Cerca:blue gas

To celebrate the 10th Anniversary of Frightened Rabbit’s critically acclaimed Pedestrian Verse album, this special edition double vinyl release contains the original 12 track album with an additional 11 bonus tracks.
Disc 1 is pressed on clear vinyl and disc 2 is pressed on black vinyl.
The records are housed in a gatefold outer sleeve with a gold foiled motif on the front cover and printed inner sleeves containing album lyrics.

KSB stands for Kashmere Stage Band group that was initially founded by Conrad O. Johnson. He was at the heart of the group which is surely one of the most accomplished student outfits of all time. They hailed from the eponymous Kashmere High School in Houston, Texas, and were active in the 1960s on until the late 1970s. They related a number of albums which only get got pressed up a maximum of 1000 times so have become cult favs and hard to find treasures. P-VINE however changes all that with a series of limited reissues of their most renowned albums, including this one, Out Of Gas But Still Burning, as well as some others which have never actually been on wax before.

„Cherry Blossom Baby“, Shigetos erstes Album seit 2017, entspringt einem kollektiven Tauwetter, ist ehrgeizig, kollaborativ und vollendet. Der in Detroit lebende, japanisch-amerikanische Musiker, DJ, Mitbegründer des Portage Garage Sounds-Labels und langjährige Ghostly International-Künstler übernimmt die Rolle des Produzenten und Komponisten. Der kühne und absichtsvoll kultivierte Sound ist eine Hommage an die Traditionen von Electronic Music, Jazz, R&B und Hip-Hop - eine Fusion, die zu seinem Markenzeichen geworden ist und heute lebendiger denn je. Zach Saginaw und eine Gruppe von Gästen und Musikern präsentieren eine Momentaufnahme, eine Feier der Selbstliebe und einen Ausdruck von Vitalität, der eindeutig in Detroit verwurzelt und von der kulturellen Geschichte seiner Familie geprägt ist. Für „Cherry Blossom Baby“ ließ sich Saginaw von den Kirschbäumen inspirieren lässt, die jeden Frühling in Hiroshima blühen - ein bleibendes Bild für Hoffnung, Widerstandsfähigkeit und Erneuerung. „Ich bin ein Kirschblütenbaby“, sagt er. „Wir alle sind Kirschblütenbabys, wir alle sind unverwüstlich, wir alle wachsen, und wir alle werden es auch weiterhin tun.“ Saginaw war auf der Suche, eine schwelende Selbstbeobachtung, die in den letzten Jahren zum Vorschein kam, als das Nachtleben pausierte und er begann, die Idee von Shigeto, dem Performer und der festen Größe in Michigan, zu hinterfragen. „Meine Identität ist etwas, mit dem ich schon immer zu kämpfen hatte: Ich werde weder als Japaner noch als Weißer angesehen. Ich glaube, Shigeto war für mich eine Möglichkeit, diese Identität zu haben, mir eine zu schaffen, an der ich mich festhalten konnte, und plötzlich gab es sie nicht mehr.“ Diese Erkenntnis veranlasste ihn, an sich selbst zu arbeiten, zu seinem Handwerk und seiner Gemeinschaft zurückzukehren, und legte damit den Grundstein für ein Album, das sich aus der Asche im übertragenen Sinne neu erhebt. Das bekräftigte Selbstbewusstsein, der Schwung und die Reifung zeigen sich darin, dass Saginaw sich hier als Songwriter und Produzent positioniert, der Ideen mit den besten Musikern Detroits arrangiert, eine physische Manifestation seiner WDET 101.9FM Radio-Show, die „zukunftsweisende Musik aus der Detroiter Diaspora“ hervorhebt. Jeder Track ist eine Kollaboration, sei es mit einem Sänger oder mehreren Instrumentalisten, die in seinen Portage Garage Studio Sessions geschmiedet wurde. Die Produktion und der Mix sind voll und zurückhaltend und verzichten auf moderne Kompression zugunsten einer geräumigeren Dynamik - eine Anspielung auf Psych- und Jazz-Platten aus den 70er und 80er Jahren.

„Cherry Blossom Baby“, Shigetos erstes Album seit 2017, entspringt einem kollektiven Tauwetter, ist ehrgeizig, kollaborativ und vollendet. Der in Detroit lebende, japanisch-amerikanische Musiker, DJ, Mitbegründer des Portage Garage Sounds-Labels und langjährige Ghostly International-Künstler übernimmt die Rolle des Produzenten und Komponisten. Der kühne und absichtsvoll kultivierte Sound ist eine Hommage an die Traditionen von Electronic Music, Jazz, R&B und Hip-Hop - eine Fusion, die zu seinem Markenzeichen geworden ist und heute lebendiger denn je. Zach Saginaw und eine Gruppe von Gästen und Musikern präsentieren eine Momentaufnahme, eine Feier der Selbstliebe und einen Ausdruck von Vitalität, der eindeutig in Detroit verwurzelt und von der kulturellen Geschichte seiner Familie geprägt ist. Für „Cherry Blossom Baby“ ließ sich Saginaw von den Kirschbäumen inspirieren lässt, die jeden Frühling in Hiroshima blühen - ein bleibendes Bild für Hoffnung, Widerstandsfähigkeit und Erneuerung. „Ich bin ein Kirschblütenbaby“, sagt er. „Wir alle sind Kirschblütenbabys, wir alle sind unverwüstlich, wir alle wachsen, und wir alle werden es auch weiterhin tun.“ Saginaw war auf der Suche, eine schwelende Selbstbeobachtung, die in den letzten Jahren zum Vorschein kam, als das Nachtleben pausierte und er begann, die Idee von Shigeto, dem Performer und der festen Größe in Michigan, zu hinterfragen. „Meine Identität ist etwas, mit dem ich schon immer zu kämpfen hatte: Ich werde weder als Japaner noch als Weißer angesehen. Ich glaube, Shigeto war für mich eine Möglichkeit, diese Identität zu haben, mir eine zu schaffen, an der ich mich festhalten konnte, und plötzlich gab es sie nicht mehr.“ Diese Erkenntnis veranlasste ihn, an sich selbst zu arbeiten, zu seinem Handwerk und seiner Gemeinschaft zurückzukehren, und legte damit den Grundstein für ein Album, das sich aus der Asche im übertragenen Sinne neu erhebt. Das bekräftigte Selbstbewusstsein, der Schwung und die Reifung zeigen sich darin, dass Saginaw sich hier als Songwriter und Produzent positioniert, der Ideen mit den besten Musikern Detroits arrangiert, eine physische Manifestation seiner WDET 101.9FM Radio-Show, die „zukunftsweisende Musik aus der Detroiter Diaspora“ hervorhebt. Jeder Track ist eine Kollaboration, sei es mit einem Sänger oder mehreren Instrumentalisten, die in seinen Portage Garage Studio Sessions geschmiedet wurde. Die Produktion und der Mix sind voll und zurückhaltend und verzichten auf moderne Kompression zugunsten einer geräumigeren Dynamik - eine Anspielung auf Psych- und Jazz-Platten aus den 70er und 80er Jahren.

Forgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.

The patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?

As it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.

It also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.”

Now, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.”

***

In conversation, Evans and Trump are a delight, especially for cynics who might think that Gen-Z is only capable of doomscrolling. They come across as kindly young intellectuals who grew up using the internet as it was intended, for exposure to ideas and art across genres and generations. Trump points to indie-folk and the oracular post-rock of late Talk Talk, Bark Psychosis and Gastr del Sol. Pressed for his guitar heroes, he cites Bill Orcutt, Mary Halvorson and Marc Ribot, and mentions his devotion to alt-country. Heyday electro-industrial stuff like Skinny Puppy and Nine Inch Nails also meant a lot to him.

Evans is equally intrepid, though his background has a greater jazz focus. Ambrose Akinmusire, among today’s most thoughtfully commanding trumpeters, is a favorite. As for the soulful murmur he offers throughout Forgetting You, Pharoah Sanders’ wistful and lyrical contributions to Floating Points’ work is a touchstone.

The two grew up down the street from each other in the northern Piedmont town of Batesville, Virginia. Their families were friends, holidays were celebrated together and they became the most loyal of pals. As children they had a pretend band.

Then life unfolded, they attended different schools and their paths diverged. Evans discovered John Coltrane and became a jazz obsessive, as Trump found punk and hardcore and later began making ambient music. As a dedicated jazz trumpeter, Evans studied formally and widely; Trump was an autodidact, teaching himself guitar and absorbing synthesis and production techniques. The late teens and very early 20s brought moves away from home and back to home, as well as plenty of listening and learning. The Covid pandemic meant an opportunity to reconnect on long walks. Through it all, together and apart, they remained reverent of each other.

By early 2023, they found themselves living again among the Blue Ridge Mountains. In the evening, after giving trumpet lessons in Charlottesville, Evans would make the eerily beautiful trek “over the mountain” to Trump’s home in Staunton, Virginia. They’d talk and eat and begin to improvise, deep into the night. Evans played trumpet and sometimes drums. (Given the wee-hours recording schedule, the neighbors didn’t appreciate the latter.) Trump plugged a rickety, junk-store Telecaster-style guitar into a cheap solid-state amp and explored open tunings; he also layered on lap steel, electric bass, synths and electronics.

They locked in and relished each other’s gifts. In Trump, those include patience and intentionality and sonic decision-making; for Evans, a distinctive trumpet sound that both musicians think of as a singer’s voice. “Will’s playing is so thoughtful and well placed,” Trump says. “My goal from a producer’s mindset is that the trumpet will occupy the space that vocals would take.”

Often, they got lost in the best way. “The thing I look for most when I’m playing is that feeling of disappearing into what you’re doing,” Evans says. “Usually when that happens, the music is good.”

By the same token, they didn’t pursue free improvisation as an ethic, or as a pure process. Their goal was something closer to spontaneous composition. “We were trying to make good songs,” Evans says simply. Later, Trump did brilliant post-production work, expanding a modest setup into an enthralling soundworld. Under his judicious editorship, music that was wholly improvised sounds at times like a carefully composed new-music commission.

The results speak for themselves. “A Happy Death” summons up a swath of American desolation through the viewfinder of Wim Wenders. “Flesh of Lost Summers” and “Partings” are highlights from an essential ECM LP that never was. “A Collapse of Horses” infuses those seminal post-rock influences with the plod of doom metal or slowcore. The album’s final track, “The Mountains Are a Dream That Calls to Me,” was in fact the first thing the duo recorded, as an evocation of those twilit drives across the Blue Ridge Mountains. “Looking back at what we chose to name the songs,” Evans says, “and some of the sounds and how they make me feel, there is an air of impermanence and loss to this album.”

“I’m excited for everything that’s to come,” he adds, “but I recently thought, ‘Damn — that’s not going to happen again.’ It was a privilege for us to have that time together.”

The sophomore effort from Gray/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision. To call this pair's brand of country-rock détournement "cosmic" would be too breezy: L. Gray and Rob Smith prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings. Formed in the outer-edges of Kings and Richmond counties circa 2020, Gray/Smith is something of an East-Coast involution. L. Gray (guitar and vocals) and Rob Smith (drums, guitar and vocals) are both trusty veterans of "band's bands" like Pigeons (Soft Abuse), No-Neck Blues Band (Revenant, Locust), Rhyton (Thrill Jockey), and The Suntanama (Drag City), freewheeling groups known for mining from polyglot sources: rough-hewn folk and the spiritual avant-garde, bargain-bin hard rock and and collector's-choice psychedelia alike. On their first, self-released LP Gray/Smith, serendipitously recorded at Gary's Electric at the top of 2021, the pair trained their assured chops onto the great American song-form, honing a murky but tight approach that variously cribs "urban cowboy" and finger-picked primitivism. A string of cryptic appearances soon followed, including a short-lived residency at a now-shuttered vodka dive; a micro-tour with Coloradan songstress Josephine Foster; and a series of backyard and barroom gigs sharing stages with compatriots like Stella Kola, Blues Ambush, Samara Lubelski, and Wednesday Knudsen. Heels in the Aisle is the slipshod, burnt-out, mid-'70s unter-prog comedown to their debut's backwoods, bushy-tailed, early-'70s, country-rock meanderings_expect more unrestrained riffs, artful studio wizardry, and worn-down introspection. Joining the ranks of bloodshot-eyed, blues-rock medleys à la Canned Heat's "Parthenogenesis" and Grand Funk's "Into The Sun," "The SDSPS" is the nearly side-length opening cut, an expanded song-cycle condensing and riffing on the themes of their debut. "Help Me" ventriloquizes Pomona College outlaw Kris Kristofferson's slow-roaring ballad of libidinal woe. On the flip side, "Verrazano Tile" and the title track pay heed to lower bays of Staten Island, while their arrangement of the traditional Zimbabwean tune "Guabi Guabi" is a bright Dead/Feat-like jaunt with blissed-out wah-wah pay-off. "Gaslight Boulevard" is lean, mean, and eight-beers-in space rock, and the closing track "Kekule's Ring" is a slack-jawed, wistful crash back down to earth. All this, packaged in a luxe, expertly-printed sleeve photographed by downtown artist Lary 7 and designed by Eric Wrenn (Sophie's Oil of Every Pearl's Un-Insides).

Zach Bryans fünftes Studioalbum, The Great American Bar Scene, erscheint am 11.10.2024. Im Juli erschien die Single „28“. Im Juni erschien bereits ein musikalischer Vorbote mit „Purple Gas“. Als Feature gastiert Noeline Hofmann, eine aufstrebende Countrymusikerin aus Kanada.Bryan singt mit Bruce Springsteen den von Beiden gemeinsam komponierten Song „Sandpaper“ und mit John Moreland huldigt er mit „Memphis; The Blues“ den Blues der Musikmetropole Memphis. Mit dem großartigen Gitarristen John Mayer beschwört er die „Better Days“. Drei unfassbar starke Songs, die ohne Frage als Highlights des Longplayers bezeichnet werden können! Die drei ersten Singles „Pink Skies“, „Purple Gas“ und „28“ gaben die musikalische Marschrichtung bereits an. Das gilt auch für die restlichen Titel des großartig gelungenem und umgesetzten Albums. Der ehemalige Soldat hat’s wirklich drauf und komponiert und textet Songs, so wie er sagt „wie ein Akkordarbeiter“, die sich aber keinesfalls mal schnell dahingeschrieben anhören, sondern den Zeitgeist, das echte Leben und gleichermaßen Ängste aber auch unbändige Lebensfreude widerspiegeln. Seine Geschichten erzählen von Liebe, Freunden, Bars und ja, vielleicht den besungenen „besseren Tagen“, auf die wir alle sehr gespannt sein dürften – wenn sie dann kommen, nicht wahr? Fazit: Das 19 Titel umfassende Album beinhaltet 18 Songs und ein (gesprochenes) Gedicht. Man fühlt sich als Hörer musikalisch sofort abgeholt und lauscht dem, meist sehr akustisch aufgenommenen Songs. Deshalb kommt auch keine Sekunde Langeweile auf – ein starkes Album.

The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pestelnik on drums. The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove. Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’. Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs. According to Tony in Zig Zag’s John Tobler’s sleeve notes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.” “A deep excursion into musical depths further down than Canned Heat ever dared go.” The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track

Bones Shake are a scuzzy, fuzz enthused garage rock trio formed in Manchester in 2011. They play everything to the extreme; violent bottle-neck blues riffs, drums kicked, pounded and exploited and squeals of reverb drenched vocals which when combined, will help save your soul. With a relentless energy, they’ve never taken their foot off the gas. In July 2022 they released Bleed to critical acclaim, itself the follow up to 2019’s debut LP Sermons. Purge sees the trilogy complete. Through tirelessly playing across the UK and Europe, their cult following makes them one of the best not so kept secrets in the underground scene. Wherever they go they fill out venues and have now played the infamous Raut Oak festival twice. With a string of previous releases under their belt, they have gone from strength to strength and attracted attention worldwide. Imagine a desert dive bar, the only bar in a hundred miles, the soundtrack as the shots fly is Purge. Talking about the LP, Bones say that “we needed to purge ourselves of these songs so we stuck two fingers up, lodged them at the back of the larynx and spewed out a new album.” Opener ‘Banshee’ wastes no time in providing that proverbial kick to the face these guys are infamous for. With a gnarly vocal and guitar interplay you’re hooked from the first note; the intensity rises with every rotation and if this one doesn’t leave you breathless you are not listening loud enough. ‘One Kiss’ is a filthy little blues number that taunts and teases, while ‘Pretty Little Things’ takes you on a journey through their sound bringing out all the bumps and grinds you could possibly muster. ‘The Creeper’ is a bit different to their usual, adding a sense of intrigue and unease that draws you in deep. Lead single ‘Let Go’ is an adrenaline fuelled expedition through all the best parts of their sound, with a few surprises thrown in for good measure. ‘Passive Intervention’ changes track a little, keeping you aurally attentive while title track ‘Purge’ is the experience that can’t be surmised, get the volume up high and release. With its rolling, thunder-esq. drums, closer ‘Stench’ rounds things off in the best way; leaving you wanting more. Purge is without doubt their strongest and most visceral release to date, dare you miss out on this experience

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

Young Marble Giants' "Colossal Youth" has mystified and beguiled audiences since its 1980 release. Seen by primary songwriter Stuart Moxham as "a last gasp" at making a record, Stuart insisted the one-off 7" deal offered by Rough Trade be altered to allow an entire album . . . that paid off when with a big seller which produces cover versions even from bands whose members were a decade or two away from being born on the album's release. When YMG disbanded, Stuart was at a loss; he'd never envisioned a follow-up. A series of experimental recordings made with pal Phil Legg (Essential Logic) and supported by other YMG members, musicians from This Heat and Swell Maps, old Cardiffian pals, and new friends like Vivien Goldman resulted in an album, "Embrace The Herd", as The Gist. Released just before Rough Trade made bold moves toward pop charts with Scritti Politti, The Smiths and others, the album was odd for its time, but has since taken on the lustre of genius. Years of silence followed, thereafter intermittently broken by the odd release from small labels. Stuart delved into family life, though he never stopped writing and recording. In more recent years, two retrospective compilation of lost recordings by The Gist have been released, as well as a superb collaboration with French arranger Louis Philippe, "The Devil Laughs". "Fabstract" is the final gathering of Stuart's lost recordings. Compiling long-lost YMG-era tracks with the recent brilliance of "Crow, Crow" and "Suburban Monochrome", through bits of whimsy and vastly alternate versions of fan faves, this diverse album shouldn't work . . . but it does, telling a satisfying story of an underrated talent whose mistake was following his muse, not the charts. This album precedes a new recording, years in the making, produced by Dave Trumfio, which promises to be Stuart's most complete - and original - work since "Colossal Youth". Tracks:

Konkolo Orchestra ist das Züricher Projekt des Multiinstrumentalisten und Produzenten Alexis Malefakis und mit seinen jazzigen Afrobeat- und Highlife-Referenzen eine Hommage an Innovatoren wie Fela Kuti, Tony Allen und Ebo Taylor. Das Debütalbum 'Future Pasts' setzt das warme, lebendige, perkussive Motiv der beliebten 2022er Single 'Blue G' fort. Malefakis beherrscht das Afrobeat-Genre souverän, seine Tracks haben einen ausgeprägten Charakter, Struktur und fröhliche Melodien und featuren talentierte Gastsänger wie Nongoma (Südafrika), Sir Frank Karikari (Ghana) und Kitio Batola (Kongo), neben Eric Owusu (Ghana) an den Drums.

Konkolo Orchestra ist das Züricher Projekt des Multiinstrumentalisten und Produzenten Alexis Malefakis und mit seinen jazzigen Afrobeat- und Highlife-Referenzen eine Hommage an Innovatoren wie Fela Kuti, Tony Allen und Ebo Taylor. Das Debütalbum 'Future Pasts' setzt das warme, lebendige, perkussive Motiv der beliebten 2022er Single 'Blue G' fort. Malefakis beherrscht das Afrobeat-Genre souverän, seine Tracks haben einen ausgeprägten Charakter, Struktur und fröhliche Melodien und featuren talentierte Gastsänger wie Nongoma (Südafrika), Sir Frank Karikari (Ghana) und Kitio Batola (Kongo), neben Eric Owusu (Ghana) an den Drums.

Konkolo Orchestra ist das Züricher Projekt des Multiinstrumentalisten und Produzenten Alexis Malefakis und mit seinen jazzigen Afrobeat- und Highlife-Referenzen eine Hommage an Innovatoren wie Fela Kuti, Tony Allen und Ebo Taylor. Das Debütalbum 'Future Pasts' setzt das warme, lebendige, perkussive Motiv der beliebten 2022er Single 'Blue G' fort. Malefakis beherrscht das Afrobeat-Genre souverän, seine Tracks haben einen ausgeprägten Charakter, Struktur und fröhliche Melodien und featuren talentierte Gastsänger wie Nongoma (Südafrika), Sir Frank Karikari (Ghana) und Kitio Batola (Kongo), neben Eric Owusu (Ghana) an den Drums.

Stella Polaris is all about quality Scandinavian electronica, chill out, down tempo, leftfield indie music. This 18th edition of the Copenhagen chill-out festival brand comes with a double gate folded colored limited edition (300 copies) vinyl with a focus on inspiring female talent

This is the first release from "Wenha", the successor label of "Tribe", which was established by Wendel Harrison in the 70's. This album is full of spirituality and blackness, and it retains the philosophy of "Tribe", but it also incorporates the smooth feeling of the early 80's. This is the first release from "Wenha", the successor label of "Tribe". This is the first release from Wendel Harrison's "Wenha" label, the successor to "Tribe" and a collector's item that has always fetched high prices for its original version, but it has been highly acclaimed not only for its rarity but also for its content, which has made many experts in the industry gasp in delight. This is a superb gem that has made many pundits roar not only in terms of rarity but also in terms of content! The players on the side include Phil Ranelin (Trombone), Harold McKinney (Keyboards), Roy Brooks (Percussion), and many other Detroit heavyweights, including Phil Ranelin (Trombone), who founded the Tribe together. The album starts with "Take Time Out" (A1) featuring soulful vocals, followed by the spiritual jazz "Pink Snowballs And Violet Skies" (A3) with its exhilarating bellow, and then the jet-black groove-filled jazz funk number "Where Am I?" (B1) is a truly historical document that beautifully captures the transition from the '70s to the '80s!
For this reissue, the 7inch "No Turnin' Back / Rocket Love" released at the same time on "Wenha" has been added to VINYL as a BONUS DISC, and a bonus track "Patrina's Dance" (B3) has been added to the LP. This is the latest reissue of the album in a completely new guise!








[h] C1. No Turnin' Back [7-inch]
[i] D1. Rocket Love [7-inch]

Repress!

KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF Doom (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass' "The Gas Face," the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked "Mr. Hood" full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children's recordings, mostly notably a sample of the Seaseme Street character Bert on the single "Who Me" This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it's entirety. Cutting edge, ahead of it's time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles "Peachfuzz", "Who Me" and "Nitty Gritty" (feat. Brand Nubian). This is one Rap album that is not to be missed.

Der begleitende Film von Dave Stekert und Xander Strohm fängt die Zeit in New York ein, als Covid 19 alles abschaltete, die Menschen Angst hatten
und nichts sicher war. Die Kreativen mussten trotzdem kreativ sein, und Jesse Malin fand einen Weg, die Menschen über seine wöchentliche
Streaming-Show "The Fine Art of Self Distancing" zu erreichen. Ein großes Publikum fand Gefallen daran, dass Jesse Geschichten erzählte, sang,
tanzte, uns zum Lachen brachte und uns wissen ließ, dass alles gut werden würde. Er lud seine Freunde ein, mit ihm über die Geschehnisse in der
Welt zu sprechen, darunter Lucinda Williams, Debbie Harry, Jimmy G, Alejandro, Bob Gruen, Craig Finn, Tommy Stinson, Fred Armisen, David Fricke,
Pete Yorn, Graham Parker, Butch Walker, Lenny Kaye, Michael Imperially, Jim Jarmusch, DMC, Uncle Floyd und Bob Strauss.
Zu den musikalischen Gästen gehören Tommy Stinson, H.R. (Bad Brains), Eugene Hutz (Gogol Bordello), Cat Popper (Puss N Boots, Jack White, Grace
Potter), David "Immy" Immerglück (Counting Crows). Sie singen die Lieder von Jesse Malin und Lieblingslieder von The Pogues, Bad Brains, The
Ramones.

Das dritte Solo-Album des US-Superstars, Schauspielers und ehemaligen Mitglieds von N*Sync. Das Album "20/20 Experience" war die lang erwartete Nachfolge seines Albums "FutureSex/LoveSounds" (2006). Das Album enthält Kollabos mit den Produzenten Timbaland und Jerome "J-Roc" Harmon sowie einen Gastauftritt von Rapper Jay-Z.

Jim Jones All Stars ist ein brodelnder Sumpffluch mit unheiligem Rhythmus und das neueste Projekt des britischen Garage-Paten Jim Jones (Thee Hypnotics, The Jim Jones Revue). Die Band besteht aus Mitgliedern von Jim Jones Revue, The Heavy, The Swamps und einer kompletten Bläsergruppe. Ihre LP "Ain't No Peril" ist ein dickes, fettes Stück Rama-Lama-Rhythm'n'Blues mit einigen von Jones' inspiriertesten Songs samt Gastauftritten des stimmlichen Powerhouse Nikki Hill und Eugene S. Robinson (Oxbow), das mit Scott McEwen in dessen Memphis Magnetic-Studio aufgenommen, von John Gletze produziert und von Grammy-Gewinner Randy Merrill gemastert wurde.

Blue Vinyl

Die Produzentin, DJ, Pianistin und Aktivistin LP Giobbi veröffentlicht ihr mit Spannung erwartetes Debütalbum, „Light Places“ auf Counter Records. Musikalisch ist LP Giobbi, eins der populärsten aufstrebenden Talente der elektronischen Musik, irgendwo zwischen ODESZA, Bonobo, Bicep und TSHA einzuordnen.

„Light Places“ entstand zu einem großen Teil zwischen den Wolken, in Flugzeugen hoch über der Realität und anderen Ablenkungen, wo LP Giobbi Ideen und Melodien locker niederschreiben konnte, bevor sie im Studio umgesetzt wurden. Der Aufnahmeprozess des Albums war eine Reise an sich, die sie auf neue Weise herausforderte und ihre künstlerischen Fähigkeiten über die Grenzen einzelner Singles hinaus erweiterte. Es erlaubte ihr, außerhalb der Tanzfläche zu experimentieren und zu erforschen, mit einer Verbindung zu ihren improvisierten Jazz- und Jam-Band-Grundlagen, womit alles einst begann. Auf „Light Places“ sind zudem beeindruckende Features zu Gast, wie bspw. SOFI TUKKER, Little Jet, Caroline Byrne, Monogem, DJ Tennis und Joseph Ashworth zu hören. LP Giobbi zelebriert die Freuden der Zusammenarbeit, der Improvisation und der Erschaffung von Musik durch Freundschaft - eine Hommage an die Menschen und die Musik, die sie als Künstlerin geprägt haben.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

LIMITED 200 COPIES ONLY! on clear vinyl, with poster & stickers.

Zodiak Commune Records residents Paul Renard and Dima Gastroler release their second Acid split EP vinyl on Acid Sessions vol. 2, Acid Sessions vol. 2 contains ambient and deep hypnotic grooves of acid techno tracks.

White City (A Novel) wurde 1985 veröffentlicht und war das 5. Soloalbum von Pete Townshend. Das Album erzählt eine Geschichte von kulturellen Konflikten, sozio-kulturellen Spannungen und jugendlichen Hoffnungen und Träumen in den 1960er Jahren. Produziert wurde das Album von Chris Thomas und enthält Gastauftritte von David Gilmour, Clem Burke und John ’Rabbit’ Brunswick. Das Album, das die Single Face the Face and Give Blood enthält, erschien auch als Video im Langformat Diese schwarze Vinyl-Version wurde von Miles Showell in den Abbey Road Studios mit einem Half-SpeedMastering-Verfahren bearbeitet, das einen hervorragenden Vinylschnitt ergibt

Nearly twenty-five years after disbanding, Gastr del Sol have unpacked their archive, stringing together an alternative view to their genre-melting 1993-1998 run.
This assembly of previously uncollected studio recordings and beautifully captured unreleased live performances forms a spacious ode to the flux that was their métier;
a further set of reinventions that continue to alter the manner in which we hear music, and literally everything else!

Das Blues-Debüt des legendären Gitarristen und Songwriters enthält Gastauftritte von Brian Johnson (AC/DC), Chris Stapleton, Beth Hart, Iggy Pop, Paul Rodgers, Gary Clark Jr, Billy F. Gibbons (ZZ Top), Chris Robinson (The Black Crowes), Demi Lovato, Dorothy, und Tash Neal am Gesang. "Orgy of the Damned" ist eine Hommage an den Blues - eine Sammlung von zwölf dynamischen Songs, die Blues-Klassiker mit einem reduzierten, instinktiven Ansatz neu belebt. Die erste Single "Killing Floor" - mit Brian Johnson von AC/DC am Gesang und Steven Tyler von Aerosmith an der Mundharmonika - ist eine elektrisierende, raue und ungezügelte Version von Howlin' Wolfs Chicago-Blues-Standard aus dem Jahr 1964.

"Es ist kein Gospel, kein Soul, kein Blues, kein Rock'n'Roll. Es ist alles davon - und das aus gutem Grund.", sagt der Künstler selbst über sein neues Album 'Cut To Black', sein erstes Studioalbum seit 'Know Where To Run' von 2016 und sein insgesamt zehntes. Wenn man so will die musikalische Fortsetzung seiner im September 2021 erschienenen Memoiren "Up Above The City, Down Beneath The Stars".

Nach neun Studioalben, darunter das 96er Werk 'Oedipus Schmoedipus', (mit Gastperformances von Jarvis Cocker, Nick Cave und Billy McKenzie (The Associates)), das Mercury Prize nominierte 'Soul Murder' (1999), und sein jüngstes Album, 'Know Where To Run', das durch eine US-Tour mit Nick Cave & The Bad Seeds - nach 23 Jahren - inspiriert wurde, bewegt sich das neue Album des Magazine, The Birthday Party und ehemaligen The Bad Seeds Bassisten, das Elemente aus Soul, R&B, Hip-Hop und Funk mit künstlicher Intelligenz kombiniert, Stilistisch von hedonistischen Limousinenfahrten durch die Disco der frühen Achtziger ('Manhattan Satin') bis zur futuristischen Klanglandschaft eines Stücks wie 'Was it a Dream?'. Im Zentrum stehen drei Tracks, die mit dem alten Aberglauben an den Blues als Musik des Teufels und der Kirche als Zentrum von Beichte und Erlösung aufräumen: 'These Would Be Blues', 'Please Don't Call On Me' und 'Amen White Jesus'. Wie immer erfreut sich Adamson an raffinierten Wortspielen und assoziativen Klang- und Bildwelten.

Das Blues-Debüt des legendären Gitarristen und Songwriters enthält Gastauftritte von Brian Johnson (AC/DC), Chris Stapleton, Beth Hart, Iggy Pop, Paul Rodgers, Gary Clark Jr, Billy F. Gibbons (ZZ Top), Chris Robinson (The Black Crowes), Demi Lovato, Dorothy, und Tash Neal am Gesang. "Orgy of the Damned" ist eine Hommage an den Blues - eine Sammlung von zwölf dynamischen Songs, die Blues-Klassiker mit einem reduzierten, instinktiven Ansatz neu belebt. Die erste Single "Killing Floor" - mit Brian Johnson von AC/DC am Gesang und Steven Tyler von Aerosmith an der Mundharmonika - ist eine elektrisierende, raue und ungezügelte Version von Howlin' Wolfs Chicago-Blues-Standard aus dem Jahr 1964.

Sam's Place ist das erste Studioalbum der amerikanischen Blues/Rock/Country/Funk Band seit 12 Jahren und gleichzeitig eine Hommage von Little Feat an den Blues mit dem Schlagzeuger Sam Clayton als Leadsänger im Mittelpunkt. Es ist auch ihr erstes Studioalbum mit Scott Sharrard an der Gitarre und Tony Leone am Schlagzeug sowie den langjährigen Mitgliedern Bill Payne an den Tasten, Kenny Gradney am Bass und Fred Tackett an der Gitarre. Das Album wurde in Memphis, TN im Sam's Phillips Studio aufgenommen und von Little Feat und Charles A. Martinez produziert. Das neue Werk strotzt nur so vor Energie und beinhaltet musikalische Einflüsse vieler verschiedener Künstler wie Muddy Waters, Willie Dixon, Sam Clayton, Fred Tackett oder Bonnie Raitt die als Gast-Sängering mit von der Partie ist. Little Feat wurde 1969 in Los Angeles von Lowell George gegründet und löste sich nach dessen Tod 1979 auf. 1988 fanden sich die verbliebenen Musiker wieder zusammen und und veröffentlichten seit dem eine respektable Anzahl hochkarätiger Alben, die ihnen auch n Deutschland, Österreich und in der Schweiz Verkäufe in 6-stelliger Höhe bescherten. Nach "Rooster Rag" 2012 geht es jetzt mit Vollgas Richtung "Sam's Place" um mit Little Feat eine große Blues-Party zu feiern.

As the "Interstellar Cosmic Blues" half of this EP, we consider these songs to be some of the best that we've produced. Songs that could all be "singles" all on their own. And they better be because "The Riffalicious Stoner Dudes" brought some savage riffage of their own! Put it all together with amazing artwork by Mirkow Gastow and release it on Heavy Psych Sounds, the BEST record label on the planet... and you've got all the makings of a great record! A modern classic right out of the box. Dig it!

Die aus Miami stammenden und seit langem in Nashville ansässigen Americana-Ikonen The Mavericks melden sich mit ihrem mit Spannung erwarteten 13. Studioalbum "Moon & Stars" zurück. Es ist die erste Veröffentlichung seit dem erfolgreichen Projekt "En Español" aus dem Jahr 2020 und die erste englischsprachige Veröffentlichung seit dem gefeierten Album "Brand New Day" aus dem Jahr 2017.

The Mavericks, die bereits für ihre unverwechselbare Americana/Roots-Fusion aus Alternative & Outlaw Country, Rock, Blues, R&B und Tejano/Tex-Mex-Einflüssen bekannt sind, nahmen die Tracks von "Moon & Stars" passenderweise kreuz und quer durch die USA auf: In den Blackbird Studios (Nashville, Tennessee), den Frogville Studios (Santa Fe, New Mexico) und dem Dockside Studio (Maurice, Louisiana). Das Ergebnis ist ein lang erwartetes Album, das sowohl das zeitlose Gefühl einer klassischen Mavericks- eröffentlichung hervorruft, die sich nahtlos in die Reihe der Werke
ihrer Karriere einreiht, als auch einmal mehr Genre-Konventionen herausfordert und die Grenzen ihres Schmelztiegel-Sounds immer weiter verschiebt.

Zu den Gästen auf dem Album gehören Sierra Ferrell, Maggie Rose, Nicole Atkins und das "Fantastic Five"-Mitglied der Band, Max Abrams. Zu den Songschreibern gehören Bernie Taupin, Sam Hollander, Wally Wilson und andere.


b Live Close By (Visit Often) [with Nicole Atkins]


[b] Live Close By (Visit Often) [with Nicole Atkins]

Die aus Miami stammenden und seit langem in Nashville ansässigen Americana-Ikonen The Mavericks melden sich mit ihrem mit Spannung erwarteten 13. Studioalbum "Moon & Stars" zurück. Es ist die erste Veröffentlichung seit dem erfolgreichen Projekt "En Español" aus dem Jahr 2020 und die erste englischsprachige Veröffentlichung seit dem gefeierten Album "Brand New Day" aus dem Jahr 2017.

The Mavericks, die bereits für ihre unverwechselbare Americana/Roots-Fusion aus Alternative & Outlaw Country, Rock, Blues, R&B und Tejano/Tex-Mex-Einflüssen bekannt sind, nahmen die Tracks von "Moon & Stars" passenderweise kreuz und quer durch die USA auf: In den Blackbird Studios (Nashville, Tennessee), den Frogville Studios (Santa Fe, New Mexico) und dem Dockside Studio (Maurice, Louisiana). Das Ergebnis ist ein lang erwartetes Album, das sowohl das zeitlose Gefühl einer klassischen Mavericks- eröffentlichung hervorruft, die sich nahtlos in die Reihe der Werke
ihrer Karriere einreiht, als auch einmal mehr Genre-Konventionen herausfordert und die Grenzen ihres Schmelztiegel-Sounds immer weiter verschiebt.

Zu den Gästen auf dem Album gehören Sierra Ferrell, Maggie Rose, Nicole Atkins und das "Fantastic Five"-Mitglied der Band, Max Abrams. Zu den Songschreibern gehören Bernie Taupin, Sam Hollander, Wally Wilson und andere.


b Live Close By (Visit Often) with Nicole Atkins


[b] Live Close By (Visit Often) [with Nicole Atkins]


[b] Live Close By (Visit Often) [with Nicole Atkins]

Royal Blue Vinyl, limited to 350 copies. As the "Interstellar Cosmic Blues" half of this EP, we consider these songs to be some of the best that we've produced. Songs that could all be "singles" all on their own. And they better be because "The Riffalicious Stoner Dudes" brought some savage riffage of their own! Put it all together with amazing artwork by Mirkow Gastow and release it on Heavy Psych Sounds, the BEST record label on the planet... and you've got all the makings of a great record! A modern classic right out of the box. Dig it!

Howlin’ Wolf was the primal force of blues music spun out to its ultimate conclusion. He was an imposing presence, blessed with a thunderous voice and enormous physical strength. Like his friend and rival Muddy Waters, Wolf transformed Mississippi’s archaic country blues into the electric urban blues of Chicago, his adopted home. Presented here is his outstanding debut album for Chess Records, Moanin’ in the Moonlight (1959) – one of the alltime cornerstones of the genre.

T Bone Burnett back to R’n’B! Nach seinen beiden elektronisch geprägten, düsteren Alben „The Invisible Light” Vol. 1 + 2 zeigt Grammyund Oscar-Gewinner T Bone Burnett auf seinem neuen Album ”The Other Side” genau das: seine andere Seite, mit zugänglicheren, rockigen Blues-Songs und Gast-Sänger/innen wie Rosanne Cash, Weyes Blood und Lucius. Bei seinen hintergründigen Texten lohnt sich allerdings erneut das genaue Hinhören

Nach der Veröffentlichung ihres kathartischen, dunklen Psych-Blues-Epos Outside The Dream setzte die Pandemie die Band außer Gefecht. Die Band blieb am Leben, indem sie weiter schrieb und komponierte. Der Weg war genauso wichtig wie das Ziel, und so wurden es zwei Alben in einem: die Songs, die getrennt voneinander geschrieben wurden, sind in Chrononaut Cocktailbar zusammengefasst. Nachdem sie wieder zusammen kamen, bündelten sie ihre ganze Live-Power in einem massiven Biest von einem Song namens Flight Of The Sloths. Die zwei Seiten des Albums zeigen perfekt die zwei Seiten, die in der Band stecken: der eine Wolf schreibt gerne Songs mit solider Struktur und Melodie, während der andere Wolf gerne völlig durchdreht, wenn es um progressive Kreativität geht. Das war schon immer so, aber noch nie war der Kontrast so krass, das Dunkle und das Helle, die Sanftheit und die Aggressivität. Psychedelische Klänge, die an die Zeiten von The Doors und Pink Floyd erinnern, ringen mit düsterem Post-Punk in den Gassen von The Gun Club und Nick Cave & The Bad Seeds um Aufmerksamkeit. Mal tanzbar, mal introvertiert, immer spannend und ein wenig schräg. Schließen Sie die Augen und lassen Sie sich ins No Man's Valley führen...

Nach ihrer Tournee zu dem von Kritikern hoch gelobten „Luck of the Draw“- Album legt die ELLIS MANO BAND ihren ersten Konzert-Mitschnitt vor.
„Live: Access All Areas“ enthält 15 Songs, aufgenommen 2023 bei Gastspielen in Deutschland und der Schweiz ist über eineinhalb Stunden lang das
faszinierende Dokument einer direkten Momentaufnahme. Es macht Lust darauf, die 2017 gegründete, multinationale Gruppe mit Mitgliedern aus
Kroatien, Deutschland, Schweiz auf der Bühne zu erleben. Die Ellis Mano Band ist auf der Bühne eine Macht und agiert auf internationalem Level!
Virtuos, die Musiker - dicht, ihr Zusammenspiel - intelligent, die Improvisationen - druckvoll und transparent. Eigenständiger, postmoderner Bluesrock
voller Soul.
Zitat Great Music Stories - UK: „Joe Cocker, Dire Straits, Van Morrison, Toto und Chris Rea bei einer improvisierten Late-Night-Jam-Session“.

Steve Wynn and Kendra Smith founded The Dream Syndicate in 1981 and the band was a mainstay of the Paisley Underground movement. Reformed in 2012 by Steve Wynn, the band is still touring and recording.

The LA Times says the Dream Syndicate “rocked with the highest degree of unbridled passion and conviction”.

“The Dream Syndicate’s How Did We Find Ourselves Here?” documentary and companion soundtrack, “Live Through the Past, Darkly” will be available on CD or LP and includes a DVD of the recent documentary How Did We Find Ourselves Here

The documentary includes Chris Robinson, Stephen McCarthy, Ryan Adams, Chris Cacavas, Chris D., David Fricke, Russ Tolman, Tim Devine, Tom Gracyk, Pat Thomas, Karen Schoemer, Kari Pearson, Scott McCaughey, Sandy Pearlman, Dan Stuart and Howe Gelb.

Meatbodies’ latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It’s a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more. By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an everevolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly—in search of meaning and a reset—he escaped into that world, ignoring his own well being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape—a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich’s mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to ’80s LA punk and the rise of indie / alternative music in the U.K., it plays like a radio station broadcasting from the void.

Carribean, Jazz, Afro, Reggae - das ganze Spektrum der Weltmusik, raffiniert und genial verschmolzen mit Electronica. A08 ist das Brainchild der beiden Berliner Dirk Leyers und DJ Nomad. Früher bekannt als "AFRICAINE 808" - das Studio/Live-Musikprojekt mit einem Album und verschiedenen EPs auf NYC's Golf Channel Recordings und Vulcandance.

AFRICAINE 808 begann als ein Experiment, bei dem es den beiden gelang, das rhythmische Erbe der Weltmusik mit dem Zeitgeist und der Ästhetik der elektronischen Tanzmusik zu verschmelzen. Nach zehn erfolgreichen Jahren, in denen sie als Live-Musikprojekt rund um den Globus tourten, einem hochgelobten Doppelalbum, fünf EPs und Remix-Arbeiten für Legenden wie Tony Allen, Amadou & Mariam und viele andere, beschlossen die beiden, ihren Sound für ein neues Album neu zu erfinden und dabei Jazz und karibische Musik neben ihren "klassischen" Arbeitsgenres der elektronischen Welttanzmusik zu erkunden. Für die Produktion holten sich A08 eine illustre Schar von Gästen in die Bandbesetzung, darunter Künstler aus Kolumbien, Ghana, Kenia, Trinidad und Deutschland. Das Ergebnis ist "Waiting For Zion", ein Doppelalbum, das im Winter 2023 auf Compost Records erscheinen wird. Als Live-P.A. treten A08 entweder als Soundsystem mit Dirk Leyers und DJ Nomad auf, die live spielen und auflegen, oder als Live-Act mit Live-Percussion.

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

What happens when a four-headed human drum computer meets a classical trained vilonist turned beatmaker to spend time in the studio? A beautiful lily blossoms. At least this was the case when Bokoya and FloFilz entered Atelier 21 in Aachen (a Produzentengalerie für globale Kunst) for a musical encounter with no goals set. The music that was born out of these sessions is simply amazing and we are more than happy to release them as an album under the name “Yurika” - which is a Japanese name that means “beautiful lily”.

The artwork was created by Jens Roth & Jeremias Diekmann who are responsible for almost all Bokoya artworks yet. The 19-track strong instrumental album includes one vocal track featuring Japanese singer Kan Sano.

FloFilz is one of Europe's most acclaimed Jazzbeat-producers with four albums on MPM under his belt. His last album “Close Distance” came out in 2022 an featured artists Alfa Mist, Blue Lab Beats, Jerome Thomas and Summers Sons. FloFilz is a classical trained musician who not only plays the TR 404 but also violin.

Bokoya describe themselves as a four-headed human drum machine that play improvised beat music. You can call it jazz if you like (all four members are graduated jazz musicians ) but be ready to stumble over some Dilla, Kraut Rock, Ambient or Dub in the mix. In 2022 Bokoya released their second album Hausensession on MPM , followed by a collabo album with Cologne-based producer Ginanni Brezzo (Jakarta Records) called „Minari“.

KULA SHAKER"s new album "Natural Magick" finds the band harnessing the power to cast their most potent spell yet, incorporating blazing psychedelic sermons, raga rave-ups, stardust-coated pop pearls and mood-enhancing mantras. "This chapter in the band"s life is very much driven by live energy and that spiritual connection with the audiences which comes with it. We all agreed that the songs should be no longer than three minutes. There are no epics." (says Crispian) Reformed permanently in 2021 due to the return of keyboard wizard Jay Darlington, reuniting all four members of the band"s classic line-up for the first time since 1999.The band became UK chart-toppers with 1996"s debut album "K" and "99"s follow-up "Peasants Pigs & Astronauts" saw them push the creative envelope prior to their premature dissolution. Having made a welcome return in 2007 with the self-funded "Strangefolk", Kula Shaker have built towards the sonic summit.

Blue Raspberry is Katy Kirby"s follow up to her renowned debut album Cool Dry Place, which came out in February 2021. Singer/songwriter Katy Kirby introduced her warm, articulate vocals, perceptive lyrics, and playful adult-alternative style on her debut album as she toured tirelessly supporting bands like Waxahatchee, Andy Shauf, Julia Jacklin and Alex G. That record was a tried-and-true folk collection, perfectly displaying the chops of a young songwriter and emanating the warm feel of a band in a room; Blue Raspberry, made with the same band and producers (Logan Chung and Alberto Sewald) , hits the gas and enters completely new territory as we see Katy truly step into her own as a songwriting force. She fearlessly leans far into baroque piano pop on tracks like "Redemption Arc" and the title track "Blue Raspberry", and lyrically she explores themes of loss and queer love. Very few are able to capture the same emotional, theatrical magic of artists like Fiona Apple, Tom Waits and Joanna Newsom but Katy pulls it off on this record; standout "Drop Dead".

Das neue Album von Wiki, 14K Figaro, erscheint nach einer Reihe gemeinsamer Projekte mit The Alchemist und MIKE, Navy Blue, Subjxct5 und NAH. Es ist vollständig von Tony Seltzer produziert, einem langjährigen Mitarbeiter, der half, seine frühesten Werke zu vertonen, darunter 'No Mountains In Manhattan' (2017), das Debütalbum für XL Recordings, und 'Oofie' (2019), den kraftvollen Nachfolger. Zu den Features zählen World's Fair MC Remy Banks, Bruiser Brigade-Spucker Zelooperz und der produktive WifiGawd aus D.C. Wiki steht mehr denn je als Anker zwischen Vergangenheit und Zukunft, für New York, für Hip-Hop und für sich selbst. Die 2LP enthält 4 unveröffentlichte, exklusive Bonustracks mit Gastfeatures von Papo2oo4 und SPRTY K.

"Stop the World" is another captivating song released in 1984 by Eyes Records, written by three names who certainly need no introduction. Ivana Spagna, Larry Pignagnoli and Ottavio Bacciocchi. However, their artistic depth and their fundamental contribution to Italo-Disco (and not only) in their respective roles should be remembered: Ivana, an excellent lyricist and singer (also for third parties) who became the great pop star still today considered the most graceful in circulation; Larry, who deserves a handful of Grammy Awards for his countless arrangements (but it is enough to mention "Easy Lady" and "Call Me") and finally the modest and precious Ottavio with his excellent Studio Master 33 from Cremona, among the first to find the right sound of Italo-Disco already in the early 80s.. Their contribution then married perfectly with the artistic direction curated by Salvy Lauria and Giacomo Danesi. It's worth highlighting the approximately 6 minute instrumental track of "Stop The World", it's a dance floor killer. Giuliano Saglia and Silvio Trisolino are right in wanting to re-propose only and exclusively the two original songs which after 40 years have been perfectly remastered by Dom Scuteri. Best Record is right to carry out all the work of this wonderful jewel, after having already reissued Blue Gas, Future State and Lily Ann, the other praiseworthy productions of the reborn Milanese label. Aficionados do well not to miss this other reissue of an Italo Disco classic from the 80s !!!

Immerse yourself in the musical universe of ONE PIECE MOVIES - BEST SELECTION! Enjoy over 70 minutes of music from the One Piece films for the first time on vinyl, taking you on a journey through the adventures of the famous Straw Hat crew.

Fully licensed.

Luffy, a mischievous boy, dreams of becoming the king of the pirates by finding the "One Piece", a fabulous and mysterious treasure. But, inadvertently, Luffy one day swallowed a "magical devil fruit" that turned him into a rubber man. Since then, he is able to contort his elastic body in all directions, but he has lost the ability to swim, the height for a pirate! Over the course of ever more incredible adventures and chance encounters, Luffy will gradually compose his crew and multiply friendships with the peoples he discovers, while facing formidable enemies.

Kohei Tanaka worked on the composition and arrangement of this album.

"Whiskey For The Holy Ghost" ist das zweite Soloalbum von MARK LANEGAN und erschien ursprünglich am 18. Januar 1994. Es baut auf dem Roots Music Fundamet auf, das LANEGAN mit seinem Solodebüt "The Winding Sheet" errichtete. Veröffentlicht während der Grunge Explosion der frühen Neunziger ist das Album ein schöner Anhaltspunkt, um LANEGANs wachsende Reife als Songwriter und Sänger in den Vordergrund zu stellen. Auf der textlichen Ebene taucht LANEGAN weiter in die düstere Seite der menschlichen Existenz ein - so wie bei "Borracho" und dem biblischen "Pendulum". "House A Home" erschien seinerzeit als Single mit dem passenden Video. Dan Peters von MUDHONEY taucht als Gast auf dem Album auf und spielt Schlagzeug bei den Songs "Borracho" und "House A Home".

Texan country blues kingpin Lightnin’ Hopkins was rated one of the top 100 guitarists of all time by Billboard, and was a notable influence on Stevie Ray Vaughan, among others. Recordings for Aladdin and Gold Star cemented his reputation, and after performing at Carnegie Hall with Pete Seeger and Joan Baez, ‘Mojo Hand’ was a breakthrough hit. The superb 1961 LP Lightnin’ (The Blues of Lightnin’ Hopkins) benefits from the understated presence of King Curtis’ drummer, Belton Evans, and jazz bassist Leonard Gaskin, placing Hopkins’ guitar licks and raspy voice at centre stage, playfully relating heartbreak and woe.

Das Überraschungs-Mixtape "Trip Tape" des deutschen Alternative-Superstar-Duos Milky Chance aus dem Jahr 2021 ist jetzt auf Vinyl als limitierte Blue Splatter LP erhältlich. Auf dem Mixtape performt die Band in ihrem eigenen, unverwechselbaren Stil Hits von The Weekend, Dua Lipa, Soft Cell und Rosalia sowie einen umwerfenden Gast-Remix des Produzenten Icarus aus Bristol. Als ob das noch nicht genug wäre, enthält das Trip Tape" auch noch ein paar Originale, einige davon als Demoversionen, die sicherstellen, dass alle Arten von Fans ihrer Musik mehr als zufrieden sind. „Trip Tape" erlaubt es Milky Chance, ihren unverwechselbaren Stil mit einer eklektischen Songauswahl frei zu erkunden.

Around The Sun ist das 13. Studioalbum von R.E.M., das im Jahr 2004 veröffentlicht wurde. Das Album erreichte Platz 1 der deutschen Albumchart..

Es enthält die Singles ”Leaving New York”, ”Aftermath”,
”Electron Blue” und ”Wanderlust”. Außerdem enthält es ”The Outsiders” mit dem Gastgesang des Rappers Q-Tip. Ab dem 14.07.2023 als 2LP verfügbar.

Der fünffach Grammy-nominierte und mehrfach mit Platin ausgezeichnete Blues/Rock-Gitarrist Kenny Wayne Shepherd hat die Veröffentlichung seines neuen Albums "Dirt On My Diamonds Vol 1" angekündigt, das am 17. November 2023 über Provogue Records erscheinen wird.
Gleichzeitig erscheint 'Goin' Home' aus dem Jahr 2014, das Shepherds größte Einflüsse in der Musik zeigt. Das Album enthält Songs, die ursprünglich von einigen von Shepherds Helden wie B.B. King, Albert King, Bo Diddley, Stevie Ray Vaughan, Johnny "Guitar" Watson, Lee Dorsey und vielen anderen Ikonen des Blues aufgenommen wurden. Er griff tief in ihre Kataloge und wählte Songs aus, die ihn inspirierten, als er das Gitarrenspiel erlernte. '
Goin' Home' enthält auch Gastauftritte von einigen von Shepherds Freunden (die zufällig auch einige der größten Musiker sind, die heute auftreten), darunter Ringo Starr, Joe Walsh, Warren Haynes, Keb' Mo', Robert Randolph, Kim Wilson (Fabulous Thunderbirds), Pastor Brady Blade, Sr. und die Rebirth Brass Band.

Das zweite Album von Dead Weather innerhalb weniger Jahre ist genauso wild und unerbittlich wie ihr Debüt. Der im Mai 2010 veröffentlichte Titeltrack "Blue Blood Blues" wurde zu einem der beliebtesten Songs der Band. "Sea of Cowards" ist bemerkenswert, weil es die ERSTE Platte in der Geschichte ist, die Songs enthält, die unter den Etiketten in der Mitte der Scheibe versteckt sind. Legendär.

Miguel Atwood-Ferguson lebt in seiner Heimatstadt Los Angeles und ist einer der herausragenden Musiker, Orchestratoren, Arrangeure und Komponisten unserer Zeit. „Les Jardins Mystiques Vol.1“ ist sein lang erwartetes Debütalbum. Es präsentiert uns eine leidenschaftliche Liebeserklärung und ein Reich der schönen Möglichkeiten.

Es gibt eine Fülle von Möglichkeiten, sich Miguel Atwood-Fergusons Musik zu nähern - und es gibt keine Grenzen, wohin sie jemanden führen könnte. Als Komponist, Arrangeur, Multiinstrumentalist und Produzent hat er an mehr als 600 Alben und Soundtracks für genreübergreifende Künstler:innen gearbeitet, darunter Flying Lotus, Thundercat, Anderson .Paak, Mary J. Blige oder Seu Jorge. Seine Klangpalette umfasst Jazz, Klassik, Hiphop, Electronica, Avantgarde, Pop und vieles mehr. Zu seinen gefeierten Live- und Aufnahmeprojekten gehören die innovative orchestrale Neuinterpretation des Repertoires von J Dilla, „Suite For Ma Dukes“ (2009), seine produktiven Werke mit seinem langjährigen Freund und Kollaborateur Carlos Niño, darunter das improvisierte Album, „Chicago Waves“ (2020), auf International Anthem, und seine Gruppen wie das Quartetto Fantastico und das Miguel Atwood-Ferguson Ensemble. „Les Jardins Mystiques“ ist ein Projekt, das Miguel Atwood-Fergusons musikalisches Universum offenlegt und mit anderen teilt. Es hat sich über ein Dutzend Jahre hinweg entwickelt, wurde größtenteils von ihm selbst finanziert und zeigt seine ausgesprochen elegante Musikalität (u. a. auf Geige, Bratsche, Cello und Keyboards) sowie seine freigeistigen Dialoge mit mehr als 50 Instrumentalist:innen. ‚Volume 1‘ ist hierbei bloß der erste Teil eines geplanten Triptychons, das insgesamt ganze zehneinhalb Stunden origineller und erfrischend ausladender Musik umfassen wird. Atwood-Ferguson verband sich mit seinen Gastmusiker:innen auf vielfältige Weise: durch gesellige Studiodialoge, durch Fernkommunikation während der Pandemie und durch die Energie von Live-Auftritten in seiner Heimatstadt, darunter im Del Monte Speakeasy (das herrlich belebende, von einem Klavier begleitete „Dream Dance“) und im Bluewhale (u. a. „Ano Yo“ mit dem temperamentvollen Alt-Saxophon von Devin Daniels und den kosmischen Harmonien von „Cho Oyu“). Bennie Maupin, der legendäre US-Multi-Blasinstrumentalist, zu dessen Repertoire auch Miles Davis' Fusion-Opus „Bitches Brew“ gehört, spielt Bassklarinette auf der hinreißenden Eröffnungsnummer „Kiseki“. Im Laufe seiner illustren Karriere hat Miguel Atwood-Ferguson mit Künstler:innen wie Rihanna, Ray Charles, Lana Del Rey, Lady Gaga, Anderson .Paak, Dr. Dre, Kamasi Washington, Mary J. Blige, will.i. am, Big Boi, Arthur Verocai, Bonobo, Lianne La Havas, Kaytranada, Moses Sumney, Seu Jorge, Common, The Roots, The Cinematic Orchestra, Jamael Dean, Shafiq Husayn, Adrian Younge & Ali Shaheed Muhammad, Carlos Niño, Bilal und viele mehr zusammengearbeitet.

In apartheid-era South Africa, gospel music provided solace and served as a tool for covert communication to circumvent the censorship of the settler regime. By the 2010s, South African gospel, deeply ingrained in the soul of Soweto, assumed a new role—as a heartfelt cry against persistent failures and shortcomings, a cry mourning a South Africa that never materialized.

A new South Africa needed a new gospel sound.

In 2016, nine young men from different parts of Diepkloof, a celebrated neighbourhood brimming with talent within Soweto's sprawling township, came together to form the sound of a new South Africa under the name Diepkloof United Voice.

Diepkloof United Voice's music has gone viral multiple times on TikTok, YouTube, and Facebook, garnering between 60,000 to 2 million views. The comments section displays flag emojis from Brazil to India, showcasing the global reach of their music.

This album was recorded on site in Soweto, in an abandoned classroom of Lebowa Elementary School in Diepkloof Zone 3, where the choir rehearsed for years. Amid rolling blackouts, Diepkloof United Voice poured their heart, soul, and vocal chords into their debut record, combining classic South Africa gospel, Soweto's own kasi soul, American blues, and Zulu flavor, to present the contemporary gospel sound of a changing South Africa.

The promise of a new South Africa might finally be realized, as Diepkloof United Voice guarantees the country's future is guided by the truth, uttered with each gasp of breath from their inimitable voices.

In apartheid-era South Africa, gospel music provided solace and served as a tool for covert communication to circumvent the censorship of the settler regime. By the 2010s, South African gospel, deeply ingrained in the soul of Soweto, assumed a new role—as a heartfelt cry against persistent failures and shortcomings, a cry mourning a South Africa that never materialized.

A new South Africa needed a new gospel sound.

In 2016, nine young men from different parts of Diepkloof, a celebrated neighbourhood brimming with talent within Soweto's sprawling township, came together to form the sound of a new South Africa under the name Diepkloof United Voice.

Diepkloof United Voice's music has gone viral multiple times on TikTok, YouTube, and Facebook, garnering between 60,000 to 2 million views. The comments section displays flag emojis from Brazil to India, showcasing the global reach of their music.

This album was recorded on site in Soweto, in an abandoned classroom of Lebowa Elementary School in Diepkloof Zone 3, where the choir rehearsed for years. Amid rolling blackouts, Diepkloof United Voice poured their heart, soul, and vocal chords into their debut record, combining classic South Africa gospel, Soweto's own kasi soul, American blues, and Zulu flavor, to present the contemporary gospel sound of a changing South Africa.

The promise of a new South Africa might finally be realized, as Diepkloof United Voice guarantees the country's future is guided by the truth, uttered with each gasp of breath from their inimitable voices.

Started in the Winter of 2021 and completed in early 2023, “Lights Out On The Shore” is a 12 song cycle written and performed by Scott Reeder, drummer of the band FU MANCHU. Having treaded many stages and studios over the past 22 years laying the foundation for the titans of “fuzz-wah” rock over 5 studio releases and playing live with artists as varied as Orianthi and Social Distortion, Scott has stretched into a melodic heavy and lyrically dense area of songwriting, rich in harmony and memorable riffs. Collaborating with Grammy winning producer/engineer Ryan Mall (Dropkick Murphys, Old Crow Medicine Show/Gaslight Anthem), Reeder played all the instruments on the album and sings all vocals. Fu Manchu bandmate, Bob Balch, contributes lead guitars on all tracks except “Everything But Right” and the album closer, “As She Drifts,” which feature contributions from Mitchell Townsend (Matt Costa/Jack Johnson).

This limited edition 500 unit LP run is pressed on blue/black splatter and includes a full color insert featuring photos taken by Reeder himself. All tracks were mastered specifically for this vinyl release

Willkommen zu „LXXXVIII“ - dem neunten Actress-Album, das von Darren Cunningham produziert wurde, und der allerersten Präsentation von Actress' Reise in die Welt der Luxusklänge. „LXXXVIII“ ist das Ergebnis von 25 Jahren Arbeit an bewusstseinserweiternden, seelenbelebenden Audio-Infusionen für Tanzflächen, Rave-Hallen, Festivals und Konzertsäle.
„LXXXVIII“ bietet die Fläche, über eine instrumentelle Facette seiner Entstehung nachzudenken: die Spieltheorie. In der Tat war tiefgreifendes strategisches Denken - das man eher mit Wirtschaft und Schach als mit künstlerischer Praxis in Verbindung bringt - grundlegend für Actress' Prozess, als „LXXXVIII“ ins Leben gerufen wurde.
Die Veröffentlichung folgt auf die faszinierende 2022er EP, „Dummy Corporation“, mit dem Actress wieder in den Mittelpunkt der Underground-Clubkultur gerückt ist. Davor erschien 2020 das Album „Karma & Desire“, auf dem der Mercury Prize-Gewinner Sampha, Zsela und Aura T-09 als Gastmusiker:innen mitwirkten - der Guardian kommentierte, dass es „seinen Platz zementiert als einer der großen Poeten der Clubkultur.“

Ltd Edition!

Willkommen zu „LXXXVIII“ - dem neunten Actress-Album, das von Darren Cunningham produziert wurde, und der allerersten Präsentation von Actress' Reise in die Welt der Luxusklänge. „LXXXVIII“ ist das Ergebnis von 25 Jahren Arbeit an bewusstseinserweiternden, seelenbelebenden Audio-Infusionen für Tanzflächen, Rave-Hallen, Festivals und Konzertsäle.
„LXXXVIII“ bietet die Fläche, über eine instrumentelle Facette seiner Entstehung nachzudenken: die Spieltheorie. In der Tat war tiefgreifendes strategisches Denken - das man eher mit Wirtschaft und Schach als mit künstlerischer Praxis in Verbindung bringt - grundlegend für Actress' Prozess, als „LXXXVIII“ ins Leben gerufen wurde.
Die Veröffentlichung folgt auf die faszinierende 2022er EP, „Dummy Corporation“, mit dem Actress wieder in den Mittelpunkt der Underground-Clubkultur gerückt ist. Davor erschien 2020 das Album „Karma & Desire“, auf dem der Mercury Prize-Gewinner Sampha, Zsela und Aura T-09 als Gastmusiker:innen mitwirkten - der Guardian kommentierte, dass es „seinen Platz zementiert als einer der großen Poeten der Clubkultur.“

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

Repress of classic first LP by MF DOOM's first group KMD! KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF DOOM (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass’ “The Gas Face,” the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked “Mr. Hood” full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children’s recordings, mostly notably a sample of the Seaseme Street character Bert on the single “Who Me?” This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it’s entirety. Cutting edge, ahead of it’s time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles “Peachfuzz”, “Who Me?” and “Nitty Gritty” (feat. Brand Nubian). This is one Rap album that is not to be missed.

Meshell Ndegeocello grooved jetzt bei Blue Note Records!

Die GRAMMY-prämierte Multiinstrumentalistin, Sängerin und Songwriterin gibt ihr Blue-Note-Debüt mit einem vielschichtigen Funk-Jazz-Album, das den Beginn eines neuen Kapitels in ihrer Karriere markiert.

Nach ihrem Coverversionen-Album „Ventriloquism“ (2018) kehrt Meshell jetzt mit 100% neuem, eigenem Material zurück, das ein breites Spektrum ihrer musikalischen Wurzeln abdeckt. „The Omnichord Real Book“ wurde von Josh Johnson produziert und präsentiert eine vielseitige Familie von Gastkünstlern, darunter Jason Moran, Ambrose Akinmusire, Joel Ross, Jeff Parker, Brandee Younger, Julius Rodriguez, Mark Guiliana, Cory Henry, Joan As Police Woman, Thandiswa und andere.

Gerade erst Grammy-nominiert als “Best New Artist” haben Tank And The Bangas ihr drittes Studioalbum aufgenommen. Zu dem vor R&B-, Hip-Hop-, Jazz-, Funk- und Soul-Grooves aus allen Nähten platzenden
Album luden sie diesmal Gäste wie Questlove, Lalah Hathaway, Big Freedia, Jacob Collier, Trombone Shorty, Jamison Ross und Wayne Brady ein.

Die in New Orleans ansässige Band mit der energiegeladenen Frontfrau Tarriona “Tank” Ball wurde 2017 durch den NPR Tiny Desk Contest auf YouTube berühmt (sensationelle 12,5 Millionen Aufrufe). „Red Balloon“ entstand jetzt in Folge der pandemiebedingten Unterbrechung des anstrengenden Tour-Pensums der Band. Die Pause gab den Musikern Raum zum Atmen und die Chance für ein kreatives Kräftesammeln. Das Werk zeigt die Band auf einem neuen künstlerischen Level, produziert wurde es von der Band selbst
und aufgenommen in New Orleans und Los Angeles.

These days, singer-songwriter and actor David Blue tends to be remembered only in relation to Bob Dylan. A member of the supporting cast in mid-60s Greenwich Village and The Rolling Thunder Revue. Yet to categorise Blue in this way is reductionist, and does him an injustice. He was something of an archetype of the 60s generation of Greenwich Village singer-songwriters. Yet, esteemed by his peers, he was overlooked. He released seven albums in a decade, and his acting career was shaping up when he died suddenly at the age of just 41. His passing was barely noted in the rock press, and in the subsequent years Blue was all but forgotten. Of late, though, that’s changed. His albums started to reappear on CD on small labels and, in 2020, both Rolling Stone and Mojo magazines published major reappraisals. Blue – at last – was getting the attention denied him in life.



It wasn’t until 1965 that Blue, as Dave Cohen, released his first recordings – three songs on Elektra’s Singer Songwriter Project. All betrayed a debt to pre-electric Dylan. But then again, so did much else coming out of Greenwich Village at the time. Elektra contracted Blue to do his own album, and in 1966 David Blue was released – his first recording to appear under that name. Electric folk rock with a garage band attitude, somewhat in debt to Highway 61, it didn’t sell well. Shortly after the album’s release Blue formed and toured with The American Patrol, a four-piece rock band, recording an album for Elektra that was never released.



Now, for the first time, Hanky Panky and Mapache release those historical abandoned American Patrol recordings, along with the three tracks included on Elektra’s 1965 LP Singer Songwriter Project, as David Blue And The American Patrol The Lost 1967 Elektra Recordings & More and David Blue, his self-titled 1966 debut album, on two exclusive vinyl editions limited to 500 copies

Die in Bergen (Norwegen) ansässige Hardrock & Doom-Band Strange Horizon lässt sich von fünf Jahrzehnten Heavy-Musik inspirieren und klingt dabei weder modern noch retro. Prägnante Riffs und Melodien bestimmen die Songs auf 'Skur 14'. Ehrliche Musik für unehrliche Zeiten. Traditioneller Doom Metal, oder wie die Band es nennt, blytung (bleischwerer) skandinavischer Heavy Metal! Beeinflusst von Black Sabbath, Saint Vitus, Count Raven, der Maryland-Szene, dem Proto-Hardrock der 60er/70er Jahre sowie Blues und NWOBHM. Auf diesem Album ist Eirik Arntsen von Kryptograf als Drummer zu Gast. Es wurde von Odd Erlend Mikkelsen (ebenfalls Kryptograf) aufgenommen und gemischt.

Eaux proudly announces the second full length LP from Rrose, Please Touch, released on vinyl, CD, and digital download. The LP follows 2019's Hymn to Moisture in ways that are both subtle and striking: Please Touch further hones the artist's tensile sound while exploring new aesthetic vistas and basking in an undeniably erotic sense of play. Moving with undulating power, the album's nine tracks drift across tempos from a weightless 0 bpm to a crawling 100 to a lunging 140 and back, with a rich palette of sculpted noise and cross-talking microtones.

Rrose's compositional process, rooted in their studies with West Coast avant garde trailblazers at Mills College, centers on "seed" sounds being fed through elaborate webs of interrelated audio processing. The result is a world where changes in any one element have downstream implications for some or all the others. It's a rich interdependence that lets the tracks breathe, grow and mutate with uncanny organicism. Please Touch addresses in equal measure the perceptual and the corporeal: these are sounds that sink into the body, exhibiting a tactility that pushes, pulls, bends and yields with fearsome vibrancy.

The album splits its time between radical techno iterations and pieces which pare back the percussion, letting the synth textures uncurl in their own time and space. The quivering drone and rolling sub-bass of "Joy of the Worm'' set the tone for the record, while "Rib Cage," Spore" and "Spines " swing with stepping rhythmic underpinnings. Building with finely calibrated tension, they use their few elements to startling, snarling effect. "Pleasure Vessels" is a rare moment of becalmed introspection in Rrose's oeuvre, hinting at a melodic ambiance that is practically unseen in previous works. It glows with a soft, dawn-like light before dissolving into a tidal fizz. "The Illuminating Glass'' brings the tempo down to a languorous chug, nodding its way through a field of glistening chirps and leaden gasps. "Feeding Time," "Disappear" and album closer "Turning Blue'' meanwhile nod to the cerebral psychedelia of Rrose's forebears, with mesmeric, looping textures and long, magisterial tones not dissimilar to the spectral works of James Tenney (whose work Rrose regularly performs) and the deep listening pieces of Pauline Oliveros.

The title of the album refers playfully to the tactile quality of the music while hinting at a forbidden sensuality that is only permitted within the confines of this microcosm. The phrase is also another nod to Marcel Duchamp, who gave this title to a 1947 exhibition of Surrealist art. Across the nine tracks, Rrose follows the lead of the sound(s) rather than trying to impose on the flow of the sonic material. Each move changes the parameters of a track's evolution. Thus, a non-hierarchical, symbiotic relationship forms between the so-called "music-maker" and the music itself. Please Touch acts as a collection of limbs, organs, parasites, and growths which both devour each other and keep each other alive.

OUTLANDERS ist ein Projekt der finnischen Sopranlegende Tarja Turunen und dem EDM Pionier Torsten Stenzel. Über 10 Jahre haben die beiden an dem Album gearbeitet und hatten dabei Unterstützung von einigen der einflussreichsten Gitarristen unserer Zeit. Bei jedem Song wirkt ein besonderer Gitarrist als Gast mit: u.a. Al Di Meola, Trevor Rabin, Joe Satriani, Jennifer Batten, Steve Rothery, Mike
Oldfield, Walter Giardino, Ron “Bumblefoot” Thal, Vernon Reid und Marty Friedman. 7 Tracks wurden bereits digital vorab veröffentlicht und nun erscheint das langersehnte gleichnamige Album am 23. Juni auf CD-Digipak und Ltd. Blue Curacao 2LP.

”Peace...Like A River”, das 12. Studioalbum der Band und der Nachfolger ihres chartstürmenden und Grammy-nominierten Blues-Albums ”Heavy Load Blues”, wird am 16. Juni 2023 über Fantasy Records veröffentlicht. Die 12 Songs umfassende Rocksammlung enthält auch Gastauftritte von Billy Bob Thornton, Celisse und Billy F. Gibbons, der mit Haynes am vergangenen Sonntagabend bei den CMT Music Awards eine unglaubliche Hommage an Lynyrd Skynyrd darbot. Zusätzlich enthält die ”Peace...Like A River” Deluxe Edition (nur auf CD erhältlich) das 12-Track-Originalalbum plus die spezielle 5-Track ”Time Of The Signs” Bonus EP, die vier brandneue, unveröffentlichte Tracks und eine alternative Version des Albumtracks ”The River Only Flows One Way” enthält, bei der Warren die Lead Vocals übernimmt.

Die Blue Flames 7"-Singles sind unter Sammlern und werden von Liebhabern des frühen R&B und des Proto-Mod-Sounds sowie von denen, die ihre Freude am Ska-Beat gesucht. Obwohl sie vor fast einem halben Jahrhundert veröffentlicht wurden, wurden sie tatsächlich bis heute nie wieder auf Vinyl neu aufgelegt. Für Ace schien es eine Selbstverständlichkeit zu sein, sie auf dieser Blue Flames-EP zu kombinieren. Für das Sleeve hat Ace das Titelfoto von Georgie Fame direkt vom original Fotograf Val Wilmer lizenziert. Auch Dean Rudland würdigt in den Liner Notes die Story dieser Georgie Fame-Band. Zu sagen, dass diese vier Tracks großartig klingen, ist untertrieben - diese Blue Flames kochen auf Gas.

Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

Originally released in 1996, Come's third album 'Near Life Experience' was the sound of a band heading into new territory, refining their dense mix of hypnotic noise-rock, blues and rock'n'roll song-writing. Lovingly remastered, this new version features three incredible bonus tracks 'Prize', 'Strike', 'Hurricane II' stemming from the same era, additional liner notes and photographs. After Come's seminal 1994 release 'Don't Ask Don't Tell', bassist Sean O'Brien and drummer Arthur Johnson left the band to pursue other careers. Remaining members Chris Brokaw and Thalia Zedek recorded Near Life Experience with two different rhythm sections: one half of the album was recorded with drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise and Gastr Del Sol, the other half recorded with Kevin Coultas and Tara Jane O'Neil of Rodan and The Sonora Pine. Other contributors to the album included Edward Yazijian from Kustomized and Jeff Goddard from Karate, both rock bands hailing from Boston, MA. The title of the album resulted from "a slip of the tongue, as Zedek states, she "was telling someone she had had a 'near life experience,' but meant to say near death experience. Chris [Brokaw] was cracking up at the imagery of that. Thus, the phrase was chosen as the album's title. "Near-Life Experience is heavier, and at the same time prettier, than Come has ever sounded." CMJ New Music Monthly. "Come is a re-energized, even more powerful band than they used to be, and Near Life Experience is their most concise and affecting release yet." All Music. Zedek and Brokaw might have compensated the loss of band members by recruiting new blood but the reward was huge, 'Near Life Experience' is Come's most cinematic, diverse and accessible album.

Blue Vinyl

Inkl. 12" Booklet. Alte Straßenköter-Weisheit: Die besten Partys sind immer die, zu denen man nicht eingeladen ist. Man braucht sich keine Gedanken um die Abendgarderobe zu machen, hat außer einem halbvollen, abgestandenen Wegbier nix in der Hand, was als Mitbringsel herhalten könnte, bedient sich gleichwohl mit absoluter Selbstverständlichkeit am Schnapsregal des Gastgebers, hinterlässt als Überraschung für den Tag danach eine Stange Mittelstrahl im Zahnputzbecher und tanzt vor allen Dingen möglichst auf allen Tischen so, dass man immer mit dem Kopf voran in der Hochzeitsbowle landet. Die Zuschauer sollen sich schließlich an diesen wunderschönen Abend erinnern können. Möglichst für immer. BUBONIX aus Limburg machen das, um das oben skizzierte Wedding-Crasher-Prozedere mal durch die Subkultur-Szene-3D-Brille mit einer Tüte Popcorn in der Hand anzuschauen, seit Jahren nicht anders. Jene bandgewordene Voodoo-Zeremonie des Punk und Hardcore um Sänger und Vorzeige-Wildsau Thorsten Polomski hat eigentlich immer schon auf jeder Party den größten Eindruck hinterlassen, und das obwohl (oder aber eben gerade weil) sie eigentlich nie und nirgendwo so richtig reingepasst hat. Das war schon auf alten Scheiben wie "Please, Devil Send Me Golden Hair" oder dem letzten Album "Capsaicin" der Band vor gut 15 Jahren nicht anders. Und jene wunderbar unbedarfte Assitüde treibt die frisch reunierte, um zwei alte Bandmitglieder geschrumpfte Combo (Sarah De Castro und Nenad Grbavac) auf ihrem neuen Album "Through The Eyes" so sehr auf die Spitze, dass man mit debilem Grinsen und ungläubigem Kopfschütteln vor dem Plattenspieler hockt und die HC-Punk-Referenz-Synapsen im Kopf so wild flackern und blinken wie die Weihnachtsbeleuchtung auf einer Front Porch irgendwo in Texas. Welcome back, BUBONIX _ ach nee: FUCK LOVE, MAKE VIOLENCE TO ÄRSCHE! (Ingo Donot)

Limited edition 180g vinyl reissue of ‘Workin’ With The Miles Davis
Quintet’ on blue vinyl. Classic Miles Davis Quintet studio session from
1956 (released Jan. 1960) produced by Bob Weinstock for Prestige Records.
“This is the sort of thing that is going to be owned and played and dug and redug for all time. Few bands in the history of jazz have had the quality of this group. The whole LP is a gas. I don’t see how anyone can do without it.” - Ralph J. Gleason, DownBeat