Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.
28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.
Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.
Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
Formed in 2007, The Boxmasters have recorded an impressive and diverse catalogue of music that touches on their love of a wide array of influences, but most importantly, the rock and roll of the 1960’s. Love & Hate In Desperate Places is their 17th album and the ten songs evince a wry perspective on human nature and love. The lively melodic rock cloaks the wry wit of the lyrics. The album was produced by The Boxmasters, Billy Bob Thornton and J.D. Andrew, who also wrote every song. Listening to The Boxmasters, one can hear obvious odes to the Beatles, Byrds and Beach Boys, but also important to The Boxmasters are The Mothers of Invention, Kris Kristofferson, John Prine and Big Star. Since forming The Boxmasters, several long-time friends have contributed to the sound of the band, but the core of The Boxmasters has always been Andrew and Thornton. As primary songwriters, the sound of the Boxmasters has been an evolution as the duo constantly strive to find new inspiration, new sounds and new ways of expressing what is in their hearts and on their minds. But at the core, there is a backbeat, a lyric with meaning and music played with emotion. As a touring band, The Boxmasters have cultivated a rabid cult fanbase across the United States and Canada. Opening for the likes of ZZ Top, Steve Miller, George Thorogood and Kid Rock The Boxmasters have proven to win over large audiences. As a headliner, frequent stops in Kansas City at “Knuckleheads”, Springfield, Illinois at “Boondocks” and “Merrimack Hall” in Huntsville, Alabama have shown dedicated yet still growing audiences. Two appearances at Levon Helm’s “Midnight Ramble” in Woodstock, New York were highlight performances for the band, as well as the “Ramble at The Ryman” that Levon hosted in 2008. The Boxmasters performed on “The Grand Ole Opry” in 2015, another in a growing resume of must-play venues.
Die legendäre Swamp Blues Band aus dem New York der Neunziger, THE CHROME CRANKS, setzte sich zusammen aus Peter Arron, William Weber (G.G. ALLIN&THE MURDER JUNKIES), Jerry Teel (HONEYMOON KILLERS, BOSS HOG, JERRY TEEL&THE BIG CITY STOMPERS) und Bob Bert (SONIC YOUTH, PUSSY GALORE, FIVE DOLLAR PRIEST). 1994 nahmen sie im WMBR Studio in Boston auf und verließen es mit zehn neuen Tracks im Gepäck, ihre bis dato brutalsten, lautesten und intensivsten Songs. Endlich auf Vinyl mit großartigem Artwork und bisher ungesehenen Bildern!
Welcome on Vibes Addikt !!
Label Owned by N.O.B.A, An artist with a large number of tracks that have been lucky enough to top the Beatport Top 100, but also the support of big names such as Amelie Lens, Mark Sherry, Nusha, Frankyeffe, Klaudia Gawlas, Frank Biazzi, Charlotte De Witte, Mha Iri, Sebastian Groth, Steve Shaden, Yves Deruyter ... and many more...
This 3rd Vibes Addikt present Dimitri Cooman
Belgium Techno and Hard Techno artist who play on all events from the legendary Cherry Moon Club (Lokeren.Be)
Born near Brussels, Dimitri fell in love with music early on.
The interest in house –and techno music grew since the start of going out to small venues and raves at the age of 16.
Soon he visited one of the mayor Belgian clubs, Cherry Moon, there everything changed.
Impressed by the "the club, the people, the music" he quickly fell in love with 'The House of House' and that love for the club would not change until this day.
During this period he started mixing himself, playing the music he loved from his homebase.
Since a while ago he is an official resident and one of the driving forces behind the Cherry Moon events, runs the techno imprints Cherry Moon Records & Nachtkabarett Recordings, manages the brand and parties of 'Techno Avenue' and tours with all of this all over Belgium whilst also playing on numerous techno events.
His EP's and remixes have also been released on Cherry Moon Records, the Berlin based Db130,the italian labels No Response Records and SMR Underground, Strohm Records, Dark Distorted Signals, Bonzai & Ithica Records, Sonaxx Records and soon Reload Records, DIKI records and Vibes Addikt.
He present on Vibes Addikt "Vanished Technologies" an Underground EP including a remix from Fhase87, French Artist who have support by Mark Broom, Ben Sims, Dj Rush ... and others big name
EP already supported by Frank Biazzi, Frauleinz, Samuel Sanders ... and many more
non in magazzino
Ultima consegna 6 mesi fa riordinabile senza garanzia
140g schwarzes Vinyl, mit Spot UV-Sleeve, 2LP 45rpm. Das beste Post-Rock-Album aller Zeiten" - Fact Mag // ,Ihr Einfluss ist allgegenwärtig` - The Quietus // ,Mysteriös, eindringlich und atemberaubend visionär` - Allmusic // Bark Psychosis waren eine der innovativsten Bands ihrer Zeit und der Legende nach wurde der Begriff ,Post-Rock` erstmals von Musikkritiker Simon Reynolds verwendet. Nach mehreren Singles und EPs erschienen die avantgardistischen, auf Drones und Samples basierenden Klanglandschaften des 21-minütigen Titeltracks ,Scum" nur zwei Jahre vor ihrem bahnbrechenden Debüt ,Hex" (1994). Ihr Sound entstand aus ihren Improvisationen in einem provisorischen Studio in der St John's Church in Stratford. Die Fertigstellung von ,Hex" dauerte ein Jahr und brachte die Band an den Rand des Zusammenbruchs, so dass sie sich zum Zeitpunkt der Veröffentlichung bereits aufgelöst hatte. Indem sie ihre Songs zerlegten und im Studio neu zusammensetzten, entstanden charakteristische Ambient-Soundscapes und ein atmosphärischer, experimenteller Sound. Letztes Jahr hat das Fact Magazine das Album verdientermaßen auf den ersten Platz der ,30 Best Post-Rock Albums Of All Time" gesetzt. Neu gemastert im Jahr 2017 von den originalen analogen Bändern in den Metropolis Studios von Graham Sutton und Stuart Hawkes.
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
Nonesuch Records releases Laurie Anderson’s Amelia, the 2024 Grammy Lifetime Achievement Award recipient's first new album since 2018’s Grammy-winning Landfall. The record comprises 22 tracks about renowned female aviator Amelia Earhart’s tragic last flight. Anderson, who Pitchfork says, ‘sees the future, but she starts by paying attention’, wrote the music and lyrics for this subjective narrative piece. On the album, she is joined by the Czech orchestra Filharmonie Brno, conducted by Dennis Russell Davies, and Anohni, Gabriel Cabezas, Rob Moose, Ryan Kelly, Martha Mooke, Marc Ribot, Tony Scherr, Nadia Sirota, and Kenny Wolleson.
Earhart was a passionate pioneer of early aviation, achieving fame as the first woman to cross the Atlantic, in 1932. Five years later, she embarked on a flight around the world. Before she could complete the voyage, her plane disappeared without a trace; it has never been found. “The words used in Amelia are inspired by her pilot diaries, the telegrams she wrote to her husband, and my idea of what a woman flying around the world might think about,” Anderson says. First premiered at Carnegie Hall in 2000, the updated piece was recently performed across Europe.
Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but ... that doesn’t begin to describe what she creates. Her work isn’t sold in galleries. It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life,’ and the Guardian has called Anderson ‘one of the great popular artists and storytellers of our time.’
Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.
Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date. Anderson recently toured with Sex Mob, performing her piece Let X=X. Earlier this year, she was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson.
Nonesuch released a re-mastered edition of Anderson’s landmark 1982 album Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; its beloved single, ‘O Superman’, became a surprise viral hit on TikTok earlier this year.
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
Legend is the second posthumous album from revered Dallas rapper, singer & songwriter, MO3, and follow up to the 2021 posthumous release, Shottaz 4Eva, which peaked at #36 on the Billboard 200. Dropping on what would have been his 32nd birthday, Legend features previously unheard music from MO3 himself, and sees appearances by Tye Harris, BigXthaPlug, That Mexican OT, Money Man, Fredo Bang, Ralo, NoCap & Tory Lanez. The 14 track album includes the previously released singles “AR (Feat. BigXthaPlug & That Mexican OT),” “Blood Money (Feat. Finesse2Tymes),” “Tidal Wave,” & “They Don't Know (Feat. Tory Lanez).” While the loss of MO3 is still being felt, fans continue to celebrate his life and honor his legacy by keeping his music alive. MO3 will forever be a Legend.
The weather might never be hot in the UK but the 7th release from Regulate Recordings is an absolute scorcher! Coming hot on the heels of the “The Rhythm / Make Em Bounce” going to the top of the Juno charts and doing serious dance floor damage the North West imprint have gone even bigger for the next release with a daisy age inspired transatlantic cross over.
Manchester producer Atomphunk has teamed up with Seattle Duo Mugs and Pockets with turntablist extraordinaire DJ Deviant on the cuts. The results are without doubt the jams of the summer, which is handy because the A side is called “Summer Jam”. With a popping funk bass line and rhymes dancing over the top that immediately evoke the spirit of the Native Tongues, but added into the mix is that Grand Central / Fat City groove and the West Coast USA bounce of Jurassic 5 and their collaborators, (Chali2Na is a big supporter of Mugs & Pockets). In a packed field “Summer Jam” might just be Regulate’s biggest release yet.
Things don’t let up on the flip “Back For More” sees Atomphunk go for the hotter stickier side of the season, with a more laid back synth driven groove evoking Roy Ayers and Quincy Jones, but with crisp beats and Mugs and Pockets bringing it once more. Don’t sleep on this one.
non in magazzino
Ultima consegna 23 mesi fa riordinabile senza garanzia
Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."
Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."
Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."
Maggie Antone ist die neue timme im Alt-Country: Nachdem ihr Cover von Tyler Childers "Lady May" über eine Million Likes bei TikTok sammelte,
begann sie, an ihrem Debütalbum zu arbeiten.
Antones kommendes Album Rhinestoned mit zehn Songs ist ein überzeugender Beweis dafür, dass die aus Virginia stammende Sängerin das nächste
große Ding im Country sein könnte. Das Album, das auf ihrem eigenen Label Love Big via Thirty Tigers erscheint, baut auf dem durchschlagenden
Erfolg ihrer Debütsingle "Suburban Outlaw" auf. Auch wenn ihre Stimme einen in ihren Bann zieht, so ist es doch die Verletzlichkeit ihres
Songwritings, die einen immer wieder zurückkommen lässt.
Previously Unreleased Recording. Limited to 1200 copies on transparent cherry vinyl. Tip-on jacket, Download code. Insert featuring LP sized original art by Grungie O'Muck. Includes the original recording of Richard Tucker's "Are You Leaving For The Country", later covered by Karen Dalton, and the only song co-written by Karen & Richard, "Sleeping In The Garden". "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." -Mike Jahn / New York Times (1970) "For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." - Grungie O'Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one. Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots - The Gaslight, The Bag I'm In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with Peer-Southern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced. Some of the songs were re-recorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam "One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we've ever heard. Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They'd recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio" (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals. Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert's own songs were garnering attention from publishers. According to Bert, "I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss. Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as prog-rock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct." Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?" "The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of song-slingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! - Loudon Wainwright lll
‘The Oakland band’s wide-ranging debut is a whirlwind of biting critique, nervy post-punk guitars, and absurdist humor. Rarely does a first record speak with such a trenchant voice.’ 7.5 PITCHFORK
‘Post-punk lovers have a new act to follow" - PASTE
Fake Fruit’s visceral indie rock operates so firmly in the present that it’s transportive and unmooring. The Oakland trio’s songs careen with volatile energy and lead singer Ham D’Amato’s lyrics are enveloped with acerbic humor and resonant perceptiveness. Though their new LP Mucho Mistrust is a sly reference to a beloved Blondie lyric, the title encapsulates both the anxieties of daily life, a bloodless music industry, and global capitalism as well as the clear-eyed skepticism needed to rebel against it. Across 12 propulsively unpredictable tracks, the album is both their most collaborative and most immediate yet.
Following the 2021 release of Fake Fruit’s self-titled debut LP, the band’s personal lives hit a turbulent and transformational period. “There were big life changes and I was so close to boiling over,” says D’Amato. “I left a bad relationship, entered a more stable and loving one, got diagnosed with alopecia, and I'm turning 30 soon too.” This personal upheaval was channeled into the explosive lead single “Mucho Mistrust.” The track is simultaneously disorienting and direct, with clanging guitars from Alex Post, off-kilter drums from Miles MacDiarmid, and D’Amato snarling, “How you gonna blame me / when you could’ve done something about it / it’s not right / How you gonna marinate me / in shitty things overnight.” She explains, “This song was a snapshot of how I got through a difficult year.”
Recorded live at the Bay Area’s Atomic Garden studio with producer Jack Shirley (Deafheaven, Home Is Where), the band’s palpable ferocity shines throughout the record. Single “Más o Menos” is searing punk, with buzzsaw guitars and surging bass. It’s a clenched-fist song, one where D’Amato sings, “I decided to assert myself / After I lost all my sense of self.” Later in the track, D’Amato, who is Chicana, sings in Spanish, “¡No me hables! / ¡No escuchare!” While some of these songs deal in heartbreak, they are charged with way bigger themes. “There's also wanting to break up with capitalism and feeling upset about things politically,” says D’Amato.
For the band, these themes are personal. “I'm managing us while I'm in between changing diapers in my day job as a nanny,” says D’Amato. “Everyone in the band still believes in it and is motivated to keep wading through the bullshit.” On this album, they had no choice but to bet on themselves and each other. No track broadcasts their evolution better than the single “Cause of Death,” which morphs from a gorgeous sax-laden banger to something cathartic and anthemic.
As adventurous and righteous as Mucho Mistrust gets, there’s still an inviting core that never takes itself too seriously. From the ripping “Cause of Death,” which self-deprecatingly takes aim at anxiety and indecision, to the searing title track, Fake Fruit imbue their songs with humor and heart. “Our band is fun,” says D’Amato. “My number one coping mechanism for all of life is to joke about it. Even when the album talks about serious things, I am proud of how funny it can be.”
Der Sänger und Gitarrist MIKE TRAMP kehrt mit 'Songs Of White Lion - Vol. II' zurück. Auf den zehn Tracks des Albums interpretiert TRAMP wieder ausgewählte Stücke seiner ehemaligen Band White Lion neu.
MIKE TRAMP wurde mit White Lion, die 1983 gegründet wurden, in der Musikwelt bekannt. Nachdem die Band bei Atlantic Records unterschrieben hatte, feierte sie 1987 mit ihrem zweiten Album "Pride", das die Hits "Wait" und "When the Children Cry" enthielt, große Erfolge. Das dritte Album "Big Game" (1991) und das vierte Album "Mane Attraction" (1992) setzten die Erfolgssträhne der Band fort, doch schließlich lösten sich WHITE LION 1992 auf. Nach WHITE LION gründete TRAMP die Hard-Rock-Band Freak Of Nature, die eine deutlich dunklere und härtere Stimmung als White Lion hatte. Freak Of Nature veröffentlichten drei Studioalben, bevor sie sich 1996 auflösten. 1998 startete Tramp seine Solokarriere mit dem Album
"Capricorn"; 2002 erschien sein zweites Soloalbum "Recovering The Wasted Years".
Seit 2009 schreibt und nimmt TRAMP als Solokünstler auf und hat neun Studioalben veröffentlicht, darunter sein letztes, For Første Gang" von 2022. Außerdem ist er ständig auf Tour, sowohl als akustischer Solokünstler als auch mit einer Begleitband, und er hat nicht vor, in nächster Zeit kürzer zu
treten
American English is the second studio album by British new wave band Wax, which consisted of Andrew Gold and 10cc band member Graham Gouldman. The two got together after 10cc split up in 1983 and released a total of three studio albums, including the 1987 American English. The album grew into their most successful effort, largely due to the hit single “Bridge To Your Heart”, which charted in the top 10 in many European countries and remains their biggest hit to-date. The album spawned two more singles; “American English” and “In Some Other World”. The album’s front cover was designed by Storm Thorgerson, who is best known for closely working with Pink Floyd, in addition to Led Zeppelin, Black Sabbath, and Def Leppard among others. American English is available as a limited edition of 1500 individually numbered copies on pink & purple marbled vinyl and includes an insert.
Celebrated Norwegian singer and composer Susanna announces her new album, Meditations on Love, out August 23rd via her own label SusannaSonata. Having spent five years writing material, Meditations on Love reflects the complexities and difficulties of maintaining love. So many songs celebrate the giddy joy of a new connection or lick the wounds from a break-up, but Meditations on Love explores what happens in between, examining the work required by a healthy relationship and contemplating the conditions that turn love into something toxic. Susanna's mastery of balladry is well documented, but on Meditations on Love, she introduces a rhythmic presence new to her work. The result is one of Susanna's strongest and most dynamic recordings of her career. The Norwegian artist Susanna has released albums as Susanna and the Magical Orchestra/Susanna/Susanna Wallumrod since 2004 on labels like Rune Grammofon/ECM/Grappa Musikkforlag and since 2011 on her own label SusannaSonata. Critically acclaimed for both her own songs and her highly personal interpretations of other people's songs, she wanders lightly and intented between champer folk, avantgarde, electronica, jazz and independent pop. Highly riyl Joanna Newsom, Sufjan Stevens, Kate Bush
After the first casual meeting at Lessinia Psych Fest 2014 (Maxigross festival in the Lessini Mountains) Miles managed to come back in Italy during spring 2015 to work with the band. In march 2015 they went together in the studio house of the band in the small mountain village of Vaggimal (Verona) to improvise and record one month straight, interrupting the sessions only for a few shows between Verona and Roma. They put few microphones around a big room in the house to catch the general sound in a Daniel Lanois’s style, and they played in the dark of the night without any light to forget the individual sound of each member, focusing only on the main sound of the Music. Miles brought from LA some recordings he made with drummer Joe Westerlund (Megafaun, Califone…) and, starting from that material, they begin to play on that. After these magical musical encounter they became close friends, sharing an house in Verona (Casa Tega), many albums, shows and life experiences, forgetting about these Vaggimal Sessions, that bring inside of itself the magic and the purity of any first meeting. These naked recordings are the only witness of this session.
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
Idle Race is the second studio album by British rock band Idle Race, released in 1969. This album follows their 1968 debut, The Birthday Party. Fronted by Jeff Lynne, who later became famous with Electric Light Orchestra (ELO), the album features a whimsical pop-rock style with psychedelic influences. Key tracks like ""Come With Me"" and ""Please No More Sad Songs"" showcase Lynne's melodic songwriting and playful lyrics. Despite critical acclaim, Lynn left shortly after the album release to join The Move. However, Idle Race is a cult classic, celebrated for its inventive arrangements and quirky charm. This album is a hidden gem in the late 1960s British rock scene, highlighting the band's unique blend of catchy tunes and imaginative storytelling. Idle Race is available as a limited edition of 750 individually numbered copies on crystal clear.
Considered by many fans to be the best album from Livingston Taylor, Ink pays homage to pop songwriting with a collection of richly-realized interpretations, including Gerry Rafferty's "Baker Street" and the great Ray Charles' "Hallelujah, I Love Her So". With his rich vocals, exceptional guitar skills, and meticulous production Ink reveals itself as a document of a man who knows what makes a song a memorable and moving experience.
This album, a favorite with audiophiles, will be released on vinyl for the first time, as a 180 gram LP, on the 2nd August, 2024.
-3rd album from veteran rap duo Dillon & Batsauce. Dillon on the raps & scratches, Batsauce on the beats. ('On Their Way' - 2018, 'Self Medicated' - 2020).
-Produced entirely by Batsauce, guest features include Grand Puba, Kool Keith, Quelle Chris, Reef the Lost Cauze, Headkrack and Jay Myztroh of Stono Echo.
-Atlanta, GA + Jacksonville, FL album release parties booked for end of July + Northeast Tour Run scheduled for August.
-Batsauce has been producing hip hop and soul for 20+ years with multiple albums on labels BBE (Barely Breaking Even) producing for his wife, soul-singer, Lady Daisey + Galapagos4 where he produced multiple projects for Qwazaar of Typical Cats. He is 1/3 of the group, 'The Smile Rays' (which includes Lady Daisey and Paten Locke). He's also done extensive work with Akrobatik, Mr. Lif and even has multiple songs with George Clinton!
-Dillon is an Atlanta, GA based MC/DJ who has been releasing records for 20 years, 10 of those years was running FULL PLATE, the label he started in 2013 with Paten Locke (RIP). Dillon has worked with many of Hip-Hop's elite from the old school to the true school such as Chuck D, Diamond D, Count Bass D, Kool Keith, Greg Nice, Grand Puba, Homeboy Sandman, J-Live, Quelle Chris, Sadat X, Ras Kass, Stacy Epps, Planet Asia, eLZhi, Slimkid3 of The Pharcyde - and the list goes on!
-Classic black, standard weight vinyl in full-color jacket w/ matte finish. Includes Download Card.
Underground hip-hop veterans, Dillon and Batsauce have been making unorthodox rap music together for nearly 20 years with a simple formula: Batsauce makes the beats, Dillon writes the songs, and whatever happens, happens. After carving out their own lane with a catalog of EPs and LPs over the past 2 decades, the duo has finally slowed down enough to ask themselves, 'What Have We Done'?
Is the title of their latest effort rhetorical or meant to be an actual question? If so, Dillon and Batsauce probably don't want to know the answer. They probably don't want you, the listener, to think too much about it either. Instead, 'What Have We Done' is an invitation to experience the trials and tribulations, the small wins and the big losses of being aging independent artists in an increasingly cut-throat world for music makers.
But Dillon & Batsauce aren't the only ones on this joyride, we also hear from a well-curated crew of characters they've befriended along the way, from bonafide legends like Grand Puba and Kool Keith to modern day rap heroes, Quelle Chris & Reef the Lost Cauze. The end result is a collection of songs that runs the gamut from personal to aspirational to...delusional. Whether it's 'too much' or 'not enough', the answer to the question, 'What Have We Done' remains open to interpretation. Perhaps it’s not a question at all, but merely the naturally visceral reaction when career creators look back at a life lived on the edge.
Track Listing: 1. What Have We Done (Intro) 2. Mind Made 3. Quiet as a Library 4. Eddie Farah 5. Make History 6. Cannonball feat. Grand Puba 7. Banana Peels 8. Accolades feat. Reef the Lost Cauze & Jay Myztroh 9. Wakin' up Hungry feat. Headkrack 10. Goin' Viral 11. Ready on the Left feat. Kool Keith 12. What Are We Doing (Interlude) 13. Watercolors feat. Quelle Chris 14. Speak Easy 15. Isiah Thomas 16. Rock Bottom 17. Yoga Flame
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
As an extension of his highly successful „Big Beat Manifesto“ series on Public Possession, currently standing at Volume XI, Eden now opens up his garden to invite some friends. The BBM label will host a series of releases that are close to his heart.
Secret D.J. Tools, meditative seances & more. Kicking of the new label is young fellow kiwi Colter Carson, delivering 5 stellar dance songs. Already tested & approved this mix of heavy percussion, quirky baselines and large synths will be just the right treat for all fans of the Big Beats!
non in magazzino
Ultima consegna 22 mesi fa riordinabile senza garanzia
In den letzten 15 Jahren hat sich Ryan Gustafson von THE DEAD TONGUES zu einer der markantesten Stimmen des modernen Folk entwickelt. So eigenwillig und gespenstisch seine Songs manchmal auch sind, Gustafson hat seine Visionen und Verse immer mit der Art von Hooks verknüpft, die man wie Talismane aufbewahrt und im Notfall hervorholt. "Dust", "Unsung Passage", "Desert": Die Alben von THE DEAD TONGUES gehören nach wie vor zu den fesselndsten und kuriosesten Werken in diesem Bereich in diesem Jahrhundert. Das magnetische "Body of Light" und das diskursive und wunderbar elliptische "I Am a Cloud", besteht aus 16 kompletten Stücken, die sich auf verschiedene, miteinander verwobene Alben verteilen. Auf den Alben sind Auftritte von Jenn Wasner (Wye Oak, Bon Iver), Mat Davidson (Twain), Matt Douglas (The Mountain Goats), Joe Westerlund (Califone, Megafaun), Jeff Ratner (Bing and Ruth) und anderen zu hören. Gustafson wollte die Zeit im Studio nutzen, um nicht nur Songs aufzunehmen, sondern auch etwas Neues zu schaffen, mit neuen Improvisationen. Die beiden Alben, die digital als eigenständige Veröffentlichungen erschienen sind, vereinen sich im physischen Format zu einem wunderschönen, luxuriösen Doppelalbum. Das 2LP-Paket enthält ein sorgfältig geprägtes Cover und wunderschöne, individuell gestaltete Innenhüllen für jedes Album.
Nachdem sie uns den technotropischen Pop von Supersempfft durch die Wiederveröffentlichung ihrer zweiten LP "Metaluna" vorgestellt haben, beamen sich die trittsicheren Leute vom Hamburger Bureau B ein paar Jahre zurück, um uns das unverschämte Debüt der Hessen zu präsentieren. Das kollaborative Vehikel karrt durch den Kosmos wie ein Hochleistungsclownsauto, das gewagte Akkordprogressionen, technische Innovationen und einen Haufen Hooks hinter seinem Cartoon-Chassis verbirgt und uns glückliche Hörer auf die Spritztour mitnimmt.
When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!
At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.
According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.
Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!
Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut “55” on Brooklyn’s own Big Crown Records. Long time multi-instrumentalist and band leader Bjorn Wagner spent a few months in Trinidad & Tobago where he became fascinated with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith. Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed Funk, Soul, and Hip-Hop sensibilities. The outcome is an updated take on a classic format, a truly unique sound. Their first two recordings were covers of The Meters “Look A-Py-Py” & “Ease Back” which they self-released on a 45. Looking back on these two sides you can tell they were just getting their chops up for what was to come next. This is evidenced by how all hell broke loose when they went on to cover 50 Cent’s hit PIMP taking the DJ and vinyl collecting communities by storm. Many people thought the recording was the original sample and probably still do to this day when it is played. The original Mocambo pressing sold out quickly and is now a collector’s item fetching heavy prices when it changes hands. It was this tune that made the introduction between Bjorn and Danny Akalepse of Big Crown. They immediately hit it off and started making plans to do a full length project with the band. Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple Funk tracks and some of all that falls in between. BRSB’s 55 is reinvigorating tunes both well-known and helping to shed some light on tunes still largely undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on “Beetham Highway Ride” and “Port Of Spain Hustle” to the ugly face inspiring drums of “Laventille Road March”. Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world, using production aesthetics from across both eras and genres, all coming together seamlessly. If the 45s that have already come out on Mocambo, Plane Jane, and Truth & Soul are an indication, this full length is going to be a staple to both casual listeners and Disc Jockeys alik
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
Nur wenige Künstler sind so umstritten und einflussreich. New York-Legende R.A. The Rugged Man wird dieser Einordnung durch seine Kombination aus Authentizität, seines unbestreitbar wilden Lebens mit seinen unverkennbar außergewöhnlichen Fähigkeiten am Mikrophon gerecht. Schon in den Neunzigern, als er mit Notorious BIG, Sadat X und Company Flow aufnahm und zwischenzeitlich bei Jive gesigned war, wo sein Album jedoch nie veröffentlicht wurde, glaubte niemand mehr an eine erfolgreiche Karriere. Aufgrund seiner vielen Eskapaden war er aus sämtlichen Studios, Konzerthallen und Plattenfirmenbüros verbannt worden. Doch R.A. The Rugged Man blieb sich treu, veröffentlichte mehrere Underground-Singles und ein Album auf Rawkus, Eastern Conference und Nature Sounds und erhielt sich einen harten Kern an treuen Fans. Nun legt er mit "Legends Never Die" den Nachfolger zu "Die Rugged Man Die" vor. Mit dabei sind MCs wie Tech N9ne, Talib Kweli, Brother Ali, Masta Ace, Vinnie Paz (Jedi Mind Tricks), Sadat X, Bumpy Knuckles u.v.a. Für die Beats haben unter anderem Marco Polo, Buckwild, Apathy, Ayatollah und Mr. Green gesorgt.
Großartig zu sein ist eine Sache, aber lange Zeit großartig zu bleiben eine andere. X waren siebenundvierzig Jahre lang großartig und haben mit sieben Alben zwischen 1980 und 1993 ihre Legende als eine der originellsten Punkbands Amerikas aufgebaut. In diesem Sommer wird ihr letztes Album Smoke & Fiction veröffentlicht. Wie Alphabetland (2020) hat Smoke & Fiction die Wut und den Spaß, den man von X erwartet. Es ist eine Abschiedsrunde mit Tracks wie "Big Black X", die ihre Reise reflektieren.
To experience Justin R. Cruz Gallego's pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic...(Sadistic Mantra), the Tacoma-based artist's second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego's powerful drumming in a way that feels visceral and new. It's his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community. "I see this record as first and foremost a musical statement," Gallego says. "I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting." Lead single "Dogear" is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. "I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously," Gallego says. "Cholla Beat" is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. Gallego's influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it's Gallego's assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego's home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester's penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego's home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, "World i," offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.'s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification). Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It's a sweaty, thrilling aural adventure and, like a great basement show, it'll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.
Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time. It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024. Welcome on-board! We caught up with Peter to ask as few questions about the band_ Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?" A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?" A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process, and have quickly become one of my all-time favourite bands!" Q: "What's the story behind your song 'Hornby Horrors'?" A: "Hornby Horrors is an interesting one. People who haven't heard it may assume it's about some ill-fated model railway endeavour, but it's actually a tale of corruption in, of all places, the model train company Hornby! This song was the result of several minor scandals at Hornby HQ making their way to the modelling masses, the main ones of which were an ill-fated tier list, which placed retailers in three categories as to whether or not they received Hornby's products, with tier 3 retailers barely getting anything at all. Interestingly, the UK's former biggest retailer, Hatton's Model Railways, was a tier 3 retailer due to their 'competing products' (made by their own small brand Hatton's Originals') and has recently announced closure due to financial hardship. Now as we all know, correlation does not equal causation, but I wonder_" Q: "The album is being released on a specific shade of green vinyl. What's the significance?" A: "The shade of green on the vinyl is very similar to the shade worn by the locomotives from the Great Western Railway in the 1870s - 1940s. Due to this connection, we thought it was only proper we picked this colour, which we have dubbed 'Great Western Green!'" Q: "The album release coincides with an appearance at Rebellion Festival in Blackpool this August. Can you give the readers three reasons why they should come and see your performance?" A: "1 - We like to think we provide something different with our music - it is very obviously punk, but it's a bit more light-hearted than a lot of the political stuff, with nearly all the songs being about some sort of obscure steam loco engine. If you just want something light-hearted to enjoy, we might just be the band for you! 2 - We've got a rather interesting line up - instead of the usual line-ups you see, we've got a 15 year-old singing drummer with his dad on guitar, a newly-turned adult with a massive ginger afro playing the bass, the guitarist from the old anarcho band 'Dog On A Rope' playing some gnarly lead parts, and all topped off with some beautiful backing vocals from the drummer's sister and mother. As Attila the Stockbroker described us, Blyth Power meets the Partridge Family - not to be missed! 3 - Here's something you won't forget in a hurry - as well as his vocals, our 15-year-old frontman Peter plays drums and trumpet at the same time! If that's something you want to see, make sure you get down to see us!"
It’s hard to overstate the importance of Fanny’s 1970 self-titled debut album. For the first time, a group of women (sisters June and Jean Millington, Alice De Buhr and Nickey Barclay) wrote and sang their own songs, played their own instruments and, perhaps most importantly, rocked just as hard as any male band out there. And, as the first all-female band signed to a major label (Reprise) and with superstar producer Richard Perry at the board, these four women became perhaps L.A.’s biggest “buzz band,” landing repeated bookings at the Whisky-a-Go-Go with a who’s who of rock’s glitterati in attendance. Fanny became the reference point for generations of female rockers to come after them, from Joan Jett to Girlschool to Courtney Love and beyond. They were truly the Godmothers of Chick Rock. The self-titled debut by Fanny is available as a limited edition of 750 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.
Special exclusive 7" from Il Sogno Del Marinaio, the avant-rock trio formed by legendary bassist Mike Watt (Minutemen, Firehose, Stooges), cult Italian experimentalist Stefano Pilia (Massimo Volume, In Zaire, Afterhours, Rokia Traore) and drummer Paolo Mongardi (Zeus, Fuzz Orchestra, Fulkanelli). Directly from fratello Mike Watt's words: "the "wing and a prayer" seven inch on _improved sequence_ was a product of the covid19 sitch around xmas of 2020. it was put together remotely, w/me here in san pedro, california, usa while from Italy stefano pilia (in bologna) and paolo mongardi (in imola) brought what they had from italy ... yes, the internet can be used for more than spreading hate and lies - it can also be used to collaborate in the spirit of artistic expression! cazzo, imagine that? il sogno del marinaio had finished work w/their "terzo" album and I thought a good way to rally the band would be to focus on a smaller release that reflected the current sitch we were in - see, the basic tracks of "terzo" were recorded in eleven months earlier here in my pedro town at _casa hanzo_ (stefano pilia and paolo mongardi traveling here by plane) so we had no idea what was ahead of us concerning the challenges of that fucking virus sitch. now the "terzo" album was not finished w/those basic tracks getting recorded, we had spiel (vocals) to add plus other stuff and of course it had to be mixed (tim in wales did a great job w/this - much respect to him!) so those experiences of those early covid19 times got "superimposed" on the music that was created right before it was on us, very trippy. that was a big reason I brought the three tunes of this "wing and a prayer" seven inch to stefano pilia and paolo mongardi - all they had was my bass but I believed they could "take the ball and run w/it" cuz that's how powerful I believe music to be: it can be able to overcome 'pert-near any hell trying to stomp it down. stefano pilia chose "wing and a prayer" to mix, paolo mongardi chose "tantrum" and I got what was left: "hail mary pass" - oh, I got my buddies stephen perkins to help w/percussion and petra haden to help w/singing, violin and mandolin. so one reality reality is w/these three tunes is that no one is actually playing w/each other in real time on this little record! it's all done by trading files via the internet...the starting for all three tunes being was my bass - ain't that a trip? shows how bass can be that springboard or launch pad I've always known it could be when not aiding and abetting a tune after the fact – both these "roles" for bass have been very interesting to me, going back to my early days as a minutemen and writing tunes for d boon and George hurley and by also bringing bass to their stuff
The re-release series of original Ethiopian classic vinyl continues -- the finest Ethio jazz by Mahmoud Ahmed and his band from 1975 plus two tracks from 1978.The liner notes: 'Melancholy blues, piercingly minimalist country airs, brassy, danceable urban jazz, heart-wrenching, off-key crooners: a rich and stirring patchwork of sounds, crossing Afro-beat, Latino-swing moves and Eastern arabesques (Ana�s Prosa�c).' Such were the first -- informed and enthusiastic -- opinions of the music press when the first strains of modern Ethiopian music sounded on our shores. This was in 1984-1985. Such a positive note, struck about such a country at such a time, created plenty of reverb. The country had been so thoroughly trashed by the media's feeding-frenzy, which spewed out a mix of horror and pious pity, bitter denunciation and humanitarian appeals, wallet-tickling clich�s and refusal of identity. In one brutal swoop, TV-reality transformed Ethiopia into a cursed nation, forsaken by God and by man. In contrast to these tragedies, but in the same hackneyed tones, Mahmoud Ahmed's life resembles an edifying fairy-tale where destiny, talent and achievement combine to triumph over poverty, fate and the evil eye. Biography, history and legend, with the help of God, infallibly weave the lesson of merit rewarded. But who can argue, in spite of the mockery that celebrities invariably draw, when faced with one of the greatest voices in all of Africa? Once upon a time, there was a street urchin in Addis Ababa, who started off as a shoe-shine boy and went on to become one of his country's biggest stars, opening the door to Ethiopian music to Western audiences. --Francis Falceto
non in magazzino
Ultima consegna 5 anni fa riordinabile senza garanzia
Research Records welcomes back Melbourne quartet Big Yawn for their fourth full-length offering, "NGBE."
Big Yawn's ability to blend complex rhythm sections with infectious basslines, deep synth work, and tongue-in-cheek sampling remains ever-present, and perhaps is the most advanced we've heard yet.
Sitting in a world of its own, the album—named after the group's beloved and lost warehouse space, National Gallery of Brunswick East (where most of the material was recorded)—features a wide array of soundscapes spanning mutated drum 'n' bass, low-key grime, rap, and dub-wise antics, all laced with a heavy dose of FX.
Equal parts deep and menacing, the nine tracks encapsulate Big Yawn's evolution in the studio and on stage, most notably through their collaboration '2Stroke' with Melbourne-based future rap prodigy Teether and brought to life visually with album artwork by Julian Hocking.
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
Grande Coisa! (Big Deal!). You could hear it. It is the eternal irony of life. For a composer who has been making music since he was a teenager and only at the age of 38 does he make his work public, it can indeed be a big deal. Grande Coisa, is Dorea's first authorial album, and tells his stories, the ones he lived, others he heard about, but mainly the ones he created. With all the songs composed during the most isolated period in the pandemic, the work can be dense in many moments, difficult to digest, but there are sighs. And there are stories that intersect, like those of the boys who are one and also millions, and show the artist's vision of Brazil. The disappeared, forgotten, the sad and aimless still appear. And there is the warmth of the song for a loved one or even a family partnership, between mother and son. Grande Coisa has ten songs, all written by the artist himself, one of them with lyrics adapted from an excerpt from a book written by his mother. Its musical roots are rooted in rock, but with a blatantly Brazilian gaze and interpretation. It has musical production and minimalist paths chosen by Sebastian Notini, collaborative arrangements forged in the encounter of Dorea's guitar with Seba's percussive and melodic vein and Carla Suzart's bass, and a wood weave that ends the album with the timbres of Joana Queiroz (bass clarinet and clarinet) and Leandro Tigrão (flute) under the baton of maestro Per Ekdahl.
Writing music for film and theatre has always been a big part of Hania Rani's musical world. It is also a part of the creative process that can be tantalisingly out of reach for listeners, either the project doesn't come to fruition or the music simply isn't available away from the film or play. From early collaborations with friends, to last year's two scores for full length films (xAbo: Father Boniecki directed by Aleksandra Potoczek and I Never Cry directed by Piotr Domalewski') Rani has been involved in many such projects, each representing an important step in her artistic development and life as a composer and artist:
"Composing for motion picture or theatre is for me a very different kind of work than writing for my own projects. Firstly, I need to collaborate with somebody else who sees the world through the lense of their own art and craft. That's why these kinds of encounters can be so exciting - they are a promise of creating something very new, as a result of creative work of so many people from all walks of life. Secondly, I feel that music in film is an invisible character, a missing emotion that creates a special atmosphere and sensation. It doesn't illustrate, it completes the work of art. I think it is an extremely sensitive matter that rejects banal associations and easy solutions. I feel like composing for film works like an exercise for my imagination."
It is the nature of these collaborations though, that sometimes the composers own preferred compositions don't make the final cut. This is where Music for Film and Theatre comes in as it allows Rani to present a selection of her own personal favourite pieces composed for film and plays. Pieces that made it to the final cut and pieces that were rejected by the director or the producer. Bringing the music together as an album offers a chance for Rani to share her music with her listeners on her own terms and a chance for her fans to hear a different side of her art.
"I put them in one place, as a collection of precious objects that were kept for years in a drawer. Some of them were composed a couple years ago, some are the result of recent research. I am very happy to finally be able to present them as a separate project."
Rani is of course grateful to all of the directors who have entrusted her to create music for their projects, but she professes especially warm feelings for the pieces composed for her first 'real' theatre play, Pradziady, directed by Michał Zdunik. The title comes from 'Dziady' a term in Slavic folklore for the spirits of the ancestors and a collection of pre-Christian rites, rituals and customs that were dedicated to them. The essence of these rituals was the 'communion of the living with the dead', namely, the establishment of relationships with the souls of the ancestors. "I felt this story needed extremely dark and fragile music, and at the same time a sound that could express the mixture of the two worlds - the living and the dead. I decided to compose part of the soundtrack with a string quartet but including two cellos, viola and only one violin. We recorded in a little house, completely built from wood, mostly from Finnish pine. I always felt this space has a very special, warm and natural acoustics - especially when it is combined with string instruments. The track composed for this theatre play is called Ghosts but actually didn't finally make it to the performance, although I like it so much that I thought it would perfectly fit
this compilation". Other highlights include the enchanting Soleil Pâle written for a collaboration with director Neels Castillon, and improvising dancers Alt Take, the beautiful melancholy of In Between (from the film score for xAbo: Father Boniecki) and the magical bliss of The Beach (from I Never Cry) and together they create a beautiful offering from an artist whose every note is worth hearing, but for whom the journey is just beginning:
"I am very happy to see that many artists consider my music as the right soundtrack for their works, because film music was always a huge inspiration for any of my compositions. I find there a lot of life and real emotions, but also a feeling of freedom. Freedom from my own thinking patterns and prejudices. I also believe strongly in collaboration between people, I always feel this is the way to create something really new, based on a mixture of different ways of thinking, feeling, expressing."
This then is Hania Rani, Music for Film and Theatre – enjoy!
non in magazzino
Ultima consegna 2 anni fa riordinabile senza garanzia
"Greatest Hits 1982–1989 is the third greatest hits album by the American band Chicago, released by Full Moon/Reprise Records on November 21, 1989.1 It became one of Chicago's biggest selling albums. Spanning from Chicago 16 in 1982 to Chicago 19 in 1988, the set includes founding vocalist Peter Cetera and his successor Jason Scheff. It includes a remix of ""What Kind of Man Would I Be?""
Highlights: On a sea blue colour vinyl for the first time as part of Rhino’s Summer Vinyl Campaign"
Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!
