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Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Individually, JD Simo and Luther Dickinson are building their own legacies as solo artists, sidemen, songwriters, and guitar heroes. Together, they're a creative force to be reckoned with, making their own version of amplified American roots music. On the pair's first collaborative album, Do The Rump!, the musicians trade blistering guitar solos, take turns at the microphone, and turn their classic influences -- including hill country blues, spirituals, swamp rock, and Afrobeat -- into something contemporary, reinterpreting a number of their old-school favorites into eclectic, electrifying anthems. The partnership began onstage, where Simo and Dickinson first shared the spotlight as touring members of Phil Lesh and Friends. Dickinson had already established himself as co-founder of the Grammy-winning duo North Mississippi Allstars, as well as a celebrated guitarist for acts like Black Crowes and John Hiatt. Similarly, JD Simo had built an audience not only with his solo project, but also as a session musician for Jack White, Beyonce, Chris Isaak, and Baz Luhrmann's Elvis movie.

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
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Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

MENSCHENFRESSER" heißt das aktuelle Album von RAWSIDE, mit dem die Band es sogar auf die #81 in den deutschen Albumcharts geschafft hat. Deshalb muss nun auch eine Nachpressung sein. Ink Spot Vinyl bedeuted knallroter Kern und außenrum schwarz-rot gemischt. Fünf Jahre nach dem wahrscheinlich persönlichsten Album "Your Life Gets Crushed" gibt es neue Songs der Hardcore-Punks aus Coburg. Songs, die wieder politischer, wütender und angriffslustiger sind. Menschefresser meint hier emotionalen Kannibalismus, psychischer Druck, der ausgeübt wird, wie Menschen sich verhalten, Ellbogen auspacken wenn sie nur versuchen, sich ihren eigenen Vorteil zu verschaffen. Oder Menschen, die denken, sie wären der Mittelpunkt der Welt. RAWSIDE werden nicht müde, den Finger in die Wunde zu legen und sich mit korrupten Wirtschaftsbossen, selbsternannten Verschwörungstheoretikern, rechten Politikern oder stumpfen Wutbürgern anzulegen. Die 13 neuen Songs von RAWSIDE sind eine volle Breitseite, musikalisch kommt es laut und fordernd zwischen Hardcore, Metal und Punk daher. Die Wucht der Songs hat seit dem letzten Album ein neues Level erreicht. Das liegt vielleicht auch an der Frischzellenkur in der Besetzung. Sänger/Shouter Henne ist das einzig verbliebene Gründungsmitglied nach mehr als 30 Jahren Bandgeschichte. Seit Sohn Justin am Schlagzeug ist gerade mal 23 Jahre alt. "RAWSIDE ist zum Glück keine One-Man-Show", sagt Henne. "Das waren wir nie und wollen wir auch nicht sein. 2024 hat die Band beim LOIKAEMIE-Label Fettfleck angeheuert. "Für uns war es ein Schritt in Richtung Selbstverantwortung", erklärt Henne. Bei Fettfleck sind wir in alle Prozesse eingebunden. Und das ist doch die Idee, die hinter dem ganzen Punk- und Hardcore- Gedanken steckt. So bleiben RAWSIDE auch nach über 30 Jahren Bandgeschichte ein Grundpfeiler der deutschen HC/Punkszene. "Menschenfresser" ist ein Biest von einem Album, dass die Vorfreude auf die Open Air-Saison nochmal steigert. Wir lassen schon mal das Dosenbier zischen. - Wolfram Hanke (Ox, Zündfunk, Der kosmische Penis)

Mystic, member of the legendary rap collective Digital Underground, is releasing her 3rd album Dreaming In Cursive: The Girl Who Loved Sparklers on Vinyl. She is most known for her classic Cuts For Luck and Scars for Freedom which was released on vinyl last year. This new album find a return to her roots working with long time collaborator Walt Liquor to create the sonic landscape she's most known for. There was a crowd-sourcing campaign to create the visuals for this project that was successful and from it came three visuals that will be the foundation for a short film released this summer called A Black Love Trilogy. This project is the healing balm the world needs in these trying times.
GRAMMY-nominated rapper, singer, and Bay Area legend Mystic (affectionately known as the “DU Goddess of Digital Underground”) has returned to bless the world with a new album like only she can. "Dreaming In Cursive: The Girl Who Loved Sparklers" is Mystic’s first new release from her label, Beautifull Soundworks, and is produced by herself and Walt Liquor. With song and voice that resonates with the beauty of unadulterated womanhood, Mystic’s new album is what she coined, “Healed Black woman music.” As a seasoned veteran in the music business, Mystic reminds us of her ability to seamlessly weave together harmonies and vivid lyrics that invoke thoughts of love, community, and healing. Always on time with her offerings, this new project warms the soul as only Mystic can—a perfect reminder to long-time fans of their love for her and a welcoming invitation to music lovers around the world looking for high-quality, meaningful, and banging music at once.
Quote: “I am known for moving in between the intersections of trauma and healing--the beauty and the pain. My healing journey and life journey have brought me to a place where the art reflects my level of healing and the knowledge, wisdom, and joy I passionately pursue. My fans have healed and grown with me, and I look forward to the joy and conversations this album will encourage.”

Beloved Spanish indie rockers Hinds are back with their utterly triumphant fourth album, VIVA HINDS. Written by the band’s co-founders, co-vocalists, co-guitarists and co-songwriters Carlotta Cosials and Ana Perrote, it features their first-ever fully Spanish language songs, as well as first collaborations with the likes of Beck and Fontaines D.C.’s Grian Chatten. Recorded in rural France, the album was produced by Pete Robertson (Beabadoobee), engineered by the GRAMMY-nominated Tom Roach, and mixed by GRAMMY-winning engineer Caesar Edmunds (The Killers, Wet Leg).

Shortly after the band made their debut ten years ago, they hit what felt like an insurmountable obstacle – they had to change their name from Deers to Hinds for legal reasons. But, as their fans began to greet them at shows by cheering “¡VIVA HINDS!”, the band soon realized that what initially felt like an ending was actually just the beginning. Fast forward to 2023, and VIVA HINDS was written by Cosials and Perrote after a series of endings. They hit a creative rut after releasing their 2020 album The Prettiest Curse, and their bassist and drummer devastatingly decided to leave the band. They also split with their management team, lost touring revenue due to lockdowns, and were without a label for the first time. But when Perrote and Cosials got together to write again it became clear that their connection, one so special that they call themselves “millionaires in friendship,” would be all they needed to get them through. VIVA HINDS – the most accomplished, sonically adventurous, honest and celebratory record of Hinds’ career – is only the beginning.

PRESS/ONLINE: “The track, though signaling a new era for Hinds, arrives rapturous and catchy, as Perrote and Cosials trade verses and riffs. ...'Coffee' is a sweeping first chapter of where the duo aims to
“‘Coffee’ is a a gorgeous punk-indie cross contamination, instantly memorable, grungy” - Wonderland


“They bring the energy of a thousand rock bands, entrancing the crowd with their searing indie riffs, the constant interlocking of guitars and smiles, and deeply charming banter” - Rolling Stone

“The Prettiest Curse is an evolution. It is striking, complex, uncompromising indie-pop. More than that, it makes a bold statement: it canonises Spanish indie-rock” – Loud and Quiet 9/10
“They’ve taken their sound and unashamedly experimented with it. They’re all the better for it” – NME 4/5

“The Spanish group’s second album displays the superior songcraft of the band, as vocalists Ana Perrote and Carlotta Cosials wade through love’s messy feelings with confidence and exuberance” - Pitchfork

DJ Support: Liquid earth, Aladdin, Julian Anthony, Will & Batty, Ray Mono, Venard

Lungo makes his return to Groove Arcade this time with a 4 track solo EP. He’s created a beautiful all rounder with something for everyone but every track is still oozing with GA flair.

The A side brings us ‘La Gente’ and ‘Romantic’. The former being the party starter with a vocal that’s guaranteed to get the crowd excited, while the latter brings the tempo down with lush synths and a driving bassline.

The B side starts off with ‘I Understand Perfectly’, a silky smooth groove with an electro inspired bass line and a killer piano hook. The EP is then complete with ‘I Forgot The Password’, full of nostalgic melodies, computerised sounds and 8 bit vocal samples perfect for winding down at the end of the night.

Blood Smoke Vinyl. The Instrumental version of the underground classic El Michels Affair & Black Thought collaborative album Glorious Game When Leon Michels and El Michels Affair released their ­rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later_all while producing for some of the biggest names in the industry_Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two ­rst met in the 2000s when Thought was ­rst getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective_Dave Guy on trumpet and Ian Hendrickson-Smith on sax _are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most

Nach zwölf Jahren reich an Instrumental-Alben (von zwei Solo-Piano-Platten über Kammermusik bis hin zu gemeinsamen Alben mit Boys Noize, Jarvis Cocker und Plastikman und sogar einem Weihnachts-Bestseller) hat Chilly Gonzales sich eine Menge von der Seele zu schreiben. Die Notizbücher, die seit dem 2011 erschienenen orchestralen Rap-Opus 'The Unspeakable Chilly Gonzales' leer blieben, füllten sich seit Anfang 2022 wieder mit Worten, nachdem Gonzo ein langes Jahrzehnt der Psychoanalyse beendet hatte. Ein Zufall? Wohl kaum. Hinter all den Wortspielen und dem Namedropping (u.a. Ron Jeremy, Marie Kondo, Dschingis Khan und Philip Glass) offenbaren die Songs, die es auf das neue Album 'Gonzo' geschafft haben, eine anhaltende Spannung zwischen Überzeugung und Bekenntnis, Wahn und Selbsterkenntnis und schließlich Dankbarkeit. Auch das Spannungsfeld zwischen Kreativität und Kommerz ist für Gonzo ein Thema, das ihn schon lange beschäftigt. Ist dies wirklich ein Rap-Album? Instrumentalstücke wie das strawinsky-eske 'Fidelio' oder das tränenreiche 'Eau de Cologne' erinnern den Hörer an Gonzos selbsterklärte Rolle als 'musical genius', während sich die Worte und Reime der vorangegangenen Strophen im Ohr festsetzen.
Rotes 180g-Vinyl mit einem Einleger mit Artwork auf der einen Seite und einer Kurzgeschichte (auf Englisch) von Christian Kracht auf der anderen Seite

The new album from the original founding member of Kool & the Gang -- 2024 Rock & Roll Hall of Fame inductees! Drummer George “Funky” Brown, along with Robert “Kool” Bell on bass, his brother Ronald Bell on tenor and lead vocalist James "J.T." Taylor, was one of the main songwriters in their pop/R&B band Kool & The Gang, whose classic hits like “Jungle Boogie,” “Hollywood Swinging,” “Celebration,” “Get Down on It” and “Joanna” made for a novel and immensely successful pop-funk groove in the 1970s and ‘80s. Such songs have been featured in films (“Jungle Boogie” was in Pulp Fiction while “Summer Madness” appeared in Rocky) and have been sampled countless times by artists including DJ Kool, Mase, Too Short, DJ Jazzy Jeff and the Fresh Prince, Boogie Down Productions, Brand Nubian, De La Soul, A Tribe Called Quest, Nas, N.W.A., Kris Kross and Jermaine Dupri. Aside from being crowned 2024 Rock & Roll Hall of Fame inductees, Brown, with Kool & the Gang, has been inducted into the New Jersey Hall of Fame--and there’s a street in Jersey City named in the band's honor. The Grammy-winning group has received the Soul Train Legend Award and a star on the Hollywood Walk of Fame.

"Glossolalia" ist das dritte Solo-Album von Dale Crover, dem weltbekannten Schlagzeuger der Melvins, Nirvana und Redd Kross sowie Sänger und Gitarrist von Altamont. Das von Crover und Toshi Kasai produzierte Werk strotzt nur so vor Nuggets-Garagenrock, Proto-Metal-Riffs und herrlich verschwommenem Psych-Pop. Die erste Single des 11-Song-Albums ist "Doug Yuletide". Der Track ist einer von zwei "Glossolalia"-Songs, bei denen Crover mit dem Gitarristen Dan Southwick zusammenarbeitet, seinem langjährigen Freund und Altamont-Bandkollegen. Aber Southwick ist nicht der einzige Freund, der auf Glossolalia zu hören ist: Kim Thayil von Soundgarden (Leadgitarre bei "I Quit" und "Rings"), Ty Segall (Leadgitarre bei "Spoiled Daisies" und "I Waited Forever"), Rob Crow von Pinback ("Don't Worry About It", "Rings" und "I Waited Forever") und Tom Waits' ungelenkes, in Zungen gesprochenes Intro beim Titelstück. "Glossolalia" ist Crovers bisher fokussiertestes Statement als Solokünstler. In seiner Gesamtheit zeigt das neue Album, dass Crover, so wie die Melvins in ihrem vierten Jahrzehnt weiter wachsen und sich entwickeln, auch als Solokünstler neue Schritte unternimmt. Inmitten des inspirierten Geplappers von Waits, des glorreichen Schredderns von Segall und Thayil und vielem mehr, sticht vor allem die Robustheit von Crovers Vision hervor. Diese Platte zeigt, dass seine Gesamtästhetik genauso stark wie sein legendärer Schlagzeugdonner ist. ENGAs he began plotting his new solo album, Dale Crover _ world-renowned drummer for the Melvins, Nirvana and Redd Kross, and singer-guitarist for Altamont _ realized that, unlike with his prior two full-lengths, he was starting from scratch. "I didn't have any songs," he says, "so I just went on this writing spree." The result is Glossolalia, Crover's third LP under his own name and arguably his most focused statement yet as a solo artist: 11 catchy yet eccentric tracks that move from Nuggets-y garage rock to crafty proto-metal riffage and gorgeously hazy psych-pop, touching on everything from a bad teenage trip to the charms of the late, great Jane Birkin, and featuring input by illustrious guests including Ty Segall, Soundgarden's Kim Thayil and none other than Tom Waits. What stands out across the record is the sturdiness of Crover's vision. He's modest about his ambitions _ "It's just kind of like extra credit," he says, about having a solo outlet apart from his main band _ but as this record shows, his overall aesthetic hits just as hard as his legendary drum thunder.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Big Dada verkündigt mit Stolz eine Vinyl-Neupressung des legendären Album Klassikers ‘Run Come Save Me’ von Rodney Hilton Smith aka Roots Manuva auf rotem Doppelvinyl!

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements_punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones_are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins_Jonah Falco and Mike Haliechuk_weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act_with Tamsin M. Leach and Jack Goldstein centering them on stage_and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Mit ihrem neuen Album "Feeding The Machine" wollen MORDKAUL die Band mit 10 druckvollen Death Metal Tracks auf eine neue Ebene emporheben!

Um das Beste aus den einzelnen Songs herauszuholen und sie bestmöglich zu präsentieren, wurde "Feeding The Machine" in zwei Phasen aufgenommen. Die erste Hälfte des Albums wurde im Sommer 2022 im Project Zero Studio aufgenommen, die zweite Hälfte im Sommer 2023 in den legendären Galaxy Studios, während das Mixing und Mastering von Dan Swanö durchgeführt wurde.

Während "Dress Code: Blood" stark von den kultigen schwedischen Death-Metal-Bands der 90er Jahre inspiriert war, geht "Feeding The Machine" noch einen Schritt weiter. Mit breiteren Einflüssen von kultigen 90er-Death-Metal-Bands wie Morbid Angel und Death schlägt "Feeding The Machine" noch härter zu und zielt darauf ab, die Band auf ein neues Level zu katapultieren!

Expanding upon his critically acclaimed MAX comedy special of the same name, John Early’s long-awaited first comedy album Now More Than Ever features four brand new cover songs from John Early and The Lemon Squares, along with an exclusive, album-only set from Early’s beloved alter ego, Vicky with a ‘V.’ In the album's oddly stirring climax, Early delivers a sermon on the emptiness of millennial culture, pleading to the Brooklyn crowd, “We have to get serious! Before it’s too late! And our gravestones read: Because Cancer.” Now More Than Ever is Early’s sincere and abundant offering back to the culture of thoughtful critique, heartfelt music, and infectious joy, firmly cementing his place as the godfather of millennial alt-comedy.

The contributions Black women have made to the growth of rock & roll cannot be overstated, from the genre’s beginnings to the present day. Embracing this legacy, world renowned poet jessica Care moore and prolific performer Steffanie Christi’an have joined forces to form We Are Scorpio, an explosive new project blending rock & roll with poetry. A leading voice of her generation, moore has performed on stages across the globe, written acclaimed books and plays, and recorded her poetry with artists like Common, Nas, Jeezy, Karriem Riggins, Jeff Mills, Roy Ayers, Jose James, and more. Her latest foray into music is We Are Scorpio, a unique take on modern rock sparked by chemistry with fellow Detroit native Christi’an and encapsulating an undeniable Black femme punk energy. Joining a long line of Detroit artists who spoke truth with force across genre and gendered borders, the duo is now unveiling its self-titled debut album. With unapologetic vocals and rapid-fire poetics occupying the same space as head-banging guitar riffs, the collection features appearances by talented artists like Talib Kweli, Sada Baby, Divinity Roxx, Niko Is, and Militia Vox. Expansive but intimate, We Are Scorpio delves into parts unknown with fiery purpose.