The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums
quête:char
During the peak of Australia's post-punk scene, Melbourne's The Wreckery captivated with their darkly atmospheric rock, combining swamp blues, noir-jazz, and deadpan rock. Fast forward 35 years, and "Fake is Forever" resurrects The Wreckery's signature sound, featuring Charles Todd's baritone sax, Hugo Race's poignant lyrics, and Clayton-Jones' angular guitars. With Nick Barker and Frank Trobbiani providing a solid rhythm, this iconic band delivers an album that ranges from sarcastic and provocative tracks like "Smack Me Down" to romantic melodrama in "The Devil in You," all with a quieter yet equally menacing and intoxicating presence compared to their '80s brashness.
The Blowback is the new album by Emily Wolfe. Emily wrote or co-wrote most of the tracks with bassist Evan Nicholson. Produced by Emily Wolfe Engineered by Matt Gerhard (Spoon, Tennis, Future Islands) Mixed by Cian Riordan (St. Vincent, Sleater-Kinney, Paul McCartney, Lana Del Rey) Mastered by Chris Gehringer - Sterling Sound Emily Wolfe asserts her talent as a dynamic vocalist, sharp songwriter, and an accomplished guitarist and producer. She delivers a brand of rock ‘n’ roll that’s raw and relevant, anchored by emotionally charged lyrics and a powerhouse stage presence. This young and impassioned artist has amassed millions of streams and garnered widespread acclaim from The Wall Street Journal, MTV, Guitar Player, PASTE, American Songwriter as well as her hometown paper, the Austin-American Statesman and many others. Recognized as a force on the instrument, Emily has collaborated with Epiphone/Gibson Guitars on two signature Sheraton models which is a rarity for an artist that isn't yet selling out stadiums. After quietly emerging as a phenomenon, Emily projects her voice like never before on her third full-length album, which she produced
Dave Matthews Band’s first album in four years,
largely written throughout the pandemic, is as
much a reflection on the current times as an urge
to find common ground.
The twelve-track album was recorded with
producer Rob Evans in studios throughout Seattle,
Charlottesville, and Los Angeles.
‘Monsters’ was produced by longtime collaborator
John Alagia.
‘Walk Around The Moon’ touches on my children,
the futility of our struggles as a human race, gun
violence, love, modern political discourse,
gratitude.” - Dave Matthews
LP in gatefold sleeve
"Rural" is the first long-play work of Carlos Asimbaya aka Kaifo, which sees a fully matured vision of Ecuadorian keyboard tradition catapulted into the future and rhythmically sustained by the "bomba" percussion; an Afroandean element that bears witness to the unique history of this country.
Trained in classical music composition and inspired by jazz, Kaifo's repertoire features haunting, extensive melodies and scales that inform listeners on the landscapes of Andean styles while delivering a postmodern dancefloor experience. " Carlos Asimbaya is a keyboardist, composer and producer hailing from the small town of Machachi, Cantón Mejía, Province of Pichincha Ecuador. In 2016 he began a process of personal research and exploration of various musical expressions of traditional music, collecting sonic resources from remote localities such as Aloag, Machachi, Chalguayacu, Cotacachi, Alausi, Borbon, Santo Domingo de los Tsachilas and more - customs that identify the history of Ecuador.
In June 2019, he finally published his first single "Desvío" - a warm fusion of bomba, albazo, dembow, global bass, etc. followed by other digital releases culminating in the EP "Curtido" as part of the 'Kipus' series of Eck Echo Records. With "Rural" Kaifo uplifts the Ecuadorian organ tradition inaugurated in the mid-1960s by the likes of Polibio Mayorga into futuristic clubbing arenas. "Tres Caminos" is a magnificent opener where psychedelia meets the soft snare elegance of the "albazo", the indigenous genre that defines the soul of this country. "Monte Espeso" introduces clubbers worldwide to the contagious grooves of "bomba", the trademark rhythm of Afroecuadorian communities. The raw keyboard melody strikes fast like a proverbial lightning. "Hecho Leña" sounds like the one-man orchestra that is Kaifo. Relentless timbales fills and an alcohol-fueled family vibe characterize this unique "chicha" track.
- Don’t Look Twice
- I Ride At Dawn
- Blood Side Out
- I’m In I’m Out And I’m Gone
- We Can’t End This Way
- Get Up!
- I Don’t Believe A Word You Say
- She Got Kick
- You Found Another Lover (I Lost Another Friend)
- All That Matters Now
Get Up! ist ein moderner Blues-Klassiker in der großen, aber allzu seltenen Tradition der Zusammenarbeit von Künstlern auf einem ganzen Album. Harpers zwölftes Studioalbum, das 2013 bei Stax Records erschienen ist, vereint Gospel, Roots, Country und R&B. Die fließende Chemie zwischen den beiden Künstlern trägt dazu bei, dass sich sein vielschichtiges Werk wie nie zuvor entfaltet. Harper, Musselwhite und die Band (Gitarrist Jason Mozersky, Bassist Jesse Ingalls und Schlagzeuger Jordan Richardson) spielen diesen intensiven und emotionalen Song-Zyklus mit sparsamer Härte.
Get Up! wurde von Harper produziert, wobei der Tontechniker Sheldon Gomberg, die Bandmitglieder und der GRAMMY©-prämierte Roots Musikproduzent Chris Goldsmith als Co-Produzenten fungierten. Das Album erreichte Platz 27 der Billboard 200 Charts und debütierte auf Platz 1 der Blues-Album-Charts. Das Album wurde mit einem GRAMMY© für das beste Blues-Album ausgezeichnet und ”You Found Another Lover (I Lost Another Friend)” wurde mit Gold zertifiziert.
Das Album erscheint als Vinyl.
Das Boot ist ein erfolgreicher deutscher Kriegsfilm unter der Regie von Wolfgang Petersen, in dem Jürgen Prochnow, Herbert Grönemeyer und Klaus Wennemann die Hauptrollen spielen. Der Original-Soundtrack, komponiert von Klaus Doldinger, wird nun erstmals als 1LP auf farbigen Vinyl (Crystal Clear) aufgelegt und
erscheint am 03.11..
Der Film erhielt sehr positive Kritiken und wurde für sechs Oscars nominiert, wobei zwei dieser Nominierungen (für die beste Regie und das beste adaptierte Drehbuch) an Petersen selbst gingen; außerdem war er für einen BAFTA Award und einen DGA Award nominiert.
Der Soundtrack zum Film wurde von Klaus Doldinger komponiert und produziert, der für seine Arbeit im Jazz und als Filmmusikkomponist bekannt ist. Die charakteristische Titelmelodie des Soundtracks
verselbständigte sich, nachdem die deutsche Rave-Gruppe U96 1991 eine neu abgemischte "Techno-Version" geschaffen hatte. Die Titelmelodie "Das Boot" wurde später zu einem internationalen Hit.
- 1: We Wreck Stadiums
- 2: The Cobra
- 3: Warning Track
- 4: Can't Stop The (Charlie) Hustle
- 5: Hard To See My Baseball Cards Move On
- 6: Towers Of Power
- 7: Ferguson Jenkins
- 8: Get It Right (Polo Grounds Ebbets Field Nycmc Mixx)
- 9: The Amazing Willie Mays
- 10: Sun Is Running Out (A Wally Moon Is Coming In)
- 11: Espn Sunday Night Baseball Theme
Public Enemy's frontman swings for the fences with his tribute to Baseball Public Enemy's Chuck D proudly presents his ode to the great American pastime: baseball! A collection of songs that were originally written as MLB-TV promos, We Wreck Stadiums pays homage and salute to some of the baseball greats and the undeniable impact they've had on the game and the world. Featuring the title track which debuts the Hall of Famers: Chuck, DMC, and Rahiem & Kidd Creole of The Furious Five, all four of them members of the Rock & Roll Hall of Fame. Produced by C-Doc for The SpitSLAM Record Label Group. Vinyl mastered by the legendary Phil Nicolo for Studio 4 Vinyl & Ruffnation Entertainment. CHUCK D as MISTACHUCK!
- 1: The Yodel Song
- 1: 2 Queen Of The Silver Dollar
- 1: 3 Everybody's Makin' It Big But Me
- 1: 4 Acapulco Goldie
- 1: 5 Only Sixteen
- 1: 6 I Ain't Got No Home
- 1: 7 50'S Medley
- 1: 8 Earth Angel
- 1: 9 For Your Love
- 1: 0 A Million Miles Away
- 1: Oh Donna
- 1: 2 What's Your Name
- 2: 1 Rollin' In My Sweet Baby's Arms
- 2: Carry Me, Carrie
- 2: 3 Cover Of The Rolling
- 2: 4 Happy Trails
- 2: 5 Sylvia's Mother (Bonus Track)
Silver Marbled Vinyl[46,18 €]
Dr. Hook & the Medicine Show, shortened in 1975 to Dr. Hook, was an American rock band, formed around Union City, New Jersey. They enjoyed considerable commercial success in the 1970s with hit singles including "Sylvia's Mother", "The Cover of the Rolling Stone", "A Little Bit More" and "When You're in Love with a Beautiful Woman". In addition to their own material, Dr. Hook and the Medicine Show performed songs written by the poet Shel Silverstein. The band had eight years of regular chart hits, in both the U.S. and the UK, and great success with their later gentler material, as Dr. Hook.
- 1: The Yodel Song
- 1: 2 Queen Of The Silver Dollar
- 1: 3 Everybody's Makin' It Big But Me
- 1: 4 Acapulco Goldie
- 1: 5 Only Sixteen
- 1: 6 I Ain't Got No Home
- 1: 7 50'S Medley
- 1: 8 Earth Angel
- 1: 9 For Your Love
- 1: 0 A Million Miles Away
- 1: Oh Donna
- 1: 2 What's Your Name
- 2: 1 Rollin' In My Sweet Baby's Arms
- 2: Carry Me, Carrie
- 2: 3 Cover Of The Rolling
- 2: 4 Happy Trails
- 2: 5 Sylvia's Mother (Bonus Track)
Silver Vinyl[39,29 €]
Dr. Hook & the Medicine Show, shortened in 1975 to Dr. Hook, was an American rock band, formed around Union City, New Jersey. They enjoyed considerable commercial success in the 1970s with hit singles including "Sylvia's Mother", "The Cover of the Rolling Stone", "A Little Bit More" and "When You're in Love with a Beautiful Woman". In addition to their own material, Dr. Hook and the Medicine Show performed songs written by the poet Shel Silverstein. The band had eight years of regular chart hits, in both the U.S. and the UK, and great success with their later gentler material, as Dr. Hook.
Dreamers have dreamt for as long as domes have fallen, bobbing musical swells from Stephen Foster to the Everlys. Now here comes that beautiful dreamer JOSEPHINE FOSTER and, sugarpie, she's not the same. She has donned her magenta vestiments, dreaming back, with mossy verses that haunt like a name never called. It's not just Jo and her shadow, though, this time around-she's got a gaggle of Nashville cats on hand to coax spidery cathedrals from these campfire jams. Folks will want to call this her "Harvest" - with its harp and pedal steel, its double bass and cascading piano. And it's true, "I'm a Dreamer" beckons with a gentle hand, each note clear and crisp so that one feels each grain. Amid such delicate charms, however, lurk muses with rotting flesh, ugly ducklings and Djuna Barnes, wooden floors upon which no babies will be rocked. Wily is the heart that wanders filled with duende and desire, that rides the thigh like a parlor guitar when a strap just isn't handy. These are songs comfortably at home in salon or saloon, dreams deep enough to bury your dread - as sorrowful, as sexy, as stirring a set of songs as anybody's dreamt up in ages.
- A1: Return To Sender
- A2: Kiss Me Quick
- A3: (Let Me Be Your) Teddy Bear (Let Me Be Your)
- A4: Wooden Heart
- A5: Stuck On You
- A6: Are You Lonesome Tonight
- A7: It's Now Or Never
- A8: Love Me Tender
- A9: Good Luck Charm
- A10: Don't Be Cruel
- A11: Don't
- A12: All Shook Up
- A13: Hound Dog
- A14: Heartbreak Hotel
- A15: Jailhouse Rock
- A16: Surrender
- A17: A Big Hunk Of Love
- A18: Loving You
- A19: I Want You, I Need You, I Love You
A Dream Team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco’s Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster!
Antes de presentarte esta novedad, hay que entender que en la segunda mitad de los años setenta, algo estaba cambiando en la escena musical. Los grupos musicales estaban en su auge hasta que llegó la llamada al servicio militar obligatorio. Entonces, todo el mundo volvía de él sin sus largas melenas y sin dinero. Los baladistas sin personalidad tomaban el control de la música, según lo dictado por las discográficas. Es entonces cuando las copleras, cantaoras y rumberas se convierten en la respuesta necesaria para combatir la insípida melosidad. A pesar de un contexto sociocultural desfavorable, arreglistas y productores invertían horas de sueño para revivir un sonido que estaba al borde de la extinción. A pesar de los cambios que haya podido haber desde entonces, el más significativo es que ahora la inmediatez digital dicta el rumbo.
Es por toda esta importancia que finalmente ha llegado un álbum que reúne a un elenco de folclóricas en una combinación única, fusionando el concepto del groovy funk; con canciones que abarcan todo el espectro afroamericano de la música de baile de los setenta, con toques de gritos y susurros aflamencados que le dan un giro impresionante. Podríamos considerarlo el álbum destacado de las Rosalias del siglo XX, una especie de viaje lisérgico en blanco y negro a la España de la posfranquista. Con su hiperrealismo revolucionario, este disco nos ofrece a una una estirpe de artistas sin igual.
En este encontrarás las joyas ocultas de artistas como Flores, Pantoja, Jurado, Polaca, entre otras. Aunque se mantuvieron fieles a sus estilos, todas ellas fueron famosas por otras facetas de sus extensas discografías, y muchas incluso aparecieron en la portada de Interviú en más del cincuenta por ciento de los casos, como las feministas de los años setenta según Francisco Umbral.
THE KORGIS’ latest album release ‘Orchestrations’ beautifully re-imagines in amazingly inventive and unexpected ways the greatest songs of this inspirational chart-topping band with a fully-orchestrated classical treatment.
Opening with the immortal line “Change your Heart, look around you, change your Heart, it will astound you” from international hit and one of the greatest love songs ever, “Everybody’s Got To Learn Sometime”, these brand new classical interpretations weave their way through the The Korgis’ rich tapestry of song-writing.
Featuring the1979 Andy Davis-penned debut hit “If I Had You”, The Beatles homage “Something About The Beatles”, enduring fan favourite “All The Love In The World”, original Trevor Horn production and South American hit “Don’t Look Back”, concluding with prophetically-entitled James Warren and Andy Davis collaboration “This World’s For Everyone”, ‘Orchestrations’ is a fitting tribute to over 40 years of class song-writing.
Erster Erzählband des Duos Schreng Schreng & La La Die Welt - oder besser: die getreue Schreng-Schreng-&- La-La-Gemeinde - wartet seit Jahren zitternd auf die Erscheinung dieses Werkes: Jörkk Mechenbier und Lasse Paulus legen mit "Deck mich zu, wenn du fertig bist" nun endlich ihr literarisches Debüt vor - übervoll mit all den Dingen, mit denen man sich ebenso befasst, wenn man befreundet ist und ein gemeinsames Bandprojekt am Laufen hat ... Als Duo Schreng Schreng & La La reisen diese beiden unwahrscheinlichen Helden nun bereits seit zig Jahren quer durchs Land und erleben Geschichte um Geschichte, von denen eine absurder als die nächste ist. Aber dabei sind es nicht nur die Backstage-Beichten zwischen Bühnenschnäpsen, Musik und Irrsinn, die dieses Duo und ihr gemeinsames Schaffen interessant machen; es geht zuvorderst um die oft nicht leichte Beziehung der beiden zutiefst konträren Charaktere zueinander. Die Stories in "Deck mich zu, wenn du fertig bist" zeigen, wie sehr man sich unterscheiden und dennoch lieben und respektieren kann. Hier wird also herzerwärmend und nachgerade therapeutisch vom gemeinsamen Brückenschlagen und Händereichen erzählt - und nicht zuletzt auch davon, wie man mit einem AfD-Wahlplakat einen 70 Zentimeter langen Joint baut. Halten Sie sich also bereit. Lasse Paulus und Jörkk Mechenbier fanden sich irgendwann zwischen 2006 und 2007 in der gemeinsamen Wohnung ihrer Freundinnen. Der eine schön, hochgewachsen und mit einem richtigen Schulabschluss, der andere ein zertrümmerter Polytoxiker mit romantischer Seele. Sie gründeten die "deutschen Johnny Cash" und nannten sich Schreng Schreng & La La. Während Mechenbier danach eine erfolgreiche Karriere als Indie-Musiker bei den Bands Love A und Trixsi einschlug, erträgt Paulus seit Jahren einen klassischen 9-to-5-Job. 152 Seiten
The second self-titled album from Will Miller"s Resavoir interweaves modern-day soul-jazz with bedroom beats, synth serenades and twilight sonatas - an endlessly listenable, subtly radiant symphony suitable for both the composition-minded musician"s musician and the hook-seeking playlist populist. This album follows Resavoir"s 2019 self-titled debut album, a breakout success that landed in "Best of 2019" lists by NPR Music and BBC"s Gilles Peterson. Through his movement further into an expanded palette of synths, pianos, live and programmed drums in addition to his MIDI-augmented trumpet, Miller has developed a signature cinematic soul-jazz sound rooted in hip-hop structures. No surprise, then, that his profile as a producer has raised significantly since the Resavoir debut, and that the years since have seen him operating the controls and guiding the ship on tracks for Eryn Allen Kane, Whitney, Knox Fortune, and SZA"s recently-released album SOS (which spent 10 weeks as the #1 spot on the Billboard 200 chart).
Hannah White's searingly honest lyrical style and gift for adhesive melody
have had her gaining ever more momentum over the course of several
widely-praised albums
The last two were both recognised by the Americana Music Association UK, with
a nomination for her project with the Nordic Connections followed by a highly
popular win for UK Song of the Year in January 2023 with the moving, personal
Car Crash, from the About Time album. But Sweet Revolution is anything but a
push-button re-run of those achievements. With production by frequent live and
studio collaborator Michele Stodart of the Magic Numbers, these are songs that
take White into exhilaratingly new territory. They have the cohesive, multi-layered
excitement of a modern- day Fleetwood Mac, driven by earworm tunes and her
characteristically perceptive, soul-baring imagery.




















