title.

The first track on the flip-side is called Uncut Scorpion. Say that it's a bit disappointing that it seems to have no relation to real scorpions and that given today's climate it should have been called Uncut Lobster.

The final track on the EP is called Liquid Surrender. Write something witty about it being a total acid face-melter. Say once again how amazing Ghost in the Machine is.

Available for the first time since originally released in 2006 via Stones Throw, Dudley Perkins & Madlib are pleased for the reissue of their sophomore collaborative LP, Expressions (2012 A.U.), their acclaimed follow-up to their 2003 debut effort, A Lil’ Light. And albeit the former can be accused of being excessively avant-garde, it’s Expressions where both Perkins and the Beat Konducta find a more fluid symmetry.

In everything from his collaborations with MF Doom and the late Jay Dee to his more recent pairing with Freddie Gibbs, Madlib is easily one of hip-hop's golden revolutionaries. At times his production has been accused of being sparse, but that's not the case with Expressions. This time around, Madlib's production is hitting all the funky corners with layered grooves that evoke the attitudes and emotions of A Tribe Called Quest's The Low End Theory.

Perkins's objective to keep the grooves flowing on Expressions is laid down with first lines of opener "Funky Dudley": "A little bit of funk and a dash of soul/ A little bit of George borrowed from my Ol' gran' pappy's stack of old school/ One nation under a groove." From there on the funk samples dance famously with Dudley's vocal style, which cross-pollinates the worlds of D'Angelo and Ol' Dirty Bastard. From "Get on Up" to the James Brown vocal sample in "Dolla Bill," Expressions uses Perkins's voice as if it were a sample itself, incorporating it in the production and the rhythms.

Madlib's production works flawlessly, his semi-psychedelic influence on R&B, soul and hip-hop keeping Perkins's style fresh and original. All the parts seem to be in place on Expressions as producer and emcee work side-by-side to create a cohesive sound that not only represents the creativity of the underground but could also awaken the tired ears of the mainstream.

From Alehouse to Playhouse Bjarte Eike and his barnstorming Barokksolistene capture the vital spark of Restoration London’s entertainment scene with a captivating new recording for Rubicon Classics! The Playhouse Sessions will be released on 23 September 2022 to coincide with Barokksolistene’s concert double-bill at London’s Southbank Centre.

‘A smattering of Purcell, dances from Playford’s Dancing Master, shanties, reels and ballads succumb to a nine-piece ensemble drawing on Baroque, jazz and folk styles for a no holds barred hooley of riotous improvisatory give and take,’ (BBC Music Magazine review of The Alehouse Sessions, August 2019)

London’s musicians, pushed in the 1650s, to the margins of society by order of Oliver Cromwell, found room for new forms of entertainment in city-centre taverns and alehouses. They remained there long after the restoration of the monarchy, performing sets of dances, theatre songs and bawdy ballads to audiences glad to be free from Puritan constraints on pleasure.

Norwegian violinist Bjarte Eike and his Barokksolistene have restored the spirit and substance of those long-forgotten performances with their Alehouse Sessions, hailed by The Times as ‘irresistible’ and ‘fabulously unrestrained’ by The Guardian. Five years ago the Norwegian violinist and his band scored a best-selling album with The Alehouse Sessions on Rubicon Classics. They return to the label with another compelling collection of music and words of the kind on offer more than three centuries ago at Henry Purcell’s favourite Westminster watering holes. The Playhouse Sessions, set for release on Rubicon Classics on 23 September 2022, reflects the uplifting energy and engaging emotional contrasts of Barokksolistene’s Alehouse performances.

“The album contains a sort of inner narrative that runs through the recording,” says Bjarte Eike. “It has become like a play in its own right, with each track being a small tale within a larger story.” The recording’s tracklist includes Eike’s beguiling arrangements of music from Purcell’s semi-opera The Fairy Queen and his own original compositions on words from the play on which it is based, Shakespeare’s A Midsummer Night’s Dream; popular songs and ballads such as ‘The Irish Washerwoman’, ‘I often for my Jenny strove’ and ‘The Three Ravens’; tunes from Purcell’s welcome odes and stage shows, Come ye sons of art and Dido and Aeneas among them; the ‘Willow Song’ from Shakespeare’s Othello; Eike’s own voice in Puck’s monologue from Act 5 of A Midsummer Night’s Dream; and John Dowland’s sublime air ‘Can she excuse my wrongs’.

London’s theatres were closed at the start of the English Civil War in 1642 and remained shut until the Restoration. Alehouses offered redundant musicians, actors and dancers a place to scrape a precarious living and soon became their creative refuge. “Although a few surviving theatres reopened in 1660 with the return of Charles II, there was little money around to rebuild those that had been demolished,” observes Bjarte Eike. “And a generation of musicians had already found an audience in places like the Black Horse in Aldersgate Street. So popular were their alehouse sessions that Cromwell tried to abolish them! But they outlived him and became part of Restoration musical life.” The form of a Barokksolistene Alehouse, he adds, is like a creative room. “Within its framework I can frequently refurbish the show with new contents. The Playhouse project is likewise an extension of the ever-evolving Alehouse Sessions. Together they tell the story of music and theatre in London during Cromwell’s time and after the Restoration. Of course there’s an historical context to what we do. But there’s also the practical context – which is even more important to me – of connecting with a contemporary twenty-first century audience. An Alehouse / Playhouse performance is not something for the museum; it's about music made in the present moment, just as it was in the London alehouses of Purcell’s day -- with their playhouses annexed to the rear of the beer-drinking saloons. The encounter of musicians onstage and the audience in the hall is the real magic of it. We have to fuse the audience into the action of our performance!”

The Playhouse Sessions will be launched on Friday 23 September with a late-night concert at the Purcell Room and a post-concert Alehouse Session in the foyer of the Queen Elizabeth Hall. Soprano Mary Bevan is set to join Eike and his Alehouse Boys for the first half of their Southbank Centre double-bill, offering unique interpretations of songs from Purcell shows and other hits from the late seventeenth-century London stage. “The Southbank Centre is a direct descendant of concerts given in the 1650s in the alehouses of London,” notes Eike. “These alehouses after all staged some of the world’s first public concerts. Later, after the Restoration, it became common for promoters to advertise alehouse concerts in the press and offer subscription tickets. Purcell and his fellow musicians were thus just as at home performing there as they were in the chambers of the royal court or in London’s new theatres.”

Bjarte Eike launched his Alehouse Sessions in company with like-minded musicians 15 years ago. The ensemble comprises a core of regular performers, all of whom have committed to memory a huge setlist of up to four hours of music. Typically they meet a day or so before a concert tour to share a meal and make music together; then next day, re-grouping thirty minutes before the show, they discover Eike’s select-menu for the evening. “That ensures that every show is fresh,” he notes. “I make sure we never repeat the same programme twice. It’s therefore essential to work with people who share my outlook and dare to adventure. We’re into a high-risk sport, with lots of traps and places where the unexpected appears - for good or for ill. And so the audience knows we’re vulnerable. But our skill is seen in how we re-act on the hoof to the unpredictable. That’s authenticity and honesty - and above all it’s a performance that’s genuine.”

Armed with a classical training and a background in folk music and improvisation, Bjarte Eike was drawn naturally to Early Music in all its stylistic variety. “I never really felt at home with only one genre,” he recalls. “Early Music allowed me to study profound, complicated compositions, but performing it has also opened up the chance of rebellion and uproar! Early music offers wide, multi-faceted areas of musical exploration for me. You find, for instance, links to different types of music wherever you look in seventeenth-century English repertoire. And I am fascinated by all these connections. They offer a foundation for the Alehouse Sessions and for all Barokksolistene performance more generally. Every member of the group plays, sings, dances and improvises without limitation. We’re all interested in the many different fields of being a stage performer and pushing hard at the ‘normal’ boundaries of what it means to be a classical musician.”