Cerca:black man

Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. "When I'm writing for the band," he says, "I'm always trying to think of doing things Lou and Murph would fit into. For myself, I'm thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it's just what happened." Two guest musicians are playing this time out; Western Mass local Ken Mauri (of the B52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, "Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I'm really only comfortable playing the white notes, so it's kind of limiting. laughs Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it's harder to figure out how to stretch your fingers around the other ones." Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on "I Can't Find You," where he is Jack Nitzsche to J's Neil Young, creating one of the album's loveliest tunes. The other guest musician, Matthew "Doc" Dunn, is also prominent on this track. Dunn's steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc's great 2022 Sub Pop single, "Your Feel," he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads. What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they're presented is just about perfect. Asked if he would be touring to support the album, J says he'll be doing some weekend dates, but he probably won't be putting a band together. And I'm sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis' instantly Recognizable approach to making music. So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him. - Byron Coley

At the same time that Neville 'Bunny Wailer' Livingston recorded his debut solo long playing masterpiece, 'Blackheart Man', he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now...,

It is next to impossible to ever overstate the importance of The Wailers to the history of Jamaican music and, as the last surviving member of the group, Bunny Wailer rightly regards himself as the sole keeper of their history ever mindful of the group's exalted position in the story of reggae music and the importance of their legacy. In 2010 Dub Store were proud to be able to work with Bunny on re-releasing a selection of his earliest recordings for the Solomonic label, lovingly restored and presented in reproduction sleeves and labels, on limited edition seven and twelve inch singles. Now, taking another step forward, we are more than proud to present Bunny's timeless music on two beautifully packaged CD's and double LP's. Bunny's first solo album, 'Blackheart Man' originally released in 1976 on his own Solomonic label in Jamaica and on Island in the UK, is one of the undisputed all time classics of Jamaican music and established Bunny Wailer as a highly respected, world renowned artist in his own right. During this period Bunny also produced a series of singles released in Jamaica and the UK in strictly limited quantities without the benefit of international distribution, that are every bit as good and, in some cases, even better than this awesome debut long player. Original copies have subsequently become highly prized, and highly priced, collector's items. "Classic rarities" is an overused and abused term too often employed to describe average records that failed to sell on their initial release but both 'Tread Along' and 'Rise & Shine' are packed from beginning to end with a searing selection of some of the greatest and hardest to find reggae records ever produced. 'Tread Along' opens, naturally enough, with 'Tread Along' from 1969, one of the last singles for The Wailers' own Wail N Soul M label, and runs through the first release on the Solomonic label, 'Searching For Love' also known as 'Search For I', 'Bide Up' released as 1974 drew to a close, a radical reworking of 'Pass It On' and a marked contrast to the version on The Wailers' 'Burnin'', album, 'Life Line' and the prophetic 'Arabs Oil Weapon' kept the pressure on as Bunny began outlining the flawless 'Blackheart Man' album. Each release was a certified classic in its own right. Peter Tosh's melodica version to Bunny's 'Amagideon' ('Armageddon'), the first track on 'Rise & Shine', is followed by 'Love Fire', an update of another Wail N Soul M track, 'Fire Fire'/'Babylon Burning', through to one of the deepest roots records ever created, 'Rise & Shine', on to 'Riding' from the 'Bunny Wailer Sings The Wailers' sessions (but not featured on the album) and a huge hit in the UK in 1981, and closing with 'Rule Dance Hall' from 1985. No idle boast..., The liner notes feature the story of The Wailers, as told to Dub Store by Bunny himself in Kingston in an enlightening 2012 interview, and rarely seen contemporary photographs complete these essential releases. The music of Bunny Wailer was not only a medium for change and protest but also to elucidate and educate and 'Tread Along' and 'Rise & Shine' finally complete the canon of un-compiled Wailers music. "I'm quite satisfied, you know, reggae music is the kind of music that although sometimes you would look at it and say..., boy, it's hard..., then again you look at what it has done for the people of the world you know that that couldn't be locked up in a little place like Jamaica!" Bunny Wailer

The tom-tom heavy tribal rhythm of “Wela Wela” is one of the rawest, hardest cuts from the band Black Blood, a conglomeration of musicians from the central part of the African continent who were based in Belgium. The group had a breakout single in 1974 with the exotica-leaning “A.I.E. (A Mwana)” but never were able to quite capture the excitement that single generated with their follow up records. We can only guess that songs like “Wela Wela” were simply way too heavy for the pop tastes of the day, since the groove is a beast! — an acid rock tangent of the “Soul Makossa” riff that radiates pure energy. Mr. K aserts “It’s an incredible song to dance to, but was not very DJ friendly, and I never seem to hear other DJs play it... or even talk about it.” Originally debuted on his Grass Roots album, Mr. K's new rearrangement should change that, especially now that it's been made available on this hard hitting, portable 7-inch format.

Originally released the same year as Black Blood’s debut, “Komi Ke Kenam (Fish & Funjee)” was discovered and distributed by a small independent Brooklyn label that featured many other incredible African bands of the 70's. The song opens with a tough breakbeat (subtly extended by Mr. K on our release), and rumbles over a funky bassline and slicing wah-wah guitar before bursting out with a sax-led climax, a gritty get-down jam if there ever was one.

Both cuts have been remastered expressly for DJ play and are loud and clubworthy, in new extended edits that tease every last bit of funk from the originals.

Mr Lee Perry who in no uncertain terms defines the words musical genius, recorded some of the most inspiring, soulful, funny and weird / wild reggae music ever put down on tape. Working through all the manifestations of reggae from Ska to Roots and Dub, where his ground breaking 1973 ‘Blackboard Jungle’ LP, set the standards, he was an innovator. If this was not enough his recordings of THE WAILERS, many believe to be their finest work. Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxone’ Dodd’s sound system, rising quickly to the position of record scout and organising recording sessions during his 3 year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the later of which would help him set up his ‘Upsetter’ label in 1968,which would see his first of many recordings telling the injustices done to him by previous employees. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected back to Perry when he inherited it as a nick name along side many others during the coarse of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perry’s work in 1968 with producer Joe Gibbs was fruitful and resulted in many successfulreleases, but again lack of credit and itchy feet, it was time to move on. But not without leaving his trademark recording summing up his feelings at the time ‘People Funny Boy’ this time aimed at Mr Gibbs. Still not having a studio of his own, Perry recorded at the various Kingston establishments of the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. During this time and the years that followed Perry has built up a vast catalogue of backing tracks / instrumentals, he had cut over a 100 releases on his ‘Upsetter’ label alone. A library of music that he has an uncanny knack of reutilising to work into something new when put against a new song / singer. This collection of rare and unreleased dubs stems from his 1971-1974 period. We can here on tracks like ‘Perry’s Jump Up’ Ska-ish up tempo chopping guitar cuts leading through to organ laden tracks like ‘Roots Rock Dub’. The sound moving to a slowed down rhythm on ‘Perry in Dub’ which would predominate his sound, when in mid 1974 he’d open his own studio at his home in the Washington Gardens district of Kingston. We hope this selection of lost treasures will add to the jigsaw that makes Mr Perry’s output now spanning over 5 decades so remarkable.
RESPECT.... JAH FLOYD.

Repress!

Presenting a collection of deep spatial gems mined from the ever impressive TK Disco vaults for your playback listening pleasure!

The TK Disco music empire has blessed our ears and minds with an endless stream of music since it's late 1960's inception. Countless soul and funk sides were produced, cut and released by label founder Henry Stone and his associates, in turn changing the face of contemporary black music in the USA and across the world forever. It is true that the TK story originated on America's 'Space Coast', the modern frontier of lunar exploration and galactic travel, the home of NASA and countless missions beyond the stars nestled on the East Coast of the United States.

'Moon Ride' - The compilation you hold in your hands, is merely one strand of the incredible music that was beamed out of Hialeah, FL over the decades. The focus on this collection is the idea of the 'cosmic' from the Disco era. These are records that emit a spacey vibe, either from their lyrical content or equally from their sonic qualities, imbibing synths and electronics to create otherworldly grooves. These records were big hits on underground music scenes such as Daniele Baldelli's cosmic movement in the 70's and 80's in Lake Garda, they were vehicles of escapism and hedonism on the discerning dancefloors of NYC in the hands of progressive DJs like David Mancuso and Nicky Siano and they were also essential building blocks in the creation of House and Techno music in the Midwestern cities of Chicago and Detroit, inspiring legendary artists such as Mr Fingers and Jeff Mills and countless others. An essential collection of music for listening, dancing, loving and travelling!

TK Disco's influence is still felt today and this carefully curated selection of tracks showcases some absolute classics, overlooked nuggets and rarities from the label's huge output. Mastered with love by Optimum Mastering, Bristol UK. Brought to you by TK Disco / Henry Stone Music & Above Board Distribution 2021.

After years out of press, Motorpsycho's 2001 masterpiece is back in stock on vinyl! Originally released in 2001, Phanerothyme was a brave sidestep in the band's career. By embracing 60's psychedelic pop sensibilities and turning down their heavier, grungier tendencies, Motorpsycho displays another of their seemingly endless facets. After many years out of press, Stickman Records is proud to finally offer an updated version of this LP! Features include: • 180gr. black vinyl pressed from brand new lacquer cut • reconstructed from the original master files by Helge Sten • revamped cover art • heavy duty inside-out printed cover • printed inner sleeves and color insert

Inmitten des kosmischen Echos hallt ein eindringlicher Schrei durch die unendlichen Weiten, der vom wachsamen Sonar eines Satelliten in der Umlaufbahn aufgefangen wird. DARKSPACE, das aus Wroth, Yhs und Zharaal bestehende Dreigestirn, wendet sich an die Bewohner der Erde. Sie sind in die Kategorien I bis III I eingeteilt und haben die Menschheit in den letzten Jahrzehnten seit ihrer Gründung mit ihren Übertragungen aus dem Weltall in ihren Bann gezogen.

DARKSPACE nimmt erneut Kontakt zu den Erdbewohnern auf - einedunkle Manifestation des Black Metals, scheinbar aus den Tiefen eines stellaren Schwarzen Lochs entsprungen, präsentiert eine jenseitige Reise durch den Kosmos. Mit einer eiskalten Umarmung und psychedelischer Leitfähigkeit präsentieren die mysteriösen Gestalten ein einzigartiges Album mit atmosphärischem Black Metal jenseits des menschlichen Verständnisses. Fraktale elektronische Samples schneiden sich durch Schichten von außerirdischen Drones und manifestieren eine immersive Erfahrung, die die Grenzen des konventionellen Black Metal-Genres sprengt. Gesangsübertragungen, die wie ein Flüstern aus dem All klingen, sind nahtlos in den Mix eingeflochten und verleihen den außerweltlichen Klängen eine eindringliche Dimension.

Menschen, macht euch bereit für eine Reise jenseits der bekannten Gefilde. DARKSPACE lädt euch ein, in die rätselhaften Weiten von "Dark Space -II" einzutauchen, wo sich die Grenzen der Realität auflösen und die jenseitigen Spuren des Black Metal mit unvergleichlicher Intensität erklingen.

15 years after their last album of original music, the Robinson Brothers present ‘Happiness Bastards’- their 10th studio album. Some may say the project has been several tumultuous years in the making, but we argue it's arriving at just the right time. Call it brotherly love or music destiny that brought them back together, the highly anticipated record consecrating the reunion of this legendary band just may be the thing that saves rock & roll. In a time where the art form is buried beneath the corporate sheen of its successors, The Black Crowes are biting back with the angst of words left unsaid penned on paper and electrified by guitar strings, revealing stripped, bare-boned rock & roll. No gloss, no glitter, just rhythm and blues at it's very best - gritty, loud, and in your face.

Since The Black Crowes reunited in 2019, they've made a triumphant return to form with over 150 shows spanning 20 countries worldwide, celebrating the 30th anniversary of ‘Shake Your Money Maker’, the album that put them on the map. Upon their return from the road, they knew they needed something new to show for their lost time. The Robinson Brothers and longtime bassist Sven Pipien headed to the studio with producer Jay Joyce in early 2023 and the experiences of years past transcribed themself through the music as the band found their way back to their roots. And it's finally here!

Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.

Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.

Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences long-time fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.

Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.

The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.

Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.

Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.

In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!

Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. McLaughlin’s rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”

And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.

An avant-garde masterpiece, a vocal-instrumental suite, a work of collective improvisation, directly addressing the racial and political issues of it’s day, We Insist! Max Roach’s Freedom Now Suite is one of the most important artistic statements of Civil Rights Movement and one of the most groundbreaking jazz albums of all time. Max Roach was already almost a decade into his career as one of the most influential jazz drummers and composers when he teamed up with lyricist Oscar Brown Jr. to collaborate on a piece they planned to perform at the centennial of the Emancipation Proclamation in 1963. Recorded just months after the February 1960 Greensboro sit-ins, the album stands as an early musical testament to the burgeoning rage, anger and passion that would take the Civil Rights Movement from its early victory in Montgomery in 1955 into a future that would dramatically alter race relations in the United States. The second release from the newly launched New York City based jazz label Candid Records, and produced by label co-founder, famed music critic and social activist, Nat Hentoff, the album is a bold statement, focused on civil injustices in black history ranging from slavery to contemporary racial prejudices, and featuring some of the finest jazz musicians ever, including Abbey Lincoln, Coleman Hawkins, Eric Dolphy, Booker Little, and Michael Babatunde Olatunji. The five movements of the work are organized as a historical progression through African-American history, a shape similar to the one in Duke Ellington’s Black, Brown and Beige. The Freedom Now Suite moves from slavery to Emancipation Day to the contemporary civil-rights struggle and African independence. The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances.

Introducing, the experimental violinist and performer Vanessa Bedoret.

The London-based French musician today announces that she’ll be joining, Scenic Route, a label renowned for selecting and nourishing rising stars for the release of her debut album, Eyes, due out on 8th of March 2024. Launching with a taste of what’s to come, today she also shares single “1/2”, a textural track that tells of the dichotomy between those who are selfless and those who are self-centred, and their need to merge as one. This duality is reflected in the industrial metallic echoes under Vanessa’s soaring vocals and the piercing strings of her chosen instrument, the violin.

Treating songwriting as an instinctive process, Bedoret transforms her deeply personal experiences into pure emotion. Not following any set narrative, Eyes takes the listener on a journey via their own experiences, prompting introspection through Bedoret’s hypnotic melodies.

Through the album, she awakens the audience's imagination, to open up their emotional response. On “Ballad”, a vague, loving lyrical letter to someone close, Bedoret’s heartbreakingly soft lament is barely audible over the dramatic atonal strings. She flips her narrative again in the titular track, “Eyes”, so the listener empathises through her isolated violin, and takes on her anguish, not needing to understand the full story.

Bedoret began her classical training at age 6 and on completion at 18 she embraced the thrill of playing guitar in punk bands, and like many at the turn of adulthood, was quickly captured by the allure of the dancefloor. Her far-reaching taste doesn’t stop there, she also counts black metal to opera and from eurodance to IDM as inspiration. Her deep understanding of musical form elevates her experimentation to a truly unique sonic experience, one that never strays too far from her original love of classical music.

With only a string of releases under her belt via independent labels like Laura Lies In and Archaic Vaults, her refined skillset has meant she’s been in high demand for both solo shows and collaborations. These accolades include playing violin with New York avant garde collective Standing On The Corner at The Serpentine, as well as a part of Kahil El’Zabar conducts MOKI at the ICA, and Linder: Another Music in a Different Arcadia at the Design Museum alongside artist Linder Sterling, Naima Cherry, Maxwell Sterling, Kenichi Iwasa & Ella Frears.

For her solo performances, she’s shared stages with Standing on the Corner, Ekaterina Bazhenova-Yamasaki, Philomème Pirecki, John T. Gast and Nexcyia to name a few. She’s also performed as a duo alongside musician Severin Black in support of their collaborative EP release, First Passage / Excommunicated.

Through the lens of a life lived to it’s fullest and one that does not shy from experiencing the rawest of emotions, it’s clear that Bedoret has a nack for translating personal observations into cinematic crescendoes. The field recordings throughout only heighten this feeling adding both a grounding and other worldy sensibility. Lyrically, she allows you to peek into her private world and for a fleeting moment letting you lock eyes with hers, asking what do you see?

This debut is a glowing experimental work that purrs with a distinctive narrative. Vanessa Bedoret is a promising new act, ready to take 2024 by storm.

"Ausgezeichneter Gruselrock! Allein die Songtitel: ,The Dead Won't Sleep", ,Forbidden Forest", ,At The Mountains of Madness" oder ,Stone Age Funeral"! Da krieg ich gleich gute Laune von, das sind die wichtigen Dinge im Leben. Musikalisch befinden wir uns ungefähr in 1970, und die Rockmusik wird irgendwie heavy & treibend und vor allem düster und unheimlich. Mountain Witch verschreiben sich auf ihrer zweiten Platte erneut diesem Sound, den Black Sabbath und andere in die Welt gerufen haben, und mit ihrem Vintage Equipment Wahn kommen sie so dicht dran, dass man es nicht für möglich hält, dass das eine neue Platte sein soll. Erfreulich finde ich, dass hier mehr gesungen wird als auf dem Debut ,Cold River", das steht den Songs ausgezeichnet und unterstreicht eben das eingangs erwähnte Gruselfeeling. Wer auch nur am Rande was hält auf alten Hardrock oder konsequenten Stoner, muss unbedingt reinhören. Absolutes Meisterwerk ist der gut sieben Minuten lange ,At The Mountains of Madness", der sich langsam aufbaut und eine recht eigene Note mitbringt, außerdem gruselt es mich hier am meisten, wenn kurz vor Schluss dieser Psychedelik-Part verhältnismässig weit raus rudert für Berghexen-Verhältnisse. Gut gemacht! Wer also auf alten Kram wie Witchfinder General, Legend, Manilla Road, epic 70ies Protometal oder neueren Kram wie Demon Head, Kadavar oder natürlich die erste Mountain Witch Platte steht, sollte unbedingt zugreifen, es hat eine Entwicklung im Songwriting stattgefunden, die ich so nicht vorhergesehen habe. An den Songs ist kein Gramm Fett zuviel, die sehnigen Songs hauchen einem wie ein Knochenmann in den Nacken, wenn der getragene Titelsong losgeht, verbreitet sich Nebel aus einem anderen Jahrhundert in meinem Zimmer und wenn ich Glück habe, nimmt er mich nicht mit oder löst mir das Fleisch vom Skelett. Das meine ich ernst! Der Chor! Top! ,Isle of Bones" wird dann so melancholisch, fast eisig, dass es ein perfekter, hypnotischer Rausschmeißer ist, der einen die Platte einfach nochmal umdrehen lässt!" Tobi Neumann

HAVEN are proud to present the second record in their black label series focused on the crossover between sounds on the UK bass music spectrum and hard techno dynamics. This time UK break-beat maestro Mani Festo joins the label for the first time with an EP of hardcore-
inspired dance-floor weaponry alongside a remix from Swedish experimentalist PederMannerfelt.

The A side kicks off with 'Hunterr' with booming vocal cuts, pounding 4-4 kicks and break-beat rhythms sprinkled throughout for a prime UK hardcore and techno genre crossover slab of club material. This is followed by the Peder Mannerfelt remix where the Swedish legend brings his left-of-field sensibilities to the fore, submerging the vocals in to a ghostly high-frequency spectrum whisper alongside a looping bass-line and sludgy drum rhythms to close out the first side.

The B side starts with 'Swarmm' - a broken beat roller filled with screeching synth zaps and a mammoth break-beat in the second half. Up next comes 'Poison' with its eerie atmospheres and drones sat behind a 4-4 rhythm and charging break-beats in another dance-floor killer. Finally 'Machine' closes the EP with its syncopated electro rhythms and funky UK swing alongside chugging bass plucks and arpeggiated melodies in one more crossover hammer.

Wer sich auf den Weg nach Louisiana macht, kehrt meist nicht auf dem gleichen Weg wieder zurück. Die Songs von BROTHER DEGE atmen die schwüle Luft der sumpfigen Wälder im Mississippi-Delta und beschwören die Geister der Bayous herauf. In den Adern des für den GRAMMY Award nominierten Singer & Songwriter Dege Legg, der seine musikalische Heimat an den Kreuzwegen aus mitreißendem Rock'n'Roll, wortgewandtem American Folk und psychedelischer Glückseligkeit gefunden hat, fließt das heiße Blut seiner Heimat in Form von surrenden Slide-Gitarren, unverfälschtem Gesang und schweißgetränkter Poesie. Mit der Magie des tiefen amerikanischen Südens zieht BROTHER DEGE auf seinem sechsten Album "Aurora" die Hörer in den Banner seiner üppigen musikalischen Welt. Sein Aufstieg fand beinahe im Stillen statt und das, obwohl der Amerikaner zig Millionen Streams generiert hat und seine breite Anerkennung sogar von keinem geringeren als Quentin Tarantino honoriert wurde, der persönlich den Song "Too Old to Die Young" für eine Schlüsselsequenz in seinem Film "Django Unchained" auswählte. Die Musik von Dege Legg lässt kühne Hooks über einer Unterströmung aus bluesiger Verzerrung aufblitzen. Dabei kanalisiert er seine Liebe für die Klassiker der Siebziger und Achtziger in einer höchst individuellen Variante des Southern Rock in den Sound des 21. Jahrhunderts. Aus diesem stilistischen Nebel erwächst eine unvergleichliche Klangvision, die Alt-Americana gleichermaßen Schärfe und Gusto verleiht. Als Dege Legg im Jahr 2004 unter dem Namen BROTHER DEGE mit seinem Debütalbum "Trailerville" in der Szene des Südens aufkreuzte, war sein höchst individueller Sound bereits voll ausgeprägt. Schon der zweite Langspieler "Folk Songs of the American Longhair" brachte gleich mehrere Hymnen hervor, darunter auch "Too Old to Die Young". Dege Legg nutzte diesen Schwung, um gleich eine ganze Reihe von Fan-Favoriten zu veröffentlichen: "How To Kill A Horse" (2013), "Scorched Earth Policy" (2015) und "Farmer's Almanac" (2018). Es lässt sich nicht leugnen, dass BROTHER DEGE stark von der Musik und den Klängen des Deep South der USA beeinflusst ist, gegen die er in seiner wilden Jugend noch rebellierte. Doch obwohl seine Wurzeln stark hervortreten, übersetzt der amerikanische Gitarrist und Sänger die Songs seines neuen Meisterwerks "Aurora" noch einen Schritt weiter in die universelle Sprache des Rock'n'Roll. Aber Vorsicht: Wer sich einfach zurücklehnt, die Augen schließt und dieses wunderbare Album auf sich wirken lässt, könnte in Louisiana aufwachen!

Wer sich auf den Weg nach Louisiana macht, kehrt meist nicht auf dem gleichen Weg wieder zurück. Die Songs von BROTHER DEGE atmen die schwüle Luft der sumpfigen Wälder im Mississippi-Delta und beschwören die Geister der Bayous herauf. In den Adern des für den GRAMMY Award nominierten Singer & Songwriter Dege Legg, der seine musikalische Heimat an den Kreuzwegen aus mitreißendem Rock'n'Roll, wortgewandtem American Folk und psychedelischer Glückseligkeit gefunden hat, fließt das heiße Blut seiner Heimat in Form von surrenden Slide-Gitarren, unverfälschtem Gesang und schweißgetränkter Poesie. Mit der Magie des tiefen amerikanischen Südens zieht BROTHER DEGE auf seinem sechsten Album "Aurora" die Hörer in den Banner seiner üppigen musikalischen Welt. Sein Aufstieg fand beinahe im Stillen statt und das, obwohl der Amerikaner zig Millionen Streams generiert hat und seine breite Anerkennung sogar von keinem geringeren als Quentin Tarantino honoriert wurde, der persönlich den Song "Too Old to Die Young" für eine Schlüsselsequenz in seinem Film "Django Unchained" auswählte. Die Musik von Dege Legg lässt kühne Hooks über einer Unterströmung aus bluesiger Verzerrung aufblitzen. Dabei kanalisiert er seine Liebe für die Klassiker der Siebziger und Achtziger in einer höchst individuellen Variante des Southern Rock in den Sound des 21. Jahrhunderts. Aus diesem stilistischen Nebel erwächst eine unvergleichliche Klangvision, die Alt-Americana gleichermaßen Schärfe und Gusto verleiht. Als Dege Legg im Jahr 2004 unter dem Namen BROTHER DEGE mit seinem Debütalbum "Trailerville" in der Szene des Südens aufkreuzte, war sein höchst individueller Sound bereits voll ausgeprägt. Schon der zweite Langspieler "Folk Songs of the American Longhair" brachte gleich mehrere Hymnen hervor, darunter auch "Too Old to Die Young". Dege Legg nutzte diesen Schwung, um gleich eine ganze Reihe von Fan-Favoriten zu veröffentlichen: "How To Kill A Horse" (2013), "Scorched Earth Policy" (2015) und "Farmer's Almanac" (2018). Es lässt sich nicht leugnen, dass BROTHER DEGE stark von der Musik und den Klängen des Deep South der USA beeinflusst ist, gegen die er in seiner wilden Jugend noch rebellierte. Doch obwohl seine Wurzeln stark hervortreten, übersetzt der amerikanische Gitarrist und Sänger die Songs seines neuen Meisterwerks "Aurora" noch einen Schritt weiter in die universelle Sprache des Rock'n'Roll. Aber Vorsicht: Wer sich einfach zurücklehnt, die Augen schließt und dieses wunderbare Album auf sich wirken lässt, könnte in Louisiana aufwachen!

High Roller Records, 180g black vinyl, ltd 500, insert, poster, original mix with all interludes between the Songs! Original 1986 sound !!! Specially mastered for vinyl by Patrick W. Engel at Temple of Disharmony!