Buscar:d star

WAR’s head-nodding mix of music and message started a revolution 50 years ago that continues to win over the hearts and hips of fans around the world. “Greatest Hits 2.0” will be available 29th October and is a new, career-spanning collection that expands on WAR’s platinum-certified 1976 greatest hits album, featuring the legendary songs “Spill The Wine,” “Low Rider,” “Galaxy,” and “Why Can’t We Be Friends?”

WAR’s “Greatest Hits 2.0” 2LP contains 20 tracks, 2CD contains 24 tracks recorded between 1970 and 1994, including the gold-certified singles “Slipping Into Darkness,” “The World Is A Ghetto,” “The Cisco Kid,” and “Summer.” Another gold single, “Why Can’t We Be Friends?” stayed on the charts for 31 weeks and became the soundtrack to the US-Soviet space mission where astronauts and cosmonauts linked up in the spirit of friendship. In the modern era, it has been streamed more than 100 million times. Also included is the #1 R&B smash “Low Rider,” which was inducted into the Grammy Hall of Fame in 2014.

In the collection’s liner notes, Los Angeles Times columnist Gustavo Arellano says GREATEST HITS 2.0 does more than capture WAR at its creative and commercial peaks. He writes: “All the big hits are here, of course, in chronological order from the Eric Burdon days up through cuts from 1982’s underrated Outlaw…But what I love about this collection is that it’s a symphonic suite for a perfect Southern California Sunday afternoon, the kind the rest of the world wants to experience but can only dream about. You can envision it by playing these albums from start to finish.”

"25th anniversary reissue of AFI’s fourth studio album, Black Sails In The Sunset, first released on Nitro Records in 1999. Described by Alternative Press as the band's “first epic” in a 4.5 star review, the title is also the first to feature AFI's current line-up with the addition of Jade Puget. This special pressing features three bonus tracks; a never-before-released track “Weight of Words,” Japanese B-side “Who Knew?” in addition to “Lower It” which is exclusive to the vinyl format. "

BLUE NOTE CLASSIC VINYL EDITION: Mono (Thad Jones) bzw. Stereo (Clifford Jordan), von Kevin Gray gemastert, bei Optimal auf 180g-Vinyl gepresst, im Single-Sleeve.

Der 1986 gestorbene Trompeter Thad Jones ist Jazzfans vor allem durch seine großartigen Arbeiten mit dem Count Basie Orchestra (dem er als Solist, Arrangeur und Komponist von 1954 bis 1963 angehörte) und seinem eigenen Thad Jones/Mel Lewis Orchestra in Erinnerung. Doch er konnte sich auch als Leader kleinerer Ensembles immer wieder glänzend in Szene setzen. Und nirgends besser als auf dem 1956 mit einem All-Star-Quintett aufgenommenen Album “The Magnificent Thad Jones”, mit dem sich der Trompeter endgültig als einer der führenden Musiker und Komponisten des modernen Jazz etablierte.

Als Clifford Jordan 1957 nach New York zog, um im Quintett von Max Roach Sonny Rollins zu ersetzen, eilte ihm der Ruf voraus, eines der größten Chicagoer Talente auf dem Tenorsaxofon zu sein. Noch
im Jahr seiner Ankunft erhielt der 25-Jährige die Chance, drei Alben für Blue Note einzuspielen, auf denen er sein Können unter Beweis stellte. Auf “Cliff Craft”, einer wunderbar entspannten Quintett-Aufnahme, präsentierte Jordan neben drei eigenen Kompositionen auch exzellent interpretierte Klassiker von Charlie Parker, Dizzy Gillespie und Duke Ellington.

BLUE NOTE CLASSIC VINYL EDITION: Mono (Thad Jones) bzw. Stereo (Clifford Jordan), von Kevin Gray gemastert, bei Optimal auf 180g-Vinyl gepresst, im Single-Sleeve.

Der 1986 gestorbene Trompeter Thad Jones ist Jazzfans vor allem durch seine großartigen Arbeiten mit dem Count Basie Orchestra (dem er als Solist, Arrangeur und Komponist von 1954 bis 1963 angehörte) und seinem eigenen Thad Jones/Mel Lewis Orchestra in Erinnerung. Doch er konnte sich auch als Leader kleinerer Ensembles immer wieder glänzend in Szene setzen. Und nirgends besser als auf dem 1956 mit einem All-Star-Quintett aufgenommenen Album “The Magnificent Thad Jones”, mit dem sich der Trompeter endgültig als einer der führenden Musiker und Komponisten des modernen Jazz etablierte.

Als Clifford Jordan 1957 nach New York zog, um im Quintett von Max Roach Sonny Rollins zu ersetzen, eilte ihm der Ruf voraus, eines der größten Chicagoer Talente auf dem Tenorsaxofon zu sein. Noch
im Jahr seiner Ankunft erhielt der 25-Jährige die Chance, drei Alben für Blue Note einzuspielen, auf denen er sein Können unter Beweis stellte. Auf “Cliff Craft”, einer wunderbar entspannten Quintett-Aufnahme, präsentierte Jordan neben drei eigenen Kompositionen auch exzellent interpretierte Klassiker von Charlie Parker, Dizzy Gillespie und Duke Ellington.

SMN Records, the record label division of the Philadelphia-based addiction recovery nonprofit Sound
Mind Network, has released limited edition vinyl copies of its first compilation, Healing Through the Arts,
Vol. 1. The star-studded album features both up-and-coming artists as well as music legends

At the latest with the release of the albums "Zauberberg" and "Königsforst", in the mid-1990s, one associates GAS, Wolfgang Voigt's very own artistic cross-linking of the spirit of Romanticism and the forest as an artistic fantasy projection surface, with intoxicatingly blurred boundaries of post-ambient infatuation and the impenetrable thicket of abstract atonality. The distant, iconic straight bass drum marching through highly condensed, abstract sounds taken from classical music by the sampler or modulated accordingly, and the enraptured gaze through pop art glasses into the hypnotic thicket of an imaginary forest, manifested over the years this unique connection of audio and visual, which to understand fully, then as now, would be neither possible nor desirable.

Quite the opposite. The album GAS - DER LANGE MARSCH once again invites us to follow the deep sounding bass drum, to give in to its irresistible pull into a psychedelic world of 1000 promises. In the process, the journey leads us past stations of memories sounding from afar, from "Zauberberg" to "Königsforst" and "Pop", from "Oktember" to "Narkopop" and "Rausch", back and forth, now and forever.

Way. Destination. Loop. - Forest loop.

No beginning. No end.
Spätestens mit der Veröffentlichung der Alben „Zauberberg“ und „Königsforst“, Mitte der 1990er Jahre verbindet man mit GAS, Wolfgang Voigts ganz eigene künstlerische Vernetzung mit dem Geist der Romantik und dem Wald als künstlerische Fantasie-Projektionsfläche, rauschhaft verschwimmender Grenzen von post-ambienter Betörung und dem undurchdringlichen Dickicht abstrakter Atonalität. Die entfernt, durch stark verdichtete, abstrakte, der Klassik durch den Sampler entnommene oder entsprechend modulierte Klänge marschierende, ikonische gerade Bassdrum, der entrückte Blick durch die Pop-Art Brille hinein in das hypnotische Dickicht eines imaginären Waldes, manifestierten über die Jahre diese einzigartige Verbindung von Audio und Visuellem, die ganz verstehen zu können, damals wie heute, weder möglich noch wünschenswert wäre.

Ganz im Gegenteil. Das Album GAS - DER LANGE MARSCH lädt uns einmal mehr ein, der tief tönenden Bassdrum zu folgen, ihrem unwiderstehlichen Sog hinein in eine psychedelische Welt der 1000 Verheißungen nachzugeben. Dabei führt die Reise vorbei an aus der Ferne klingende Stationen der Erinnerungen von “Zauberberg” bis “Königsforst” und “Pop”, von “Oktember” bis “Narkopop” und “Rausch”, vor und zurück, in alle Ewigkeit.

Weg. Ziel. Loop. - Waldloop.

Kein Anfang. Kein Ende.

Three decades after Travis Tritt launched his music career, the Southern rock-influenced artist continues to stay true and relevant to country music fans across the globe. A Marietta, Georgia native, Tritt incorporated his life long influences of Southern rock, blues and gospel into his country during a honky-tonk apprenticeship that lead him to Warner Bros. in 1989. Tritt's albums, seven of which are certified platinum or higher, have ammassed more than 30 million in career album sales, two GRAMMY Awards, four CMA Awards, an invitation to become a member of the world famouse Grand Ole Opry and a devoted fan base that fills venues. The release of PROUD OF THE COUNTRY celebrates the album that started it all and include 11 cuts from this unearthed gem.

2024 White Vinyl Repress

Next up for Time Is Now's white label series is Prozak - a Dublin-based producer who has garnered a growing following over the past year. Prozak, aka Zac Curtis, follows up an EP of remixes for Kiwi Rekords with Make Me Feel. The EP is 100% club gear dabbling in classic rave sounds and jungle before masterfully returning to his garage roots.

The title track "Make Me Feel" is equal parts euphoric rave vocalisations and growling bassy ruffage, with stuttering stop-and-start breaks thrown in for good measure that tear through the track - an instant classic that knocks you breathless.

"Missing You" builds from a gentle ebb into wobbling bass-heavy garage, Curtis chopping and changing the vocal samples into unrecognisable snatches with expert production. He then dishes up a glitching speed garage
tool with "Negative", still seasoned with a ravey edge that makes the record as a whole feel festival ready.

On the B-side, "Sunshine" is sweet buoyant UKG constructed from neatly cut up vocals that clamour against each other and a skipping irresistible rhythm.

Equally upbeat, "Falling" stands out as the most playful track, with mass appeal and large drops that shakes off some of the dark bassiness of the A-side.

The record closes with "Leave You", contrasting frenetic junglist breaks with blissed out vocals.

It's a dynamic offering from the up-and-comer that shows signs of great things to come.

LIMITED INDIES LOSER EDITION PRESSED ON BLUE TRANSPARENT VINYL! Stella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we're swept up in Stella's world - and it's quite the captivating place to be. The singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Stella's gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it's clear, from what we hear, they had it in spades. The meld is seamless. Stella's songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record "as if it was a rare gem from the '60s found in a box of records in Athens," and Stella notes she was ready for a more "deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop." The bouzouki appears on a full five tracks played by Christos Skondras who, she says, "was brilliant at improvising," while Sofia Labropoulou on the kanun "brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for Up and Away - I couldn't be more grateful." While not exclusively a confessional artist, Stella is always intimate - when she sings, it's personal. She writes "about things I feel passion for. Stories about me, about others, about all that's there in love and war." Stella was "in a very emotional state at the time, which came through in the lyrics and vocals." And it's true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it's the lyrics that feel key. Across her output, Stella has proven herself a strong storyteller, and Up and Away is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record's erotic arc. By the end of the album, Up and Away's core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can't always understand or control. Love is like this record: when it's over, you still feel it for time to come.

Repress.

Irish supergroup Princ€ss arrives to wherethetimegoes.

Spätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.

In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“

Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.

TIPP! :)

For the latest Cognitiva release the label present the 4th release of their Point of View series which focuses on dance floor-oriented sounds, this time they invite the marvellously talented Dr. Sud to deliver a wondrous, jazz laden odyssey, which entices as much as it delights - with some expert remixes to boot….
Dr Sud is the main alias of Gregorio Marigliano, an Italian music maker who was raised in Berlin. Marigliano’s music revolves around the principles of Jazz-meets-Dance music, drawing up the rich tradition that has come before in bringing a high level of musicality and ingenuity within his tunes. Moving fluidly between rhythms and feels, as Dr Sud he captures the imagination with thought provoking and captivating sequences, striking a fine balance between depth and danceability. Harmonies and groove play a key part within his music, such as was highlighted on his 2023 EP ‘Heading South’, coming courtesy of the Q1E2 imprint. This record really highlighted his profound abilities and deep set affection for instrumentation but also mood and tone, and it left many waiting for his next release with baited breath.

‘Point of View 4’ continues forth with the supreme feels that permeated through ‘Heading South’, with the key movement onwards being the inclusion of some killer remixes from Gary Superfly, Broke One, Turbojazz and Reekee. Two original cuts, ‘Breakfast Sun’ and ‘Desert Wind’, lead Sides A and B respectively, and do much to help create a distinctive balance and bookend kind of feel to the record. ‘Breakfast Sun’ begins with a wondrous polyrhythm to get things going, a lone vocal sample thrown in for good measure, and before long we are joined by some delicate but hyper precise melodic features. The slow drawn out chords contrast superbly with the short sharp stabs, acting in accordance with the drums, with the first breakdown providing space for the keys to really flourish and take over. The breakout back into the core rhythm allows for a lead synth line to emerge, and provide those bountiful feels we were all yearning for. The remixes do much to add flavour and some diverse alternative perpectives on the original, with the Turbojazz/Broke One remix taking things in a house-y leaning direction, with the hats and kicks shifting the rhythmic perspective towards sun kissed horizons. The Gary Superfly remix however takes things into a much more cosmic space, with a punchy acid line weaving within the underbelly of the track, providing that late night dance feel for club land scenarios.

On the B Side, ‘Desert Wind’ kicks things off, and once again the drums here start us off in a winning space. The groove is so delicate, poised and perfected, and when the first breakdown arrives the chords come into view, and its glorious to say the least. This track focuses on a much more smooth melodic sequence, with a greater emphasis placed on the lead line, but its just as impactful and soulful as the EPs opener. Delicate waterfall style keys shift in and out of view, providing an overall picture of sonic beauty that we can get behind time and time again. To wrap things up, the Reekee remix of ‘Desert Wind’ comes into view, with this track again moving into dance floor realms with a swinging garage beat that feels unstoppable, shifting and moving between the lines with a joyous ease.

Dr Sud may be a producer to keep a keen eye on, with this latest EP certainly doing that sentiment a great level of justice. This EP provides not only two beautiful original cuts from the man himself, but some imaginative remixes that honour the originals and provide us with an record that will linger long in the memory. For home use, down by the rivera, or in the club, this one has the lot…..

Not one to rest on his laurels, the Grammy-winning nu-disco hitmaker is at it again. Purple Disco Machine collaborates with a wealth of talent on his latest single "Honey Boy". The star cast includes Swedish hitmaker Benjamin Ingrosso, Jamaican rising star Shenseea, and disco legend Nile Rodgers, creating a funked up fusion track that merges modern pop energy with decades of disco knowledge and excellence - not forgetting them signature Rodgers guitar licks!

2024 Repress!

An All Star Team For Edits Of Jovonn Classics! Ian Pooley, Dj Deep And Mike Huckaby Revisit 3 Of Goldtone Records Finest For Clone Royal Oak.

Repress!

Under the leadership of acclaimed French beat digger and producer Guts, Dakar became the creative centre of an exceptional encounter between "All Stars" musicians from Cuba, Africa and France: the 'Estrellas' A tribute to Afro- Cuban culture, between new versions of finely selected songs and original compositions.

Formed by high school buddies Andreas Gregor and David Rout, Techniques Berlin started in 1984 experimenting with synthesizers, drum machines and guitars. In the early stages, the band was heavily influenced by UK new romantic acts The Human League, Visage, Yazoo, OMD and Depeche Mode, as well as rising Canadian synth-pop bands Rational Youth, Men Without Hats and Trans-X. It took them a few years to master their electronic toys and create a unique blend of addictive electro-pop melodies and beautifully crafted alternative beats.

In the late 80s, Techniques Berlin played live on a regular basis and their 3 self-released tapes received frequent local airplay in Canada. Despite their moderate success, the band failed to secure a record deal. Eventually both members had developed a strong interest in the burgeoning electro-industrial scene. Dave and Andreas founded !Bang Elektronika and were working with Digital Poodle as live drummers. Both of these projects were soon picked up by record labels. Techniques Berlin played their last show in November of 1991 at the University of Toronto, debuting the last track they had recorded, fittingly called ‘Time Fades to Nothing’. Or so they thought…

The proliferation of Internet radio and streaming music platforms introduced the band to a new generation of fans, enabling Techniques Berlin to stage a remarkable comeback. Within the next years they released the compilation “Suburban Playgrounds and Concrete Beaches” (Fabrika Records), recorded a new album “Breathing” (Nadanna) in 2018 and offered a series of shows in Toronto, Montreal, Mexico City and Leipzig.

“The Language of Machines” compiles a selection of original recordings between 1985 and 1991, including some favourite tunes like ‘Dancing to the Fall of the Berlin Wall’, ‘Metropolis’, ‘Watching You’ and a few unreleased tracks/versions. Limited edition of 500 copies on double vinyl with gatefold sleeve.

a 1 I Desire Dave Vocal Version








j 10 And You LinnDrum Version




o 15 My Suburban Playground [Extended Remix]