Cerca:dr m bee

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Classic RootsReggae is the definitive influence on the music of Vibronics .. so it has been a true labour of love to bring together the powerful voice of Jospeh Lalibela, the intricate playing of the Mafia & Fluxy Band and the deep production skills of Vibronics to make this homage to classic Jamaican Roots Dub Reggae music.
The LP is a fine body of work with full production featuring live bass, drums, horns, guitars & flutes as well as up to the minute studio trickery to produce an album that is rooted in reggae history but sounds relevant right now.
5 vocals and 5 dubs - this album is original showcase style !
Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti and more.
Joseph Lalibela is a Birmingham born UK vocalist who found fame through his work with OBF & King Earthquake
Mafia & Fluxy are the UK’s leading Reggae riddim section and recording artists working with Eek-A-Mouse, Jah Shaka, Luciano and the cream of worldwide Reggae artists.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

In the madrigal-strewn world of neo folk-psychedelia, the queen of drones holds court…In this late teen decade, as green men are burnt, resources dwindle and naturalists plunder for authentic Englishness, the hunt for the grail-like Silver Globe continues. Back in 2014, the story was first whispered; A mythical jaunt set to a motorik rhythm, played out in an overgrown forest of ideas: Jane Weaver’s ‘The Silver Globe’ was a conceptual delicacy – “a synth-ridden post-apocalyptic prog-pop opus based on tightly embroidered, non-linear recurring themes inspired by esoteric stories, cosmic imagery and re-filtered past experiences”. Since those heady beginnings, our heroine has time travelled to darker times and been celebrated for her glorious ‘Modern Kosmology’ (top album of 2017, here, there, everywhere).
“A full-scale leap into the cosmic void of contemporary space rock” The Quietus

“As a child of the 1970’s I can thank my friends’ brothers for their space rock record collections and concept album sleeves that I would spend hours looking at, then my first love for Kate Bush followed by a heavy dose of disco and synth pop. I guess ‘The Silver Globe’ is just a subconscious inspired imprint of those things that have never left me, married with an accidental viewing of a vintage Polish sci-fi film that was so bizarre I couldn’t stop thinking about it and so it became my muse...” Jane Weaver. Set the controls…

Originally released on Ben Chasny's own Pavilion imprint in 2011.

"I was invited by the Incubate Festival and the city of Tilburg to participate in an artist residency where I would explore the region’s unique chapels built for the Virgin Mary. After writing the music for about six months by drawing on memories of the encounters with the chapels and using techniques inspired by Gaston Bachelard’s Poetics Of Reverie, I flew back to Tilburg to perform the music at the Incubate Festival. We recorded the evening and I released the result on my Pavilion label. Each cover was hand painted white on white in the old Pavilion style. I created a stencil and used graphite powder to make the design that is inspired by the sun imagery in Athanasius Kircher diagrams."

Roadside chapels express the identity of the inhabitants of North Brabant, a Dutch province, bordering on Belgium. Roman Catholicism has been the dominant religion in this southern part of the Netherlands since the eighth century. For about a century and a half this religion was strongly suppressed. Only when the French revolutionaries preached freedom of belief around 1800 could the people of North Brabant exercise their faith again. This was the start of a very strong emancipatory development from which a special form of the Roman Catholic faith arose that fully determined everyday life of the people here. This faith was the determining factor in life and the measure of all things. After the second Vatican Council (1962-1965) the reins of the catholic faith in Brabant were loosened as well. This was the start of a revolutionary process of secularisation. Within a decade hardly anything was left of the almighty influence of the Roman Catholic Church and this situation has lasted up to the present day.

In spite of the almightiness of the official, Vatican ruled, Roman Catholic faith, North Brabant has always and perhaps notoriously fostered an undercurrent of popular belief as well. This is a kind of belief in which elements of the official faith and age-old pre-Christian traditions are combined. Worshipping relics, holding pilgrimages and processions, the use of water from holy wells, popular art, recitations and songs, festivals, rituals, folk traditions, superstition and the like are all examples of popular devotion. These matters have strongly influenced and formed the identity of the present-day population of North Brabant. It is part of their immaterial heritage.

An obvious and still very much visible form of popular devotion are the roadside chapels. In Brabant some 400 can be found, most of which have been devoted to Mary. Chapels are small buildings in which Mary or other saints are worshipped. They can be found within villages or towns or in natural surroundings. Always at the finest spots! The beauty of the environment adds a primary religious or mystical feeling to the visitor. Local people attach great value to their chapels. In spite of the overall secularisation in society they are still at the centre of cultural and social life. Where people in North Brabant can hardly be found in the churches nowadays, this doesn’t mean at all they are no longer religious. On the contrary, religious feelings are perhaps stronger than ever, but now people have to find their own expression of them. That’s why they fall back on the age-old popular belief in which chapels play an important role. We can even witness new forms of popular belief with chapels as their focal point. An example of this is the scattering of ashes of people who have been cremated. Chapels clearly also play a role in the lives of young people. On an average five new chapels are added every year.

I have studied the popular culture and belief and the identity of the inhabitants of North Brabant for over thirty years. I have published over forty books on these subjects. In 2010 I was approached by the organisation of the Incubate Festival in the North Brabant town of Tilburg. Their request was for me to lead the American composer and guitarist Ben Chasny around a number of chapels in the province devoted to Mary. He had been invited to North Brabant to write some new compositions. Ben Chasny then chose to be inspired by these chapels and that’s how we met. I was especially curious how an American would react to something as specific and small as a roadside chapel in North Brabant, since we tend to think here of (people in) America in terms of ‘big-bigger-biggest’. Would an inhabitant of this enormous country with this prevailing culture be able to grasp and respect the identity of some 2.5 million people in North Brabant with their chapels? The answer to this question lies hidden in the compositions he made and that can be listened to on this album. Yes, Ben Chasny has been able to convert the phenomenon of a simple chapel devoted to Mary into music. The physical and the spiritual have found each other. What a beautiful world…just listen! - Paul Spapens

DMV-by-way-of-the-U.K. punk duo Teen Mortgage have announced their debut album, Devil Ultrasonic Dream, out May 9th on vinyl via Roadrunner Records.
Produced by the band alongside longtime collaborator Kenny Eaton, the album’s first single, “BOX,” is a two-minute sprint of seething defiance, packed with hooks and unrelenting energy.
The album’s title, Devil Ultrasonic Dream, leans into the 1980s-era satanic panic in rock and roll. “The Devil Ultrasonic Dream,” explains frontman James Guile, “is about realizing a fantasy that Christian fascists don’t understand or want you to have. The devil—Satan—has always been a symbol of counterculture.”
Originally from England, Guile had been toying with the Teen Mortgage project under various monikers for years, crafting a sound steeped in sociopolitical commentary and built for the mosh pit, heavily influenced by classic ’80s punk. After relocating to Maryland five years ago, he connected with drummer (and former nurse) Edward Barakauskas via a Craigslist ad. Since then, the duo have spent years building Teen Mortgage’s presence in the DMV scene. In between a global pandemic and Barakauskas serving as an ER frontline worker, they managed to drop an EP and a string of singles before signing to Roadrunner Records in 2024.
Teen Mortgage has earned support slots with a stacked list of artists, from Weezer, Smashing Pumpkins, OFF!, and Alkaline Trio and return to the UK in June to play Download Festival and support Weezer at their Halifax Piece Hall show.

Growing up is painful, brutal, and sometimes beautiful _ something Brooklyn-based indie-rock band Bedridden knows all too well. The band's name is even a nod to that ineffable period between childhood and the jagged edges of the real world. "When I was 21, I kind of lost my home," says frontman/guitarist Jack Riley. "I was couch-surfing. I was having a hard time.The next iteration in the band's maturation, then, is their debut, LP Moths Strapped To Eachother's Backs, 10 fuzzed-out (and sometimes gnarly) ruminations on dating, drugs, and survival out April 11 on Julia's War. The title came from a mysterious missive Riley received on astrology app Co-Star. "Last year I was way too reliant on other people _ my partner at the time, my friends," he says. "I was strapped to them in a weird way _ and flying in circles. This album is about that time."The current incarnation of Bedridden encompasses a patchwork of styles, influences, and friends Riley accumulated over the years. A Chicago native who first started making music at age five on a thrift-store guitar emblazoned with Kurt Cobain's name, Riley moved to New Orleans for college where he dabbled in punk before falling in love with shoegaze. There, he launched the first version of Bedridden. Sebastian Duzian (bass) _ a jazz musician and Pasadena native _ linked up with Riley in NOLA along with his bandmate, drummer Nick Pedroza. Pedroza, from Claremont, grew up on rock, metal, and jazz, honing his style after joining the band. Wesley Wolffe _ a guitarist fed on a steady diet of New Wave and `90s alt _ rounded out the crew just a few months back. Bedridden's previous lineup released their first EP, Amateur Heartthrob, in 2023 _ a noise-washed blend of shoegaze, DIY, and indie that Riley says is a "coming-of-age EP _ these formative stories about not having a bed, dating, being kind of a jackass. I was making fun of myself a lot." That release caught the attention of Douglas Dulgarian from Philly Label Julia's War (and TAGABOW), who signed them for Moths."Some of these songs have been around for years," says Riley, adding that they were recorded last February at Studio G Brooklyn; the album was produced by Aron Kobayashi Ritch (Momma). "As opposed to Amateur Heartthrob, we attempted to blend more clean guitars into a driving sound to capture more clarity _ one that also sounds live_ and raw," Riley says. That rawness thrums through the record, which kicks off with the thrashed "Gummy," about an incident when Riley had to gently fend off a co-worker's unwanted advances while both drunk and high on an MDMA gummy. And then there's mournful rager "Etch," which sees Riley daydreaming about beating up a meddler in his personal life _ in the minor key.The annihilating "Chainsaw" revs in next, a lightning-fast Lemonheads-inspired track that recalls Riley moving in with new roommates who were unnaturally obsessed with purchasing a lamp. "For some reason that pissed me off," he laughs; that rage is evident in the album cover, which shows said power tool demolishing a lampshade. Heavy-shredding "Heaven's Leg" showcases the band's affinity for `90s mainstays like Smashing Pumpkins while telling the tale of a gig at a local church. "The lyrics are about a pastor I had met that had lost his leg," Riley says. "The church had signs about not cussing and I had a feeling that neither of us had anything to talk about without potentially offending the other."The band's not afraid to get confrontational, though, on the anger-fueled, drum-heavy "Philadelphia, Get Me Through," which deals with a dead-end relationship and the mistaken assumption that getting drunk in the titular city would be a balm against the pain. And the nasty, brutist, and short hardcore-adjacent "MainStage"? "It's about being disrespected at a show on New Year's and how I lashed out," Riley says. "I then began to take it out on other people, which was a quality that I despise."Things get contemplative and mournful from here on out _ the emo-edged "Snare" is about bringing flowers to a hospital room where you're not welcome, while the Smiths-inspired "Uno" wrestles with self-loathing. "I guess the big finale of that song was my response to dealing with this recurring experience of feeling like I wasn't good enough by getting really into whippets," Riley says. Nu-metal bop "Bonehead," then, recalls an embarrassing dinner that turned into an argument _ the name applies both to that incident and the delicious simplicity of the guitar parts.After all that turmoil and pain, the band caps everything off with their eyes to the future on the jangle-pop "Ring Size." "All my friends are getting married _ do I follow in their footsteps? Or is it all a waste of time?" Riley says of the song. "At the end, through it all, I guess that's what I've been trying to figure out _ how to grow up, how to move on. I'm trying to navigate things as an adult and I'm not very good at it. But this is just the first record. This is just the beginning."And, hey, at least now he has a bed.

Seit 2011 und mit sieben Alben hat das explosive Trio immer größere Erfolge gefeiert und sich Aufmerksamkeit und Anerkennung bei Rock-Fans und Jazz-Anhänger:innen gleichermaßen erarbeitet. Der Bandname lässt eventuell auf Jazz schließen, nur dass in der Besetzung vom Hedvig Mollestad Trio Klavier, Saxophon oder Trompete nicht auftauchen. Stattdessen: Gitarre, Schlagzeug, (Kontra-) Bass und Songs, die gerne mal die Melvins beschwören (Blood Witch). Jazz ist hier also in erster Linie Rock und keine Kammermusik. Mollestad lässt ihre Gitarre dabei unablässig und vom Overdrive getrieben jaulen, tänzelt die Skalen auf und ab, rifft sich durch die halsbrecherischsten Soli und spielt dennoch geerdet mit dem satten Groove von Schlagzeug und Bass. Nach arbeitsreichenJahren (solo, mit Weejuns, Soundtracks und Auftragsarbeiten) verspürte Mollestad den starken Drang, zum Kern zurückzukehren, der immer das Trio war, mit dem alles 2011 und dem starken Debütalbum Shoot! begann. Die Aufregung war groß, als es ins Studio ging, und da ein Großteil der Musik recht kompliziert ist, mit vielen kleinen Variationen und langen Strukturen, waren die Studio-Sessions extrem fokussiert und konzentriert. Hedvig betont, dass das Hauptziel des Trios darin besteht, immer Spaß zu haben, ob im Studio oder auf der Bühne, und diese Freude mit den Zuhörern zu teilen. Beim Hören von Bees In The Bonnet wird deutlich, wie sehr das Trio es vermisst hat, gemeinsam neue Musik zu machen, und dass sie sowohl als Songschreiber als auch als Musiker sehr gut sind. Frontfrau Hedvig Mollestad präsentiert sich hier nicht nur als Riffmeisterin, sondern auch als Sologitarristin, die den bereits angestellten Vergleichen mit Tony Iommi und Jimmy Page mehr als gerecht wird.

The Catenary Wires are a group comprising Amelia Fletcher, Rob Pursey and Ian Button. Their critically acclaimed third album ‘Birling Gap’ was released in 2021. Since then, they have been focusing on their other bands, playing around the world with Heavenly (stars of the 90s indiepop scene) and Swansea Sound.
A couple of years ago, word reached Rob and Amelia that Brian had been spotted wearing a Heavenly t-shirt at one of his shows, and was a big fan of their music. Given that they, in turn, were fans of Brian’s poetry, introductions were made, friendships were formed, and ‘Sounds Made By Humans’ took shape.
The album isn’t a set of readings with musical backdrops: it’s a collection of songs, where words and music have become completely intertwined. There are verses, and there are choruses. There is no ‘riffing’, no improvisation. In many ways, Brian’s poems are already like pop songs: brief, direct, and witty; sometimes poignant, sometimes biting and political; but always economical, and always accessible.
Rob took thirteen of Brian’s poems and created melodies and arrangements, which are then played by a full band, with Ian Button on drums and Fay Hallam on keyboard. Sometimes the words of the poems are sung by Amelia or Rob. Sometimes they are spoken by Brian. Sometimes both these things happen at once. This is a pop record where the poetry and the music are equal partners: sounds made by humans in perfect artistic alignment.
Brian Bilston and The Catenary Wires will be performing at selected UK venues in November 2025.

Following a trio of quick sell out, limited lathe cut 45 to kick off 2025, Feral Child now embark on a stash of more widely available full lengths (from the likes of Lake Ruth, The Jonny Halifax Invocation and Polypores amongst others). First up is a wonderful follow up to 2023’s “Refrains” 10” EP from Swedish band TAPE. “Refrains” figured in 2 or 3 notable UK stores’ end of year polls, noticeably Monorail in Glasgow where Stephen Pastel gave it a top 3 for 2023 nomination. “Preludes” is -if anything- even more majestic and acts as a superb follow up. The record is released 11th April on Feral Child as one time pressing 10” vinyl only release, featuring beautiful artwork once more from Peter Liversidge and the calligraphic hand of Klas Augustsson. The return of Swedish trio Tape has been reassuringly slow motion. They’ve always moved at their own pace, these three peripatetic musicians – brothers Andreas and Johan Berthling, and companion Tomas Hallonsten – though it’s been over a decade since their last full-length, 2014’s Casino. Not a disappearing act, rather a break for consideration, time to explore other avenues of creativity, perhaps… But their reappearance, with the Refrains 10”, was one of 2023’s most encouraging moments; doubly so, as it was proof they’d not lost their way, at all, in the intervening nine years. The Tape modus operandi is one of deceptive simplicity and artful innocence. On Preludes, a typically right, one-word Tape title, this means five wordless songs that move between fully fleshed out, lovingly tended folk threnodies – the beautiful opener, “Lights Out”, that spins webs via simple, hypnotically repeating guitar – and textural conceits that hover, appealingly, in a kind of no-place. “Naukluft Plateau” is lovingly dappled, with ruminative piano adrift on a cascading tonal waterfall. Then, feather-fall strums of guitar meet huffing harmonium and electronic scrum on the brief “Golden Gain”. Is there a more perfect song title for Tape than “Tangential Thoughts”? It sums up the way their music, nimble and dainty but also carefully tended, lends itself to the reverie, the meander, the anfractuous. The madeleine-like power of this song’s two-chord figure allows the music to take flight: rustling organ, oscillating cymbal, droplets of percussion, a spinney of sound. And Preludes slips away “On The Accordeon Bus”: there’s something lovely about the way that title collapses transit, articulation and bellows, reflected in the see-sawing sway and glitch-like rivulets of sound that course through the song. So, Preludes, then – alive to the moment, both gentle and sturdy. A copse of tone, and a most gorgeous wool-gathering.

"My Last Star" began as a dream that Greg Lee of Hepcat had the week before his death in March of 2024. Greg dreamed of a Slackers song. The Slackers have completed this song, and now the world can hear this truly one of a kind collaboration. In Greg's dream, an old neighbor picked him up in a classic car, turned on the stereo, and played a Slackers song that - at the time - did not exist on our plane of reality. It sounds like the stuff of myth, but the song was so crystal clear in the dream that when he awoke around 2 or 3 in the morning, he immediately wrote down the lyrics he had heard, still humming the tune. "I hadn't seen Greg so excited about a new song in a very long time," says Lee's longtime partner, Mandie Becker. "I found the lyrics when I was organizing his things. I knew he had a voice recording on his phone, too. I decided the best situation was to offer it to The Slackers so we could all hear the song on the stereo from Greg's dream." "I was floored when I received Greg's vocal demo with the lyrics and I vowed to finish the song and make the dream a reality," says Slackers saxophonist Dave Hillyard. "I took the vocal demo to The Slackers, Vic Ruggiero harmonized it, and we wrote music around the words. With this song we came full circle. Greg had given us a gift and we needed to give it back to his family, friends, and musical community. We are the medium for his message." The longer history behind this collaboration is a story of decades of friendship, collaboration, artistry, and mutual respect between LA's Hepcat and NYC's The Slackers, who although from opposite coasts, have both been leading lights and creative forces in the underground ska scene since the early 1990s. Both Hepcat and The Slackers concerned themselves with timeless songwriting that paid homage to the longstanding roots of the music. It is an extraordinary final work envisioned by a beloved and thoughtful musician of the highest caliber and completed by longtime friends and collaborators he knew from the moment of inspiration were the ones that would play it. It is literally a dream come true. "My Last Star" is available as a 12" UV Printed Vinyl Single from Pirates Press Records, with art by The Slackers' in-house artist Catt Gould. The 12" also includes instrumental and dub versions of the song. As a matter of fact, snippets of Greg's original vocal demo from his phone are subtly mixed in toward the end of the instrumental version, underscoring his posthumous presence on the record. Greg's songwriting royalties, as well as a portion of the proceeds from the sales of "My Last Star," will be passed on to his four daughters.

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

Die Liga der gewöhnlichen Gentlemen, vulgo DLDGG, 2012 aus den Ruinen der verblichenen Superpunk entstanden, bestechen auf ihren nun sieben regulären Alben (+einer Best Of) mit ihrer Version von Popmusik an der sie mit einer erfrischenden Sturheit festhalten. Beherzt setzen sie sich seitdem zwischen alle Stühle. Beseelt von der Idee des ursprünglichen Punk (Man muss kein Virtuose sein um tolle Musik zu machen), veröffentlichen sie seit Jahren großartige Popsongs, stark beeinflusst von den drei großen "M"s (Madness, Motown, Modern Lovers). Mit einer herzerfrischenden Kompromisslosigkeit Umarmen und Zementieren sie ihren Außenseiterstatus gleichermaßen. Auf Anbiederung an den Zeitgeist zwecks Erfolgsmaximierung haben sie entweder keine Lust oder, was auch sein kann, da haben sie einfach noch nicht drüber nachgedacht. Ziel der Liga war und ist es immer, dass jeder Albumtrack auch eine Single sein kann. Auf "Egg Benedict" haben sie es eigentlich geschafft. Erfrischend weit weg ist DLDGG vom zeitgenössischem Staatstheater- und Feuilletonrock welcher hierzulande so beliebt ist. Immer wenn ein neues Liga-Album erscheint ist es so, als würde in einer etwas vermufften Wohnung am ersten warmen Frühlingstag das Fenster geöffnet werden und eine herrlich leichte Brise weht herein. Toll, dass es sie gibt!

Die Liga der gewöhnlichen Gentlemen, vulgo DLDGG, 2012 aus den Ruinen der verblichenen Superpunk entstanden, bestechen auf ihren nun sieben regulären Alben (+einer Best Of) mit ihrer Version von Popmusik an der sie mit einer erfrischenden Sturheit festhalten. Beherzt setzen sie sich seitdem zwischen alle Stühle. Beseelt von der Idee des ursprünglichen Punk (Man muss kein Virtuose sein um tolle Musik zu machen), veröffentlichen sie seit Jahren großartige Popsongs, stark beeinflusst von den drei großen "M"s (Madness, Motown, Modern Lovers). Mit einer herzerfrischenden Kompromisslosigkeit Umarmen und Zementieren sie ihren Außenseiterstatus gleichermaßen. Auf Anbiederung an den Zeitgeist zwecks Erfolgsmaximierung haben sie entweder keine Lust oder, was auch sein kann, da haben sie einfach noch nicht drüber nachgedacht. Ziel der Liga war und ist es immer, dass jeder Albumtrack auch eine Single sein kann. Auf "Egg Benedict" haben sie es eigentlich geschafft. Erfrischend weit weg ist DLDGG vom zeitgenössischem Staatstheater- und Feuilletonrock welcher hierzulande so beliebt ist. Immer wenn ein neues Liga-Album erscheint ist es so, als würde in einer etwas vermufften Wohnung am ersten warmen Frühlingstag das Fenster geöffnet werden und eine herrlich leichte Brise weht herein. Toll, dass es sie gibt!

Total Maniac ist von Herzen ein DIY-Projekt. Die ersten Songs entstanden im Laufe der Jahre von 2012 bis 2020, als die ersten Aufnahmen gemacht wurden. Alle Aufnahmen fanden im Beisein von Volker statt, der zwar den Prozess beendete, aber 2 Wochen nach der Aufnahme der letzten Phrasen verstarb.

Der Sound unterscheidet sich von den früheren WARHAMMER-Veröffentlichungen, indem er sich von den starken HELLHAMMER-Einflüssen zu einem eigenen, unverwechselbaren Sound entwickelt, aber dennoch seinen Ursprüngen treu bleibt.

Mit einer Coverversion von CRUDE SS und VELLOCET auf der Bonus-EP wird nicht nur die Sympathie, sondern auch der direkte Einfluss der Punk-Szene unterstrichen.

Total Maniac wurde 2022 ebenfalls in DIY-Manier von den verbliebenen WARHAMMER-Mitgliedern und Frederik Aderholz abgemischt und einem professionellen Mastering durch Obscured by Evil unterzogen.

- Weißes Vinyl, Inside out Druck mit Innenbedruckung, Einleger (offset Papier), schwarze polylined-innenhüllen, 180g vinyl

Total Maniac ist von Herzen ein DIY-Projekt. Die ersten Songs entstanden im Laufe der Jahre von 2012 bis 2020, als die ersten Aufnahmen gemacht wurden. Alle Aufnahmen fanden im Beisein von Volker statt, der zwar den Prozess beendete, aber 2 Wochen nach der Aufnahme der letzten Phrasen verstarb.

Der Sound unterscheidet sich von den früheren WARHAMMER-Veröffentlichungen, indem er sich von den starken HELLHAMMER-Einflüssen zu einem eigenen, unverwechselbaren Sound entwickelt, aber dennoch seinen Ursprüngen treu bleibt.

Mit einer Coverversion von CRUDE SS und VELLOCET auf der Bonus-EP wird nicht nur die Sympathie, sondern auch der direkte Einfluss der Punk-Szene unterstrichen.

Total Maniac wurde 2022 ebenfalls in DIY-Manier von den verbliebenen WARHAMMER-Mitgliedern und Frederik Aderholz abgemischt und einem professionellen Mastering durch Obscured by Evil unterzogen.

- Rotes Vinyl, Inside out Druck mit Innenbedruckung, Einleger (offset Papier), schwarze polylined-innenhüllen, 180g vinyl

Total Maniac ist von Herzen ein DIY-Projekt. Die ersten Songs entstanden im Laufe der Jahre von 2012 bis 2020, als die ersten Aufnahmen gemacht wurden. Alle Aufnahmen fanden im Beisein von Volker statt, der zwar den Prozess beendete, aber 2 Wochen nach der Aufnahme der letzten Phrasen verstarb.

Der Sound unterscheidet sich von den früheren WARHAMMER-Veröffentlichungen, indem er sich von den starken HELLHAMMER-Einflüssen zu einem eigenen, unverwechselbaren Sound entwickelt, aber dennoch seinen Ursprüngen treu bleibt.

Mit einer Coverversion von CRUDE SS und VELLOCET auf der Bonus-EP wird nicht nur die Sympathie, sondern auch der direkte Einfluss der Punk-Szene unterstrichen.

Total Maniac wurde 2022 ebenfalls in DIY-Manier von den verbliebenen WARHAMMER-Mitgliedern und Frederik Aderholz abgemischt und einem professionellen Mastering durch Obscured by Evil unterzogen.

- Rotes Vinyl, Inside out Druck mit Innenbedruckung, Einleger (offset Papier), schwarze polylined-innenhüllen, 180g vinyl

House of Gold & Bones – Part 1 is the fourth studio album by American rock band Stone Sour. It is the first Stone Sour album without bass player Shawn Economaki, who left the band in 2012, his studio replacement was Rachel Bolan from Skid Row. Musically, Corey Taylor also described the album's sound as "Pink Floyd's The Wall meets Alice in Chains' Dirt". House of Gold & Bones – Part 1 was released on October 22, 2012 and debuted at number 7 on the Billboard 200 music album charts. The album has sold just under 130.000 copies in the United States alone and got raving reviews all over the globe. The album hasn't been available on vinyl for over 10 years and is now available as a limited edition of 1500 individually numbered copies on gold coloured vinyl and includes a 4 page booklet.

"Return of the Giant Slits" is the second studio album by the English punk band The Slits, released in October 1981 by CBS Records. This album marked a departure from their earlier punk sound, embracing a more experimental approach influenced by afro-pop, dub, and world music. The album was produced by Dennis Bovell, Dick O'Dell and The Slits. Upon its release, "Return of the Giant Slits" received mixed reviews, with some listeners finding its experimental nature challenging. However, over time, it has been re-evaluated and appreciated for its innovative fusion of genres. -Pitchfork described it as "a slippery, glorious mess that will infuriate anyone expecting the Slits to revisit their debut." this MOV release comes as a Limited edition of 750 copies on red & black marbled vinyl.

"In a world where there are no more heroes, the Fleshtones walk the earth like Roman gods. Since their inception in 1976 in Queens, New York, and their sweaty, boozy gestation at legendary venues such as CBGB, Max’s Kansas City, and the storied Club 57— recently feted at the Museum of Modern Art, where their proto-video underground film “Soul City” was unspooled for art stars, glitterati, and a raft of punk rockers who managed to get past the front gate — they have perpetrated their proprietary brand of SUPER ROCK, a frenetic amalgam of garage punk and soul, punctuated by the big beat and unleashed with the spectacular show business majesty which has kept them on the road for over forty years, adored by audiences whose love for them borders on religious fervor.

It’s Getting Late (…and More Songs About Werewolves) is a smash that could have dropped at any point in their epic career — it is an outburst, and a celebration of the SUPER ROCK sound. Unlike their contemporaries, they have not dialed down the tempos to compensate for osteoporosis, they have not lost anything on their fastball, and continue to throw it for strikes. The hardest working band in garage rock has never sounded better, and now you see why they've been your favorite band's favorite band for decades."