Suche:cava

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Bereits zwanzig Jahre geben ELVENKING den Ton an, wenn es um Folk Power Metal geht. Mit dem elften Album "Reader Of The Runes - Rapture" wird die italienische Band ab dem 28.04.23 die beliebte "Reader Of The Runes"-Reihe fortführen und ihren berechtigten Kultstatus verteidigen. Ein weiteres Fundament für mystischen, verzauberten und brachialen Power Metal.

Nach drei Jahren Wartezeit folgt nun der zweite Teil der Reader Of The Runes Trilogie und gleichzeitig elfte Album der italienischen Folk Power Metal Legenden ELVENKING! Mit "Reader Of The Runes - Divination" wurde 2019 diese mystische Reise begonnen, welche auf "Reader Of The Runes - Rapture" einen weiteren fabelhaften Höhepunkt findet. Seit zwanzig Jahren stellt die Band schon unter Beweis, dass sie nicht umsonst Kultstatus in der Szene haben und nicht nur durch herausragende Liveshows ihre Fanschar immer mehr erweitern können. Mit "Reader Of The Runes - Rapture" zeigen ELVENKING, dass sie nicht auf der Stelle treten und ihren Sound weiterentwickeln, ohne ihr Trademark zu verlieren. Ein weiteres starkes Fundament in einer gewohnt fehlerfreien Diskografie. Über 70 Mio. Streams allein auf Spotify lügen nicht. Diese Band wächst nach wie vor und wird mit "Reader Of The Runes - Rapture" über sich hinaus wachsen.

Nach ihrem angstgetriebenen, selbstbetitelten Debüt von 2018 und der geradezu eskapistischen Welt des zweiten Albums "On All Fours" (2021) tritt das Trio aus dem Süden Londons, bestehend aus Rosy Jones, Lottie Pendlebury und Holly Mullineaux, im Jahr 2024 in eine neue Ära ein. Gemeinsam mit Co-Produzent John "Spud" Murphy (black midi "Cavalcade", Lankum "False Lankum") ist Goat Girls Ansatz auf "Below the Waste" selbstbewusst und reif, während sie ihren Sinn für spielerische Neugier bewahren. Spuds Wissen, sein Enthusiasmus und seine Geduld haben Goat Girls ambitionierte Ziele im Studio zum Leben erweckt und einen unverwechselbaren Sound erzeugt. Die einzigartige Kombination von Stilen und unorthodoxen Aufnahmemethoden, die mühelos zwischen ausladendem Noise-Rock, delikaten Folk-Experimenten und befriedigendem Synth-Pop hin- und herpendelt, sind der Beweis. Wie eine Collage wurde die Instrumentierung größtenteils während eines 10-tägigen Aufenthalts in Irland in den Hellfire Studios aufgenommen, die im Schatten des berüchtigten Hellfire Clubs liegen. Zusätzliche Streicher (Reuben Kyriakides und Nic Pendlebury), Holzblasinstrumente (Alex McKenzie) und Gesang (einschließlich eines Chors aus Familie und Freunden) wurden den Tracks an verschiedenen Orten hinzugefügt, von einer Scheune in Essex bis zu Goat Girls eigenem Studio in Südlondon. Dieser Luxus an Zeit gab der Band die Freiheit zu produzieren, zu schreiben und zu arrangieren, so dass die Songs ihr volles Potenzial entfalten konnten. Thematisch wird die Absurdität unserer zunehmend dystopischeren Umwelt durch den entwaffnenden Realismus von Lotties Texten entlarvt, die oft das Surreale und das schmerzlich Erfahrbare nebeneinanderstellen. Wenn man einen tieferen Blick in die Lyrics wirft, kommen die Dinge zum Vorschein, die man im Leben schätzen sollte - die Schönheit und Freude, nach der diese Platte strebt. Es besteht kein Zweifel daran, dass "Below the Waste" das bisher größte Album von Goat Girl ist und gleichzeitig ihr kraftvollstes und authentischstes Statement geworden ist.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

Storytelling was released on 3rd June 2002 as the soundtrack to the Todd Solondz movie of the same name.It was recorded and produced in 2001 at the famous The Magic Shop Recording Studio in New York which closed in 2016. Some tracks were also recorded at Water Music Recording Studios in Hoboken, New Jersey and CaVa Studios, Glasgow.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

Erlend Øye & La Comitiva - 'La Comitiva': In einer kleinen Stadt wie Siracusa, Italien, findet das gesellige Beisammensein meist in den Häusern der Menschen statt und besteht aus: Zutaten für ein Essen kaufen, das Essen zubereiten und reden, das Essen essen und reden, die Instrumente holen und stundenlang am Tisch sitzen und spielen und singen. Erlend spielt eine Ukulele, Marco spielt Nylonsaitengitarre, Luigi spielt Cavaquinho, ein brasilianisches Samba-Instrument, und Stefano spielt Bass auf denselben Stahlsaitengitarren, die Erlend bei Kings of Convenience verwendet. Die Band wurde während einer Tournee 2018 durch Chile, Argentinien, Kolumbien und Mexiko professionalisiert. Während dieser Tour entstanden viele der ursprünglichen Songs der Band, wie Altiplano, dessen Arrangement in einer staubigen Grenzstation zwischen Chile und Peru stattfand. Nach vielen unfreiwilligen Pausen (Covid, Veröffentlichung des Kings of Convenience-Albums, Veröffentlichung des Marco Castello-Albums) wird die Full Length LP "La Comitiva" im Frühjahr 2024 endlich das Licht der Welt erblicken. 2016 wurde Erlend während des kollaborativen Festivals "People" in Berlin auf das freigeistige Klassik-Ensemble Stargaze aufmerksam und er begann, einige der Mitglieder in Studio-Aufnahme-Sessions und Live-Konzerte mit La Comitiva einzubinden.

Hauptsächlich mit dabei sind: Kobi Arditi (Posaune), Maaike van der Linde (Flöte), Romain Bly (Trompete, Horn und Percussions).

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

"Less Is More is the debut studio album by DJ and record producer Lost Frequencies. The Belgian youngster shook the world with debut single ""Are You With Me"" and soon found himself on top of the world, following up on his worldwide smash with global sensation ""Reality"" and ""Beautiful Life"". Now, he shows the full extent of his potential through his debut album. Harboring a plethora of ridiculously catchy singles alongside the before-mentioned hits, Less Is More shows exactly why Lost Frequencies' signature sound is so widely acclaimed. Easy on the ear, increasingly addictive, and filled with gorgeous, laid-back vibes, the songs on the album allow minds to drift and emotions to flow freely, all made possible through the delicate arrangements and a strong choice of sounds. Lost Frequencies describes the album himself as being ""all about the simplicity of good feelings blending together, bringing a chill, but still energetic vibe."" Less Is More is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl. The vinyl package includes an insert with lyrics. "

Less Is More by Lost Frequencies, released 22 March 2024, includes the following tracks: "Beautiful Life", "Reality", "In Too Deep" and more.

This version of Less Is More comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc. Another vinyl is pressed as a gold disc.

nit is the genius underdog of the current French chanson scene. After playing along with Sébastien Tellier or Juliette Armanet (a huge success in France), after remixing Phoenix, Myd, Dita Von Teese, Cola Boyy, Tony Allen or Jane Birkin, here he comes with his debut album. The balearic sound is always a big nit influence, feel good electronics & lush acoustic chords.

Spotted by French label Record Makers (Sébastien Tellier, Kavinsky, AIR, Cola Boyy) with his 2017 “Dessous de plage” first EP, nit has since grown from funky DIY library music to a lush and complex groovy sound. The magic of this debut album “Big Bang Puzzle” is a keen sense of composition and an innate affinity for 90’s European electronica.
It’s a playful album, the work of an artist at the peak of his craft, determined to twist styles and references (Daft Punk, Ennio Morricone, Robert Miles, Vangelis...) in order to give them a new form.

“Big Bang Puzzle” is a tangle of psychedelic and cartoon-esque pieces, an abstract modernist painting of sounds inspired by vintage pop music. The cover, created by Swiss artist Flora Mottini, offers a first glimpse of his brand new universe.

But it’s also by collaborating with French iconic design studio H5 that nit suddenly enters the French Touch genealogy. nit takes the shape of an n that grows legs and arms to become a cheeky cartoon character traveling through a real space-time continuum. Parisian H5 studio has been involved since the end of the ‘90s in the design of strong visual concepts for French Touch’s elite (Etienne de Crécy, AIR, Mirwais). French music at its best from which nit is a direct descendant. And one who expands and opens even further: pop, italo-disco, trip-hop impulses, Morriconian cavalcades, lo-fi aesthetics, Caribbean music. Producer and mixer Lucien Krampf (Oklou, Ascendant Vierge, Casual Gabberz, CRYSTALLMESS) was the person in charge of mixing this ambitious record.

nit is both a question and an answer, and a musical enigma that pushes us to explore the far reaches of our imagination…

Recorded during her time with Belle and Sebastian, this was Isobel Campbell’s second The Gentle Waves album. It features Stuart Murdoch, Stevie Jackson, Chris Geddes, Richard Colburn and Mick Cooke from Belle and Sebastian, as well as Jonny Quinn from Snow Patrol and Eugene Kelly of The Vaselines.

The album features arrangements by the Scottish Bafta-winning, neo-classical composer PaulLeonard-Morgan, who has scored several movies and TV series (Fellow Travelers, The Pigeon Tunnel), and works in collaboration with Philip Glass.

The album was recorded in Glasgow at CaVa Studios during late 1999/early 2000 and the atmospheric retro video for ‘Falling From Grace’, set in a hair salon, was directed by Isobel. The standout tune, ‘Falling From Grace’ has featured in several ad campaigns (Ozdilek) and movies (Pumpkin, Swimfan). The song ‘Pretty Things’ has also appeared in ad campaigns and movies (Pringle, All The Days Before Tomorrow).

FEUERSCHWANZ feiern ihr 20-jähriges Bandbestehen mit einem absoluten Novum in der Geschichte der Band! Das erste komplett in englischer Sprache aufgenommene Album der deutschen #1-Formation, Warriors, erscheint am 19. April 2024 über Napalm Records. Neben zehn bekannten, jedoch neu arrangierten und auf Englisch dargebotenen Hits, präsentiert Warriors auch einen brandneuen Song, sowie eine Coverversion. Als Gäste begrüßt die Band um Gründungsmitglied und Sänger Hauptmann Feuerschwanz, Songwriter, Sänger und Multiinstrumentalist Hodi, sowie Johanna an der Violine hochkarätige Namen: Chris Harms (Lord Of The Lost), Francesco Cavalieri (Wind Rose), Dominum, Orden Ogan und Patty Gurdy.

Die 2004 gegründeten FEUERSCHWANZ haben sich von ihren Wurzeln im Comedy Mittelalter-Folk Rock über die Jahre zu einer ernstzunehmenden Band entwickelt und gelten zurecht als eine der angesagtesten Acts der Szene. Nach Memento Mori (2021) konnte sich Deutschlands heißeste Band auch mit dem letzten Studioalbum Fegefeuer (2023) die Position an der Spitze der Album Charts sichern. Mit Premium Slots auf zahlreichen Festivals, etwa Co-Headline Slots auf den legendären Wacken und Summer Breeze Open Airs, sowie im Ausland, unter anderem am Masters Of Rock oder auf der 70.000 Tons Of Metal-Kreuzfahrt in der Karibik, sowie einer nahezu komplett ausverkauften Headliner-Tour untermauerten FEUERSCHWANZ im
vergangenen Jahr ihre herausragende Stellung umso mehr.

Northwest & Nebulous is Liverpool-based musician Luce Mawdsley’s sixth studio release, a lush and accomplished instrumental album suffused with radiant and fluid possibilities, where expansively cinematic instrumentals conjure queer cowboy landscapes via the Northern English coastline. The album is a world-building piece of work, pulling from folk, Americana and soundtrack influences, fusing their romantic and exploratory energies to signal the beginning of a new journey for composer, with an open invitation for listeners to come along for the ride. The album was recorded and mixed by Luce Mawdsley in the Grade II listed Scandinavian Church in Liverpool, with a core chamber trio of Luce on guitar, organ and percussion, Nicholas Branton on clarinets, and Rachel Nicholas on viola. A self-taught musician, Mawdsley has released a host of both solo and collaborative albums (Mésange, Cavalier Song), and in 2023 started Pure O records, an independent record label dedicated to the nurture of queer and curious music based in the Northwest of England. “Wordlessly fashions heady, droney atmospheres that could soundtrack a film where a man walks through a monochrome desert” - The Quietus “The spindly guitars and knotty progressions of ‘Insect Fire Dance’ and ‘Heathen’ explore an unprissy English prog with soil under its fingernails” - 8/10 UNCUT "A triumph of imagination – a wide-eyed stare at the skies, in love with sound and possibility." - **** The Skinny “It’s not a stretch to suggest that no one is making music like Mawdsley. While the Liverpool visionary’s 2020 release, Vulgar Displays of Affection (Maple Death Records), was something likened to splintered bones passing through a meat grinder, Mawdsley’s Luke Two is far removed, solidifying the notions of an artist leaping from one sound world” - Sun 13 “Hallucinatory echoes of Alejandro Jodorowsky’s dream-realism symbolic El Topo share room with otherworldly portals and the all-too real depressive, bleak traps of a run-down, unloved English seaside town.” Monolith Cocktail

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a black disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 23 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, grey disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, red disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, yellow disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, Blue/Green disc.

Up the mountains, deep in the forest, I found these plants that live on sound and water. They don’t need light and therefore are unlike any other plants on this planet. Their peek of activity is during the night, when they are covered with a thin, black layer of nocturnal light. Night lies on these plants like a thin membrane. Their roots absorb drops, waves of sound and its vibrational intonation. When humans eat this plant they fall asleep and start dreaming instantly.

In this dream they become these plants, who are unnamed, and are able to feel the pulsation of their — now own — roots. Many years ago, when language was more sounds than codes, these plants were everywhere to be found in the planetary landscape. Nobody knows yet why these plants are only to be found in the high mountain in its deep forest. It is said that once you enter this forest it will not be easy to find your way out. Like in a dream, you need to be guided by a strong wave of consciousness to find your way out and back to the ground.

La Matta Records proudly presents the official reissue of the first 7-inch by Rita and the Danger, an Italian Disco-Funk masterpiece originally released in 1980 on the Flop Record label. This rare and sought-after track ( “Io e lui al lago Nassua” ) recorded in Bari, finally comes out after more than 40 years, carefully restored directly from its original tape on a 16-track Ampex MM 1100 machine, was a pioneer of the 1980s Italo-disco genre. It features melodic overtones that flow into synthesized sequences of early electronic pop. In 1980, the B-side track “Io e Lui al Lago Nassua”, arranged by Cavaros (Rosa Cavalieri), reached the top of the national charts, invading dancefloors and radio stations all over Italy. It also helped Rita and The Danger connect with an audience that extended well beyond their native Puglia region. The group’s youthful charm resonates loud and clear 40 years after its first release, and this sound, which was born in the analog age and is still relevant in the digital age, is now being brought back to life with a new and extended version of the original 7-inch 45 rpm single.

Formed in 2017, Flycatcher’s ability to construct sing-a-long melodies and gut-punching instrumentation, while also tackling the dissonance of depression and difficult relationships, proves their power in casting an empathetic, universal eye.

The New Jersey-based quartet, made up of Greg Pease, Justin VanNiekerk (guitar), Jack Delle Cava (bass) and Connor Carmelengo (drums), are known for their undeniably anthemic arrangements. Albums Other Things (2018) and Songs for Strangers (2019) garnered acclaim for their ear-worm choruses, tight textural dynamics and propulsive, driving percussion.

Compiled by Dead Man's Chest and drawing from some of the freshest talent in the contemporary jungle movement, Blunted Breaks Volume 01 aims to capture & document one of the most exciting musical resurgences of the era.

Blurring the lines between future & nostalgia, Blunted Breaks is intended as a true long-player, paying homage to the roots of jungle music & it's disparate & eclectic nature.

It’s time to deck the halls and put up the Christmas tree as the
yuletide season is upon us. Christmas Collected is the brand-new
compilation with both traditional and modern songs celebrating
the festive season. Artist and groups including Queen, Bruce
Springsteen, Band Aid, Paul McCartney, U2, The Teskey
Brothers, Frankie Goes To Hollywood, Amy Winehouse, Ariana
Grande, Mud and many more are featured on the 2LP.
Christmas Collected is available as a limited edition on translucent
green (LP1) and translucent red (LP2) coloured vinyl and includes
an insert.

The popularity of speed/thrash metal in the late 80's and early 90's is undeniable.

After the demise in the late 80's of cult speed metal band BLOODLUST, Sandy K and John Lisi embarked on a new project, remaining true to their roots in fierce and fast metal. With the addition of Jeff Mohr and A.J. Cavalier to the group, LAST RITES emerged, wanting to assert themselves as a "schizophrenic speed metal" band.

And that's exactly what we can expect from LAST RITES! In this vinyl release, where we put together the band's two cassette recordings ("Don't Be Denied" from 1990 and "Agony" from 1991), we can find a perfect example of the speed/thrash of the turn of that decade: fierce, intense and uncompromising, roaming on themes of personal despair and social criticism

A much sought after repress of the Blunted Breaks Vol.1 LP sampler, sold out since release back in 2018 and pressed for the first time on black vinyl. Blunted Breaks Vol.1 was a landmark release for Western Lore, cementing the label as a lead player in the burgeoning jungle revival. An essential contemporary jungle compilation, featuring tracks from Dead Man’s Chest, Coco Bryce, Tim Reaper, Threshold & more.

Metal-Legende Max Cavalera (Soulfly, Killer Be Killed, ex-Sepultura) und sein multi-talentierter Sohn Igor kehren mit ihrem zweiten Album zurück und werden damit für richtiggehende Aufstände in
den Pits und Wohnzimmern der Szene sorgen. Ihr Crust/Death/Thrash-Sound ist der Soundtrack für die rebellische Jungend in diesen chaotischen, gefährlich und verdrehten Zeiten.

In celebration of the 25th Anniversary of this seminal album, Belle & Sebastian are releasing If You’re Feeling Sinister on coloured vinyl for the first time. Originally released on November 18th 1996, it will be available on transparent red vinyl through Jeepster on November 26th 2021 and included as part of the Black Friday sales event. The album is released on gatefold vinyl and is distributed by Republic of Music

The album was recorded in Glasgow at CaVa Studios in August 1996 over just 10 days and was the first album released by Jeepster. There were no singles released from the album which was a famous Belle & Sebastian trait of the time. In line with this, there were also no interviews given and promotion involved a three gig tour over London, Manchester and Glasgow.

For the recording of this album, the band consisted of the six original members but this time also included Sarah Martin as the seventh member in her debut for the band. This was the second album released by Belle & Sebastian and all songs were written by Stuart Murdoch. The session produced 11 songs of which 10 made it to the album and the other became the single ‘This Is Just A Modern Rock Song’. Although there were no videos made for any of the album tracks, Sarah Martin recorded a video for this eleventh track.

The album cover features Ciara MacLaverty, a great friend of Stuart’s, beside a copy of Franz Kafka’s ‘The Trial’. The inside cover features some members of the band with friends in their impression of The Last Supper.

FIRST E.P FROM THE VOODOO MAN / INCLUDING INSERT WITH PIC / INCLUDING TIM CURRY cover: Ain’t No Love On The Street. Eric McFadden is back with his first 4-track vinyl, ahead of his new album in autumn/winter 2023 and has taken advantage of this release to complete a frenzied summer tour of France (Avignon, Cavalaire, Saint Cyr Sur Mer…) that he has a secret for. His recent acoustic tributes to AC/DC and Alice Cooper have introduced him to a much rockier audience, and his performance at Patrimonio (Corsica) in July 2019 and 2023 with Pat McManus did not go unnoticed. On the menu for this new opus: blues and rock and a cover of a Tim Curry song (No Love On The Street), all wrapped up in a dark, Tom Waits-style voice and a unique guitar style with high flights of fancy. Thrills guaranteed!

The Mapendo album of the Mighty Cavaliers, up to today, has been shrouded in mystery. If you look at the original cover of this very rare Kenyan funk-infused album all you will find are the names of the engineer and the producer, as EMI Kenya omitted the names of the musicians and the songwriters. Digging deeper a rather sinister story of deceit develops whereby Mapendo becomes symbolic for all what was wrong about the Kenyan record industry in the 1970s, and the music industry in Africa as a whole. As this maltreatment of artists proved endemic throughout the continent, although little talked about.

One of the three surviving members of the Mighty Cavaliers, bass player Bonnie Wanda - who started his career in 1971 with Gloria Africana - vividly remembers participating in the recording of the two albums the band made in 1976 and 1977 - Fisherman and Mapendo - and how they, especially on the last album, got short-changed by shrewd record label executives. In the 1960s it was mostly Indian and European record bosses that called the shots and usually gave musicians the chance of a one-off payment for their session time and recorded songs or wait for - hopefully - a generous royalty check. In most cases records didn't sell more than a thousand copies with an occasional hit selling in the tens of thousands, so musicians were reluctant to register themselves with the Music Copyright Society of Kenya. Although without doing so one couldn't receive royalties.

'For two years the Mighty Cavaliers performed five nights a week at the Starlight Club for five hour sets.

The re-release of Mapendo, the first of the German Want Some Records label, is another exciting puzzle piece in the tapestry of groovy Kenyan music. It proves that there are still great gems out there to be re-discovered for audiences worldwide.

Text written by Michiel van Oosterhout

This Album is dedicated to the musicians
Bonnie Wanda, Rashid Salim, Vuli Yeni, Juma Waweru Njuguna and Athmani 'guitar boy'."

Bestial Devastation" wurde ursprünglich 1985 veröffentlicht und war die EP und erste offizielle Veröffentlichung der klassischen Metal-Band Sepultura. Diese Version des Albums wurde von den Sepultura-Gründungsmitgliedern Max und Igor Cavalera komplett neu eingespielt und wird unter dem Namen CAVALERA veröffentlicht. Die 21 Minuten lange Version von Bestial Devastation" wurde von Max und Igor Cavalera produziert und von Arthur Rizk (Municipal Waste, Kreator) gemischt und gemastert. Das Album enthält einen unveröffentlichten Track "Sexta Feira 13". Die Band wird im Herbst 2023 in Nordamerika auf Tour sein, um die Veröffentlichung des Albums zu unterstützen.

Bestial Devastation" wurde ursprünglich 1985 veröffentlicht und war die EP und erste offizielle Veröffentlichung der klassischen Metal-Band Sepultura. Diese Version des Albums wurde von den Sepultura-Gründungsmitgliedern Max und Igor Cavalera komplett neu eingespielt und wird unter dem Namen CAVALERA veröffentlicht. Die 21 Minuten lange Version von Bestial Devastation" wurde von Max und Igor Cavalera produziert und von Arthur Rizk (Municipal Waste, Kreator) gemischt und gemastert. Das Album enthält einen unveröffentlichten Track "Sexta Feira 13". Die Band wird im Herbst 2023 in Nordamerika auf Tour sein, um die Veröffentlichung des Albums zu unterstützen.

Chicago"s Axis: Sova hit the beaches of southern California with Ty Segall to make a total hi-fi classic. Often feral and consistently catchy, Blinded By Oblivion is lit up with interlocking drum kit + drum machine, adventuresome guitar, bass, and harmonic vocals on every song. Icy lyrical perspectives, rendered in a sunshiny natural paradise, transmit the fun and fraud of human polarities with urgency and an occasional eye roll. Making for an undeniably good/bad time, streamlined and more reflexibly physical than previously known, Blinded By Oblivion begs the universe to bring back rock and roll radio. All the elements are there: compassion for our collective fallibility, rebuke on the tip of the tongue, all rolled tight with hook-laden, high-energy construction. "Bout halfway through Blinded By Oblivion, we hear Sova say, "I think my heart is made of metal." Yuuuup. But we"d argue there"s at least a ventricle or two made of post punk! And with vena cavae split between psych and southern boogie. And cardiac veins of glam, power pop, and punk Sometimes the heart is simply filled with sweet melody - so man, the beats of this metallic muscle are insane!

Chicago"s Axis: Sova hit the beaches of southern California with Ty Segall to make a total hi-fi classic. Often feral and consistently catchy, Blinded By Oblivion is lit up with interlocking drum kit + drum machine, adventuresome guitar, bass, and harmonic vocals on every song. Icy lyrical perspectives, rendered in a sunshiny natural paradise, transmit the fun and fraud of human polarities with urgency and an occasional eye roll. Making for an undeniably good/bad time, streamlined and more reflexibly physical than previously known, Blinded By Oblivion begs the universe to bring back rock and roll radio. All the elements are there: compassion for our collective fallibility, rebuke on the tip of the tongue, all rolled tight with hook-laden, high-energy construction. "Bout halfway through Blinded By Oblivion, we hear Sova say, "I think my heart is made of metal." Yuuuup. But we"d argue there"s at least a ventricle or two made of post punk! And with vena cavae split between psych and southern boogie. And cardiac veins of glam, power pop, and punk Sometimes the heart is simply filled with sweet melody - so man, the beats of this metallic muscle are insane!

Die Nachauflage von SOULFLY "Totem" erscheint als silberne LP.

Zu Beginn des neuen Jahrtausends erklärte der Rolling Stone: "Soulfly scheinen für die Ewigkeit gebaut". Mehr als zwei Jahrzehnte, unzählige Welttourneen und ein Dutzend Alben später scheint diese Prophezeiung wahr.

Als Ikone des Undergrounds, Wegbereiter des extremen Metals, Krieger der Dritten Welt und Anführer eines vielfältigen und engagierten Stammes überlebt Max Cavalera nicht nur, sondern gedeiht, indem er ein Killer-Riff nach dem anderen raushaut. Dieselbe Stimme, derselbe Körper und derselbe Geist, die Soulfly 1997 ins Leben riefen, beschwören auch heute noch unfassbar schweren Lärm herauf, der auf dem zwölften Soulfly-Album "Totem" zehn Scheiben monströser Musik abwirft.

Die brasilianische Kult-Gruppe SEPULTURA wurde 1984 von den Brüdern Max und Igor Cavalera gegründet. Die Band war eine wichtige Kraft im Thrash Metal und Death Metal in den späten 1980er und frühen 1990er Jahren. SEPULTURA gehörten auch zur zweiten Welle des Thrash- und Alternative-Metals - zusammen mit Bands wie Pantera, Testament Slayer und Machine Head. Mit dieser LP Veröffentlichung blicken wir auf das Jahr 1996 zurück, als SEPULTURA die niederländische Stadt Amsterdam mit krachenden Drums und brachialen Thrash-Nummern in Schutt und Asche zerlegte

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Der gefeierte Saxophonist Joshua Redman jetzt neu bei Blue Note Records!

Sein Debüt beim Label trägt die Frage „where are we“ im Titel und ist ein sanftes, stimmungsvolles Werk, das sich von Kitsch jedoch weit fernhält. Die Songtitel geben preis, dass es hier um Amerika geht, und um das, was das heutige Amerika für Redman und die anderen an diesem Album Beteiligten bedeutet.

Ein großer Teil des Albums besteht aus bekannten Jazz- und Pop Standards, die in der Neuinterpretation Joshua Redmans immer wieder ein Gefühl des Neuentdeckens bieten.

„where are we“ ist Joshua Redmans erstes Projekt mit durchgehender Beteiligung einer Sängerin, der großartigen Neuentdeckung Gabrielle Cavassa, die mit ihrer geschmeidigen, lässig-intimen Stimme Akzente setzt, genauso wie Redmans Band aus Pianist Aaron Parks, Bassist Joe Sanders und Schlagzeuger Brian Blade, sowie die Special Guests Nicholas Payton an der Trompete, Kurt Rosenwinkel und Peter Bernstein an der Gitarre sowie Joel Ross am Vibraphon.

[a] A1 . After Minneapolis (Face Toward Mo[u]rning) (Face Toward Mo

The inaugural release on cult eyewear label Kuboraum's new music platform, SALÒ is a mystifying fusion of noise, prog rock and psychedelic music that attempts to imagine a "dreamy and decadent" Roman renaissance. It's the brainchild of multidisciplinary artist Emiliano Maggi, who links with Mai Mai's Toni Cutrone, Wildmen's Giacomo Mancini, producer Cosimo Damiano and musician, writer and critic Stefano Di Trapani to distill a wellspring of poems, fairytales, anecdotes and mythologies - drawing on mythological symbolism, medieval theater and rural iconography - into an oozing celebration of art, ecstasy and extravagance.

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

One unrealesed long tune on A-side, with a Sample taken out from Cavage records... (everything happens...) And, B-side 2 repressed (and remastered) tunes from FKY, coming from the Electro Lab Factory albumm W33dbass. Enjoy !

When Transform-I was released in 2009, Bristol’s Dubkasm were unmistakably prominent on the reggae scene but it is this LP - their tenth release - that put them on the map and cemented their status as outernational roots innovators and one of the most creative outfits in reggae. By 2006, Jah Shaka had been rinsing their percussive vocoder smash ‘Zulu Dawn’ (track 15) at the end of every dance for close to three years. Dubplates from the LP became firm favourites on some of the greatest soundsystems in the world, including Aba Shanti-I, Iration Steppas, and Channel One.
DJ Stryda and producer Digistep’s reputation grew still further when the pair managed to get an extremely rare vocal from the legendary Dub Judah, who at the time had not voiced a tune for many years. The resulting 7”, ‘From the Foundation’ (track 2) was the first tune to be released from Transform-I, an album which took the music world by storm with its singular blend of a deep, conscious roots reggae sound with instrumentation that drew on Digistep’s Brazilian heritage.

As the great DJ and journalist Steve Barker said in his rave Wire magazine review of the initial release, ‘Like many innovations heard for the first time, you wonder why this has not been done before’. Indeed, the LP’s blend of percussion instruments like zabumba, cavaquinho, and cuica with an absolutely stellar cast of vocalists including Tenastelin, Christine Miller, and Ras B, with a pre-Reggae Reggae Sauce fame Levi Roots recording from his living room, became timeless the moment it was released. Barker praised the album for being ‘more orthodox than expected’, by which I think he meant that the album is a completely authentic roots record, rather than an attempt to mix musical flavours to conceal a lack of ideas. Instead, ideas flew back and forth across the Atlantic, as basic tracks were laid in the Dubkasm Studio (then in Brazil, now in England) and overdubs and vocals were recorded in London, Nottingham, Bristol and Norway, with the final mixes being done at the Daddy Roots studio in Bristol. The combination is seamless both because Digistep grew up with Brazilian music, courtesy of his father, and because Dubkasm have lived and breathed reggae since their formation in 1994 – just go and listen to early releases like ‘Chemical Reaction Dub’ (1996) or ‘Hornsman Trod’ (2003) and you’ll hear heavyweight productions with a Rasta ethos immersed in U.K. soundsystem culture.

Since the album’s release, Dubkasm have gone from strength to strength and collaborated with a dazzling array of artists. Transform-I was remixed by some of Bristol’s best electronica producers in 2010, and 2013’s 12” ‘Victory’ became a huge soundsystem hit around the world, before being voiced by two of the greatest singers of all time, Luciano and Turbulence, and being remixed the following year by one of the world’s finest dubstep producers, Mala (who in 2016 released his own project fusing Latin music with electronic bass – the excellent Mala in Cuba).
The first project of its kind, beautifully reissued in its original format by Dubquake (the outfit behind France’s incredible OBF Soundsystem), Transform-I is the LP that launched Dubkasm on their current trajectory and has truly lived up to its name.

After the success of the first volume, the second SOUL FINGERS’S tribute compila&on is released on double vinyl too.

SOUL FINGERS is a wandering black music dancefloor that in 2023 reaches to celebrate 10 years lifelong. Soul Fingers mixes soul, disco and funk, with rap and La&n rhythms. In this brand new compila&on there are some pieces that have really marked great par&es since 2013.

This time featuring some carefully selected dancefloor music bombs directly from the hands of Claudio Cavallaro, the leader of the Soul Fingers console!

In 1983 there came a sound from the depths of the Brazilian rainforest that was primal, ground-breaking, and completely ahead of its time. The roaring of amplifiers and the beating of drums was the sound of Max and Iggor Cavalera creating their debut cult-classics 'MORBID VISIONS' and 'BESTIAL DEVASTATION', and now it seems that after many years, the Cavalera brothers will be returning to their raw upstarts with a full re-recording of these beloved yet obscure albums.
When 'MORBID VISIONS' and 'BESTIAL DEVASTATION" were first spawned it was done in ramshackle conditions in Belo Horizonte, where the duo grew up. Max and Iggor were 14 and 13 years old during the original recording, and they had all the tenacity and energy of a pack of wild dogs. Only, their sound was not quite refined at that time, their adolescence bled through on those early records. It is well known that Max's guitars were completely out of tune on those sessions, and Iggor's drums often swung around tempos crazily. There's an air of youth and passion that could only be achieved by two teenagers that wanted to shock the world. Four decades later and it is plain to see that they certainly did gather the world's attention.
Despite the production being rough around the edges and the band still carving out their direction, there was a noticeable level of craftsmanship to the song structures and a clear indication that given their desire to thrash like maniacs, these kids from Brazil were going to tear the place up night after night. These albums still hold a dark, mystic and at times eerie quality to them that many have come to love over the years. For some, the music does not have to be delivered with perfect technical precision, the spastic live delivery is something to be cherished, and even with their guitars out of tune, they played like the gates of hell were opening. The crossroads of a shamanistic spiritual summoning at a back-alley metal show in downtown Belo Horizonte.
It is a task of heavy magnitude to try and cross the gap between the accomplished artists that they are today to the scrappy boys that they were when they first wrote these songs, but the duo have executed the performances flawlessly. The perfect bridge between the unbridled energy of the original sessions and the high-quality sound of a 21st century production. It is truly astounding to hear Max once again growl like a monster during "Troops Of Doom" and riff at insane speeds through "War" and "Crucifixion". Iggor's barbaric drumming on "Anti-Christ" is like the galloping hooves of a death-rider. Accompanied by bassist Igor Amadeus Cavalera (HEALING MAGIC, GO AHEAD AND DIE) and lead guitarist Daniel Gonzales (POSSESSED, GRUESOME) the quartet is a force to be reckoned with.
How this re-recording attained such a familiar tenacity is almost a mystery, like some spell that brought these albums back from the grave. Within the first few beats you can hear that the Cavalera’s have lost no momentum, attacking the songs at maximum speed and ferocity. In fact, it seems that the brothers have only empowered their connection through music over the decades. You can feel the spark that those two create, a dynamic sound rich with subtleties and ear-grabbing hooks. As Iggor counts in each song with his drumsticks, and Max's guitar feedbacks loudly as he approaches the microphone, there is palpable apprehension. It is apparent that when these two icons get together to play, they are going to electrify the room with their presence.
Few have had the incredible careers that Max and Iggor have achieved through their music. Even fewer had faith in the young boys that wrote 'MORBID VISIONS' and "BESTIAL DEVASTATION' all those years ago. Yet here they still stand ripping through their earliest works with decades of experience under their belts. For them, it is a breath of fresh air to finally give these songs the desired production that they deserve. They both feel that the fans also deserve a fresh look at these albums, a chance to appreciate them in a completely new light.
From start to finish 'MORBID VISIONS" and "BESTIAL DEVASTATION" are a torrential whirlwind of riffs, beats, and screams. A blast from the past that is sure to take every last listener back to the raucous live shows of the eighties.
Mysterious clouds form above an old cathedral, the summoning of dark magic is upon us, and the troops of doom march forth to announce the arrival of 'CAVALERA'!

Nein, so richtig hatte keiner mit dem Erfolg von „Crucchi Gang“ gerechnet. Das Mitte 2020 erschienene Debütalbum des gleichnamigen Bandprojekts basierte schließlich nicht auf irgendeinem ausgeklügelten Business-Plan, sondern auf einer spontanen Idee von Musikmanagerin Charlotte Goltermann, Element of Crime-Sänger und Autor Sven Regener sowie Francesco Wilking (Die höchste Eisenbahn, Tele).

Deutschsprachige Musiker und Musikerinnen singen ihre eigenen Songs auf Italienisch. Mit auf der ersten Platte waren Von Wegen Lisbeth, Faber, Sophie Hunger und viele mehr.

Jetzt folgt mit „Fellini“ die zweite Runde. Sie ist eigentlich eine nahtlose Fortsetzung der ersten, denn auch Wilking und Reising fanden Gefallen an den kleinen Fluchten aus dem Alltag – und entschieden sich, ohne große Pause weiterzumachen. Diesmal sind Musiker und Musikerinnen wie Tocotronic, Tristan Brusch und
Antje Schomaker dabei und interpretieren ihre Songs auf Italienisch.

Das Album macht Lust darauf, sofort südwärts zu reisen. Es ist gleichzeitig der Beweis dafür, dass Musik eine Sprache ist, die man auch dann versteht, wenn man die eigentliche Sprache nicht versteht. Klingt kompliziert? Ist es überhaupt nicht.
Setzen Sie sich in ihren Lieblingssessel. Schließen die Augen. Schenken Sie sich einen Drink ein. Wenn Sie rauchen, zünden Sie sich eine Zigarette an. Wenn nicht, holen sie sich ein Eis aus der Gefriertruhe. Und jetzt drücken Sie auf die Abspieltaste – capirete cosa voglio dire.

Pinky Perzelle, aka Sonny Rooney's debut 'No Games' featuring Eda Eren, is a true labour of love and an ode to his total passion and dedication to multi instrumental record creation without compromise. Almost every instrument was recorded and played by Perzelle at his home studio. Featuring the utterly unique, impassioned and reassuring vocals of British-Turkish artist, Eda Eren, and additional drums from world renowned Malcolm Catto (The Heliocentrics). The lead track is a timeless, heartfelt, funk-ladened portal into a world reminiscent of a cinematic movie scene or an undiscovered gem from another era all-together. The hypnotic 'Remix' from Velvet Season & The Hearts Of Gold aka Gerry Rooney & Joel Martin, introduces subtle electronica and dubbed out instrumentation. A true lesson in after hours, left-field Balearica. Pinky's own 'Electronic Mix' references early house music and broken-beat electronic drums. Showing yet another side of Perzelle's approach to music making.

DJ Feedback

Gilles Peterson:
"Great stuff! Loving the Turkish twist on No Games. Whoooop!"

Dj Harvey:
"Definitely a jam I’ll play in Ibiza for my summer season!"

Francios K:
"I have the Original Mix and love it!"

Tim Sweeney (Beats in space):
"Great job with this. Definitely supporting! Added to BIS playlist."

Colleen Cosmo Murphy (WWFM):
"Now here’s a great new song. A debut song from Pinky Perzelle aka Sonny Rooney. Also a great remix from Velvet Season & The Hearts Of Gold!"

Charlie Bones (Do You):
"Dangerously sexy."

Apiento (Test Pressing):
"A killer song put together with an overall vision from someone that knows where they want to be. An artist to watch. Respect."

Nancy Noise:
"I haven’t stopped listening to it! I mean it! Well done!"

Laurent Garnier:
"Playlisting Original Mix on PBB Radio. Thanks a lot!"

Luke Howard (Horse Meat Disco):
"Bravo, great job. Keep up the good work. Always happy to hear real music with new melodies and ideas!"

Leo Mas:
"Pinky’s Electronic Mix’ is great! Great job, bravo!"

Ashley Beedle:
"I’ll be putting this in August’s show. Sounds wicked."

Jonny Rock:
"This is great! Intense emotion dancefloor bomb! Big up the Perzelle."

Mehmet Aslan:
"Nice ones, I like! Added to Spotify ‘Track ID’s’ playlist."

CC Disco:
"Sick release! Was not what I was expecting. Even better!"

Patrizio Cavaliere (Mixmag Asia):
"A sublime statement of intent."

Es ist wahrscheinlich das beste und eindringlichste Album der Band aus Florida, deren oberstes Gesetz Leidenschaft und Hingabe ist. Ihre Motivation ist bis in jeden Winkel der elf Songs zu spüren, und selbst die sanften Momente auf The Sound Of Madness haben noch eine Wirkung wie ein Faust in der Magengrube. Aufgenommen mit Star-Producer Rob Cavallo bringt es die geballte Kraft des Ultimativen in die Bahn, die SHINEDOWN mit dem US-Platin-Debüt Leave A Whisper
(2003) und dem Nachfolger Us And Them (2005, Gold) eingeschlagen haben.
Jetzt zum 75. Jubiläum von Atlantic kommt das Album als exklusives Crystal Clear Vinyl.

Ltd Edition! 15 Years Drumpoet!

Die Compilation besteht aus 100% exklusiven Tracks von Künstlern wie Jimi Jules, Matthew Herbert, Roman Flügel & Frank Wiedemann, Kalabrese, Lauer, Fred Everything, Manuel Tur u.v.m.

Alles begann mit einer Gruppe von DJs und Beatmakern, allesamt inspiriert von den Techno- und House-Platten aus Detroit und Chicago und verbunden durch eine tiefe Leidenschaft - sowohl für UK Bass-Musik als auch US-Hiphop und 70’s Soul-Jazz. Diese Crew aus Zürich bündelte all diese Inspirationen und Einflüße zu einem Sound, den sie als B-Boy-House und Teknowsoul bezeichneten. Bereits die ersten Releases auf Drumpoet brachten den internationalen Durchbruch und Künstler wie Soultourist, Quarion, Cavalier, Dplay & Manuel Tur oder auch John Daly weckten weltweit großes Interesse in der Szene für elektronische Musik und hinterließen einen bleibenden Eindruck. Drumpoet ist sehr stolz darauf mit dieser Compilation das 15-jährige Labelbestehen zu feiern. Hier werden die über die Jahre entstandenen Freundschaften und die Geschichte des Labels genauso reflektiert wie eine tiefe und ehrliche Liebe zur Dance Musik. Das spiegelt sich natürlich auch in den exklusiven Tunes von Ikonen wie Herbert, Roman Flügel und Frank Wiedemann, Manuel Tur, Lauer, John Daly, Kalabrese, Manuel Fischer, Nicola Kazimir, Ripperton und Jimi Jules wieder.

Format: Streng limitierte schwarze 3LP im Inside Out Cover + Drumpoet Bandana in japanischer Cello Hülle (die ist bestickert).

White Vinyl

Bereits zwanzig Jahre geben ELVENKING den Ton an, wenn es um Folk Power Metal geht. Mit dem elften Album "Reader Of The Runes - Rapture" wird die italienische Band ab dem 28.04.23 die beliebte "Reader Of The Runes"-Reihe fortführen und ihren berechtigten Kultstatus verteidigen. Ein weiteres Fundament für mystischen, verzauberten und brachialen Power Metal.

Nach drei Jahren Wartezeit folgt nun der zweite Teil der Reader Of The Runes Trilogie und gleichzeitig elfte Album der italienischen Folk Power Metal Legenden ELVENKING! Mit "Reader Of The Runes - Divination" wurde 2019 diese mystische Reise begonnen, welche auf "Reader Of The Runes - Rapture" einen weiteren fabelhaften Höhepunkt findet. Seit zwanzig Jahren stellt die Band schon unter Beweis, dass sie nicht umsonst Kultstatus in der Szene haben und nicht nur durch herausragende Liveshows ihre Fanschar immer mehr erweitern können. Mit "Reader Of The Runes - Rapture" zeigen ELVENKING, dass sie nicht auf der Stelle treten und ihren Sound weiterentwickeln, ohne ihr Trademark zu verlieren. Ein weiteres starkes Fundament in einer gewohnt fehlerfreien Diskografie. Über 70 Mio. Streams allein auf Spotify lügen nicht. Diese Band wächst nach wie vor und wird mit "Reader Of The Runes - Rapture" über sich hinaus wachsen.

American cellist prodigy Yo-Yo Ma recorded Sing Me Home with the Silk Road Ensemble, a musical collective with performers and composers from all over the world. The album features guest appearances by Grammy Award winning artists Toumani Diabaté, Gregory Porter, Lisa Fischer, Bill Frisell and many more.

Released in 2016, Sing Me Home was meant to open hearts, ears and minds during a time of tragedy and political turmoil. “All around the world, people constantly meet the unfamiliar through change,” Yo-Yo Ma said of the album. “Rapid or dramatic change can feel threatening, tempting us to build walls to defend against the unknown. At Silk Road we build bridges. In the face of change and difference, we find ways to integrate and synthesize, to forge relationships, and to create joy and meaning.”

Bringing together the cultural backgrounds of the musicians, Sing Me Home is a culturally conscious album, reflecting on modern globalisation and collaboration. From Macedonian folk to traditional music from Mali, and from Irish fiddle to Indian sitar: it all comes together wonderfully. Critics agreed, and the album went on to win the Grammy Award for Best World Music Album in 2017.

RUN THE JEWELS haben ihr Hit-Album "RTJ4" durch das Prisma Lateinamerikas neu interpretiert. Mit dabei sind Bomba Estéreo, TROOKO, Baco Exu do Blues, Lido Pimienta, Akapellah, Iggor Cavalera, Sarah La Morena, Danny Brasco, Santa Fe Klan & mehr. Künstler aus 10 LATAM-Ländern - Produzenten, Rapper, Sänger, Musiker, Programmierer - beteiligten sich an der Schaffung dieses
hybriden, bahnbrechenden und zukunftsweisenden Projekts.

Violeta Vicci rides a motorbike, is fluent in seven languages, and feels at home in England, Switzerland and Spain. A multifaceted, contemporary violinist, vocalist and composer, she feels comfortable genre-crossing from classical to ambient, multilayered electronics, her influences ranging from Bach to Brian Eno. Her music has been played on BBC Radio 3 (Hannah Peel), Radio 4 Woman's Hour, BBC6 (Iggy Pop), KEXP and Resonance FM.

Since starting the violin at the age of four and giving her concert debut at the age of fifteen, she fulfilled her long life dream to study at the Royal Academy of Music. Violeta has recently supported the Orb on their 30th anniversary UK tour and collaborated with the likes of Thom Yorke, Elbow, Jonsi (Sigur Ros), Steeleye Span and Ellie Goulding. She also arranges the strings for Fontaines DC and writes and performs with psychedelic rock band TTRRUUCES. "We didn't have a TV when growing up, so spending time in nature, building castles in the sand, reading, playing music and listening to fairy tales, played a big role in creating my inner magical universe."

During lockdown, Vicci started "Live Music in Nature" a series of live-streamed concerts performed in beautiful natural locations around the UK, combining strings, voice and effect pedals to create a soundtrack to nature.

She has been nominated for a Royal Philharmonic Society Award 2021 and has released two studio albums to date.

Das erste Album in voller Länge seit fünf Jahren von den kanadischen Melodic-Metal-Helden Gatekeeper! Eine fesselnde Reise mit acht Songs, die epischen, melodischen Heavy Metal neu definiert! From Western Shores ist messerscharfen in Ausführung und Produktion. Der gefragte Arthur Rizk (Cavalera Conspiracy, Kreator, Sonja) übernahm die Mixaufgaben. Letztendlich verdoppelt sich From Western Shores auf die Elemente, die Gatekeeper zu einem internationalen Metal-Schwergewicht gemacht haben. Die epischen Teile sind epischer und die traurigen Teile - wie die Band unterstreicht - "sad as fuck". Es verstärkt die Vorstellung, dass Gatekeeper ein Schmelztiegel von Stilen ist, anders eben als diverse Protagonisten in der Melodic-Metal-Szene.

Umfangreiche Presse- und Online-PR durch Sure Shot Worx
Reviews / Features / Ratings: Deaf Forever, Rocks, Classic Rock, Eclipsed, Rolling Stone, Visions, Slam Magazine, Rock Tribune, Rock Hard, Legacy, Rock Hard, Rockway, Metal Invader, Loud and Proud u.a.

When Don Cavalli chants down Babylon : Don Cavalli has just done 4 brillant covers of Reggae Classics he loves in his own blues & rockabilly way.4 song EP : “Hello Carol” (Gladiators”) , “Fire Fire” (Peter Tosh) , “Door Pepper” (Burning Spear) & “Black Starliner” (Culture).

After Belgian electro-samba wunderkinds Antena
split at the end of 1985, singer Isabelle Antena
immediately shed her cold wave crown for a
sophisticated pop princess tiara.

On 1986’s Martin Hayles-produced ‘En Cavale’,
echos of Madonna and city pop abound, with a
lipstick stain of L80s Euro dance and spilled
cosmopolitan’s worth of bossa nova stirred in for
good measure.

This elegant second chapter of a French pop diva
has been expanded to include Antena’s shelved
Island Records demo, adjacent B-sides and
rarities, plus an expansive essay and previously
unpublished photographs.
Coloured vinyl format pressed on Seaside Silver
vinyl

After Belgian electro-samba wunderkinds Antena
split at the end of 1985, singer Isabelle Antena
immediately shed her cold wave crown for a
sophisticated pop princess tiara.

On 1986’s Martin Hayles-produced ‘En Cavale’,
echos of Madonna and city pop abound, with a
lipstick stain of L80s Euro dance and spilled
cosmopolitan’s worth of bossa nova stirred in for
good measure.

This elegant second chapter of a French pop diva
has been expanded to include Antena’s shelved
Island Records demo, adjacent B-sides and
rarities, plus an expansive essay and previously
unpublished photographs.
Coloured vinyl format pressed on Seaside Silver
vinyl

"Portuguesa" enthält 14 Songs und wurde von Carminho
produziert. Der Fado-Star aus Portugal steuerte neben
weiteren Songwriter:innen auch einen Teil der Texte und
traditionellen Fado-Kompositionen bei. Über die Arbeit an
dem Album sagt sie: " Portuguesa ist das Resultat zehn
konzentrierter Tage in den Namouche Studios im März
2022, genauso flossen jedoch die beiden vorherigen
Jahre darin ein. Ich bin immer auf der Suche nach
diesem ganz speziellen Schwindelgefühl, bei dem ich mit
neuen Kombinationen derselben Grundzutaten meine
Identität finden kann. Das hier ist meine Geschichte,
meine Ursprünge, meine Einflüsse und die Musik, in der
ich mich wiederfinde."
Der Fado ist Carminhos Leben, und kaum eine andere
Sängerin verleiht dieser portugiesischen Form des Liedes
so viel Kraft, Leidenschaft und Tiefe wie sie. Indem sie
sich ganz diesem tiefsinnigen Traditionsgenre widmet,
erschafft sie neue traditionelle Fados, denen sie ihren
eigenen Stempel einprägt. In ihren tiefen Reflexionen über
das Wesen des Fado erkundet Carminho unterschiedliche
Kombinationen innerhalb des Kanons, überdenkt die Form
und bewegt sich in dem vertrauten Element so sicher wie
ein Fisch im Wasser.

2018 war ein außergewöhnliches Jahr für Beth Hart. Sie spielte die größten Headline-Shows ihrer bisherigen Karriere, unter anderem vor 12.000 kreischenden Fans im Ziggo Dome in Amsterdam, einer ausverkauften Royal Albert Hall in London und ihrer ersten Solo-Tournee in den USA, die komplett ausverkauft war. Von diesem Erfolg beflügelt, meldet sie sich nun mit ihrem brandneuen Studioalbum War In My Mind zurück, bei dem sie mit Rob Cavallo (Dave Matthews Band, Phil Collins, Green Day, etc.) zusammengearbeitet hat. Auf dem Album zeigt sich Beth Hart von ihrer leidenschaftlichsten und gefühlvollsten Seite und sie plant größere Shows und Festivals als je zuvor.
Beth Hart - War In My Mind ist jetzt wieder auf Vinyl erhältlich und zum ersten Mal auf Purple Vinyl. Limitiert auf 3000 Exemplare weltweit!

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

SEASIDE SILVER VINYL

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

New England rock band Four Year Strong have announced a re-recorded version of "Enemy of the World” complete with an updated depiction of the album art. The album originally came out over 10 years ago and was a breakout record for the band. Now it sees new production and 4 extra b-sides. "We decided to re record EOTW first and foremost to be as cool as Taylor Swift, but secondly because we wanted to be able to repress the vinyl and offer it to fans that haven’t been able to get it since the record came out." says Alan Day. He continues "It was really interesting to revisit all of the songs down to every detail, getting to kind of relive it in a way. We recorded the drums with Will Putney (who worked on the original EOTW as a engineer), did the rest by ourselves at Dans house, and then had Will work his magic on it and mix and master it. We had just worked with Will for the first time since 2010 on our new album Brain Pain, and figured it would be perfect to work with Will as he knows FYS old and new more than anyone. So give it a listen, come out to the tour, and party like it’s 2010 again."

New England rock band Four Year Strong have announced a re-recorded version of "Enemy of the World” complete with an updated depiction of the album art. The album originally came out over 10 years ago and was a breakout record for the band. Now it sees new production and 4 extra b-sides. "We decided to re record EOTW first and foremost to be as cool as Taylor Swift, but secondly because we wanted to be able to repress the vinyl and offer it to fans that haven’t been able to get it since the record came out." says Alan Day. He continues "It was really interesting to revisit all of the songs down to every detail, getting to kind of relive it in a way. We recorded the drums with Will Putney (who worked on the original EOTW as a engineer), did the rest by ourselves at Dans house, and then had Will work his magic on it and mix and master it. We had just worked with Will for the first time since 2010 on our new album Brain Pain, and figured it would be perfect to work with Will as he knows FYS old and new more than anyone. So give it a listen, come out to the tour, and party like it’s 2010 again."

After spending his debut album exploring techno and mechanical sounds in the depths of the Pas-de-Calais mines, Toh Imago looks up to the sky, with an open breeze on his face, as tree branches and canopy filter out the sun’s rays on Refuge. All the machines used during the album recording are tuned at 432hz, carrying the mystical benefits of Earth’s resonance. Spending just seconds with the opening track, the listener is drawn into the safety that Refuge was intended to provide, and each subsequent piece pulls you deeper and deeper into the album’s forest.

Textextext - (add your write up)

‘Refuge’ was recorded on the edge of the Mormal forest, in the North of France. With nature as a setting and studio accomplice, the album features synthesizers, field-recordings, as well as the acoustic qualities of reverbs from the nearby forest. As the artist’s inner world and nature converge in moments of self-reflection, so the album’s 11 recordings harmoniously unfold in a cavalcade of machines and organic sonorities.

While the first LP 'Nord Noir’ explored his family’s mining past, ‘Refuge' is about being present and the desire to re-contextualize the relationship between nature and humans. It is a record of uplifting tones that is filled with optimism, imbued with the lightness of those who finally reconnect with nature, their roots, and the feeling of groundedness.

Like the steps taken on a walk in the woods, the 11 tracks sonically tell the story of an inner journey divided in three chapters. "Asile sauvage", "Sylve barbare" and “Avril Mormal" take the listener into a fast-paced progression of rhythms. When the heart of the forest is reached, the journey becomes intimate, revealing a sacred space where breathing becomes the leading tempo ("Locus Neminis") and the traveller becomes a spirit lost in space ("Cosmos Intra”). The journey's climax is reached with "Monde intérieur". The album closes with "Chiff Chaff" which accompanies the listener back to a reality, hopefully a more reassuring one.

Across the album, Toh Imago finds inventive ways of opening a dialogue between nature and machine, both literally and metaphorically, creating a soundscape that both feels like and was created by the natural world that surrounds him.

The album offers a shelter from a predetermined world. It’s a story told through ambience, racy and subtle electronics, and the memories of lichens clinging to shoes.

Bear McCreary, known for his incomparable world-building and use of innovative musical approaches in the worlds of television, film, and video games, will guide audiences through the major events of the Second Age of Middle-earth, as seen in the series. Working out of the iconic Abbey Road Studios as well as AIR Studios and Synchron Stage in Vienna, he has recorded and composed hours of music for the score, weaving together his original themes into a sonic tapestry for a full symphonic orchestra, alongside vibrant folk instruments and choral singers.

“J.R.R.Tolkien’s stunning novels and their film adaptations have had a profound impact on my imagination for nearly my entire life,” McCreary said. “I am honored to compose the music that will help guide audiences through the major events of the Second Age of Middle-earth."

Legendary composer Howard Shore has composed scores for some of the most memorable and world-renowned film and television series. Globally respected for his passion for J.R.R. Tolkien’s work, he is perhaps best known for his work on The Lord of the Rings and The Hobbit film trilogies.

The Season One: Amazon Original Series Soundtrack also includes two performances by The Lord of the Rings: The Rings of Power actors—Sophia Nomvete (Princess Disa) on the track “A Plea to the Rocks” and “This Wandering Day,” sung by Megan Richards (Poppy Proudfellow).

Available on 2 x 140 Gram Black Vinyl

red/clear splatter vinyl

Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.

Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.

The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.

Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.

‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.

Das bahnbrechende Debüt von WIND ROSE zieht als brandneues Re-Release in die Schlacht!

Das Debütalbum von WIND ROSE setzt die musikalische Tradition von symphonischen Power Metal Bands
Rhapsody of Fire, Kaledon und Thy Majestie fort und präsentiert progressive Power Metal mit schnellem
Riffing, schweren Gitarren, eindringlicher Atmosphäre und fantastischen Texten. Shadows Over Lothadruin
enthält lange und monumentale Stücke wie das fast zehnminütige ”Majesty” und wechselt in ”The Fourth
Vanguard” und ”Close to the End” von fließender Sanftheit zu schweißtreibender Schwere. Claudio Falconcinis Gitarrensound überzeugt mit packenden Riffs und mitreißenden Soli, während Federico Merandas
Keyboardspiel die perfekte Atmosphäre für das Album schafft. Daniele Viscontis Schlagzeug treibt mit
schnellen, galoppierenden Abschnitten voran unterstützt von Alessio Consanis Bassarbeit. Angeführt wird
das Quintett aber von Francesco Cavalieri, der mit seiner kraftvollen Stimme in die Schlacht führt und den
Kriegern befiehlt, für Ruhm zu kämpfen!

'Gulliver', the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released 23rd September via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian 70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of GOAT and you get an idea of what Condor Gruppe is.

Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of 'What Could Have Been', to the loose, laidback grooves of the mystical 'Farid' and groovy 'Rhymes On Our Mind', 'Gulliver' is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves.

Condor Gruppe released their debut album 'Latituds del Cavall' in 2014 with nine exotica fuelled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with 'FROG BOG - A Tribute to Moondog' - an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpertations, trumpet player Dirk Timmermans, saxophonist Matti Willems and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound.

Second album proper 'Interplanetary Travels' (2018) - a nostalgic, melancholic soundtrack - saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded 8 songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes.

At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film 'Daughters of Darkness' (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, a self-taught musician and jazz enthusiast, and he composed almost a hundred soundtracks, mostly for French films. In 1976, he won a César for best soundtrack with his work on 'Le Vieux Fusil' - awarded posthumously as de Roubaix had passed away just the year before. De Roubaix has always been a great source of inspiration for Condor Gruppe, so they were only too happy to sink their teeth into his scintillating score.

It's coming home, it's coming home - house music is coming home! A second instalment of the Groove Access: series Chicago Is Home offers us five fresh tracks from the windy city landing in a glorious cavalcade of razor edged snares and hypnotic jack house. Ed Nine & Kid Enigma's 'Bandleaders' opens side one in spectacular fashion with spoken mantras lying deep in the mix, distinctive phasing arpeggios, poking keyboard riffs and ringing cymbals. JSquare's 'Get Wicked' kicks with even more power, tribal rhythms bouncing of bleepy melodies, before 'Move' by Geto Mark rounds off the side with the strutting, beautifully brutal 'Move', a proper 3AM peak time pleaser. Steve Noah's 'The Hater' opens side two, a wily acid line worming its way across a raw, stripped down backing before exploding into serious gnarliness when you least expect it. AFTR's 'Undercover' rounds things off with another knuckle duster of a tune, leaving no doubt that Chicago is still the place to be when it comes to house.

Meltdown was the fourth smash hit album from Ash. The album again reached No.5 within the UK and has since become a gold record. The hard rock album contains mega hits including Clones, Orpheus, Starcrossed, Renegade Cavalcade and Meltdown.

Ash and BMG are proud to reissue Ash’s fourth LP ‘Meltdown for the first time on Orange and Black splatter vinyl. This album has not been re-issued since it’s 2004 release, so will be an exciting prospect within the Ash community. Meltdown contains hit after hit and with its hard rock sound resonates strongly with a wide audience. Upon release Ash drew critical acclaim from multiple publications including Pitchfork, The Guardian, Drowned In Sound and many more, whilst touring with allusive contemporaries The Darkness, and headlining Coachella Festival.

SEMI-ACOUSTIC INTERPRETATIONS OF CLASSIC ANATHEMA TRACKS,
NOW MASTERED HALF-SPEED AT AIR STUDIOS, LONDON FOR A
SUPERIOR, SHARPER, MORE DIRECT & ENGAGING SOUND
"The pastoral introspection of Nick Drake & Radiohead with moments of sublime
beauty" – Metal HammerReleased in 2008, 'Hindsight' was the first release of
new studio recordings from Anathema since 2003's acclaimed conceptual album,
'A Natural Disaster'.
Featuring selected favourites from the band, as well as new track, 'Unchained
(Tales Of The Unexpected)', Hindsight featured sensitive semi- acoustic
arrangements - utilising acoustic, electric & orchestral instruments - that further
develop the deep, emotional landscapes that Anathema has become justly
renowned for.
Arranged by guitarist Danny Cavanagh, engineered by Les Smith & performed &
produced by Anathema, 'Hindsight' also features cellist Dave Wesling, who
previously toured with the band.
Mastered Half- Speed & pressed on Single LP for the first time, available via
Kscope.

In recent years ambient music has changed and encountering Jon Hassell's fourth world design has become easy. Most of the time there’s no feeling, no narrative, a nothingness of ideas through layers and layers of pastiche and boring bedroom music. This is not bashing. Just a reminder that sometimes the information trap delays an understanding of how good music really is.

“Cavalcante” is the new release by funcionário (born Pedro Tavares). You’ll find Jon Hassell in these eleven pieces. And yes, sometimes you’ll think about ambient music. Most of the time you’ll wonder about what is really happening. And why it's only now you’re hearing about this twenty-something musician from Setúbal, Portugal.

A little bit more than one minute into “En Garde!”, the opening track, one feels challenged by the idea that everything that was listened up to that moment was a false start. The piece abruptly stops, flips some digital sound, and restarts in a whole new direction. As this happens it becomes obvious we are in for a treat. Those two, three seconds create a sensation that everything happens in a moment that introduces you to funcionário's craft: delicate complex sounds infatuated with the idea of movement and the never-ending notion that there’s no dividers in the fourth world. Music can go beyond that.

As it moves forward – “Verde”, “Sierra” or “Publicidade Arco e Flecha” -, the album (his fourth) morphs around variations or perceptions of ambient / electronic / experimental music. And as the language evolves, it hints on how funcionário keeps stretching the boundaries of digital music as he wishes to advance to a more analog setup. In a way, he confronts foundational ideas while having breakthroughs and realizing he is at a top level. Justifiably ambitious, bright and discreetly edgy.

The musician Roberto Enrique "Tito" Chicoma forged one of the most solid and constant career paths in Peruvian music. Self-taught, he started playing tenor saxophone in his father's orchestra, also playing the trumpet, piano or trombone when the occasion arose. In 1959, at the age of 23, Tito moved to Lima, where he soon joined ensembles such as the Koki Palacios and Armando Boza orchestras, which took him abroad for the first time on tour. A recognized musician in his own right, Tito would later decide to form his own orchestra, which was soon hired by América Televisión, starring on programs such as "El Show de Juan Silva", where he accompanied international artists that visited Lima. In 1966, Tito made his first record under his own name on the MAG label, performing two cumbias by the Colombian group Los Teen Agers. The praise the single received led to the recording of his first LP, "El ritmo de moda", where he continued to compile Colombian songs. At the end of 1967, he dedicated his new LP project to recording two fashionable rhythms at the time: cumbias y boogaloos. The Colombian cumbia became popular in Peru from 1964 onwards, when local orchestras like those of Andrés de Colbert, Mario Cavagnaro, Eulogio Molina and Lucho Macedo recorded cumbia hits, then the genre soared when groups like Los Pacharacos and Los Demonios del Mantaro mixed it with Andean music.

A top value for money opportunity here, as Moiss Music deliver the latest in their sweet and sticky Jam series of various artist 12" line ups, bringing you no less than six bubbling, vivacious disco triumphs from six artists. Khemir's 'Disco Bandit' kicks off proceedings, a production that sounds like it was made by a band of around 45 musicians, a proper cavalcade of strings, brass, brazen disco thump and beautifully bold vocals. Wurzelholz's 'Prince' goes for a bit more economy but with a slinky funk bassline like that - not to mention the occasional exclamation from the purple overlord himself - it's equally devastating in dancefloor terms. Among the other highlights, 'Golden' by I Gemin has the feel of a lost Daft Punk flip tune and Cosmocomics' 'Glamorous Garcon', boasting 70s-style synth bubbles that are as cute as they are retro. Tasty as ever.

First album from Cologne based Jazz / Hip-Hop band for Melting Pot
Music home to artists such as FloFilz, Twit One, Summers Sons,
Pachakuti & young.vishnu, etc.

Bokoya is a four-piece jazz/hip-hop band from Cologne who plays
improvised beat music. Like a four-headed human drum machine, Bokoya improvise, shape, and develop beats in the electric field of repetition and variation. It's impossible to put a tag on Bokoya's music.

BADBADNOTGOOD, Dilla, Krautrock, Ambient and dub might work as
rough reference points for the music but don't do it justice. After a sling of releases on Wadada Records, Bokoya are now signed to Melting Pot Music where they will release their forthcoming projects.

High quality, 2 x 180g pink marbled vinyl, gatefold sleeve and download
code containing the digital album in multiple formats. Singer Nishla
Smith creates vivid, enigmatic stories through sound, her voice stretching
from melancholic sweetness through to dark intimacy
Her debut album 'Friends with Monsters' confirms Smith as a major new vocal
talent and sees the vocalist's affinity for inventive narratives extended over the
span of a full album. The Australian performer travelled via Berlin to eventually
settle in Manchester and is joined here by some of the city's most talented
improvisers. Richard Jones and Johnny Hunter cover piano and drums
respectively, whilst bassist Joshua Cavanagh-Brierley and trumpeter Aaron Wood
add graceful touches to complete the quintet's intimate feel. Smith's depictions of
night-time have an enigmatic quality, inviting listeners on an atmospheric journey
but all the while pointing to something greater.
Smith's work moves swiftly through genres, driven by her unique artistry. A City
Music Foundation artist, she has received commissions from Manchester
Collective and Opera North, as well as Manchester Jazz Festival and Jazz North.
As co-creator of theatre company Ulita, she also creates collaborative pieces that
blend theatre, music and visual arts. 'Friends with Monsters' continues that
theatrical drive - "I'm a very natural storyteller, I just love to tell stories. I find
myself weaving everyday events into tales that are very narratively pleasing."
Set over the course of a single evening, 'Friends with Monsters' explores changing
states of insomnia, informed by Smith's own sleepless nights. It's realised in four
distinct sections; each is introduced by a scene-setting interlude. Delving deeper
into the dreamy world of Smith's storyland rewards greatly.