quête:bo

Man singt und es wird: Im Zuge eines Zusammenbruchs hat Max Gruber den Soloartist Drangsal gekillt und die Band Drangsal gegründet. Am Ende des Tunnels steht das im Juni 2025 erscheinende Album, Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen.

 Seit über zehn Jahren sichelt Max Gruber mittlerweile die Zick-Zack-Schneise Drangsal durch die deutsche Poplandschaft: Harieschaim aus 2016, Zores aus 2018 und zuletzt Exit Strategy – das ihm 2021 Platz 6 der Albumcharts bescherte – erdachte Gruber größtenteils im Alleingang. Und dann war da noch etwas nach seiner Exit Strategy: Ein Zusammenbruch. Max Gruber wusste nicht mehr, ob und wenn ja, wie er weiter Drangsal machen will, veröffentlichte im Ullstein-Verlag sein literarisches Debüt »Doch«, gründete Die Benjamins, holte so gemeinsam mit Charlotte Brandi, Thomas Götz und Julian Knoth Hans-A-Plast Frontfrau Annette Benjamin aus dem Ruhestand und reaktivierte unlängst das 2016 mit Stella Sommer gegründete Duo Die Mausis.

Und doch, von innen wie von außen, immer wieder die Frage nach einem neuen Drangsal-Album. Wenn es denn überhaupt nochmal eines geben soll, erkannte Gruber, musste er die Arbeitsweise, auf deren Grundlage Drangsal-Songs entstehen, fundamental verändern. Auf alles Ringen folgte, was unvermeidbar war: Der Reset. Max Gruber hat den Soloartist Drangsal gekillt und die dreiköpfige Band Drangsal gegründet – zusammen mit zwei Mitmusikern, die ihn aus seinen Gewohnheiten gelöst haben: Lukas Korn und Marvin Holley.
Erstgenannter ist Gitarrist und Produzent, spielt in der Band Lyschko, produzierte zuletzt das Album silber von Mia Morgan und hat seit 2020 als Bassist an der Drangsal-Liveband partizipiert. Zweiterer studierte Jazz- und klassische Gitarre sowie Komposition in Stuttgart und Wien, stand mit Sam Vance-Law und Fil Bo Riva auf der Bühne und arrangierte für Film und Theater. Lukas Korn und Marvin Holley haben dafür gesorgt, dass sich die zentrale Figur im Kosmos Drangsal dreiteilt.

Das Liedermachen in Bandkonstellation ließ alle Angst platzen: Getragen von Euphorie nahmen Gruber, Holley und Korn ab Ende 2022 etliche Songskizzen und damit den Unterbau eines siebzehnteiligen Albums auf. Nach Kreativurlauben an der polnischen Grenze und Ostsee stand eine von Max Rieger produzierte und von Lukas Korn Co-produzierte vierte Drangsal-LP. Sie trägt den schwergängigen Titel Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen und erscheint im Juni 2025. Gruber, Holley und Korn haben sich auf das Credo so wenig wie möglich, so viel wie nötig verständigt – und dadurch einen Umbruch im Klangkosmos Drangsals manifestiert, der völlig neue Dynamiken mit sich bringt. Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen hält Leerstellen aus, in seinem Zentrum stehen, statt Synthesizer, Akustikgitarren, die immer wieder an der Grenze zu Blues und Jazz wandeln. Wo speziell auf Exit Strategy noch überzuckerter Synth-Pop preschte, ist nun Klavier zu hören; Orgel, Klavinet und Cembalo; Xylophon, Violinen und Celli; von Ralph Heidel gespielte Querflöten und Saxophone.

Dazwischen drei Episoden, in denen sich Gospel Chöre und Technobeats breitmachen. Max Rieger hat die drei dazu motiviert, Echtheit, auch Imperfektion im Moment der Aufnahme zuzulassen – und großen Anteil daran, dass »Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen« ein realistisches Abbild des Trios bietet. Die Stimmung? Dagegen eher ein Wechselbad. Max Gruber singt von Selbstentfremdung, vom Für und Wider des Stillstands, vom Sichhingeben und Sichwegschmeißen – mal auf deutsch, mal auf englisch, mal zart, mal angewidert. Grubers Stimme klingt, nach einer klassischen Gesangsausbildung, die der Einunddreißigjährige angetreten hat, zielbewusster. Umarmungen Marke »Ich hab von der Musik geträumt und Inkomplett treffen auf Gewitterwolken à la Mein Eid und dem Sophia-Blenda-Feature Mein Mo(nu)ment. Entlang rigoroser Entkernung und Hexenjagd geht es Bergab – für dich, für mich, für Max Gruber sowieso. Er ist über weite Teile der Platte hinweg auf der Flucht vor sich selbst, den alten Geistern, dem leidigen Wachzustand: Wär’ ich doch bloß nimmermehr erwacht, ich schliefe in ewigem Glück. Gruber sucht und sucht: Nach innerem Frieden, nach Gnade, nach unverbranntem Boden, nach neuen Versionen seiner Selbst – und das vergeblich. Immerhin scheinen Erinnerungen mit der Zeit zu verschwimmen: Grubers Worte – zu sich und zur Welt – klingen im hinteren Teil der Platte sanfter, vergebender, resümierender. Ein Schlüsselmoment? Das von der Schauspielerin Rosa Lembeck eingesprochene, Monolog artig formulierte Klanggedicht Rosa – Es ist so: Man singt und es wird.

Long out-of-print, Norman Greenbaum’s 1969 debut, Spirit in the Sky, returns on vinyl. Anchored by its beloved, iconic title track, “Spirit in the Sky,” the album merges rock, gospel, and psychedelia, while hidden gems like “Marcy,” “Tars of India” and “Skyline” highlight Greenbaum’s distinctive songwriting style. This reissue arrives in a paper-wrapped jacket with lacquers cut from the original tapes (AAA)—truly a defining classic of its era.

Teri Gender Bender — born Teresa Suárez Cosío — is ready to show you another side of her eccentric artistry. This time, the Mexican-American singer-songwriter and producer who was raised in Denver, Colorado, and Guadalajara, Mexico, is delving into her Mexican roots with a new Spanish-language album called “TGB.” Filled with electronic, psychedelic, and experimental pop-rock, “TGB” is an empathetic auditory vessel Teri created to understand her loved ones on a personal level. Inspired by her close friends’ woes, the singer-songwriter shows sincerity and kindness by purging their most negative feelings and transforming them into sonic masterpieces for them to reflect and heal with

Tatsächlich ist der Manager des Clubs Porgy & BessɎ Christoph HuberɎ der Ratzer seit ȒȖ Jahren für ein spezielles Silvesterkonɞ zert im Club buchtɎ mitverantwortlich für dasɎ was man auf Vienna Red hörtɍ Die Ergebnisse dieses langjährigen Auftritts sind auf Vienna Red zu hörenɎ einer LiveɞAufnahmeɎ die das Trio in eben diesem Porgy & Bess Jazzclub dokumentiertɍ Eine intime und elegante AngelegenheitɎ bei der Ratzer und sein hochgradig interaktives RhythmusɞTandem abwechselnd inbrünstig swingenɎ verführerische Bossa Novas erforschen und die Tiefen der Emotiɞ onen in bewegenden Balladen auslotenɍ

Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label. Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?

Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions. The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.

Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).

At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!

Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis.

From "Spirit Of The Air"'s violence, "Cross Over"'s industrial poundings, the PCP-infused minimalism of "High On Angel Dust", to "Someone Was There" mixing techno and hardcore, Derniere Danse Part II outlines what Manu le Malin is as a producer : not afraid to visit experimental soundscapes nor ashamed to go straight to the dancefloor point... But always soaked in darkness. This is a black gateway to the world of MKNK's head, through five of his all-time favorite tracks, including one unreleased, all remastered by Scan X and Deathmachine.

But before pressing play, consider yourself warned : the first track "Spirit Of The Air", with its tortuous intro, piano break, screams samples and references to The Exorcist saga, is relentless, violent and unpredictable. And things don't go softer with "Cross Over", also an extract from his Fighting Spirit album (2002), a downright industrial attack that sounds particularly up-to-date.

Unreleased "High On Angel Dust" then shows Manu's admiration to the label PCP (hence the powdery title) and its founder Marc Acardipan. An oddity in his discography that almost never saw the light of the day : the synths and TR-909 based track was recorded in one night, and completely forgotten in a DAT for 28 years! "Someone Was There", from the soundtrack of Jalil Lespert's 24 Mesures, and the esteemed classic "One The Way Home", available as a bonus in the digital release, conclude this handpicked selection.

Diverse, personal, tormented and yet dancefloor compatible, Derniere Danse Part I and Part II feature some of Manu's best works. But they also are a stepping stone : MKNK will now open to new artists exploring every dark corner of what hardcore music can be.

U-BEND return with two certified benders that won't disappoint those trapped in this permanent bent affair.

Possessing many of the bendy qualities prized by the balearic connoisseur, the duo serve up ‘Better Place’. This timely, optimistic workout swells with the kind of uplifting energy that only the brothers bend can deliver.

‘Couples Therapy’ is a cosmic reimagining of an old bent favourite that picks up where 50Peter20 left off. Swollen chugs and sordid womps take listeners on a backseat drive through familiar territory.

U-BEND’s infinite lack of wisdom ensures that these are once again kitchen-and-living-room verified as go-to options for the last track of the night, or the first track of the morning. A dyed-in-the wool MO which proves once a legend is established, the truth can never catch up.

2025 Record Store Day title - now available for general sale. A very special album to mark Room In The Sky’s 200th physical release. A selection of beautiful instrumental tracks, and featuring some of the best reggae musicians: Vin Gordon who basically played 90% of all the reggae hit horn lines , from Studio One to Bob Marley & the Wailers; Ernest Ranglin top jazz/reggae guitarist, now 93 yrs old and still playing, he produced the first Jamaican number 1 record “My Boy Lollipop” for Island Records; Dean Fraser, the number 1 Jamaican sax player; The Megahband - Michael Fletcher and Alborosies’ riddim section; Sly Dunbar the greatest reggae drummer; Alan Weekes - UK jazz reggae guitarist who played on most of UK reggae created in the late 70s, and 80s, and produced Carrol Thompson’s Hopelessly in Love LP; Jackie Mittoo responsible for 80% of all the biggest reggae riddims.

This is a repressing of their EP from 2018.

"Boys" is the second release from Caamp, the American folk band from Upper
Arlington, Ohio (who actually met at summer camp!)

This is a repressing of their EP from 2018.

"Boys" is the second release from Caamp, the American folk band from Upper
Arlington, Ohio (who actually met at summer camp!)

Soulseller Records, white/ black bi-color vinyl, reissue 2025, NOTE: barcode sticker has been glued on the back cover

Listenable Records, ltd. black green marbled vinyl, comes with free poster, postcard and coaster, first pressing

Relentless powerhouse GRACELESS’ new album ’Icons of Ruin’ is the band’s most groundbreaking release to date.
Massively produced, it boats crushing, unrelenting, large-scale, bombastic sonic destruction !
For fans of Bolt Thrower, Asphyx, Gorguts, Paradise Lost, Death, Bloodbath

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

Brand new studio album from BBC Radio 2 Folk Award winning singer, songwriter, producer and multi-instrumentalist, Sam Kelly - His second album for Navigator, the first, the hugely acclaimed 'Pretty Peggy' (with The Lost Boys) in 2017 - available on CD & Ltd Edition Vinyl.

'Dreamers Dawn' features Sam's signature eclectic arrangements of traditional folk songs, seamlessly interspersed with stunning original music from the pen of Sam and his Lost Boys band collaborator and banjo virtuoso, Jamie Francis. The album takes the listener on an eclectic journey, all the way from fantastical moonlit adventures of privateering and poaching, to introspective reflection & solemnity, as centuries old folk songs sit alongside modern themes of mental health and exploration of the inner self.

Sam and Jamie have gained a reputation as one of the most innovative and important partnerships to come out of the UK folk scene in recent years, and 'Dreamers Dawn' is a suitably groundbreaking addition to their impressive portfolio.

Reissued vinyl of 2023 album HELLMODE.Jeff Rosenstock makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils five degrees hotter, and with each new album, Rosenstock's music grows more unwieldy and lawless. Louder, faster, more feral. Which brings us to 2023_a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock's appropriately titled, anarchic record, HELLMODE. "To me, the album feels like the chaos of being alive right now," Rosenstock says of HELLMODE. "We're experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We're just feeling way too much all at once!" But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in HELLMODE, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like abruptly being flung into a Nintendo game on level 99. Vinyl is transparent black ice coloured!

Percussionist Errison Pallman Johnson was born in Nassau, Bahamas, 1941. He started playing music from the age of 5 and left the island at 18 for Los Angeles to pursue an acting career resulting in few movies appearances and commercials. Most remarkably he appeared with his calypso band in the James Bond film Thunderball (1965). Musically his first break came when he met jazz saxophonist Julian “Cannonball” Adderly, with whom he recorded 8 albums.

King Errisson has played congas for Neil Diamond for over 30 years and has played on many Motown recordings. In his autobiography, Berry Gordy referred to King Errison as the “unsung hero of Motown”.