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(Incl. Nick Holder & AceMo Remixes)

BURNING HEAT is a potent tincture, a focused distillation now years in the making. Carefully chosen from over 20 new productions and extensively play-tested at parties across New Orleans and beyond, BURNING HEAT is the latest collaborative effort by locals Quickweave (Jalen Dilosa) and Redance (David Yaconi); a split EP forthcoming on Hiatt dB’s New Orleans-based Mystery Zone Records July 1st 2022.

The 180-gram 12 inch features 2 tracks from each artist along with a pair of remixes split evenly between the “WHITE HOT” and “RED HOT” sides courtesy of Toronto’s Nick Holder and NYC’s AceMo, respectively. Its sound draws inspiration from the lessor-dug House stylings of the early 00s. With BURNING HEAT, Quickweave and Redance have repositioned the era’s lush textures and sensual atmosphere against heavier rhythms and more circular, hypnotic arrangements. The result? Deep club workouts focused on fostering connection, joy and romance on the dancefloor.

These hard-hitting, DJ-friendly productions were made in part to power the duo’s post-lockdown come-back party venture, Mercy. Early demos and updated edits became part of the sound of our collective reconnection as lockdowns relaxed and infection numbers fell in Summer 2021. On BURNING HEAT you’ll hear late-night New Orleans in the dead of Summer – warm and inviting club cuts to soundtrack a low-lit, neighborhood backroom disco-dive. Polished from a trove of DJ tools made for the artists’ personal sets, this selection features nothing but guaranteed party-starters, vetted both in the studio and behind the booth.

Halb orange/halb violettes Vinyl. Exklusiv für den Indiehandel! Das einzigartige und von der Kritik gefeierte norwegische Quartett Blood Command meldet sich mit einem brandneuen Album "Praise Armageddonism" über Hassle Records zurück. Das neue Album ist das erste, auf dem Nikki Brumen, ehemals Mitglied von Pagan, als Frontfrau und Leadsängerin der Band zu hören ist. Mit einer Distanz von 10.000 Meilen zwischen Nikki (in Melbourne, Australien) und dem Rest der Band (in Bergen, Norwegen) verlief 2020 nicht ganz nach Plan. Nachdem die ursprünglichen Pläne für die Aufnahmen in Norwegen auf Eis gelegt werden mussten, entschied sich die Band im Januar 2021 dazu, das neue Album aus der Ferne aufzunehmen; die gesamte Musik wurde in Norwegen aufgenommen, während Nikki den Gesang in einem lokalen Studio aufnahm, sobald die regionalen Beschränkungen dies zuließen. "A Villain's Monologue" ist der erste Track des neuen Albums, bei dem Nikki zeigt, warum sie bei Pagan so hoch angesehen war, was Kerrang dazu veranlasste, ihren Gesang als "eine krawallige Zurschaustellung von unbändigem Talent zu beschreiben, die sie zweifelsohne als zukünftigen Star auszeichnet". Die Band, die ihren Sound selbst als als "Deathpop" bezeichnet, ist ein einzigartiges Projekt. Hardcore trifft auf Metal trifft auf Pop trifft auf Punk. Die Band wurde bereits von Rock Sound als "eines der bestgehüteten Geheimnisse der Welt" bezeichnet, erhielt die Auszeichnung als eines der Alben des Jahres in Kerrang! und wurde vom Metal Hammer gelobt.

Halb orange/halb violettes Vinyl. Exklusiv für den Indiehandel! Das einzigartige und von der Kritik gefeierte norwegische Quartett Blood Command meldet sich mit einem brandneuen Album "Praise Armageddonism" über Hassle Records zurück. Das neue Album ist das erste, auf dem Nikki Brumen, ehemals Mitglied von Pagan, als Frontfrau und Leadsängerin der Band zu hören ist. Mit einer Distanz von 10.000 Meilen zwischen Nikki (in Melbourne, Australien) und dem Rest der Band (in Bergen, Norwegen) verlief 2020 nicht ganz nach Plan. Nachdem die ursprünglichen Pläne für die Aufnahmen in Norwegen auf Eis gelegt werden mussten, entschied sich die Band im Januar 2021 dazu, das neue Album aus der Ferne aufzunehmen; die gesamte Musik wurde in Norwegen aufgenommen, während Nikki den Gesang in einem lokalen Studio aufnahm, sobald die regionalen Beschränkungen dies zuließen. "A Villain's Monologue" ist der erste Track des neuen Albums, bei dem Nikki zeigt, warum sie bei Pagan so hoch angesehen war, was Kerrang dazu veranlasste, ihren Gesang als "eine krawallige Zurschaustellung von unbändigem Talent zu beschreiben, die sie zweifelsohne als zukünftigen Star auszeichnet". Die Band, die ihren Sound selbst als als "Deathpop" bezeichnet, ist ein einzigartiges Projekt. Hardcore trifft auf Metal trifft auf Pop trifft auf Punk. Die Band wurde bereits von Rock Sound als "eines der bestgehüteten Geheimnisse der Welt" bezeichnet, erhielt die Auszeichnung als eines der Alben des Jahres in Kerrang! und wurde vom Metal Hammer gelobt.

"Rob wollte, dass sich die Welt von The Northman rau und ungemütlich anfühlt, als wäre es mit Schlamm und getrocknetem Blut bedeckt, also war es wichtig, dass die Musik dies widerspiegelt." Die Komponisten Robin Carolan (Tri-Angle Records) und Sebastian Gainsborough (Vessel) wurden vor eine Aufgabe epischen Ausmaßes gestellt, als Regisseur Rob Eggers (The VVitch, The Lighthouse) sie bat, die Filmmusik für seinen ehrgeizigen Film The Northman zu schreiben. Sie mussten eine Filmmusik schaffen, die sowohl die immensen Recherchen zur Authentizität dieses historischen Stücks aus der Wikingerzeit würdigte; als auch den filmischen Maximalismus des Films für ein modernes Publikum ergänzte. Die Künstler gingen bis an die Grenzen ihrer Kreativität und das Ergebnis ist ein wunderschönes Klangbild, das den Hörer mitten in den Film versetzt. Beim Arrangieren der Partitur zogen die Komponisten den Musiker und Ethnographen Poul Hoxbro zu Rate, um sich inspirieren zu lassen und einen Einblick in die Geschichte der Wikingermusik zu erhalten. Da Robin und Sebastian aus dem Bereich der elektronischen Musik kommen, waren sie keinerlei Beschränkung auf eine kleine Auswahl von Musikinstrumenten unterworfen, nutzten diese aber als Ausgangsbasis. "Elektronische Musik hat ein fast grenzenloses Potenzial, wenn es darum geht, Klänge zu erzeugen, und das ist natürlich eine unglaubliche Sache, aber man kann auch in ein Wurmloch geraten und sich darin manchmal verlieren. Diese Gefahr besteht nicht, wenn man nur ein paar Hauptinstrumente hat, auf die man zurückgreifen kann" so Robin Carolan. Sie benutzten traditionelle Instrumente wie die Tagelharpa, die Langspil, die Kravik-Lyra und die Säckpip, um die filmische Welt von The Northman zu erschaffen, aber sie nahmen sich auch kreative Freiheiten, indem sie Instrumente wie Trommeln hinzufügten, von denen einige Wissenschaftler glauben, dass sie in der Musikkultur der Wikinger keine große Rolle gespielt hätten, einfach weil es keine archäologischen Beweise für echte Trommeln gibt. "Eines der Stücke sollte den Klang eines Bullroarers nachahmen; ein uraltes Instrument, das in heiligen Ritualen oder in der Schlacht zur Einschüchterung von Feinden eingesetzt wird. Es erzeugt einen wirklich verwirrenden, röhrenden Vibrato-Sound und tiefe Frequenzen, die wahnsinnige Entfernungen zurücklegen können." sagt Robin auf die Frage nach einem der einzigartigeren Aspekte der Partitur. Alle Beteiligten haben so viel Mühe in ihre Recherchen und ihre Kreativität gesteckt, und dieser Reichtum ist in jedem Stück offensichtlich. Das Album als Ganzes ist ein cineastisches Meisterwerk aus Klang und Atmosphäre, wunderschön und verstörend zugleich, genau wie der Film, den es so wunderbar begleitet.

"Rob wollte, dass sich die Welt von The Northman rau und ungemütlich anfühlt, als wäre es mit Schlamm und getrocknetem Blut bedeckt, also war es wichtig, dass die Musik dies widerspiegelt." Die Komponisten Robin Carolan (Tri-Angle Records) und Sebastian Gainsborough (Vessel) wurden vor eine Aufgabe epischen Ausmaßes gestellt, als Regisseur Rob Eggers (The VVitch, The Lighthouse) sie bat, die Filmmusik für seinen ehrgeizigen Film The Northman zu schreiben. Sie mussten eine Filmmusik schaffen, die sowohl die immensen Recherchen zur Authentizität dieses historischen Stücks aus der Wikingerzeit würdigte; als auch den filmischen Maximalismus des Films für ein modernes Publikum ergänzte. Die Künstler gingen bis an die Grenzen ihrer Kreativität und das Ergebnis ist ein wunderschönes Klangbild, das den Hörer mitten in den Film versetzt. Beim Arrangieren der Partitur zogen die Komponisten den Musiker und Ethnographen Poul Hoxbro zu Rate, um sich inspirieren zu lassen und einen Einblick in die Geschichte der Wikingermusik zu erhalten. Da Robin und Sebastian aus dem Bereich der elektronischen Musik kommen, waren sie keinerlei Beschränkung auf eine kleine Auswahl von Musikinstrumenten unterworfen, nutzten diese aber als Ausgangsbasis. "Elektronische Musik hat ein fast grenzenloses Potenzial, wenn es darum geht, Klänge zu erzeugen, und das ist natürlich eine unglaubliche Sache, aber man kann auch in ein Wurmloch geraten und sich darin manchmal verlieren. Diese Gefahr besteht nicht, wenn man nur ein paar Hauptinstrumente hat, auf die man zurückgreifen kann" so Robin Carolan. Sie benutzten traditionelle Instrumente wie die Tagelharpa, die Langspil, die Kravik-Lyra und die Säckpip, um die filmische Welt von The Northman zu erschaffen, aber sie nahmen sich auch kreative Freiheiten, indem sie Instrumente wie Trommeln hinzufügten, von denen einige Wissenschaftler glauben, dass sie in der Musikkultur der Wikinger keine große Rolle gespielt hätten, einfach weil es keine archäologischen Beweise für echte Trommeln gibt. "Eines der Stücke sollte den Klang eines Bullroarers nachahmen; ein uraltes Instrument, das in heiligen Ritualen oder in der Schlacht zur Einschüchterung von Feinden eingesetzt wird. Es erzeugt einen wirklich verwirrenden, röhrenden Vibrato-Sound und tiefe Frequenzen, die wahnsinnige Entfernungen zurücklegen können." sagt Robin auf die Frage nach einem der einzigartigeren Aspekte der Partitur. Alle Beteiligten haben so viel Mühe in ihre Recherchen und ihre Kreativität gesteckt, und dieser Reichtum ist in jedem Stück offensichtlich. Das Album als Ganzes ist ein cineastisches Meisterwerk aus Klang und Atmosphäre, wunderschön und verstörend zugleich, genau wie der Film, den es so wunderbar begleitet.

"Rob wollte, dass sich die Welt von The Northman rau und ungemütlich anfühlt, als wäre es mit Schlamm und getrocknetem Blut bedeckt, also war es wichtig, dass die Musik dies widerspiegelt." Die Komponisten Robin Carolan (Tri-Angle Records) und Sebastian Gainsborough (Vessel) wurden vor eine Aufgabe epischen Ausmaßes gestellt, als Regisseur Rob Eggers (The VVitch, The Lighthouse) sie bat, die Filmmusik für seinen ehrgeizigen Film The Northman zu schreiben. Sie mussten eine Filmmusik schaffen, die sowohl die immensen Recherchen zur Authentizität dieses historischen Stücks aus der Wikingerzeit würdigte; als auch den filmischen Maximalismus des Films für ein modernes Publikum ergänzte. Die Künstler gingen bis an die Grenzen ihrer Kreativität und das Ergebnis ist ein wunderschönes Klangbild, das den Hörer mitten in den Film versetzt. Beim Arrangieren der Partitur zogen die Komponisten den Musiker und Ethnographen Poul Hoxbro zu Rate, um sich inspirieren zu lassen und einen Einblick in die Geschichte der Wikingermusik zu erhalten. Da Robin und Sebastian aus dem Bereich der elektronischen Musik kommen, waren sie keinerlei Beschränkung auf eine kleine Auswahl von Musikinstrumenten unterworfen, nutzten diese aber als Ausgangsbasis. "Elektronische Musik hat ein fast grenzenloses Potenzial, wenn es darum geht, Klänge zu erzeugen, und das ist natürlich eine unglaubliche Sache, aber man kann auch in ein Wurmloch geraten und sich darin manchmal verlieren. Diese Gefahr besteht nicht, wenn man nur ein paar Hauptinstrumente hat, auf die man zurückgreifen kann" so Robin Carolan. Sie benutzten traditionelle Instrumente wie die Tagelharpa, die Langspil, die Kravik-Lyra und die Säckpip, um die filmische Welt von The Northman zu erschaffen, aber sie nahmen sich auch kreative Freiheiten, indem sie Instrumente wie Trommeln hinzufügten, von denen einige Wissenschaftler glauben, dass sie in der Musikkultur der Wikinger keine große Rolle gespielt hätten, einfach weil es keine archäologischen Beweise für echte Trommeln gibt. "Eines der Stücke sollte den Klang eines Bullroarers nachahmen; ein uraltes Instrument, das in heiligen Ritualen oder in der Schlacht zur Einschüchterung von Feinden eingesetzt wird. Es erzeugt einen wirklich verwirrenden, röhrenden Vibrato-Sound und tiefe Frequenzen, die wahnsinnige Entfernungen zurücklegen können." sagt Robin auf die Frage nach einem der einzigartigeren Aspekte der Partitur. Alle Beteiligten haben so viel Mühe in ihre Recherchen und ihre Kreativität gesteckt, und dieser Reichtum ist in jedem Stück offensichtlich. Das Album als Ganzes ist ein cineastisches Meisterwerk aus Klang und Atmosphäre, wunderschön und verstörend zugleich, genau wie der Film, den es so wunderbar begleitet.

'Ride with the Rasses' was an unequivocal statement of Prince Lincoln's
Rastafarian faith and a discernible demonstration that his "determination
(was) inexhaustible"
The LP found favour with listeners worldwide, but, without the extensive,
expensive promotion and publicity a major label could provide, the album went
relatively unheard outside of those who had kept the faith with conscious music
making. This Burning Sounds re- release will, hopefully, secure a long overdue
measure of re-appraisal and positive reassessment.
Vocals – Prince Lincoln Thompson
Album first released 1983
Released on 180 gram RED vinyl
Promotion across social media platforms
Advertising in Riddim, Black Echoes and Record Collector Magazine

Das schwedische Quartett UNLEASHED gehört schon seit Ewigkeiten zu einer der agilsten und gleichzeitig
besten Bands der weltweiten Death Metal-Szene. Keine andere Band haut in regelmäßigen Abständen
so unberechenbare Todesblei-Longplayer unters Volk, und versteht es dabei, sich von Album zu Album
zu steigern. Hammer Battalion aus dem Jahr 2009 war ein weiterer Geniestreich aus dem Hause UNLEASHED und steht hochkarätigen Vorgängern in nichts nach. Noch heute gehört dieser Kracher zu
den besten Longplayern der Schweden-Combo. UNLEASHED liefern haargenau das ab, was die Fans von
ihnen erwarten. Hier gibt es reihenweise Elchtod-Granaten am Fließband !!! Gradlinige Songs wie ”Midsummer solstice” , ”Home of the brave”, ”Entering the hall of slain” oder ”Warriors of midgard” stehen
in allerbester Stockholm-Tradition, und lassen dabei andere Death Metal Bands locker im Regen stehen.
Hammer Battalion gibt es nun als LP in strikt limitierter Auflage!

World renowned extreme Metal titans KREATOR are back. 5 Years after their incredibly successful “Gods Of Violence” album (2107, #1 in the German album charts, #4 in Austria, #7 in Czech Republic and Finland + chart entries in numerous other territories), the genre-defining band presents their most political effort to date. “Hate Über Alles” (in tradition of US punk icons DEAD KENNEDYS’ “California Über Alles”) is a bold statement against hate and the division of society in today’s world. While perfecting their signature sound of thrash metal that inspired countless other bands over the past 4 decades, KREATOR have managed to close the gap between the old and new school, still reaching new audiences, playing sold out shows to even bigger crowds as they move on. “

Hate Über Alles” features 11 tracks that once again show who’s boss in this game that many begin but only few ultimately last in. The crushing frenzy of the title track, the pounding “Strongest Of The Strong” featuring world famous vegan strongman Patrik Baboumian, the nostalgia of “Become Immortal” or the extravaganza of “Midnight Sun” make the band’s 14th album their most diverse and thrilling so far. “Hate Über Alles” will be accompanied by massive online and out-of-home campaigns, leading up to the band’s European co-headlining tour with Grammy-nominated US powerhouse LAMB OF GOD in November/December 2022. The album is available in various lavish vinyl editions featuring a beautiful, yet grim trifold artwork by famous artist Eliran Kantor (TESTAMENT, SOULFLY, HELLOWEEN, HEAVEN SHALL BURN, HATEBREED among others) as well as in a noble CD Digibook and bold box set including an extended Making-Of Book, a live album of the band’s 2021 Bloodstock Open Air appearance, an art print of the cover and a pin of the band’s iconic logo.

Jan Delay hat im letzten Sommer zusammen mit der Disko No. 1 “Earth, Wind & Feiern” - die Platte für den Club in unserem Herzen - auf die Bühnen dieses Landes gebracht und die Show in Hamburg gleich mitaufgezeichnet. Daraus sind 18 dynamische Live-Tracks voller Bass und Bumms entstanden, die zusammen mit den zwei neuen Studio-Songs „Der Bass & die Gang“ und „Alles gut“ die positiven Vibes zurück in unsere Herzen tragen.

Wie immer bei Jan Delay schöpft “Earth, Wind & Feiern” aus fünf Jahrzehnten Popgeschichte. Vor allem aber spielt die Platte im Hier und Jetzt. In ihr stecken Burna Boy und Stefflon Don, Daft Punk und
Drake, Sly & Robbie und Meek Mill. Es gibt Afrobeats, Disco, Trap und Ska, sogar Stadiontechno und LatinX-Riddims.

“Earth, Wind & Feiern – Live aus dem Hamburger Hafen” ist voll Seele und Bounce und positiver Energie. Denn so bedrückend und komplex die Welt manchmal auch scheinen mag: Ein paar simple Wahrheiten werden nie von ihrer Gültigkeit verlieren. Wenn Hass herrscht, hilft Liebe ganz bestimmt. Und das Wichtigste ist, dass das Feuer nicht aufhört zu brennen. Jan Delay ist wieder zurück, um es am Lodern zu halten.

Das Album erscheint als 2CD im Digipack (Studioalbum inkl. 2 neuer Songs, Live-Album) sowie als schwarze 2LP inkl. magenta 7inch (Live-Album, 2 neue Stuidotracks auf 7inch).

World renowned extreme Metal titans KREATOR are back. 5 Years after their incredibly successful “Gods Of Violence” album (2107, #1 in the German album charts, #4 in Austria, #7 in Czech Republic and Finland + chart entries in numerous other territories), the genre-defining band presents their most political effort to date. “Hate Über Alles” (in tradition of US punk icons DEAD KENNEDYS’ “California Über Alles”) is a bold statement against hate and the division of society in today’s world. While perfecting their signature sound of thrash metal that inspired countless other bands over the past 4 decades, KREATOR have managed to close the gap between the old and new school, still reaching new audiences, playing sold out shows to even bigger crowds as they move on. “

Hate Über Alles” features 11 tracks that once again show who’s boss in this game that many begin but only few ultimately last in. The crushing frenzy of the title track, the pounding “Strongest Of The Strong” featuring world famous vegan strongman Patrik Baboumian, the nostalgia of “Become Immortal” or the extravaganza of “Midnight Sun” make the band’s 14th album their most diverse and thrilling so far. “Hate Über Alles” will be accompanied by massive online and out-of-home campaigns, leading up to the band’s European co-headlining tour with Grammy-nominated US powerhouse LAMB OF GOD in November/December 2022. The album is available in various lavish vinyl editions featuring a beautiful, yet grim trifold artwork by famous artist Eliran Kantor (TESTAMENT, SOULFLY, HELLOWEEN, HEAVEN SHALL BURN, HATEBREED among others) as well as in a noble CD Digibook and bold box set including an extended Making-Of Book, a live album of the band’s 2021 Bloodstock Open Air appearance, an art print of the cover and a pin of the band’s iconic logo.

Was tun, wenn man Desert Rock und Doom aus der Wüste mag, die Umgebung aber alles andere als besonders trocken ist? BESVÄRJELSEN haben auf beeindruckende Weise eine Antwort in den dunklen Wäldern ihrer schwedischen Heimat Dalarna gefunden. Aufgewachsen am Schnittpunkt altnordischer und finnischer Kulturen im hohen Norden, umgeben von Runen und alten Göttern, Schamanen und Geistern, hat das fesselnde Quintett seinen Namen aus dem schwedischen Wort für "Beschwörung" abgeleitet. Außerdem lassen sich die Nordschweden nur zu gern von lokalen Überlieferungen, der Mystik und den dunklen, alten Musiktraditionen ihrer Heimat inspirieren. Doch BESVÄRJELSEN sind alles andere als eine weitere "Pagan Folk"-Band, die sich nach einer Zeit zurücksehnt, die niemals war. Mit wehmütigen Melodien und gleichzeitig mächtiger Riff-Power macht ihr zweites Album "Atlas" einen großen Schritt auf dem Pfad, den BESVÄRJELSEN von Anfang an eingeschlagen haben. Die Gitarristen und Sänger Andreas Baier und Staffan Stensland Vinrot haben die Band im Jahr 2014 mit der klaren Vision gegründet, den Geist und die Traditionen der weiten Wälder Dalarnas, einer Region, die sonst eher für ihre bemalten Holzpferde bekannt ist, in zeitgenössische Heavy-Musik zu transformieren. Als die Sängerin Lea Amling Alazam mit ihrer Leidenschaft für Punk- und Stoner-Rock, die im örtlichen Skatepark im zarten Alter von 13 Jahren begann, zur Besetzung stieß, reduzierten Andreas und Staffan ihren Gesang gerne auf eine Nebenrolle. Die Entscheidung fiel leicht, da Leas unverwechselbare Stimme die Intimität und das Charisma von Sängerinnen wie NINA SIMONE oder AMY WINEHOUSE heraufbeschwört. BESVÄRJELSEN veröffentlichten im Jahr 2015 ihre Debüt-EP "Villfarelser" und kurz darauf folge die "Exil" EP (2016). Das Debütalbum "Vallmo" der Schweden detonierte im Jahr 2018 in Stockholm und schaffte es bis in den staatlichen Rundfunk, kam aber auch anderen Orts hervorragend an. Das Album verband krachende Riffs und stürmische Drums mit ausgefeilten Melodien und nachdenklichen Themen. Mit ihrer Mini-Album "Frost" wollten BESVÄRJELSEN im Jahr 2019 die Bühnen in ganz Europa erobern, bevor auch die Schweden in den nächsten zwei Jahren eine Zwangspause einlegen mussten. Obwohl die Band gezwungen war, getrennt zu komponieren, nutzte BESVÄRJELSEN die freie Zeit, um eine Fülle von Ideen zu sammeln. Diese teilten die Musiker über die Meilen und Monate ihrer relativen Einsamkeit hinweg miteinander, bis sie schließlich im Jahr 2021 die Aufnahmen zu "Atlas" mit dem Produzenten Karl Daniel Lidén begannen. Mit melancholischen Harmonien, die aus dem Skizzenbuch von ALICE IN CHAINS stammen könnten und einer Heaviness, die Windhand zur Ehre gereichen würde, haben BESVÄRJELSEN einen massiven musikalischen Monolithen aus dem lokalen Granit gemeißelt und dann in den magischen Wäldern ihrer Heimat aufgestellt, um dessen Kraftlinien über die gesamte vom Titanen "Atlas" geschulterte Erdkugel zu schicken.

Die Occult Metal Band THE HERETIC ORDER THE HERETIC ORDER präsentieren mit "III" ihr drittes Album, auf dem wütende Gitarren und donnernde Drums eine Reihe schneller, fieser und harter Songs ankündigen, die dennoch bösartiges Gift in das Bewusstsein des Hörers träufeln.

"III" befasst sich mit unzähligen Themen, sowohl modernen als auch alten Themen.
Von aktuellen Übeln wie Weltverschmutzung, Krankheiten, menschlicher Gier und der Korruption der Religion, den Illuminaten und der Verbindung von Geheimgesellschaften mit außerirdischem Leben bis hin zu historischen Geschichten aus den finsteren Kapiteln der Menschheit - wie dem Völkermord an den Katharern, den Hinrichtungen im Tower von London und den Menschenopfern der Maya - nichts entgeht dem Blick des kranken Geistes von Dominus Ragnar...
Als Gastmusiker sind Jeremy Gomez (Red Method) und Ays Kura (Die Kur) auf dem Album vertreten.

Mach dich sich darauf gefasst, dass deine Alpträume zurückkehren werden.

In the years since their formation, WhoMadeWho have established themselves as one of the most important underground bands of their generation. The Danish group, consisting of Tomas Høffding, Tomas Barfod and Jeppe Kjellberg, has an exceptional sense of emotional depth, heartbreaking melodies and brilliant songwriting, boasting an expansive discography currently spanning a total of six albums and a plethora of EPs, singles and remixes released on labels such as Kompakt, Innervisions and Life & Death. On the road, they are internationally renowned for their professionalism and outstanding live performances and have become regular fixtures at some of the world’s most notable musical festivals, including Roskilde, Sonar, Melt! and Burning Man to name just a few.
The in-demand Scandinavian outfit now confirm details of their upcoming long player, UUUU. Set for worldwide release on Friday, May 27, via long standing German record label Embassy One, UUUU is the seventh full-length studio album from WhoMadeWho. A beautifully crafted record featuring thirteen original productions.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

Much in demand album from 1986.

Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.

Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.

That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.

Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.

Die aufstrebende Indie-Künstlerin Lisa Wanloo ist in den letzten Jahren durch eine Zeit der Einkehr und der Klarheit gegangen. Furchtlos erforscht sie ihre Gefühle und drückt sie in schnörkelloser Musik auf eine Weise aus, die nur wenige ZuhörerInnen ungerührt zurücklassen wird. Wanloo entwirft in ihren Liedern eine große, dunkle Szenerie, gepaart mit etwas Zerbrechlichem, das auf wunderschöne Weise im Inneren stochert. Beeinflusst von den dunklen Spielarten der Americana- und Singer-Songwriter-Tradition sowie ihrer lebenslangen Liebe zur Grungemusik, schreibt Wanloo ihre Musik aus tiefstem Herzen heraus. Das erinnert von der Herangehensweise wie auch in der Umsetzung an die großen Angel Olsen und Sharon Van Etten. Lisa Wanloo aus Hönö in den Göteborger Schären hat erst spät mit dem Musizieren begonnen. Ihre 2018 veröffentlichte Drei-Track-Single präsentierte ihre ersten je geschriebenen Songs; damals noch in einer eher traditionellen Singer-Songwriter-Form. Anschließend begab sie sich auf die Suche nach ihrem individuellen Ausdruck und nun ist sie bereit, ihr Debütalbum "Shadows" zu veröffentlichen. Das Reeperbahn Festival, auf dem Lisa Wanloo 2021 zu Gast war, schreibt von einer "unwahrscheinlichen Ausdruckskraft" der Sängerin. Auch wenn der Grundtenor stets von einer sinnlichen Dunkelheit geprägt werde, so könne ihre Musik doch Hoffnung in trostlosen Lebensmomenten spenden. Wanloo sei eine "junge Künstlerin von unschätzbarem Wert für die Gegenwart".

28. Januar 2022 – Gut drei Jahre nach seinem letzten Album erfreut Michael Bublé seine weltweite Fangemeinde mit der Ankündigung eines neuen Werkes: „HIGHER“ wird am 25. März 2022 über Warner Records / Reprise Records erscheinen und ist das insgesamt 11. Studioalbum des mehrfachen Grammy-Gewinners, vielfachen Juno-Preisträgers und weltweiten Multiplatin-Superstars. Die erste Single „I’ll Never Not Love You“ erscheint bereits heute und zeigt den Kanadier stimmlich und kreativ in Bestform. Der neue Track wurde von Greg Wells und Bob Rock zusammen mit Allen Chang, Jason „Spicy G“ Goldman und Sir Paul McCartney produziert.

Zu den Highlights des Albums gehören ein magisches Duett mit Willie Nelson für dessen Song „Crazy“, Bublés gefühlvoll gesungene Interpretation von Sir Paul McCartneys Song „My Valentine“ (produziert von McCartney) und der Bob-Dylan-Klassiker „Make You Feel My Love“, außerdem die drei von Bublé neu geschriebenen Titel, zu denen auch die erste Single „I'll Never Not Love You“ zählt. Absolut gelungen sind auch Bublés Interpretation des Sam-Cooke-Klassikers „Bring It On Home To Me”, „You're The First, The Last, My Everything” und das beschwingte „A Nightingale Sang in Berkeley Square". Den Abschluss des Albums bildet eine dramatische und atemberaubende Version von „Smile“, bei der Bublé von einem Gospelchor begleitet wird.

Bublé kommentiert: „Ich habe mich diesmal komplett geöffnet, um neue Dinge auszuprobieren. Ich wühlte mich tief in die Materie ein, umgeben von einigen der großartigsten musikalischen Vordenker, die wir auf diesem Planeten haben – Menschen mit einer gigantischen Vorstellungskraft. Ob ich mich mit Ryan Tedder und Greg Wells für Songwriting-Sessions zusammensetzte, mit meinem Kumpel Bob Rock drei Songs an einem Tag aufnahm – zusammen mit 40 fantastischen Studiomusikern, die seit 15 Monaten nicht mehr musiziert hatten –, oder einfach nur in Unterwäsche lachend und weinend durch mein Homestudio tanzte, weil ein Song genau richtig klang – jeder Moment fühlte sich magisch an. Als hätte sich das Universum verbündet, um mich nach 20 erstaunlichen Jahren genau an diesen Punkt zu bringen. Ich war noch nie so aus dem Häuschen, nachdem ich ein Album fertiggestellt hatte.“

„Michael Bublé ist ein großartiger Tanzpartner“, kommentiert Greg Wells. „Er zollt mir viel Anerkennung, doch der wahre Respekt gebührt ihm – dafür, dass er das Vertrauen hatte, mit einem neuen Team zu arbeiten. Er ist ein phänomenaler Hitmaker.“

Bublés langjähriger Produzent Bob Rock sagt: „Ich habe Michael noch nie so fokussiert und inspiriert erlebt. Er hatte eine ganz bestimmte Vorstellung von dem Album, das er machen wollte, eine klar umrissene Vision. Als wir uns ans Werk machten, hängte er sich bei jedem Song so lange rein, bis er so klang, wie er ihn in seinem Kopf hörte.“

Vor vielen Jahren entdeckte ein damals vierjähriger Michael Bublé im heimischen Elternhaus in Burnaby, Kanada seine Liebe zum Singen – und ließ sie seitdem nie mehr los. Sein selbstbetiteltes Debütalbum bei Reprise Records erschien 2005, gefolgt von einer Serie an Multiplatin- und #1-Erfolgen, darunter „Call Me Irresponsible“, „Crazy Love“, „To Be Loved“ und „Christmas“. Sein letztes Album „Love“ (2018) erreichte u.a. Platz 1 in den USA und UK und Platz 6 in Deutschland. Im Laufe seiner erstaunlichen Karriere hat Bublé über 75 Millionen Alben verkauft, sein Weihnachtsalbum wird auch zehn Jahre nach der ursprünglichen Veröffentlichung weiterhin millionenfach gekauft und gestreamt und seine Stimme ist der Inbegriff von Weihnachtszeit. Auch live hat Bublé in den letzten Jahrzehnten herausragende Erfolge gefeiert und ausverkaufte Shows in über 30 Ländern gespielt. Seine jüngste Tournee „An Evening With Michael Bublé“ (2019 bis 2022) wurde von über einer Million Fans auf der ganzen Welt besucht. Michael liebt Eishockey, Fantasy Football, TikTok und – na klar – Singen. Er ist der stolze Vater von Noah, Eli und Vida.

For WEMA, collaboration is a state of mind. The five-piece collective - consisting of Tanzanian multi-instrumentalist Msafiri Zawose, producer Photay and Penya members Magnus P.I, Lilli Elina and Jimmy le Messurier - is an artistic pursuit founded on community; a space in which to harness the transformative power of connection. Translated from Swahili, 'wema' means kindness and benevolence - virtues that lie at the core of the project, and are reflected in the group's world-embracing approach to music. "WEMA is a state of gratitude and belief, without sorrow or grief. It's about giving your entire heart," Msafiri declares. WEMA's beginnings, however, have a more cosmic origin. As the world ground to a halt in March 2020, Photay and Magnus were both feeling the strain of creative burnout. Both artists had been keen to collaborate for a while, but the stars never quite aligned - until an off-hand conversation about the pressures of losing yourself to a project sparked an unlikely moment of inspiration. The pair began exchanging their backlog of beats, home-spun demos and unfinished ideas. Before they knew it, their songs began to take real shape - and it was some of the most invigorating music they'd ever written.

Cassandra Jenkins' An Overview on Phenomenal Nature emerged from the blue earlier this year. With pandemic unknowns and political upheaval leaving most at frayed ends, the New York-born musician’s assuring voice and expansive fresh take on songwriting created a much needed reflective space for listeners worldwide. As 2021 comes to a close, Jenkins revisits those flowing textures and refrains with (An Overview On) An Overview On Phenomenal Nature, a collection of previously unreleased sonic sketches, initial run-throughs, demos, and sound recordings from the cutting room floor that provided the scaffolding for what became one of this year’s most critically acclaimed albums.

When Jenkins visited Josh Kaufman’s studio this summer, they opened up their original sessions to uncover the ideas that were shed in the creative process. The new collection, (An Overview On) An Overview On Phenomenal Nature, isn’t merely a retrospective; it acts as a clear-eyed addendum as well as a compelling origin story, coming to life as a subconscious companion to the original album.

First takes of “New Bikini” and “Hailey” are born from opposite starting points; while “New Bikini” began as an airy alto meander, “Hailey”’s origins lie in an upbeat dance track. On “Crosshairs (Interlude),” Jenkins’ pitched vocal delivers a straight monotone, recasting the format as poetry with music highlighting her words, and “Ambiguous Norway (Instrumental)” lifts the ambient nature of the mournful song into glimmering waves. The demo version of “Michelangelo” contains alternate lyrics “I’m Michelangelo, a Teenage Mutant Ninja Turtle,” a lost contrast to the later verse where Jenkins’ likens herself to the sculptor. On “Hard Drive (Security Guard),” we join Jenkins as she listens to a passionate museum guard whose promised “overview” of the exhibit on view builds into a monologue of observations on art, politics, feminism and the human condition. This candid interaction evolved into the cornerstone and title of Jenkins’ album.

Before they decided to make an album together, Jenkins brought Kaufman a song called “American Spirits.”The dusky ballad takes us to the Texas plains via a voicemail from the payphone of a county jail (“Miss Cassandra”). Cassandra sings, “Time here burns through the sunsets / Like you and a pack of American Spirits” over warm instrumentation with a vocal delivery that reinforces Jenkins’ unwavering tenderness towards her subjects.

(An Overview On) An Overview On Phenomenal Nature bookends Cassandra Jenkins' musical output this year with nuance, coloring in the corners, and giving us another window into her ever-expanding world of chance encounters, experiences, and sonic textures. They glimmer like the sun’s changing patterns on the wall as a new day gets going.

7" Black Vinyl limited to 1000 copies.

Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial town of Burnley and adopted by the Manchester culture carriers, their teenage years can be viewed as something of a hedonistic pilgrimage into the underbelly of suburban rock and roll- their first gig having been 3 songs blasted out their mates garage, the next on top of a local vintage shop where the floor nearly caved in: “when there’s fuck all, you make do with what you got”. The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. Together, brothers James Douglas Clarke (Guitar + Vocals) and Joe Clarke (Keys), along with Joey Stein (Lead Guitar), Naham Muzaffar (Bass) and Sam Launder (Drums) all contribute to a fuzzy wall of diverse sound, becoming harder to pin down with their constantly evolving, psych-umbrella’d, rock and roll. What sets THE GOA EXPRESS apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time. Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride. With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes THE GOA EXPRESS a guitar band for the 21st Century. Nothing is ever a compromise because they are so unapologetically themselves in everything they do- proud Northerners with a DIY foundation that aren’t afraid to look into the often dim future and see themselves shining brightly in it, unforgiving and unpretentious. So far, the band have released 3 singles with great success. The first: ‘Be My Friend’, produced by Ross Orton right next Sheffield’s famous ‘City Sauna’ brothel, presents itself to us as a cheeky, snarling pop song, holding undertones of raw cynicism laden with psychedelic sunshine. Ross Orton’s studio was also right next door to where the band recorded their last single ‘The Day’ with Nathan Saoudi of Fat White Family at ‘Champ Zone.’ Both these producers have been able to give these instant pop classics a grittier feel, capturing the essence of the unfettered lifestyle the band were living at the time that they were able to capture themselves in the music video for ‘Be My Friend’. After signing with Ra-Ra Rok, (WU-LU/Bingo Fury) the band released anthemic summer hit ‘Second Time’, that went straight to the 6 music B-List before quickly heading up to the A-List 2 for 2 weeks. This was followed by the release of its B-Side ‘Overpass’ that almost immediately caught the eyes and ears of BBC Radio 1’s Jack Saunders, who had the band on his ‘Next Wave’ Segment. Closing the year that saw them play to 1000 strong crowds at festivals like Latitude & End of the Road, the band headlined their biggest headline show to date at Manchester’s Gorilla. Its fair to say that this really is only the beginning.

After turning heads with the densely orchestrated Riddles, produced by Dan Deacon, the Baltimore-based duo Ed Schrader’s Music Beat have given us another giant leap forward with their fourth record Nightclub Daydreaming. The whiplash-inducing stylistic shifts between aggressive noise rock and operatic gloom pop that have become the band’s trademark have given way to a single aesthetic that fuses both impulses. On Nightclub Daydreaming, menace teems just below the surface as propulsive, stark arrangements leave space that Schrader fills with strident, reverb-soaked narration.

LIMITED GOLD VINYL w/ Download Card

When Ed Schrader and Devlin Rice began writing the record in 2019, the idea was to make a fun, danceable album, but an underlying moodiness proved unshakeable. As Schrader puts it, “The cave followed us into the discotheque.”

The duo road-tested the songs “This Thirst,” “Echo Base” and “Black Pearl” with drummer Kevin O’Meara on tour with Dan Deacon in February 2020. COVID restrictions cut the tour short, squashed plans to go immediately into the studio and sent the touring party on a sprint from LA to Baltimore. “We broke down outside Roswell,” Schrader recalls. “And these cops laughed at our dumb asses as we used all our pent-up stress and fear to propel our half-submerged bus out of the muck, yelling epithets to the sky.”

It was one of the last experiences they had with O’Meara, whose death in October 2020 weighed heavily on Rice and Schrader’s minds as they worked on the record. It was also a cathartic moment that presaged the aesthetic that would permeate the songs on Nightclub Daydreaming: “mad euphoria in the face of doom,” as Schrader puts it.

“This Thirst” is an alienation-fueled barn burner barely restraining itself through musically sparse, lyrically dense verses to culminate in a howling, synth-saturated chorus that beats horror punk at its own game. “Came from the north with a twisted planetarium, rock salt, nervous tic and novocaine,” Schrader sings, assuming the guise of a vagrant whose irresistible urges lead him through a fever dream of chemicals, back-alley bartering and existential threats.

The hyperactive “Echo Base” exudes agitated-cool, with breakneck drum fills and a relentless bass line. The narrator is stranded in a frozen landscape and running out of options. “She is just a night train away,” we are assured, and yet we sense that may not be an altogether good thing.

The band recorded and mixed Nightclub Daydreaming over a two-week period with Craig Bowen at Tempo House in Baltimore with David Jacober on drums, turning demos with artificial sounds and placeholder melodies into fully realized songs playable by a live band. The end result is not the album of “sunny disco bangers” that Rice says the band set out for, but something deeper, darker and more rewarding.

Halloween has been and gone for another year, but darkwave-inflected hardcore punk never goes out of fashion, right? And frankly, who gives a solitary fuck if it does? Nag’s sinister second album is too busy being an ear-bleeding good time to care about shit like that. It’s too wrapped up asking questions like ‘is this real reality?’ - too caught up in pushing Bernard Sumner minimalism into furiously energetic bruisers and ever-darker corners. It’s the record you’ve been waiting for throughout 2021, whether you knew it or not. This RIPS. Formed in Atlanta, GA, Nag have already dropped an LP (last year’s ‘Dead Deer’, on Die Slaughterhaus) and a handful of 7”s - all must-haves - but they’ve never quite cut loose like this. Vocalist Brannon Greene pitches his delivery somewhere between a caustic holler and a dead-eyed sneer, taking the blank generation for a midnight drive and hurtling straight into a brick wall. Meanwhile, the band nab ideas from no-wave, the wilder ends of Goner Records’ almighty roster, and the best (and sometimes synthiest) aspects of gothed-out post-punk - the resulting concoction may be composed of familiar elements, but it feels like no one else other than Nag. A more hyperbolic and verbose hack than me might say this is the moment that signals the band have ‘arrived’, but not me. I’d just say this is a damn fine record - one of the very best things to have emerged from the wider punk rock mess in the last 12 months. Oh, and I’d add that if you don’t buy it, you may as well sever those things called ears, toss ‘em into the woods and let any of their redeeming qualities seep out into the soil, ‘cause that’s the only way you could continue to argue that they’re serving any useful purpose. But you know, that’s just me. You do you, friend. Actually, scratch that. Buy this record, you idiot.

High Focus ​Records linchpin ​Fliptrix announces his 8th solo album ​‘Light Work’. The 16-track project is a complete representation of ​Fliptrix as both an artist as well as reflecting the person behind the artistry. The album tackles deep rooted issues within society, the current state of the world as well as portraying an overarching message of peace, openness and optimism.

“Light Work is the culmination of years of experience, emotion, research and love. Crafted to heal, fulfil my desire to create and further raise vibrations.”

The London born, Brighton based lyricist’ creative CV has become one of legends. His long-standing trade as a solo artist is paired with him being one-quarter of the acclaimed collective ​The Four Owls (Big Owl)​, adding in Founder and Director of ​High Focus Records and not to forget becoming a first-time dad earlier this year. Operating at this level has been achieved by years of self-development and his mission is to pay it all forward.

Both Fliptrix and High Focus Records have been irreplaceable cogs in the UK HipHop machine for well over a decade. He and the label have been there for the hard times and the glory days but have never sought out fame or verification. Albums such as ​‘The Road To The Interdimensional Piff Highway’ and ​‘Patterns Of Escapism’ ​were pioneering amongst peers and resulted in multiple global tours and a dedicated fanbase across the world.

Kicking off the album is the title track ​‘Light Work’ which starts with faded, eerie laughter whilst Fliptrix unleashes a barrage of flows ending with “DMT be elevating my consciousness​”​. An introspective cut,

‘Light Work’ expresses his undeniable passion for his craft whilst tackling personal demons and overcoming them through altered states of consciousness. ‘​Multicolour’ paints a raw psychedelic picture and encourages us to think outside the box and not take everything for face value. His vivid storytelling continues throughout with feelings of being burnt out expressed in ‘​Broken Glass​’ whilst ​‘Powerizm’ ​switches up the tempo and he conveys his daily grind whilst paying homage to his fallen friend and legendary London graffiti artist ‘POW’ as well as his recently born first child. Tracks ‘​Problem, Reaction, Solution & ​The Realisation Part 2​, tackle the world's current situation head-on with a no holds barred viewpoint. Coming full circle, ​Fliptrix closes the project with ‘​Vibes’​ which is full of positivity and hope.

No stranger to talking openly about his mind-altering experiences, spirituality, quest for knowledge and dedication to the exploration of consciousness, Fliptrix’s raw flow and intricate lyricism perfectly portray the albums hard hitting narratives and set him apart from the rest of the scene. Self-reflection, personal improvement, determination and revolution are at the core of ​‘Light Work’ and they come together harmoniously under one roof.

Emily Wells, die New Yorker Multiinstrumentalistin mit einem klassischen Geigen-Background, denkt beim Komponieren oft an ein Ensemble. Als klassisch ausgebildete Violinistin, Sängerin, Komponistin, Produzentin und Videokünstlerin wurde die Musik von Wells als "visionary" (NPR) und "quietly transfixing" (The New York Times) beschrieben. "Regards To The End" wurde 2020-21 aufgenommen und ist von Künstlern der AIDS-Krise inspiriert. Es handelt von der Art und Weise, wie ihr Aktivismus unsere eigene Herangehensweise an den Klimaschutz beeinflussen kann, und von Wells eigenen Erfahrungen als queerer Musikerin. Zusammen mit einer Reihe von Mitwirkenden baute sie die zehn Songs auf "Regards To The End" aus bewussten Schichten von Gesang, Synthesizern, Schlagzeug, Klavier, Streichinstrumenten (Geige, Cello, Bass) und Blasinstrumenten (Klarinette, Flöte, Waldhorn) auf. Ihre Musik ist u.a. deshalb so anziehend, weil das Hörerlebnis bei Emily Wells ein sehr körperliches ist. Der Gesang und die Bläser, die auf dem Album stark vertreten sind, stellen den Atem in den Vordergrund. Das Leben schwillt in jeder Note an, während das Schlagzeug uns sowohl an den Puls unseres Herzschlags bindet als auch erdet. Inhaltlich knüpft "Regards To The End" an das Leben und die Arbeit von Choreograph*innen und bildenden Künstler*innen an, die insbesondere mit der AIDS-Krise in Verbindung stehen.

Our Lowriders album is an amalgam of the two “This Is Lowrider Soul” CDs. We have chosen 14 tracks that represent the sounds loved by Los Angelenos, often of Mexican descent, that emanate from their fabulously designed motors while cruising Whittier Boulevard in East LA or, say, Van Nuys Boulevard in the northwest of the city.

The classic Los Angeles vocal group the Superbs are featured here on their glorious ‘It Hurts So Much’, but it is mainly the records discovered by sweet soul collectors that dominate. The Carnival label has a great reputation on this scene; Lee Williams & the Cymbals’ ‘Please Say It Isn’t So’ and ‘Follow Your Heart’ by the Manhattans are a pair of killer ballads perfect in tempo and harmony for the cruisers. Other East Coast offerings include the Persians’ captivating ‘Here It Comes’ and two gems which were only on master tape prior to their Kent releases – Melvin Hicks & The Versatiles’ ‘I’m Just Passing Time’ and the similarly unknown outfit the Exceptions, with the wailing ‘So Much In Love’.

Chicago has always been a breeding ground for black harmony groups. The Esquires saw much success at Bunky; ‘No Doubt About It’ was their equally great first release at Wand. Little Ben & The Cheers hailed from the same city; their ‘I’m Not Ready To Settle Down’ fetches big bucks due to Lowrider demand, as does ‘What Am I Gonna Do’ by the mysterious Houston Outlaws – their origins are uncertain, but must be Midwestern. The Vanguards hailed from Indianapolis and deservedly charted with ‘Somebody Please’, licensed to LA’s Whiz label. All of their seven singles on Lamp are also fine, harmonic soul tracks. The Lovers were a Bay Area group who recorded in Los Angeles with the maestro Arthur Wright; their ‘Someone’ was tipped for the charts when licensed to Philips, but flopped, leaving it ripe for revival by the soul connoisseurs. Like the Lovers, the reputation of Reuben Bell’s ‘It’s Not That Easy’ has grown over the decades and a record once considered common can now fetch hundreds of dollars – class will out.

In 2006, Jimmy Hunt (then a proverbial punk-troubadour usually found in bars) and Ysael Pepin (bassist for Demon's Claws) started to jam here and there in one of the rooms of an apartment located above the late Zoobizarre in Montreal. Brian, Martin, and Dale eventually joined and the quintet recorded their first garage EP in two winter afternoons. Going against the ebb and flow of indie-pop, receiving praise in both languages all over Canada (La Presse, Exclaim!, Voir), Chocolat participated in the Francofolies de Montréal in 2007 and, in 2008, they were one of the first bands signed on a new label named Grosse Boîte, the French section of Dare To Care Records. They went on to release their first album, Piano élégant, which was met with great acclaim. It featured Beatle- esque melodies, a clearer sound and an addictive chanson side. During the two years that followed, between disheveled yet jolly efficient performances, Chocolat strung together shows and insolence, and even performed at the Vancouver Winter Olympic Games. Then, wanting to try something new, the band decided to take a break in the middle of 2010 and Jimmy Hunt eventually released his first solo album. Jimmy and Ysael kept contact and kept playing together, laying the foundations of an abstract project named Fantôme. Then, at the end of 2013, during the Holidays, while on a break from the tour promoting his second solo album, Maladie d'amour, Jimmy Hunt pitched some ideas on his tablet. The few demos he recorded consisted of linear sequences with drawling riffs interspersed with rhythmic breaks and rudimentary electronic effects. Realizing that Chocolat represented the ideal band to play these, Jimmy got the members together and invited his close friend Emmanuel Ethier (Jimmy Hunt, Cour de pirate) to replace Dale who had left for Europe. After only 3 practices, Jimmy booked the Victor studio in January 2014. For a few days, the guys recorded live and full band. In general, they stuck to the second or third take for each of the tracks. This allowed them to take advantage of the spontaneity of Ysael and Brian's garage games played on the mechanical tracks composed by Jimmy. As spring blossomed and schedules filled up, the guys managed to remotely mix what would become Tss tss, an album recorded between friends, a pop dump of white heat, a discharge of hypnotic rock, and, still under the Grosse Boîte label, an essential tool to hit the roads and travel across Quebec again.

Anlässlich dem 15. Jubiläum des Albums „Raising Sand“ von Robert Plant und Alison Krauss erscheint
eine Wiederveröffentlichung des Albums am 25. Februar auf schwarzem 180-Gramm-Vinyl.
2007 veröffentlichten Alison Krauss und Robert Plant erstmalig „Raising Sand“, eines der meistgelobten
Alben des 21. Jahrhunderts. Es war eine unwahrscheinliche, faszinierende Zusammenarbeit zwischen einem
der größten Rockmusiker und einer der besten Country-Künstlerinnen, die eines der mühelosesten Duos der
modernen Popmusik bildeten. Das von dem legendären T Bone Burnett produzierte Album stieg auf
Platz 2 der Billboard 200 ein, wurde mit Platin ausgezeichnet und erhielt sechs Grammys, darunter die
Auszeichnungen für das Album und die Platte des Jahres.
„Raising Sand“ erscheint als 2LP.

"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy


of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in


this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow

Durch eine unerschütterliche Hingabe an die Progression schärfen Wage War mit jeder weiteren Entwicklung ihre patentierte Mischung aus schwerer, technischer Technik und hypnotischen Melodien, die man mitsummen muss. Das Debüt der Gruppe aus dem Jahr 2015, ”Blueprints”, brachte mehrere Fan-Lieblinge hervor: ”Alive” knackte die Marke von 12 Millionen Spotify-Streams und ”The River” überschritt bis heute 8 Millionen. In der Zwischenzeit etablierte das 2017er Album ”Deadweight” die Jungs als aufstrebende Kraft.

Mit insgesamt fast 50 Millionen Streams in zwei Jahren erreichte die Single ”Stitch” 14 Millionen Streams auf Spotify, während ”Deadweight” von Metal Injection, New Noise, Metal Hammer und Rock Sound gelobt wurde, die das Album als ”ein unerbittliches, das Genre veränderndes Vergnügen” bezeichneten. In der Zwischenzeit tourten sie mit Bands wie I Prevail, Of Mice & Men, Parkway Drive und A Day To Remember und legten unzählige Kilometer auf der Straße zurück.

Jetzt sind Wage War mit ihrem neusten Longplayer ”Manic” zurück und begeistern erneut Fans und Kritiker
zugleich.

The Zephyr Bones’ psychedelic rock expands in a precise and determined sophomore album. A warm and accessible record that speaks about love, self-affirmation, loss and hope.

A quicksilver track that glides on a buoyant bassline and glistening melodic interplay, “No One” is the sound of joy. While it’s easy to pigeonhole it as a dreampop track, there’s undoubtedly hints of psych, funk and Kraut all nestled in there, The Zephyr Bones blurring the lines with ease in this intoxicating track that shows growth in their sonic heft without losing their feathery lightness.
Beats per Minute
"No One" opens up like a traditional indie dance track, with sparkling guitars and a vibrant synth lead reminiscent of a cut from The Strokes or Tame Impala. But it progresses in a fascinating way, bringing in a crunchy psychedelic guitar solo and a funky instrumental breakdown at the end. This track has a variety of sounds, but it's prog rock more than anything, as the dynamic instrumentation sticks out the most. Every layer here is not only an excellent piece to the larger puzzle while also being technically impressive on its own. Despite these nods to the more experienced rock nerd, what's the most fascinating is how accessible the tune really is. The wild drum beats, dense synth layers, and lightning-quick guitars demonstrate the true cerebral chemistry of the group. The sheer musical talent doesn't hurt either.
Earmilk
When The Zephyr Bones first burst into the scene they crushed everything that got in their way. Their music slapped us like a wave when it reaches shore. It took us by surprise and left us asking yearning for more. They coined their style “beach wave”. All this became a first album titled Secret Place, something like the sonic coordinates of a sunny place with a soundtrack of guitars with reverb and intoxicating melodies. You can’t tell whether you’ve been there or not, but you definitely want to go back.
In Neon Body they are the same people, but it hits differently. Their melodies and suggestive guitar riffs are on point. They are able to take you back to places. You will never finish these 10 tracks in the same place where you were when you first hit play. Speaking of The Zephyr Bones is speaking of pure freedom. And yet, in this second album we get to know them in a different way, more determined and with a renewed intensity. The landscape has also changed and now the tone reminds us of the twilight, and in some songs you can even feel the reflection of neon light on your skin.
But let’s not lose the point. What matters here are the songs, and in this album you can find pretty damn good ones. “No One”, the first single, is an excellent entry into the universe created in Neon Body. Addictive and irresistible, it will instantly get you dancing and singing along. “So High” is a dizzying and fast-paced first track. By the time “Verneda Lights” arrives, you have fully surrendered to Brian Silva (vocals, guitar and synthesizers), Jossip Tkalcic (guitar and vocals), Marc López (drums) and Carlos Ramos (bass). “Sparks” shines with its own light: it is a controlled fire until the final part of the song makes everything burn again. “Plastic Freedom” goes all-in with an infallible riff. “Velvet” is as elegant as its title suggests, and “Rocksteady” hits the bullseye again with a chorus that hits like a poisonous dart. “Neon Eyes’’ lifts you up with heavenly back up vocals and “Afterglow” keeps you with your feet on the ground – Why? Because begs you to dance. And then comes “Celeste V”, a song that speaks about loss that puts an end to the recording.

Neon Yellow
The Zephyr Bones’ psychedelic rock expands in a precise and determined sophomore album. A warm and accessible record that speaks about love, self-affirmation, loss and hope.

A quicksilver track that glides on a buoyant bassline and glistening melodic interplay, “No One” is the sound of joy. While it’s easy to pigeonhole it as a dreampop track, there’s undoubtedly hints of psych, funk and Kraut all nestled in there, The Zephyr Bones blurring the lines with ease in this intoxicating track that shows growth in their sonic heft without losing their feathery lightness.
Beats per Minute
"No One" opens up like a traditional indie dance track, with sparkling guitars and a vibrant synth lead reminiscent of a cut from The Strokes or Tame Impala. But it progresses in a fascinating way, bringing in a crunchy psychedelic guitar solo and a funky instrumental breakdown at the end. This track has a variety of sounds, but it's prog rock more than anything, as the dynamic instrumentation sticks out the most. Every layer here is not only an excellent piece to the larger puzzle while also being technically impressive on its own. Despite these nods to the more experienced rock nerd, what's the most fascinating is how accessible the tune really is. The wild drum beats, dense synth layers, and lightning-quick guitars demonstrate the true cerebral chemistry of the group. The sheer musical talent doesn't hurt either.
Earmilk
When The Zephyr Bones first burst into the scene they crushed everything that got in their way. Their music slapped us like a wave when it reaches shore. It took us by surprise and left us asking yearning for more. They coined their style “beach wave”. All this became a first album titled Secret Place, something like the sonic coordinates of a sunny place with a soundtrack of guitars with reverb and intoxicating melodies. You can’t tell whether you’ve been there or not, but you definitely want to go back.
In Neon Body they are the same people, but it hits differently. Their melodies and suggestive guitar riffs are on point. They are able to take you back to places. You will never finish these 10 tracks in the same place where you were when you first hit play. Speaking of The Zephyr Bones is speaking of pure freedom. And yet, in this second album we get to know them in a different way, more determined and with a renewed intensity. The landscape has also changed and now the tone reminds us of the twilight, and in some songs you can even feel the reflection of neon light on your skin.
But let’s not lose the point. What matters here are the songs, and in this album you can find pretty damn good ones. “No One”, the first single, is an excellent entry into the universe created in Neon Body. Addictive and irresistible, it will instantly get you dancing and singing along. “So High” is a dizzying and fast-paced first track. By the time “Verneda Lights” arrives, you have fully surrendered to Brian Silva (vocals, guitar and synthesizers), Jossip Tkalcic (guitar and vocals), Marc López (drums) and Carlos Ramos (bass). “Sparks” shines with its own light: it is a controlled fire until the final part of the song makes everything burn again. “Plastic Freedom” goes all-in with an infallible riff. “Velvet” is as elegant as its title suggests, and “Rocksteady” hits the bullseye again with a chorus that hits like a poisonous dart. “Neon Eyes’’ lifts you up with heavenly back up vocals and “Afterglow” keeps you with your feet on the ground – Why? Because begs you to dance. And then comes “Celeste V”, a song that speaks about loss that puts an end to the recording.

Tape

The Zephyr Bones’ psychedelic rock expands in a precise and determined sophomore album. A warm and accessible record that speaks about love, self-affirmation, loss and hope.

A quicksilver track that glides on a buoyant bassline and glistening melodic interplay, “No One” is the sound of joy. While it’s easy to pigeonhole it as a dreampop track, there’s undoubtedly hints of psych, funk and Kraut all nestled in there, The Zephyr Bones blurring the lines with ease in this intoxicating track that shows growth in their sonic heft without losing their feathery lightness.
Beats per Minute
"No One" opens up like a traditional indie dance track, with sparkling guitars and a vibrant synth lead reminiscent of a cut from The Strokes or Tame Impala. But it progresses in a fascinating way, bringing in a crunchy psychedelic guitar solo and a funky instrumental breakdown at the end. This track has a variety of sounds, but it's prog rock more than anything, as the dynamic instrumentation sticks out the most. Every layer here is not only an excellent piece to the larger puzzle while also being technically impressive on its own. Despite these nods to the more experienced rock nerd, what's the most fascinating is how accessible the tune really is. The wild drum beats, dense synth layers, and lightning-quick guitars demonstrate the true cerebral chemistry of the group. The sheer musical talent doesn't hurt either.
Earmilk
When The Zephyr Bones first burst into the scene they crushed everything that got in their way. Their music slapped us like a wave when it reaches shore. It took us by surprise and left us asking yearning for more. They coined their style “beach wave”. All this became a first album titled Secret Place, something like the sonic coordinates of a sunny place with a soundtrack of guitars with reverb and intoxicating melodies. You can’t tell whether you’ve been there or not, but you definitely want to go back.
In Neon Body they are the same people, but it hits differently. Their melodies and suggestive guitar riffs are on point. They are able to take you back to places. You will never finish these 10 tracks in the same place where you were when you first hit play. Speaking of The Zephyr Bones is speaking of pure freedom. And yet, in this second album we get to know them in a different way, more determined and with a renewed intensity. The landscape has also changed and now the tone reminds us of the twilight, and in some songs you can even feel the reflection of neon light on your skin.
But let’s not lose the point. What matters here are the songs, and in this album you can find pretty damn good ones. “No One”, the first single, is an excellent entry into the universe created in Neon Body. Addictive and irresistible, it will instantly get you dancing and singing along. “So High” is a dizzying and fast-paced first track. By the time “Verneda Lights” arrives, you have fully surrendered to Brian Silva (vocals, guitar and synthesizers), Jossip Tkalcic (guitar and vocals), Marc López (drums) and Carlos Ramos (bass). “Sparks” shines with its own light: it is a controlled fire until the final part of the song makes everything burn again. “Plastic Freedom” goes all-in with an infallible riff. “Velvet” is as elegant as its title suggests, and “Rocksteady” hits the bullseye again with a chorus that hits like a poisonous dart. “Neon Eyes’’ lifts you up with heavenly back up vocals and “Afterglow” keeps you with your feet on the ground – Why? Because begs you to dance. And then comes “Celeste V”, a song that speaks about loss that puts an end to the recording.

Latest Levellers album to be pressed as a picture disc for your collection -

Peace: a word that’s both direct and loaded with meaning. On the surface, it suggests tranquility, evenness, a state of bliss already achieved. But the word that gives the Levellers’ 11th studio album its title is open to a multitude of interpretations, too. It could be a reference to a disappearing value. It could be a sneering statement of irony. It could be a cry for calm in a crazed world. It could mean whatever you want it to mean.

Peace is the most relevant album of 2020. Its 11 electrifying songs are a charged reaction to a world that seems to be teetering on the edge of madness and self-destruction. The environment is buckling under the weight of humanity’s disregard, right-wing demagogues are spreading hatred and fear across supposedly civilised nations, society and culture is trapped in a death spiral that’s playing out in real time across social media

Tori Amos spielt live, seit sie dreizehn Jahre alt ist. Sie verbringt ihr Leben zwischen Cornwall, Florida,
und unterwegs. Ihre Songs schreibt sie auf Reisen und beim Beobachten. Mit dem Lockdown brach all dies
weg. Ohne Live-Musik, Reisen und überhaupt, ohne viel zu beobachten, glitt Amos während der Pandemie
in eine schwere Krise.
Doch die US-amerikanische Sängerin besann sich auf ihre Musik und schrieb und schrieb. Das Ergebnis ist
„Ocean to Ocean“, Amos’ persönlichstes Werk seit Jahren - ein Album voller Wärme und Verbundenheit,
mit tiefen Wurzeln in ihrem frühesten Songwriting.

Take the freaked-out punked up soul of The Stooges and MC5 mix that with 60s garage trash, blend in Sabbath, AC/DC and heavy rock n roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that The Angered Wrecks were located - in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll.

Lucky for us the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock’n roll at it’s finest, delivered with pure dereliction, and always a side of extra sleaze.
Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and ‘Purple Jesus’, weed and often speed and hot dogs) keep these boys fuelled long enough in sub zero temperatures to keep pumping out the rock’n roll savagery.
The last show they played was in the fall of ’81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House).

They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc…insane. The bug shack had come to an end and shortly thereafter, The Angered Wrecks.
That these tapes have survived to this day is all thanks to John Westhaver’s archival hoarding (even though the loss of a 90 minute session of the Angered Wrecks still haunts John to this day).
So CRANK these tracks as loud as you can – these audio tapes are not for the faint of heart

In 2022, the Vienna Philharmonic's New Year's Concert could once again take place in front of an audience. However, 2G-plus rules and an FFP2 mask requirement applied throughout the Gesellschaft der Musikfreunde building in Vienna. Standing room was not offered this year and the number of seats in the Golden Hall was limited to 1,000.

Daniel Barenboim performed with the Vienna Philharmonic as a young pianist as early as 1965, and he has also conducted them since 1989. He already took the podium at the tradition-steeped New Year's Concert in 2009 and 2014. Barenboim's engagements as head of the Berlin State Opera Unter den Linden and the Staatskapelle Berlin, as founder and director of the West-Eastern Divan Orchestra, and as a pianist show him to be a true musical citizen of the world. As such, he is also an exceptionally good fit for Vienna's world-class orchestra and the message of the New Year's Concert: hope, friendship and peace for the whole world.

At the start of the new year, the Vienna Philharmonic once again presented a cheerful, upbeat and contemplative program of symphonic waltzes, polkas and marches by the Strauss dynasty and its contemporaries. The 2022 program showed a clear reference to the fantastic and fairytale-like. In addition to the phoenix, a siren and an indeterminate number of brownies and nymphs, there was also Johann Strauss' waltz "One Thousand and One Nights".

Six pieces had their premiere at a New Year's concert in 2022. The "Phoenix March", the Polka mazur "The Siren" and the Polka française "Nymph Polka" were performed by Josef Strauss. Eduard Strauss was represented with the quick polka "Kleine Chronik", Carl Michael Ziehrer with the waltz "Nachtschwärmer" and Joseph Hellmesberger with the character piece "Heinzelmännchen" among the repertoire novelties.

There is the 50th anniversary of the UNESCO World Heritage Convention to celebrate in 2022, which Austria also joined 30 years ago. In the intermission film of the concert, the twelve Austrian World Heritage sites showed themselves from their best side. Schönbrunn Palace in Vienna, on the World Heritage List since 1996, was also the setting for the ballet interlude with ten dancers from the Vienna State Ballet to the waltz "One Thousand and One Nights." The second performance was created at the Spanish Riding School, which has been designated as a UNESCO Intangible World Heritage Site since 2015. Eight magnificent Lipizzaner stallions and their riders demonstrated the high school of classical horsemanship to Josef Strauss's "Nymph Polka".

The phoenix, a very special bird from ancient Greek mythology, burns at the end of its life cycle, only to rise again from its ashes. The Vienna Philharmonic Orchestra paid tribute to it twice. The concert began with the "Phoenix March", followed by the waltz "Phoenix Swing". Such a concert opening - with a march and a waltz - should be a sign. It is to be hoped that a rebirth and renewal in the new year can really take place.