Nach mehr als einem Jahrzehnt ist es an der Zeit, den heiß begehrten Katalog der Stockholmer Death-Metal-Legenden DISMEMBER endlich neu aufzulegen!
An erster Stelle stehen das legendäre Debüt „Like An Ever Flowing Stream“, das ein dynamischeres Master vom Juni 1991 enthält, das noch nie zuvor auf Vinyl verwendet wurde, die barbarische EP „Pieces“ und das klassische Zweitwerk „Indecent & Obscene“. Alle Alben verfügen über ein hochwertiges Artwork, das auf neuen Hüllenscans der Erstpressungen basiert, und wurden von Patrick W. Engel im Temple of Disharmony für Vinyl gemastert, um einen „originalgetreuen“ Klang zu bewahren.
Alle Neuauflagen wurden zusammen mit DISMEMBERs Mastermind und Schlagzeuger Fred Estby erstellt, um sicherzustellen, dass diese unverzichtbaren schwedischen Death-Metal-Klassiker in makellosen, zeitlosen Editionen zurückkehren.
Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”
UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.
Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”
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Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”
UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.
Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”
Coke Bottle Clear Vinyl. High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.
Following two albums and an EP fronting Portland's most beloved "psychedelic doom boogie" bar band TK & The Holy Know-Nothings, Taylor Kingman returns with 'Hollow Sound', his first solo album since 2017’s 'Wannabe'. The album finds Kingman soaking his darker, more ruminative solo material in a starkly expansive, minimalist sound bath. 'Hollow Sound' was recorded in his childhood home, a hundred-year-old Oregon schoolhouse. It was engineered to tape by Ryan Oxford (Y La Bamba) as Kingman, guitarist Jon Neufeld (Martha Scanlan), bassist Jeff Leonard (Fruition), and pedal steel player Jason Montgomery (Barna Howard) performed the songs live in a half-circle.
Since 2003, Cleveland, OH's Midnight have been peddling their classic homage of self styled Black Rock N' Roll, building up sizable catalog for their ever growing fanbase. "Shox Of Violence." corrals all of Midnight's early EPs and splits into one savory collection of heavy metal madness. "Shox Of Violence" features four (at the time of original release) new songs plus a covers of Venom's "Too Loud For The Crowd" that was available exclusively to subscribers of Decibel magazine, some super-rowdy live tracks and a handful of covers of Midnight favorites from The Spits, Quiet Riot, Girlschool, The Pagans, Australia's Taipan and NWOBHM cult Crucifixion among others.
Federnde Beats, melancholische Erinnerungen an vergangene Lieben und das aufregend vage Gefühl einer gemeinsamen Zukunft vereinen Lena&Linus auf ihrer zweiten EP "Sekundenschlaf". Die musikalischen Referenzen sind amerikanisch, irgendwo zwischen Angus & Julia Stone und Clairo. Textlich schafft es das Würzburger Duo, emotionale deutsche Text zu schreiben, die leicht und locker daherkommen und nie kitschig klingen. Kennengelernt haben sich Lena und Linus in der Würzburger Musikszene, in der beide unterwegs waren: Linus mit selbstproduziertem englischsprachigem Indie-Pop, Lena mit elektronischem Deutsch-Pop. Wenn man jung ist und nicht so viel geht, dort wo man ist, ist das ein schlüssiger Gedanke: Lass doch mal was zusammen machen. Also fangen die beiden an, zusammen Konzerte zu spielen. Stadtfeste, lokale Festivals, was man eben so spielt.
Head hydro-tripper Black Eyes has risen from the depths of the deep to release his debut solo record Hydro-Trip vol 1. Fresh off the sea creature's back from co-producing the 'Planet People - Terra Firma EP' with synth botherer Reedale Rise which came out earlier this year. His solo endeavour takes us on a jazzier vibe yet still keeping true to the deep ways of the water. Lead track 'Understood Sea Being' plunges us on a rugged ride with deep Detroit chords and Black Eyes's own punk-like vocals throughout. 'Let's Get Deeper' slows the pace up with chopped up samples and introduces us to the classic hydro-trip sound we've grown to love down here in the underwater cities; it's deep and trippy. 'Scuba Lyfe' picks up the pace a bit but evolves into a low down dubby groove mixed with some hi-tek jazz. Asking Rolando (who we all know was part of the infamous Underground Resistance and Los Hermanos, as well being a Berghain resident DJ more recently) to come on board the subterranean vessel was an obvious choice for remix. He switches the gears and adds some fluid Detroit techno to finish off the EP. Berlin based Deskai masters the EP who also mastered the Planet People EP so you know what to sonically expect.
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They drift with phantom ease from spare, intimate, literate alt-country to a nuanced, weighted music bearing the marks of rock'n'roll history..." Classic Rock 8/10 // ”...slow burning, emotional intensity" Mojo **** // ”Alluring and seductive." Uncut **** // Morton Valence’s eighth, and eponymously titled album, comes to you, courtesy of Cow Pie Recordings, featuring 11 new songs, produced by the legendary BJ Cole. Robert ‘Hacker’ Jessett and Anne Gilpin, who form the nucleus of Morton Valence, effortlessly take the country music genre, which is generally considered a uniquely American musical form, and create something uniquely English, without ever compromising their authenticity. The atmosphere that BJ Cole brings to the album is palpable, in both production values, and his unmistakable pedal steel guitar performances, on songs such as the plaintive ‘Together Through the Rain’, where an estranged Anne and Hacker reunite under the shelter of an umbrella, walking through the rain and trading verses along the way. Or the more upbeat country rock of ‘I’ve Been Watching You/You’ve Been Watching Me’, which is almost as if Richard and Linda Thompson had touched down in some Nashville backbar before heading for the bright lights. And of course, the scintillatingly down-beat opener, and instant urban-country classic; ‘Summertime in London’, where Hacker reflects on his home city from afar, through simultaneously tear-stained and rose-tinted glasses. What gives the album its country hallmark, are the narratives in the songs. However, they forego the typical Americana for an altogether more kitchen-sink aesthetic. We see the return of MV alter egos Bob and Veronica in ‘Bob and Veronica’s Big Move’, as they make their way from the big city to what could only be the arcadian blue-collar tranquillity of Hastings, or Skegness perhaps? There’s the bewildered small-town homecoming of a wannabe prodigal son in ‘A Town Called Home’. And a conversation with ‘Jim’, a seemingly old-school kind of bloke, with a penchant for midday drinking and late-night city shenanigans. As well as BJ Cole’s steel guitar, there are other collaborations too. ‘Like a Face that’s Been Starved of a Kiss’, co-written with Band of Holy Joy front man, and lyrical visionary Johny Brown. Flamenco guitar genius, Amir John Haddad, sits in on the urban-cowboy ballad, ‘Me & My Old Guitar’, the skewed violin of Dylan Bates brings something of the vaudeville to songs such as ‘It Isn’t Easy Being an Angel’, Guy Jackson adds his sublime keyboards throughout, and the whole thing is held together by unsung rhythm section heroes Jamie Shaw on drums and Josh De Mita on bass. As with all Morton Valence albums, along with the shade, there is always some light, in particular the escapist cosmic romp of ‘It’s a Brand-New Morning’, or the wryly observant, ‘It Isn’t Easy Being an Angel’, where the protagonist discovers that he’s living in some weird kind of purgatory where even the late Johnny Thunders has quit smoking. This is an ambitious album, formed through a unique symbiosis of musical characters, which is ready to redefine UK country music, put ‘urban country’ centre-stage, and should be heard by everyone
Limited new repress on blue vinyl. RIYL: Sharon Van Etten, Big Thief, Phoebe Bridgers, Angel Olsen, Neko Case, Bonnie “Prince” Billy, Bill Callahan, Steve Gunn, Kurt Vile, Cass McCombs, Jessica Pratt, Kevin Morby, Molly Burch Phosphorescent, Waxahatchee, boygenius. Recorded and mixed by Joshua Wells (Destroyer, Lightning Dust, ex-Black Mountain). Guest vocals from Bonnie “Prince” Billy on the “Don’t Slow Me Down” single. Guest pedal steel guitar from Paul Rigby (known mostly for his studio work with Neko Case) on 3 of the 10 tracks. Support thus far from FLOOD Mag, Stereogum, KEXP, KCRW, Popular TV (ex-Nylon writers), Pitchfork, Exclaim! & more. “Tonight” single synced for a Netflix series 13 Reasons Why in March 2017. Ashley Shadow winks at darkness, but she won’t lead you towards it. It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C. based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. Ashley explains, “I wanted to make a more upbeat album, something you could play with some friends over. Some of the songs I wrote were initially bummers, but when we went to record them, we lightened them up.” Balancing a couple of jobs and navigating life and love in increasingly unstable times, the album was written over two years by Ashley at her apartment. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias. While the songs were conceived in contemplative solitude, Ashley invited some very capable collaborators for their journey into the studio. Ashley’s first album saw her take center stage after more than a decade of gracing friends’ projects in a supporting role. The move to the front was a cautious one. “First record was, can I do a solo album? This time, I know what I’m doing. It’s way more clear.” "Don’t Slow Me Down" reunites Ashley with Bonnie “Prince” Billy for the first time on record when she sang vocals on Bonnie's Lie Down In Light album in 2018. The album also includes contributions from Paul Rigby (Neko Case), Colin Cowan (Elastic Stars), Joshua Wells (Black Mountain, Lightning Dust) and Ryan Beattie (Himalayan Bear). It’s clear to anyone listening. It’s Only the End. If only all endings were so glorious
Papernut Cambridge is the project started in 2010 by former Death In
Vegas and Thrashing Doves guitarist Ian Button
Over 10+ albums they've drawn on influences from psych and bubblegum pop to
indie, glam and Motown, with Button working solo, or regularly joined by a core of
contributors including Darren Hayman and Jack Hayter (formerly of Hefner),
Robert Rotifer, and Picturebox's Robert Halcrow.
Cinderella Crazy Golf is a brand new four song EP loosely based on the scenario
of an elderly couple of former psychedelicians growing old and infirm together by
the sea, still very much in love but dealing with ageing, memory loss, medication
side effects etc.
The black vinyl 7" comes with 3 double sided postcard prints featuring photos
and the song lyrics
With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.
British epic doom metallers Godthrymm (featuring members once
involved in such luminaries as My Dying Bride, Anathema, Vallenfyre, and
Solstice) return with their new album, Distortions
The follow- up to 2020's widely- lauded 'Reflections' shows the Halifax- based
quartet of Hamish Glencross (guitars/ vocals), Catherine Glencross (keyboards/
vocals), "Sasquatch" Bob Crolla (bass), and Shaun "Winter" Taylor-Steels (drums)
elegantly expanding upon their sound and vision. With tracks like "Follow Me,"
featuring former My Dying Bride compatriot Aaron Stainthorpe, "Echoes," and
"Devils," Distortions advances Godthrymm into the hallowed halls of the genre
they adore to death.
"I absolutely wanted to create a much more layered and complex arrangement in
the sound," says Godthrymm's Hamish Glencross. "Totally amping up the
contrasts to the extreme--the light shines brighter, and the darker depths are vast
trenches. There is a lot more harmony and melancholy for much of it, but also
some slab-heavy riffing, too. We wanted a total progression in the production and
more class and clarity in the sound, as opposed to Reflections, which could get
quite dense in tone."
Distortions is the second part of Glencross' Visions trilogy-- the third part,
Projections, is already in the works. Throughout its seven- track, hour- long
expanse, Godthrymm's sophomore effort delves deeper into the despondent
march of post-pandemic singles "Chasm" and "In Perpetuum," the latter released
exclusively on Decibel Magazine's Decibel Flexi Series in 2022. Glencross'
emotionally-charged vocals pair perfectly with his towering riffs and thoughtful,
crestfallen harmonies. The rhythmic foundation of Crolla and Taylor- Steels is
absolutely critical to Glencross' woebegone eclat. With Catherine Glencross'
angelic vocals and atmospheric keyboards stitched into the monumental "As
Titans," the granite-hard "Obsess and Regress," and the stirring "Pictures Remain,"
Distortions has it all.
The songwriting for Distortions began during the first lockdown. For an album
centered lyrically on grief, loss, regret, resolve, love, and determination, it's hard to
imagine something inexplicably heavy yet remarkably beautiful. Producer Andy
Hawkins (Hark, Grave Lines) was the perfect man for the job. Spread across The
Nave Studio in Leeds and Sasquatch Music Studio in Huddersfield, he captured
Godthrymm at their most menacing ("Unseen Unheard") and vulnerable ("Follow
Me"). The tones he extracted from Glencross, Crolla, and Taylor-Steels absolutely
crush, while the brighter moments (like Catherine Glencross' spell-binding vocals
on "Obsess and Regress") splinter Godthrymm's disheartened darkness in two.
Distortions was mastered by Mark Midgley (Doom, Hellkrusher) for Northern
Mastering Co.
London-based DJ and producer Rommek releases on 47, showcasing his signature brand of seething, fragmented techno in this formidable label debut. "Arkho" opens the EP with rolling drums before a heavily distorted synth line pierces the atmosphere, evoking tension and unease before launching into a furious lead. On "Silverlock," broken drums skitter across a droning soundscape, while a glitched-out melody adds a dark tint. "Decipher" squirms with a similarly syncopated rhythm and ice cold textures, topped with crisp hi-hats. Closing track "Synthetic Dream" is threatening but never overly dark, stitching weighty drums between tactile, warped-out synth notes. A chilling cut that conveys Rommek's shadowy aesthetic all the way through.
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With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.
Octave One return with Never On Sunday Vol.2, an EP with new remixes from Orbital and Giorgia Angiuli next to three standout recent tracks.
The Detroit duo’s Never On Sunday alias was born in the nineties with a view to making a mix of downtempo, deeper and more thoughtful electronic sounds. After just two EPs, it lay dormant until last year when the new EP The Bearer on their own 430 West label brought it back to life to a great reception. Then came the Octave One Presents Never On Sunday album this year that collected together a wealth of originals and remixes which are now coming on 12".
First up is legendary brotherly duo Orbital - a UK antecedent to the Burden brothers who have been crafting pioneering electronic sounds for decades. Their remix of ‘Price We Pay’ feat. Karina Mia is deep house excellence. It has a bouncy groove, elastic bassline and simmering vocals that send shivers down the spine and the sci-fi synths twinkle up top. Italian multi-instrumentalist Giorgia Angiuli has long been innovating in the techno world, drawing on her classical background to craft standout sounds for the likes of Kevin Saunderson’s KMS label. Her remix is six uplifting minutes of synth arpeggios, soulful techno drums and epic breakdowns that will captivate any dance floor.
The b-side features three cuts from the Never On Sunday (Deluxe) album and opens up with 'Lifelike', a slow, pulsing dub with mysterious melodies and sinewy synths reflecting light like stars in a night sky. A textured bassline arrives to bring a real sense of tension to the melodic beauty. 'Soon After' is another cosmic cut that rides on hammering bass beneath lush synths capes and rays of hope that pierce the darkness. The blissful 'Mona' closes down with heavenly and expansive pads that shimmer and shine as rich bell sounds and choral pads bring a warm sense of atmosphere.
Never On Sunday Vol.2 is another package of deeply emotional electronic sounds.
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Limited to 300 copies. The Groove Connection formed in Medway, Kent during the early '90's, amongst the Acid Jazz heyday, playing clubs, pubs and festivals up and down the land with their urban jazz-funk grooves. The band comprised of usually six to eight members over the years, including Mark 'Bertie' Gilbert, the former (initial) bass player from The Milkshakes, and was originally an instrumental project, with vocals added later giving the band further appeal. Recording/releasing their first CD EP in 1996 (In Full Pursuit), described by Blues & Soul as 'an impressive debut set', The Groove Connection also released a 7" vinyl single in 1998 (What It Is), which was produced by respected DJ and percussionist Snowboy. A year later, their first album 'Infiltration' was released. All releases were via their own NeuJaz label. As well as working with Snowboy, the band also supported Jamiroquai twice in 1997 (at Finsbury's Jam in the Park and the Phoenix Festival), as well as playing to a full house at the Jazz Cafe, Camden on many occasions, and the band toured the UK as part of the Messin' Around Jazz Cotech collaboration. In 1999, the band found themselves on the Verve Records' released compilation 'Messin' Around Presents Root Down', alongside Lalo Schifrin, Jimmy Smith, The JBs, and Roy Ayers to name just a few. In 2001 the band recorded, and released their second album 'Back To Brooklyn', introducing vocalist Laura Knight and guest hammond virtuoso Gary Baldwin, a ten-track full-length, CD-only release. Other tracks were recorded in the same session… Two tracks that didn't make the last album were 'Can You Hear Me' and 'When I'm With You', both vocal filled, and we've decided to capture them onto two continuous 'grooves'.
DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.
DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.
Während sich die australischen Metal-Juggernauten Parkway Drive auf eine Welttournee vorbereiten, um ihr 20-jähriges Bandjubiläum zu feiern, kündigt Epitaph Records die Veröffentlichung der Debüt-EP der Band aus dem Jahr 2004 an, zum ersten Mal auf Vinyl. Diese erweiterte Version von Don't Close Your Eyes enthält die ursprünglichen 8 Tracks der ersten EP der Band und zusätzlich Bonustracks von ihrem Split-Album mit I Killed the Prom Queen und von den Compilation-Alben What We've Built und True Till Death, Volume I.
Parkway Drive stammen aus der australischen Küstenstadt Byron Bay und stürmten aus ihrer ruhigen Umgebung heraus, um eine explosive Mischung aus komplizierten Metal-Riffs, heftigen Breakdowns und emotionaler Hardcore-Spannung zu bieten. Mit den Chartstürmern Horizons (2007) und Deep Blue (2010) entfachte die Band regionales Feuer, bevor sie 2012 mit Atlas den internationalen Markt eroberte. Mit Ire (2015) führte die Gruppe Clean-Gesang in ihr Werk ein, und auf Reverence (2018) und Darker Still (2022) bewegte sie sich weiter in Richtung eines melodischeren, aber nicht weniger aggressiven Metal-Stils.
Parkway Drive sind auch nach 20 Jahren immer noch eine Naturgewalt und einer der Top-Headliner in der harten Musikszene. Don't Close Your Eyes lässt die Anfänge der Band wieder aufleben und ihre größten Fans werden sich freuen, dieses Album endlich auf Vinyl zu haben.
Während sich die australischen Metal-Juggernauten Parkway Drive auf eine Welttournee vorbereiten, um ihr 20-jähriges Bandjubiläum zu feiern, kündigt Epitaph Records die Veröffentlichung der Debüt-EP der Band aus dem Jahr 2004 an, zum ersten Mal auf Vinyl. Diese erweiterte Version von Don't Close Your Eyes enthält die ursprünglichen 8 Tracks der ersten EP der Band und zusätzlich Bonustracks von ihrem Split-Album mit I Killed the Prom Queen und von den Compilation-Alben What We've Built und True Till Death, Volume I.
Parkway Drive stammen aus der australischen Küstenstadt Byron Bay und stürmten aus ihrer ruhigen Umgebung heraus, um eine explosive Mischung aus komplizierten Metal-Riffs, heftigen Breakdowns und emotionaler Hardcore-Spannung zu bieten. Mit den Chartstürmern Horizons (2007) und Deep Blue (2010) entfachte die Band regionales Feuer, bevor sie 2012 mit Atlas den internationalen Markt eroberte. Mit Ire (2015) führte die Gruppe Clean-Gesang in ihr Werk ein, und auf Reverence (2018) und Darker Still (2022) bewegte sie sich weiter in Richtung eines melodischeren, aber nicht weniger aggressiven Metal-Stils.
Parkway Drive sind auch nach 20 Jahren immer noch eine Naturgewalt und einer der Top-Headliner in der harten Musikszene. Don't Close Your Eyes lässt die Anfänge der Band wieder aufleben und ihre größten Fans werden sich freuen, dieses Album endlich auf Vinyl zu haben.
The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.
Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.
True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.
Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.
From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.
By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.
written & produced by: Sven Väth & Gregor Tresher
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Survival Paradox is dark machine poetry programmed in the cold dark north of Denmark. Fusing a hypnotic black & white dance of despair and anguish this release is equally enjoyable at home or on fogged out dark dance floors worldwide. His debut EP "Dysfunctionalism" is a 5 track cerebral deep dive into relentless hopelessness and confined aggression that is deceptively simple yet crawls under the listener's skin. This carefully crafted EP unveils its complexities by spreading into every cell of the timbres and sequences within. With influences ranging from minimal techno, old-school Goa Trance and 90's EBM : "Dysfunctionalism" can best be described as a kind of Hypnotic Body Music. The release includes an edit by SARIN. Released by X-IMG & available as a limited run of 300 records + digital. Mastered by Alain Paul.
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Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: 'Khonnar' will be released on November 16, 2018 by InFiné. Pronounced 'Ronnar' (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break. Throughout the 45 minutes of 'Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization. About Deena Abdelwahed A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective.
Das französische Label Infiné ist dafür bekannt, elektronische Musik jenseits ausgetretener Pfade zu veröffentlichen - hier wird Techno und House neu definiert. So passt es ganz gut, dass die aufstrebende tunesische DJ und Underground-Produzentin Deena Abdelwahed bei dem Lyoner Imprint eine Veröffentlichungsplattform gefunden hat. Abdelwahed performte in den letzten Jahren zwischen Boiler Room und Berghain in allen namhaften Clubs und hinterließ bei der globalen Dance-Gemeinde mehr als staunende Münder. Nach der im Frühjahr 2017 veröffentlichten EP "Klabb" präsentiert die Tunesierin mit "Khonnar" jetzt ihr sehnlichst erwartetes Debütalbum.
Was beide Tonträger vereint: sie verbinden nordafrikanische Klangelemente mit elektronischen Sounds, haben jedoch mit Weltmusik nichts am Hut.
Mit ihrem Debütalbum "Portal To Darkness" öffnen UNBLESSED DIVINE ein einzigartiges Portal in die Geschichte brutaler Musik.
UNBLESSED DIVINE kombinieren klassischen Death Metal aus den 90ern mit Elektronik, wie es noch keine andere Band zuvor im Extreme Metal getan hat, und entfesseln so ein einzigartiges Album, das Dunkelheit in unsere Welt bringt.
Die 8 Tracks des Albums beinhalten sowohl schnelle und kompromisslose Songs, als auch epische Songs, die dem Hörer etwas bieten, das er nicht vergessen wird.
Aber lasst euch nicht täuschen, das ist Death Metal in seiner rohesten und brutalsten Form, gepaart mit einem beunruhigenden Hauch von Endzeit-Stimmung.
Ivory colored vinyl, limited to 150 copies. "When did time start flying by so fast? It's getting harder to recall the past." The opening lines of As Friends Rust's upcoming album Any Joy are a fitting start for a band that has existed in one form or another for over 25 years (minus a hiatus from 2002-2008). Originally formed in the late `90s, As Friends Rust has been through a few iterations, but it is the core line-up of vocalist Damien Moyal, guitarist Joseph Simmons, guitarist James Glayat, and drummer Timothy Kirkpatrick that are creating thought-provoking melodic punk music for the modern age. With three EPs, two 7 inches, and a full-length in their history, As Friends Rust already have a lifetime of work in their pocket, but the seven songs on Any Joy might just be their most striking yet. Originating in Gainesville, Florida and now spread across the country, As Friends Rust wrote, recorded, and produced Any Joy mostly from the comfort of their own homes. Vocals in Ann Arbor, MI, guitars in Gainesville, FL and Brooklyn, NY, with the exception of the drums, which were recorded in a studio by John Howard in Gainesville. Not currently having a permanent bassist, the band called upon friend Andrew Seward (of Against Me!) to play bass on most of the record, with additional contributions from Simmons. Mixed by James Paul Wisner in Orlando, FL and mastered by Matthias Lohmöller in Germany, the creation of the album was truly a collaborative and international effort. Working in separate spaces allowed the band to experiment more as the songs came together, resulting in a familiar but fresh sound that has more bite than past releases. It's more focused, more direct, more confrontational, more catchy, while still staying true to the band's melodic punk and hardcore roots. Lyrics tackle everything from the emptiness of emoticons as a form of communication on "Positive Mental Platitude" to the need for political and social activism versus the occurrences of daily life on "??No Gods, Some Masters."
Nostalgia's Glass" ist das elfte Studioalbum der aus Manchester stammenden und in Berlin lebenden Post-Punk-Kultband The Underground Youth, das am 18. August auf Fuzz Club erscheint. "Nostalgia's Glass wirft einen Blick zurück auf die Musik von The Underground Youth und formt neue Songs in einem Stil, der an die Vergangenheit der Band erinnert", schreibt Bandleader Craig Dyer: "Das Ziel war es, eine Sammlung von Songs zu schaffen, die unserem Backkatalog huldigen und versuchen, nicht nur die positiven, sondern auch die negativen Elemente der Nostalgie zu sezieren, vor allem die Romantisierung der Vergangenheit - sei es die Politik eines Landes, das kontroverse Vermächtnis von Film- und Musikikonen oder die sentimentale Idealisierung längst vergangener toxischer Beziehungen."The Underground Youth wurde 2008 als kreatives Projekt von Craig Dyer gegründet. Die Band, zu der neben Craig nun auch Olya Dyer (Schlagzeug), Leonard Kaage (Gitarre/Produzent) und Samira Zahidi (Bass) gehören, hat im Laufe der Jahre elf Alben und vier EPs veröffentlicht und dabei einen einzigartigen Sound entwickelt, der von cineastischer Lo-Fi-Psychedelia bis hin zu einer rauen und lauten, wenn auch romantisch-melancholischen Form des Post-Punk reicht. Umhüllt von einer dunklen Ästhetik und den Bildern verschiedener Kunstfilmbewegungen haben sich The Underground Youth eine treue weltweite Fangemeinde erspielt, die sie durch ihre ausgedehnten Tourneen durch Europa, Asien und Nordamerika kontinuierlich ausbauen. Vinyl in hellblau, 180gr, Kastentasche, bedruckte Innenhülle, mit DLC
The second release of Dynamic Reflection's Time Crystals series explores the deeper end of the musical spectrum somewhat. Function's opening track delivers almost ten minutes of downtempo modulations before Viels' Fragile kicks in: punchy, gritty and dancefloor oriented.
Dynamic Reflection head honchos and curators Abstract Division give a 'less is more' college with Convolution, keeping tension high at all times without ever dropping the kick for more than a couple of beats. The closing track sees Ben Buitendijk, Shoal and Vand collaborating under their DOM moniker for this special occasion, delivering a piece of trippy and stubborn techno.
Quantum Realm is part of Dynamic Reflection's 15 year anniversary celebration: Time Crystals. This is the second of five EP's. Own all five and an all new, visual piece of art will appear.
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Sechs Jahre nach "Legends Of The Shires" kehrt Progmeister Richard West an diese Gestade zurück, um uns die lang erwartete Fortsetzung zu erzählen mit seiner brandneuen Supergroup: Oblivion Protocol
Im besten Fall kann Prog ein sicherer Hafen vor dem Sturm da draußen sein, ein heilsamer Ruhepol, purer Eskapismus. Echte Musikalität, pure Emotionen und eine Vorliebe für überragende Melodien machen diese Musik zu einer Reise, einer Erfahrung, für die Platten und Kopfhörer überhaupt erst erfunden wurden. Ein ganz
besonderer Prog-Aficionado ist Richard West, seit über 30 Jahren renommierter Keyboard-Wizard und Songwriter der britischen Prog-Metal-Pioniere Threshold. Sechs Jahre nach deren epischem Meisterwerk "Legends Of The Shires" kehrt West an diese Gestade zurück, um uns die lang erwartete Fortsetzung zu erzählen. Nicht unter dem Namen Threshold, wohlgemerkt. Sondern mit einer brandneuen Supergroup. Prog-Fans weit und breit, jauchzet und jubilieret: Oblivion Protocol sind da. Und sie bringen uns "The Fall Of The Shires".
Audiences who were lucky enough to have seen the film during its special theatrical sneak preview have already discovered that this highly anticipated sequel is nothing short of epic - and much of that is due to the gorgeous, sweeping score by Nathan Johnson. Johnson keeps intact the delicate balance that made KNIVES OUT such a clever score, never undermining the danger that is around every corner, but also brings an intoxicating romanticism to every gorgeous landscape. It’s playful, and sinister all at once.
“I’m thrilled to announce the release of my score for Glass Onion on vinyl, but more specifically, I’m over the moon to be able to join forces again with the wonderful folks at Mondo,” says Johnson. “Everything they do is one-of-a-kind, but with this release they’ve gone above and beyond. We’ve mastered this version specifically for vinyl so that it retains all the orchestral dynamics I’ve written into the score, and I can’t wait for people to get their hands on the artwork and peel back all of the beautiful layers. I know we live in a world of digital ephemera, but I’ll say it again and again: thank God for Mondo.”
In August of 2007, the Port Arthur duo of Bun B and Pimp C known as UGK released their epic fifth studio album, Underground Kingz. Sadly, this was the last release recorded by Pimp C before his untimely death in December of the same year. Production was overseen
by legendary Rap-A-Lot producer N.O. Joe and Pimp C himself with contributions from Three 6 Mafia, Jazze Pha, Lil Jon, Scarface, Swizz Beatz, and Marly Marl among others. The second single "Int'l Players Anthem (I Choose You) was nominated for a Grammy and won video of the year at BET's 2008 Music Awards.
First appearing on TV screens in September 1968, Joe 90 was a unique nine year old boy with the ability to absorb the brain patterns of top experts
enabling him to become the most special agent of W.I.N. (World Intelligence Network).
Whilst there are arguably better-known scores amongst Barry Gray's sublime catalogue of work with the Andersons, the composer's work for Joe 90 is in many ways
the most consistent and inventive selection he ever wrote. Developing a theme for the new series was always the musician's starting point, and for Joe 90, the pop charts breezed into Gray's studio,
with an opening tune featuring a genuine groove. Mixing Gray's inventive electronics with 60s "surf rock" guitars was an inspired decision.
It is no wonder that this piece has gone on to enjoy a second life as a Northern Soul disco floor-filler.
For episodic incidentals, Gray was freed from the detached unearthly premise of Captain Scarlet and able to bring back a playful sensibility
and a more mature musical palette which are amply illustrated in this 24 track collection.
Steam Down have released an incredible new single ‘EMPOWER’, which is available now on Decca. It’s the first taste of the hugely influential London collective’s debut EP, ‘Five Fruit’, which will see a release on September 24th. After years of building a truly engaged community - and taking London’s melting-pot to the world’s stage - ‘EMPOWER’ marks a thrilling new musical chapter for Steam Down. Uplifting, urgent and emotive, the track affirms the power of the listener, the strength of collective hopefulness, and the textures of London’s inner-city subculture. Featuring the fast-paced verses of Tinyman and Afronaut Zu (alongside Theon Cross, who has played with Kano and Sons of Kemet), here is a sound that bridges grime with jazz, and turns it all into something unmistakably Steam Down.
Auch musikalisch bricht man mit „Syberia: The World Before“ zu einem Abenteuer in andere Epochen
auf. So unterstreicht der originale Game Soundtrack durch seine Variation von bombastischen OrchesterInszenierungen bis hin zu intimen Solo-Piano Stücken den vielseitigen Charakter der Kult-Videospielreihe
Syberia. Komponiert vom EMMY-Gewinner Inon Zur in Begleitung der GRAMMY-nominierten Pianistin
Emily Bear, ist diese exklusive 2LP ein absolutes Sammlerstück. Sie enthält eine blaue und eine braune
Vinyl-Platte, sowie Zeichnungen des Game-Designers Benoît Sokal.
Die gemeinsamen Alben und Auftritte des legendären Filmkomponisten John Williams und der Stargeigerin Anne-Sophie Mutter gehören zweifellos zu den Highlights der letzten Jahre. Dieses Album ist das neueste Ergebnis der langjährigen Freundschaft und Zusammenarbeit der weltweit gefeierten Künstler: Mutter spielt das Zweite Violinkonzert von John Williams, das der Komponist für sie geschrieben hat. Williams sagt über sein Violinkonzert: „Für mich geht es in diesem Stück vor allem um Anne-Sophie Mutter und
um die Violine als Meisterwerk der Geigenbaukunst. (…) letztlich wurde diese große Künstlerin selbst zu meiner Inspiration und Antriebskraft.“ Die vorliegende Aufnahme für die Deutsche Grammophon, mit dem Boston Symphony Orchestra unter der Leitung von Williams selbst, entstand kurz nach der Uraufführung
des Zweiten Violinkonzertes im Juli 2021 in Tanglewood. Der Boston Globe schrieb: „Selbst in dieser Uraufführung trug Mutter das Solo wie eine alte Freundin und formte jede Phrase mit Absicht und Elan.“
Dem lyrischen und sehr persönlichen Konzert folgen auf dem Album drei fantastische Zugaben: Beliebte Filmthemen von Williams, u.a. aus Star Wars und Indiana Jones, die er alle komplett neu für Anne-Sophie
Mutter arrangiert hat. In diversen Details des Violinkonzertes, aber auch in den schönen Filmmelodien, spiegelt sich die Ausdruckskraft von Mutters Spiel ebenso wie ihre virtuose Brillanz und die lyrische Wärme ihres Geigentons.
