Buscar:d star

Pentiments continues its work spotlighting post-conceptual artist and writer Joseph Nechvatal. They have already dropped a retrospective Selected Sound Works album that spans 1981-2002 and now comes a companion across two slabs of wax that focus on more recent audio works. This is in cahoots with Andrew Deutsch and it makes use of anonymous reading of Virginia Woolf's 'Orlando' as an anchor point around which the "virus-modelled artificial life audio material" from Nechvatal's 2006 piece viral symphOny: the enthrOning is reanimated. The second then uses a rather controversial record performance of Antonin Artaud's radio play To Have Done with the Judgement of God which the artist takes apart and reweaves into something radically new.

Book of Roses is yet another brilliant Vollenweider album, yet it's notably
different from the rest of his works to date
There is a wide range of styles and a tremendous range of different instruments
and sound effects used here. In addition to his electroacoustic harp, you hear
orchestral music, vocals, hammer dulcimer, bassoon, flutes, harmonica, horns/
brass instruments, piano, electric and acoustic guitars, accordion, bass, and
many different types of percussion, e.g. hand clapping, chalk/crayon scratching,
and various kinds of drums. In addition you hear many sound effects: pages
turning in a book, footsteps, clocks ticking, dogs barking, birds chirping, bow and
arrow, and many other special effects.Even though this album is perhaps more
"chopped up" into different songs (and four separate "chapters" like in the book) it
flows together nicely as do the rest of his albums and the songs are great to
listen to. There is a diverse range of styles. It starts off with orchestral
movements, then we have the cheery "Morning at Boma Park" and the smooth
crayon- scratching rhythm of the title track, to the optimistic sounding South
African "Passage to Promise" to the fast paced Spanish- guitar/ harp piece
"Jugglers in Obsidian." Track 13 "Hirzel" is probably the most mainstream
Vollenweider track on this CD. It is an upbeat song with a pop-rock feel and brings
back a similar style and intensity of many of the songs from "Dancing With the
Lion." The final track "Letters to a Young Rose" has a somewhat festive African
feel and beat with several different kinds of percussion and is a perfect way to
end the album.Bottom line: It may be different and more diverse from many of his
previous albums, with many different instruments and sound effects in addition
to his harp, but "Book of Roses" is another must-have Vollenweider album.

Three years after the release of his critically acclaimed album "Salone",
Bai Kamara Jr returns with "Traveling Medicine Man", a 13-track
collection of blues songs portrayed in Bai's unique style
In a descriptive, provocative and sometimes suggestive way, the tales of love, life,
relationships, politics and innuendo are meticulously explored by the
raconteur.''Traveling Medicine Man is the continuation of my introspective journey
through my roots and my perpetual quest to make my two homes, Africa and
Europe, coexist within me. The title was inspired by my maternal grandfather
Tinka Tanner Kargbo, born in 1901 in the Northern Province of Sierra Leone. He
was educated by the Wesleyan Missionaries and later traveled with them across
the country to help provide medical care to villagers and townspeople. I was
fortunate enough to have spent some time with my grandfather when I was still a
child, and one of the things that fascinated me the most about him was his ability
to reconcile his Christian beliefs with his traditional African beliefs and
customs.'' (Bai Kamara Jr)For the making of this album Bai brought his touring
band, The Voodoo Sniffers, into the studio; these exceptional musicians
contributed to Bai's unique and evolving sound. With a percussive nature at the
heart of the arrangements this rootsy blues is spiced up with an afro vibe, making
you want to get up and dance more often than not. May your listening experience
be soothing and pleasurable with a healing effect

First time ever on vinyl - limited gatefold edition, 180-gram audiophile
pressing. One of the most highly acclaimed trio albums by New York pianist Bill Charlap,
originally released in 1997 on CD by Criss Cross and now reissued for the very first time on vinyl.

Widely known for his work on the Blue Note and Venus labels, his résumé includes performing with many of the leading artists of our time, ranging from Phil Woods, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person, to singers Tony Bennett and Barbra Streisand. Charlap's album with Tony Bennett,The Silver Lining, The Songs of Jerome Kernwon them both Best Traditional Pop Vocal Album in the 58th Annual Grammy Awards.

Known also for his interpretations of American popular songs, Charlap he has recorded albums featuring the music of Hoagy Carmichael, Leonard Bernstein and George Gershwin.
Jazz critic Scott Yanow gave All Through The Night 4.5 stars on the online jazz platform AllMusic and described it as a superior modern mainstream set.

Bill Charlap: piano
Peter Washington: bass
Kenny Washington: drums

Perennial jazz stars Chet Baker and Bill Evans rarely recorded together and this 2LP set, including a bonus track, represents all of their collaborative sessions.
By the time the music was taped, Chet was already known as much for his singing as for his trumpet playing, but all of the performances here are entirely instrumental. After cutting these sides Baker and Evans would go their separate ways and these recordings remain the only testimony of their subtle and elegant musical
interactions.
Chet Baker trumpet
Bill Evans piano

Herbie Mann, flute
Pepper Adams, baritone sax
Kenny Burrell, guitar
Paul Chambers, bass
Connie Kay, drums
Philly Joe Jones, drums
Zoot Sims, alto sax.
Pepper Adams, baritone sax
Earl May, bass
Clifford Jarvis, drums

In the previous year 1965, "A Fistful of Dollars" by Sergio Leone was a
huge success, and had greatly increased the popularity of the 'spaghetti
western' genre
With the two lead actors Clint Eastwood and Gian Maria Volonte "For a Few
Dollars More" is the natural progression of that movie, and the addition of the
third major star - Lee Van Cleef - a trio that made history in another Sergio Leone
masterpiece.
Ennio Morricone's music is equally important. The Maestro here chooses a 'poor'
registry, consisting of folk instruments such as ocarina, Jew's harp and chimes,
respectively used to accompany the entrance of the three main actors. There is
as usual, the contributions of Alessandro Alessandroni and his Cantori Moderni
choir, for an incredibly exciting vocal climax.
This edition sees the eight tracks of the original score in a brand new layout.
45rpm - Ltd. Ed. Crystal clear vinyl edition, new 12-inch sized gatefold cover.

Così come sei" is a 1978 film directed by Alberto Lattuada, a sentimental drama starring Marcello Mastroianni and Nastassja Kinski, still very young but already an acclaimed actor
The soundtrack was composed, orchestrated and directed by Ennio Morricone and was infused with romance and ethereal melodies played with wind instruments but set like a symphony. With the contribution of I Cantori Moderni di Alessandro Alessandroni's choir and Oscar Valdambrini's trumpet. Unusually within Morricone's repertoire is the presence of funk-rock and disco songs "Dance
On" and "Space 1999", reflecting the late '70s pop sound.

Originally released in 1978 and subsequently reissued a few times, the
soundtrack of "Così come sei" was not released on vinyl for almost 40 years and is now finally re- released with remastered audio and a new sleeve layout, on 180gr. solid pink vinyl

JET is very popular among Italian music collectors because from their
ashes came the commercial pop group Matia Bazar, and also among prog collectors because of their rarity.
Jet (or J.E.T. as their name was usually written) were formed in Genova at the beginning of the 70's from a previous band of the same name that also included later members of another pop band, Ricchi e Poveri. Their first album, "Fede speranza carità", released in 1972, derives from a radical turn in their musical style, to popular progressive rock. Its hard rock with falsetto vocals but in a
ProgRock style with heavy use of organ and a solid rhythm section, as in the long "Sinfonia per un re".

In 1974 the band added a female voice (Antonella Ruggiero)
and a new drummer (Giancarlo Golzi from Museo Rosenbach) and changed their name to Matia Bazar and started a long and successful career that still lasts today.

Rereleased in Purple Ltd Edition 180g vinyl.

Seminal, Grammy-nominated, genre-bending metal band Periphery
returns with their first new music in 4 years
Wildfire, the first single, is rife with snarling riffs, thick groove, and a sing-along,
sweeping chorus. The band will be touring with Underoath in March around the
album release

Starving Insect did some records with dark Descent... maybe you remember his dark Hardcore sound... He is back with a 6 tunes banger ! From Acid to dark Hardtechno...
Hit combo with Katastrov Indus !

In the 1950s, Jamaican dancehall regulars were crazy about the haunting sounds of American Rhythm & Blues. But in the mid-1950s, Rock 'n' Roll began to replace RnB in America, and Jamaican dancehall owners like Duke Reid and Clement Dodd turned to local musicians to record their own versions of American RnB.
The trend of covering foreign hits exploded during the Ska heyday of the early 60s and continued through the Rocksteady and Reggay eras. Jamaican musicians have covered virtually every genre of music, from jazz and rock to film scores, television soundtracks, pop, classical music and more. Over the years, they have also recorded many "versions" of already existing covers. Cover of cover of cover…
Admittedly, some of these covers were futile but many were sublime as this new and eclectic collection of Ska, Rocksteady and Reggay nuggets, compiled by the very competent and very charming D.J. Héléa, brilliantly demonstrates. Attention we are here "undercover", there are no well-known covers. Some of the tracks selected are rare, others unknown or forgotten - but all are excellent and blended in an impeccable mix, in line with previous the Harlem Shuffle compilations... All Killer, No Filler!
REGGAY UNDERCOVER is an exciting musical kaleidoscope of Jamaican and Reggae music from the early 60s through to the mid 70s.
We hope you will enjoy listening to this album as much as we had composing it for you.
All aboard for REGGAY UNDERCOVER!

Bllack Vinyl Version / 2x12'' / mokum printed sleeve.

Uncomon Mokum sound ?
oh no...
this is the original start again vibe.
Limited 150 Autoprod.

Gondwana Records announces 'Goodbyes' the debut album from Estonian pianist and composer, Hanakiv, a deeply beautiful, meditative piano album featuring special guest Alabaster dePlume

"This is an album about healing. It is about saying your goodbyes to everything that doesn't serve you anymore. Each of these songs has a little goodbye in it. So, these are very beautiful and necessary goodbyes".

Hanakiv is a young composer and musician from Estonia (now based in London) who creates meditative piano-based ambient music with elements from classical and electronic music. 'Goodbyes' is her debut recording and draws on influences as diverse as Tim Hecker, Björk "Vespertine", Kara-Lis Coverdale, Arvo Pärt, Erkki-Sven Tüür and Aphex Twin as well as her own cultural heritage. Music has an important part in Estonian culture, especially choir music and its traditions, but Hanakiv also draws on her love of nature – the beautiful Estonian seaside and forests - and on her time in Iceland. However, it was moving to London that gave her the freedom to make her own music: "London gave me the freedom and courage to really be who I am (as a person and musically)" and her heritage and her new home both offer inspiration to Goodbyes, as Hanakiv moves between these two opposite places, a bustling metropolis and a small country full of nature, drawing inspiration from both as she sculpts her own voice.

Hanakiv had an unconventional music education – she started studying music at a school for handbells when she was nine and was part of a handbell ensemble for eight years. Starting on piano at the same time she went on to study composition at high school, and later at the Estonian Academy of Music. Eventually switching to electroacoustic composition, she studied in Reykjavik, and did internships in Malmö, and again Reykjavik before moving to London. She grew up in a musical family and her grandmother was a piano teacher and choir conductor.

"I would always ask her to take me to her choir rehearsals. I remember sitting under the grand piano, listening to the choir and just being mesmerised by the sounds. She also teaches in a local music school in the south of Estonia with about ten pianos, and I'd spend a lot of time there as well. I believe this was the starting point for me to get to where I am now. The last two pieces on the album (Home II and Home I) are composed in this same music school, so it feels like a full circle.

An early influence was Regina Spektor "the first artist who made me really want to play piano" alongside dream pop and Sigur Rós' as well as Estonian contemporary composers such as Erkki-Sven Tüür and Arvo Pärt. Later her studies took her to Reykjavík: "There is this amazing record shop called 12 Tónar in Reykjavik where you can drink espressos and listen to all their vinyls. I spent quite a lot of time there. There is something about Icelandic music that really excited me (the mixture of contemporary electronic sounds with melancholy, emotionality). This is when I started getting more into electronic music, and experimenting outside of classical music". Following a year long break from studying and inspired by making an electroacoustic soundtrack for a friend's abstract video, she was inspired to complete a masters in electroacoustic composition, diving fully into the worlds of sound recording and mixing and focusing on surround sound and how to position and move sounds in space, eventually doing an internship with composer Kent Olofson in Malmö, who works with multi-speaker systems for theatre productions. "I learnt a lot from him and he introduced me to some of my favourite plugins I've used a lot on this album as well."

Hanakiv moved to London just as the pandemic hit and found herself trapped, in a big new city, without any network or family and so just concentrated on making music. "I stayed in my room with my basic equipment - keyboard, Korg minilogue, SM 58 and Rode nt1-a microphones, laptop and speakers. I was reading about mixing, and trying out different things and listening to a lot of music to get the sense of the mixes and production and finishing a commission piece for 5.1 multi speaker system at that time so I set up four speakers for quadrophonic surround sound in my room!". She also found her way back to piano - my instrument – and started practicing again, playing the pieces she used to play, but also just improvising, and this was the beginning of what would become her debut album, 'Goodbyes'.

"I started appreciating everything about music again (even melody!), and everything just came together naturally, and I arrived to a point where I finally found my voice, and I had something that I wanted to say and share. I composed "Meditation I" first and started with "Goodbye", and all the other pieces are derived from that. Without "Meditation I" there wouldn't be this album. If you listen closely, "Meditation I" starts where "Goodbye" ends; "Meditation II" is born from "Meditation I".

But it was meeting Fi Roberts, a sound engineer based at the legendary Strongrom Studios in Shoreditch, London in December 2020 that really brought the album into focus. The pair bonded over an interest in prepared piano and a similar approach to production ideas (a balance of not overdoing it, and letting the songs speak for themselves, but being open to explore) and Fi became a friend but also a confidant and eventually co-producer

"Fi has a big impact on this record but I don't know how to really explain that properly. Of course, this album is sonically stunning thanks to her amazing mixes and recording skills, but she also believed in this music so much and it created something very special - that's difficult to measure with words. She just works with heart, and I really appreciate that"

This then is 'Goodbyes', the first offering from a major new voice, who offers us a meditative work full of space and tranquillity but also life and friendship and meaning. And we are very proud to welcome her to the Gondwana family.

With his Old Skool mini album, Armin van Buuren takes his fans back to where it all started. Paying respects to the producers who basically invented the genre, he shows the power of timeless dance classics such as “Dominator”, “The Ultimate Seduction”, “Pull Over”, “Quadrophonia”, and “88 to Piano”.

Announced via his A State of Trance radio show, this release sees Armin delve back into history and bring favourites from the likes of Human Resource, Speedy J and Quadrophonia up-to-date with modern production twists.

Old Skool is available as a limited edition of 2000 individually numbered copies on translucent magenta coloured vinyl.

Planet Mu welcomes back Meemo Comma for her third album 'Loverboy'. 'Loverboy' is a shift in gear from Meemo Comma’s previous works, speeding up the tempos and rhythms, it's set in the nineties with trance, breakbeat hardcore and jungle as some of the influences. After playing a club gig in Spain as lockdown rules were loosening, Rix-Martin was reminded of the power music and people coming together creates. ‘Loverboy’ is peppered with influences from friends past and new as well as artists that have transformed the sound of Meemo Comma over the years, including Autechre, Guy Called Gerald, Orbital and Shitmat as well as others. On this journey we follow ‘Loverboy’ through the club as the night builds and different characters are met, from dropping the first pill to a euphoric ‘Cloudscape’ whilst waiting in the queue, to meeting some shady sorts in ‘Loneheath’. The album changes pace throughout with different rooms of the club being explored which add to the brevity of Rix-Martin’s production style on tracks such as 'Kyle' and 'AK47'. What started as a personal joke about Rix-Martin’s background formed a narrative for some darker, cheeky breaks that echo back on title track ‘Loverboy’, a track that Rix-Martin describes as “working class gender euphoria”.Maybe the mask has come off, and the shackles of pseudo-intellectualism have been put to rest for an honest, fun and ‘propa cheeky’ rave album instead.

Brazilian psych soul wunderkind, producer and singer Tagua Tagua has joined the Wonderwheel Recordings family with a tender selection of cuts on his second album Tanto.

Recorded in the rural outskirts of Sao Paulo there is a sense of yearning that permeates throughout the set list of ten unapologetic love songs that fly between lush psychedelic pop to warm, beat-laden neo-soul with Brazilian flavor. The album maneuvers subtly between the different dynamics, and purposefully so, as it was 'a vibe' that Tagua Tagua AKA Felipe Puperi wanted to instill from start to finish - channeling soul heroes past and present like Bill Withers, Shuggie Otis & Sault.

The album title and first single Tanto translates to Portuguese as 'so much', and Felipe sees the track and entirety of the album as "a feeling of falling in love for the sake of falling in love". The track is a slice of horizontal soul music and possesses a sweet, almost drug induced fervor, simple on arrangements. Felipe sings in a melismatic tenor, at times tipping into falsetto, with subtle effects enriching his delivery.

Based in the city of São Paulo, Felipe previously fronted the group Wannabe Jalva and has an extensive musical resumé, having played at Lollapalooza Brazil, supported shows for Pearl Jam and Jack White, and created a name for himself as one of the most promising breakout acts in Brazil. Yet there was a break-out moment of self discovery, a re-connection with his language that led to a personal and musical revolution culminating in his debut solo album in 2020, Inteiro Metade.

Whereas his previous longplayer had changing musical personalities from tropical psychedelic to funk and soul, Tanto only flirts outside of the mellow psychedelic soul prism and whilst there are ebbs and flows, it delights in its sparse and sweet minimalism. "Pra Trás" opens proceedings, and aptly, as Tagua Tagua moves from one album to the next, it's about leaving things behind. There are strings and orchestrations, a killer guitar hook and Tagua Tagua's seductive delivery. "Colors" is full throttle future-soul, squelchy synths pulsed by a lazy, yet insistent shuffler of a beat. Further dreamlike timbres are found in "Barcelona", a journey of a song and Brisa, perhaps the body-mover of the collection, with silky synths and a chorus you're sure to repeat.

All songs were written and recorded by Felipe himself, mixed by fellow Wannabe Jalva band member Tiago Abrahão, and mastered by Brian Lucey (The Black Keys, Chet Faker). Recently, Tagua Tagua toured Europe and played several shows at SXSW and along the West coast in the US.

Jonas Kopp pumps the drums hard on opener 'Shibu'. It is pure peak-time material, fit with siren-like synths, heavy kicks and hi-hats to get the shoulders moving. Kopp's tracks are always masterfully tailored for the dancefloor, and this is no exception; the six-and-a-half-minute ride is richly detailed with ups, downs and subtle changes. Dadub take the record deeper with 'Force Continuum Abuse'. For the first three minutes of stretched soundscape, the percussion warms up with sparse and off-kilter hits. The track's second half sees fierce breakbeats cut through the walls of reverb, and with that can Daniele Antezza and Giovanni Conti really show-off their unique talent at sound design. They blend a gift for rhythm and titanic production to engaging effect. Eomac begins the B-side with 'I Am Starting To Believe'. The track's echoing synths hang free in a spacious mid-range, intermittently making way for long chords and elusive vocal snippets. Eomac draws on the light/dark contrast and unsettling motifs that made his Monad release special, and delivers a techno epic so rich it requires repeated listens. Last but not least, Chevel; his sound is distinctive amongst the SA roster, mostly due to his acute focus on the percussive elements and intriguing take on minimalism. On 'Alicia', he works a groove out of tripping drums and metallic perc, all with a UK-influenced flair that lends itself to a wide range of DJs. Chevel's track ends what may be the most varied collection of 'Chapter V' material yet, leaving a lasting reminder of the depth and quality of artists SA have accrued.

If you're into the classic sound of the best releases from the seventies and eighties era Jazz-Funk or Fusion with a slightly modern and exciting touch, you don’t want to miss out on Fusion Affair’s first album: Venom! Proudly presented by Parisian label Chuwanaga, Venom is filled with sharp synths, electrifying basslines, serious guitar licks, amazing themes, in-the-pocket drums grooves and true excitement all over the six tracks of the album.

Starting with "Fruits Rouges" which introduces the listener to the beautiful and soulful harmonies spread throughout the album but also an overall overview of how Fusion Affair and Venom brings together strength and delicacy. Then, the impetuous and dangerous ride of "Venom" will leave you either dancing or shocked. A dangerous trip with a perfect climactic ending: watch out for the snakes! The serious but fun-filled groove of "Bounce" will take you back to Herbie Hancock’s seventies, with a jazz-funk style that you cannot resist bouncing your head to! Despite its chordal simplicity, the dreamier yet modern track "Dasha" begins with an unconventional use of berimbau. After several expositions of its beautiful main melody, the track intensifies with a perfectly executed drum and bass interlude. "Missing Cat" returns to a classic Jazz-Funk vibe with late seventies synth brass accentuating its playful theme. This one’s definitely got a vintage vibe! Finally, "Bougie Noire" ends Fusion Affair’s first album with powerful chords and orchestration while keeping it truly mysterious : to be continued...

Fusion Affair brings together the talents of French musicians from Lyon, Paris and Montréal, all gathered by the producer LeMatoux. Following many sessions at the infamous Studio Delta, record label Chuwanaga and the band are ready to spread their infectious groove all over the globe!

Mit seinem packenden Stilmix aus Schlager, Pop und Rock begeistert Wolfgang Petry nun schon seit mehr als viereinhalb Dekaden ganze Generationen von Musikfans. Dabei immer an seiner Seite: Seine Ehefrau Rosie, die mit dem Kultsänger in den letzten Jahrzehnten loyal durch dick und dünn gegangen ist. Zu ihrem gemeinsamen 50. Hochzeitstag am 20.11.2022 macht Wolle seiner Rosie nun eine ganz besondere Liebeserklärung - in Form der brandneuen Single "Du gehörst zu mir und ich gehör zu dir", mit der er gleichzeitig den ersten Vorboten seines kommenden Studioalbums STARK WIE WIR vorlegt!Wolfgang Petry ist ein waschechter Ausnahmemusiker, der nicht nur den deutschen Schlager, sondern die gesamte deutschsprachige Musiklandschaft mit seiner authentischen, geerdeten und unverstellten Art geprägt hat. Knapp zwanzig Millionen verkaufte Einheiten seiner insgesamt 26 Studioalben (davon fünf Top 1-Scheiben und acht Top 5-Entrys in den deutschen Album-Charts) hat Wolle mittlerweile auf der Uhr. Mehrere goldene Schallplatten, eine Multiplatin-Auszeichnung, fünf ECHOS in der Kategorie "Schlager/Volksmusik" sowie insgesamt zehn Goldene Stimmgabeln (inklusive zwei "Platinum Life Award"-Stimmgabeln für sein Lebenswerk) sind die mehr als beeindruckende Bilanz seines bisherigen Wirkens. Doch wie sagt man so schön: Hinter jedem starken Mann steht auch immer eine starke Frau. In Wolfgang Petrys Fall seine Jugendliebe Rosie, die den Sänger und Musiker stets hinter den Kulissen begleitet, ihm in hektischen Phasen den Rücken freigehalten und ihm Trost und Kraft in schwierigen Tagen geschenkt hat. Wolles Fels in der Brandung, auf den sich der 71-Jährige bis heute blind verlassen kann. Nie hat sich Petry davor gescheut, in seinen Songs Fehler und Schwächen einzugestehen, aber andererseits auch danke zu sagen für den Support, den er in guten wie in schlechten Zeiten von seinen Fans erhalten hat. Mit dem ersten Album-Vorboten "Du gehörst zu mir und ich gehör zu dir" möchte sich Wolfgang Petry nun für fünfzig ereignisreiche Ehejahre bei seiner geliebten Frau Rosie bedanken. Als ganz besondere Überraschung ist Gattin Rosie im Clip zu dem Song zu sehen - das allererste Mal, dass die fest aufeinander eingeschworenen Eheleute gemeinsam vor der Videokamera standen! "Ich hab mir den Kopf zermartert, wie ich dieses besondere Gefühl auf den Punkt bringen kann", so Petry über die Entstehungsgeschichte des schwungvollen Ohrwurms. "Zuerst hatte ich eine lyrische Idee, die ich aber schnell wieder verworfen habe. Ich wollte meine Emotionen ganz einfach und simpel ausdrücken; beim Texten entstand dann ganz spontan die Melodie zu `Du gehörst zu mir und ich gehör zu dir`. Der Dreh war komplett anders, aber irgendwie auch vertraut. Schließlich ist sie ja die Frau, mit der ich schon so lange zusammenlebe. Ein berührender Moment in meinem Leben." Und auch für Wolles Rosie waren die gemeinsamen Dreharbeiten ein einmaliges Erlebnis: "Es war eigentlich ganz witzig, aber auch das einzige Mal. Ich fühle mich im Hintergrund wesentlich wohler." Trotzdem fühlt sich Wolfgangs Herzensdame durch diesen ihr gewidmeten Song natürlich sehr geehrt.Auf seinem neuen Album STARK WIE WIR gibt Wolfgang Petry in 12 brandneuen Songs tiefe Einblicke in sein Gefühlsleben. "Die Arbeit an dieser Platte war eine große Reise für mich und hat mir das nochmal eine oder andere vor Augen geführt", resümiert der Sänger. Neben verschiedenen musikalischen Facetten und einer absoluten Ohrwurm-Garantie erwartet den Zuhörer auch der ein oder andere Gänsehaut-Moment.Wolfgang Petrys neue Single "Du gehörst zu mir und ich gehör zu dir" erscheint am 18.11.2022. Das zugehörige Video wird passend zur Goldenen Hochzeit am 20.11.2022 veröffentlicht. Das brandneue Studioalbum STARK WIE WIR folgt am 03.03.2023 als CD, streng limitierte farbige Vinyl, Download sowie auf allen Streaming-Plattformen und ist ab sofort vorbestellbar.

Following a run with Cherry Red Records that featured a potential major label jump, guitarist Maurice Deebank quitting and rejoining multiple times, several pop stardom carrots just out of reach, mixing battles with Robin Guthrie, and a shocking entry into the record charts, Lawrence (just “Lawrence”, like “Cher” or “Madonna” thank you very much) knew he would be making a change with his band Felt. He would be seeing out his plan of ten albums and ten singles in ten years alongside a new partner in Creation Records. This compilation beautifully captures those years.

Creation was beginning a rapid ascent at the time, with Alan McGee serving as its hyperactive mouthpiece and focal point. McGee was all in on the band. “Lawrence achieved pop perfection, a breathless rush of sensitivity and intelligence. It was too understated to be commercial, too art to go pop, too pop to go art—in other words it was a perfect combination of all the music I loved at the time.” McGee was thrilled to have what he considered a real star on the label, and Lawrence was equally thrilled to have such an enthusiastic cheerleader. He funneled that enthusiasm into some of the most focused songwriting of his career, as well as some of his wildest experiments, all of which are on display here.