quête:entertainment

aSecond (and most successful) biggest album from Crash Test Dummies, originally released in 1993. A 12 song album pressed on black vinyl with download code insert. Contains the classic hit "Mmm Mmm Mmm Mmm". Download code insert. Marketing activity.

A guitarry hybrid of AZITA’s edgy rock / soul / R&B sound. Grooving good times, acerbic exchanges overheard in the street, shifts in community, the losses you will carry always, dark recesses late at night that echo with a wonder you've never felt before. Life.
All instruments played by AZITA; the wackest, most AZITA-harmonious sounding pop album yet.
For those who find the passage of time a one-way process of attrition, here’s good news for you. In the eight years since AZITA’s last long-player her fevered brain has barely rested and the proof is a new album of unbounded physical and mental activity, music and entertainment, entitled ‘Glen Echo’.
The worlds of the previous AZITAs have left their unmistakable essence. Her singular conception of pop music - the idiosyncratic songs, singing and playing that have graced seven acclaimed releases - is in verdant recurrence on ‘Glen Echo’, blossoming anew, cutting sharply in the spirit and image of her everevolving, always questioning style.
Writing and arranging on keyboards since the time of her solo debut, AZITA focused on guitars for this set of songs. Not simply for swagger or a fresh approach to soloing but as part of a way to elide expected singer-songwriter tropes, to democratically populate the sound-stage in equal partnership instead.
This is a key aspect of the ‘Glen Echo’ sound, one that determined another new choice - AZITA playing everything on the album herself.
Previous long-players ‘Enantiodromia’, ‘Life On the Fly’ and ‘How Will You?’ were achieved via close work with players and engineers who took the compositions from the demo to a finished form. Invariably though, something would get lost in the transmigration somewhere. With ‘Glen Echo’, AZITA comes through fully, jaggedly, most vividly, owning her intention entirely in the dialogue of singing and playing her rock and rhythm and blues.
The lyric sheet is riddled with language that circles, through the many moments of life, aspects of the passage of time, the pre-empted dreams and strangeness of the present and the way we invent an idealized past in response to the changes, guiding the narrative... where? It’s all banded together by AZITA’s wit, equal parts droll and dire, her dispassionate view of fates and outcomes for all of us here together on the planet, textured with unique, cinematic details and sudden dives into a deeply felt, utterly OG sense of soul.
In ‘Glen Echo’ are a multitude of sounds - all the moments in a life: the good time grooves, acerbic exchanges in the street, shifts in community and generosity, moments of loss you know you will carry forever, reflection upon unknown futures and pasts, the dark recesses late at night that echo with a wonder you’ve never felt before. You name it, AZITA’s got some sweet and sour theme music for it.

Columbia Records release the eighth studio album from Grammy Award winning, multi platinum selling US rockers. An 11 track song album which includes the current single 'The Bandit'. Black vinyl double LP and standard CD. Radio support across R1, R2, Absolute, Virgin, Radio X, ILR network with playlists, ad campaign and interviews/sessions. Video plays across MTV/Vevo/Tik Tok. Digital campaign. Ads, features, interviews and reviews across all press. Online/social media activity. TV promo to follow. Poster campaign and database mailout. TV ad campaign.

Levit's sixth disc released on the Sony Classical label which conveys the urgent desire for encounter and human togetherness – at a time when isolation is the order of the day. The result is a very personal recital. While speaking touchingly of the hardships and unexpected feelings of liberty resulting from social distancing, musically the recital stands out for the objective spirit of its carefully crafted form. Igor has performed a total of 53 recitals over the Internet from his home since mid March 2020 with an audience of hundreds of thousands. Specialist promo/marketing activity.

Gatefold black 2LP+CD & LP großes-Booklet, 180 g

Gatefold black 2LP & Poster, 180 g

‘No Limits’ is a record that has been causing waves since 2019 when it was originally released on Gladys Pizarro’s Launch Entertainment imprint.

Born out of an inspired studio session in 2018 between Danism, Train and DJ Rae, the song immediately felt special, evoking memories of the heyday of the soulful NYC sound. The production and, in particular, the sublime vocal delivery from DJ Rae made it stand out and the NYC-based Launch Entertainment seemed the perfect home for it. The record was a hit on the soulful house scene with heavy support from Louie Vega, Todd Terry, Francois K, Terry Hunter, CJ Mackintosh, Mr V, Sandy Rivera, DJ Spen, Brutha Basil, Sy Sez, Richard Earnshaw and loads more.

Fast forward to 2021 – and in partnership with SoSure Music - ‘No Limits’ is set for release on vinyl with the unquestionable expertise of Danny Krivit laying down a signature re-edit of this soulful house gem. Looping up DJ Rae’s vocals to expert effect at the beginning of his edit, Krivit amps up the anticipation for that sensuous, soulful house drop as twinkling keys reverberate from ear to ear. This is emotive house at it’s very best. The full length and original Vocal Mix graces the B-side.

With this release Danism, Train and DJ Rae also launch their DTR project alias. With the continued success of ‘No Limits’ plus brand new material set to follow throughout the year on Launch Entertainment it makes sense to cement their initial collaboration into something more solid. Danism, Train, DJ Rae combine as the DTR Project with Danny Krivit on remixes duties. A delightful combination to kickstart 2021.

Morrissey and David Bowie’s duet of T-Rex’s ‘Cosmic Dancer’, that was recorded live at the Inglewood Forum, Los Angeles on 6th February 1991, is to be released officially for the first time.

The 7-inch double A-side single featuring ‘Cosmic Dancer’ alongside Morrissey’s 2020 cover of The Jam’s ‘That’s Entertainment’ is to be released on 19th February. The sleeve front and back features photographs of David Bowie with Morrissey and were taken in New York City by Linder Sterling.

As a point to note, this version of 'That's Entertainment' is different to the commonly circulated version from 1993.

Ilan Eshkeri and Shigeru Umebayashi score the music to the highly anticipated actionadventure game developed by Sucker Punch Productions and published by Sony Interactive Entertainment. Ilan Eshkeri is a critically acclaimed film, television and video game composer. Eshkeri has been nominated for a BAFTA, an Ivor Novello Award and a International Film Music Critics Association Award. Shigeru Umebayashi is an internationally acclaimed composer who has won numerous awards. He has scored the music for many notable films including ‘True Legend’, ‘Rise of the Legend’ and ‘The Wasted Times’. Triple black vinyl set with tri-gatefold sleeve and printed inner sleeves. Specialist marketing activity.

**400 ONLY REPRESS PHOTOLUMINESCENT COLOUR VINYL///!! 200 FOR EUROPE** “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

The album was mastered by Mikey Young in Australia.

In his essay ‘The Meaning of My Avant-Garde Hillbilly and Blues Music’, Henry Flynt talks about how his music should be analysed as an intellectual tribute to the music of the autochtone, setting aside plain folk references, but adopting academic insights to mold the music one makes as a folk creature. Much of Flynt’s discourse applies to the music of Glen Steenkiste’s Hellvete. Over the past twenty years he has been thoroughly investigating both the ethnic musical language of various regions as well as the contemporary pioneers that preceded him as a drone musician, internalizing concepts such as e.g. deep listening or just intonation. Casting off any redundant ideas or sounds, and stripping down the focus to develop singular concepts, his working method lead to pieces such as ‘Droomharmonium’, in which he shapes the endless variations on a theme, emphasizing detail and nuance rather than multitude. The Indian harmonium here serves as the main device to worship ancient ghosts and masters, and to preserve a continuum in a tradition that touches both folk and avant-garde culture. The materialisations are sustained tone compositions which become a means of appreciation of the people and cultures that paved the way for forms of mutual escapism. This might well be the core of what Hellvete’s music is about. As much as it is a form of self-entertainment – like folk music in the old days – it also invites the listener to a shared experience of sonic reverie, it is a casual gift to the community.

This is certainly true for the pieces presented on this album. They were first presented in a smoke filled and darkened art space in Ghent, Steenkiste surrounded by only a couple of candles and just enough stage light to see him erratically moving to the rhythm of the piece, occasionally twiddling the knobs of a Doepfer synth that processed the prerecorded harmonium tracks. Unlike most of his other performances this piece embraced the audience in a trance that was similar to that of an old-school rave club. Flynt writes: ‘The music should be intellectually fascinating because the listener can perceive and participate in its rhythmic and melodic intricacies, audacity of organization, etc. At the same time, the music should be kinesthetic, that is, it should encourage dancing.’ ‘Voor Harmonium’ does exactly that; it builds on the artistic ideas that have long been established in Hellvete’s oeuvre, but the ecstatic nature of these pieces merges the usual spiritual transcendence with one of determined physical bliss. It encourages both mind and body to step into the sound, to be enraptured, to celebrate.

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

Krautrock, das fällt einem bei dem Namen Joachim Witt nicht grade als erstes ein, auch nicht hinterher, eigentlich gar nicht. Und dennoch ist Witt ein Veteran des deutschen Kunstrocks der 70er Jahre. Genre-Fans erinnern sich gern an die Band „Duesenberg“ (benannt nach der US-amerikanischen Automarke) und Witt war ein Drittel des Ender der 70er für Aufsehen sorgenden Trios.

Von US-amerikanischen Westcoast-Rock mutierte Witt In den frühen 80er Jahren zum Top Star der aufblitzenden Neuen Deutschen Welle. Sein Evergreen "Der goldene Reiter" (Nr. 2), der einen schizophrenen Menschen skizziert wird zu einem der wichtigsten Titel der NDW-Bewegung. Als gegen Ende der 80er Jahre der NDW-Sound langsam verschwand, verschwand sein Star – bis er sich 1998 zur Überraschung der breiten Öffentlichkeit wieder erhebt. Mit seinem neuen Partner Peter Heppner, der sich mit der Band Wolfsheim bereits einen Namen gemacht hat, schickt Witt sich an neues Terrain zu erobern. Das mystische, im angesagten „gotischen Sound“ vorgetragene Opus "Die Flut" begeistert zuerst die Goth Szene, dann schließlich ganz Deutschland und landet auf Platz 2 der Verkaufs-Charts. Auch das Album „Bayreuth Eins“ wird zum Bestseller und Platin Erfolg. Das Album ist noch immer ein Klassiker und gilt zusammen mit dem nachfolgenden Album „Bayreuth Zwei“ als Vorläufer der anschließend aufkommenden Strömung “Deutscher Dance Metal“, oder des auch als “Neue Deutsche Härte“ bezeichneten Trends, deren spätere Vertreter Top-Acts wie OOMPH! oder RAMMSTEIN sind.

Die Original LP „Bayreuth Eins“ ist seit langem vergriffen und „Bayreuth Zwei“ ist nie vorher als Schallplatte erschienen. Zwei Klassiker in der Wiederauferstehung, einer davon sogar als Premiere auf Vinyl.

Having previously released a slew of tapes on labels such as Clan Destine Records and Live Adult Entertainment, Penelope’s Fiancé lands on Hypermedium for his vinyl debut. Hailing from Stavroupoli, Thessaloniki, Penelope’s Fiancé has been keeping over the past few years a fast pace of work, constantly producing tracks and releasing new music, having shaped a unique sound that drifts across the borders of lo-fi, post-industrial and fuzzy techno. The Cutting Edge Of A Knife is the culmination of all these previous excursions, a solid display of his ability to craft emotionally intense tracks, merging a ghostly, gloomy grandeur with squelching percussive patterns. Opener ‘Lethe’ emerges from the haze with its cryptic atmosphere, moulded in lethargic drones, scattered vocalisms and sparse yet piercing beats and rhythmic build-ups. A panic-fuelled, 160bpm ravey epic, ‘Futile Endevours’ brandishes an ecstatic, pumelling rhythm over recurring trance- flavored melodic phrases and unnerving vocal samples. ‘I Wasn’t Always There’ is a seductive, dark elegy whose melancholic and lush synth melodies wash over chopping kicks and ice-cold hi-hats. ‘Anxiety’ sounds like a slow techno roller, where frozen metallic percussion meets a cavernous bass, right before the off-kilter, cacophonous buzz of ‘The Lie Closest To The Truth’. Closing track ‘The Cutting Edge Of A Knife’ is an intoxicated oriental-stepper, soaked in vaporous middle-eastern percussion and muezzin-like chants.