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"Blood On Canvas" ist das bislang wütendste Album der Essener Thrasher DARKNESS. Die Songs sind aggressiver und härter als alles, was bisher in der DARKNESS Diskographie zu finden ist.

Obwohl es sich nicht um ein Konzeptalbum handelt, ist "Blood On Canvas" nicht eine bloße Kollektion von neun Songs, die in einer Epoche entstanden sind, sondern ein facettenreiches Klanggemälde, gemalt mit den Farben des Zorns.

Musikalisch liefern DARKNESS den kompromisslosen und schnellen Thrash Metal, für den sie seit ihrem Debutalbum "Death Squad" (1987) bekannt sind. Die Kompositionen auf diesem Album sind jedoch komplexer und detailreicher als bisher gewohnt, ohne dabei an Aggression, Härte und Authentizität zu verlieren.
Die Texte sind nicht mehr nur eine Beschreibung des Irrsinns, der den Lauf dieser Welt bestimmt, sondern bringen ohne Umschweife und kompromisslos die Dinge auf den Punkt.

On his 17th full-length album, singer-songwriter Anders Osborne describes Picasso’s Villa, “a condensed story about living in America between 2018-2021, the fears, confusion, deep joy and peace achieved through true friendship, family, community, hours of meditation and detachment from ego.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

2x7"
Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.

Chasing dopamine in free fall through a burning world. Looks that make you want to go swimming, even though you know you're going to drown. Where is my value? Who do I want to be? And who do I definitely not want to be?



Mental health, body positivity, queerness, sexualized violence and self-determination: Elena Rud sings about these things, loud and wild. With a voice that sometimes seems on the verge of breaking and then hangs deep in the ear canal again. As raspy as after a handful of cigarettes. So distinctive that you will recognize them again and again from a big bunch of newcomer bands.



Because the songs go through the marrow and bone. Under the skin or into the heart. Maybe left in and right out, but it's good in between. Because you feel that you're no longer quite so alone with yourself and this shitty world.

Mental Health, Body Positivity, Queerness, sexualisierte Gewalt und Selbstbestimmung: Elena Rud singt von diesen Dingen, laut und wild. Mit einer Stimme, die mal kurz vorm Wegbrechen scheint und dann wieder ganz tief im Gehörgang hängt. So kratzig wie nach einer Handvoll Selbstgedrehten. So markant, dass man sie aus einem großen Haufen Newcomer-Bands immer und immer wieder erkennen wird.
Mittlerweile hat Elena ein Rudel aus vier Jungs dazu gewonnen. Ein Rudel, das seiner Frontfrau nicht nur den Rücken stärkt, sondern sich auch gegen die toxischen Ideale wehrt, an denen sie selbst gemessen werden - für mehr Schwäche, Unsicherheit und GlitzerMakeup statt Dominanz, Unterdrückung und Aggression. Auch in Sachen Sound. Die fünf Münchner:innen klingen ehrlich, tanzbar und wild. Nach Indie-Rock und Punk. Oder nach NDW

We Release JAZZ is very happy to announce an exciting new body of work by Joseph Deenmamode aka Mo Kolours. The singular musical spirit’s new 21-track album Original Flow is available as a double LP housed in a heavy 350gsm sleeve with original artwork by Mo Kolours himself and the classic WRJ obi strip, as well as in digipack CD and digital formats.

A catalog of critically acclaimed records, including his self-titled debut (2014), ‘Texture Like Like Sun’ (2015), 2018 album ‘Inner Symbols’ and three companion EPs, established Deenmamode as a prodigious musician and vocalist. Pitchfork extolled his “hypnotic, tribal-infused dance grooves”, DJ Mag appreciated the “colourful celebration of soundsystem culture”, and Resident Advisor advocated that “no one sounds quite like Mo Kolours”. Musical analogies were drawn by The Guardian as “The best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry” and Mojo as “like Marvin Gaye produced by J Dilla”.

Five years ago, Deenmamode moved to the Japanese countryside. Far away from familiarity, he contemplated his place and further questioned his identity. “I had none of my ‘own’ people around. I had time to really find what makes me tick musically. Japan has helped me go back to those subconscious leanings, really go deep, and reflect the aspects that make up my story”.

The tracks on ‘Original Flow’ have been constructed from sessions, improvisations and soundbites captured around the world during this time; collecting contributions from musicians including Deenamode’s brothers Reginald Omas Mamode and Jeen Bassa plus Andrew Ashong, Charles Bullen, Dwaye Kilvington, Eddie Hick, Stefan Asanovic, Myele Manzanza, Ross Hughes, and Tom Dreissler. Deenamode says “I’m proud of this album’s creative process. Coming from a tradition of scouring through hours of records, I wanted to create my own samples, to find that perfect loop that no other producer could put their hands on. I decided to invite a group of friends and acquaintances, who also happen to be incredible musicians, to a studio in Crystal Palace to improvise based on some loose ideas I had. We spent all day, and recorded everything”.

‘Original Flow’ is an album of UK street-soul nouveau, future indigenous jazz fusion, Rasta Segga, Nyahbinghi jazz, Malagasy Hebrew hip hop. While retaining a spirit of exploration and improvisation, it sees Deenmamode grow and flex beyond beat tape brevity, expanding composition and stretching his musical muscle to play live with other musicians. Themes of empowerment, overcoming adversity, and mental liberation coexist with notes from ancient history, futurism, and science, as well as musings on family and togetherness.

‘Magik Momentum’ springs from a discussion that features at the start of the song, an inspiring mentor answering a question from Deenmamode about improvisation and what role it plays in life when planning and manifesting the future. ‘Rockets to Mars’ questions the lack of care for the billions of people with nothing, while governments plan to explore space. “This sparked a comparison in my mind to a Sonny Okuson song that I would reference when performing. Okuson’s song talked of the lack of resources in many communities in the world, while governments go to the moon”.

He says the music behind ‘The News These Days’ is “possibly my favourite on the album”. Looped like he would a late sixty jazz-fusion sample, there was nothing added and the track was complete within a matter of minutes. “It was the first and best moment from the entire Crystal Palace session”, he adds. The album’s contrasting title track with minimal instrumentation played solo by Deenamode. While frustratingly searching for gems in past recordings, he thought in a burst of ego, “I don’t need no-one else to make a dope beat!” picked up his ravanne, (the traditional frame drum of his fathers home-land of Mauritius), pressed record, and started to play. He says, “In my thoughts were the rhythms of the Nubians in Upper-Egypt and Sudan, the swing of the huge drums played by Mauritanian women, of-course the Sega beat of Mauritius, and the ever inspiring beat of James Yancey”.

Driven by UK broken beat, Cuban congas, Nigerian and Mauritian inflections, ‘Love Vibration’ follows the concept that all emotions carry a vibratory frequency and pays homage to the frequency of creation and the power of love. The two part ‘Tatamaka’ tells of the history of Deenmamode’s ancestors, the maroons of Mauritius. “We are people who managed to run from our oppressors and find refuge in a corner of the island called ‘Le Morne’ where they could not reach us. One bloody day they came in numbers to re-capture, to revenge. Many of us chose to jump to our deaths, rather than be taken back into subjugation. The poem by Creole Richard Sedley Assonne says; “there were hundreds of them, but my people, the maroons chose the kiss of death over the chains of slavery”. Tatamaka was the name of a famed maroon leader who was murdered for claiming his, and our people’s freedom. The song is the imagined journey of escape and freedom by an ancestor of the maroons of Le Morne”.

Born in the west midlands and raised on the traditional sega music of his father’s Indian Ocean homeland of Mauritius alongside records by the likes of Jimi Hendrix, Santana and Michael Jackson; his influences expanded with late 90s jungle and drum and bass nights in Bristol, experiments at art college in Camberwell, and the rich culture of Peckham, “at the time we called it the Afro Quarters of London” says Deenmamode, adding hip hop, dub, soul and soundsystem styles to his individual sound.

He explains, “I love drum music, from hand-drums to 808s. I love music from the ancient past, heritage music, indigenous music, traditional music passed down from the beginning of time. Music from the body, hand claps, grunts and foot stomps. Music with audible depth, busy, bustling, highly charged. Music from the soul, the music from beyond. I love music from the islands and the mountains. The music of the streets, hustle music, alleyway beats. Club music”.

He describes the creative process as thinking in images. “The visual world and the world of sound seem to intermingle in my thought process. When I play the drum with my eyes closed, a world of imagery dances and moves with beat. Improvised drumming feels like I am listening to what I want to hear, rather than trying to play what I want to hear. Following the rhythm and finding new pathways to walk within the patterns is what I experience. In this way I often feel I am just a listener, instead of the player”.
Original Flow is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

CONTEXT During the height of the pandemic, Melbourne, Australia experienced the longest lockdown in the world, keeping residents inside their homes for a total of 262 days. In the midst of this were the five members who would form AWOL, driven to create and write music almost out of necessity. Once the ban was lifted, the band hit the recording studio and released their debut EP, AWOL, in 2021 through Last Ride Records. The timing was perfect as the Australia hardcore scene was experiencing serious growth, and AWOL soon found themselves playing shows with Speed, Iron Mind, No Apologies, and on a country wide run supporting No Pressure in early 2022. The band’s persistent drive and heavy playing style caught the attention of Flatspot Records, who will release AWOL’s debut full length, Tear 'Em To Bits this Spring. It’s not hard to listen to Tear 'Em To Bits and feel like you’re going to get ripped apart. The nine tracks are monstrous, filled with gruff vocals, groove-driven riffs, and meaty breakdowns. AWOL draws from bands like Madball and Biohazard, but also fit right along modern day acts like King Nine and God’s Hate. The lyrics are punishing, covering everything from deception and failed relationships to addressing drug addiction and police brutality. And while the record packs a lot of aggression, AWOL is purely here to revel in hardcore and the community it’s built for them. On making Tear 'Em To Bits the band simply states: “The only goal was to make a good hardcore record that we were proud of and that our friends could get behind.” AWOL is Christian Schultz (vocals), Mike Williams (guitar/vocals), Otis T Bennie (guitar/vocals) Pat Shanahan (drums) and Pablo Barnes (bass) Produced and recorded by Mike Deslandis, with additional recording by Otis T Bennie, at Black Lodge Studios. Mixed by Jon Markson at The Animal Farm. Mastered by Brad Boatright at Audiosiege. MARKETING AND SELLING POINTS: * AWOL is one of the biggest hardcore bands in Australia at the moment * Can appeal to not only the Hardcore crowd but also Punk, Metal, and Rock demographics as well * Has toured w/ No Pressure, Regulate, The Story So Far, Speed * Will tour AUS, US, UK, EUROPE in 2024 * A perfect hardcore release that will stand the test of time! * Has played festivals such as L * Mixed by Jon Markson (Drug Church, Drain, Regulate, Koyo) * Music Videos for AWOL (single) + Tear Em’ To Bits (Single) * Alexa Gallo of Wordless PR will be working press * The Syndicate will be working Radio Campaign * Matt Hughes Good As Gold will be working UK press + radio * Released by Last Ride Records in AUS * First EP on Flatspot Records * Pressed on Colored Vinyl

Blitz Vega is a Rock band based between New York City and Los Angeles featuring Andy Rourke, bassist of The Smiths alongside frontman and guitarist Kav Sandhu of the Happy Mondays. The band debuted their first single "Hey Christo" in 2019. It was described as 'a
rager that springs from the Primal Scream/Kasabian/Black Rebel Motorcycle Club family tree' by Buzz Bands LA.

Schwerer, auf Blues basierender Rock, zu dem man sogar tanzen kann! Die Quebecer Rocker Tonnerre spielen kräftigen, von den 1970ern inspirierten Rock, der sich an AC/DC und Blue Öyster Cult orientiert - komplett mit französisch gesungenen Texten! Das Album wurde bemerkenswerte sechs Monate nach der ersten Jam-Session der Band aufgenommen und vermittelt die Art von unbestreitbarem, lockeren Hardrock, der erstmals in den 1970er Jahren aufkam. Und hinter Sängerin Annick französischem Gesang fängt das Album perfekt das Gefühl und den Geist von 'eine Nacht in der Wildnis' ein, denn das ist die Titel-Übersetzung. Es symbolisiert Nächte, wilde Geister, Tiere, die nachts jagen, die Nordlichter, die Sterne und die langen Schatten, die das Feuer wirft.

Rock Hard:
"Die Kanadier fingen erst richtig an, als Arnaud Geoffroy sich hinters Schlagzeug klemmte, ein Bierbrauer im Brotberuf. Die Einstellung stimmt also. Und ihre Musik passt dazu. Die Gitarristen spielen trockene AC/DC-Riffs, aber nicht mit der wilden Unbedingtheit der Australier, sondern eher mit der Contenance und harmonischen Akribie des Siebziger-AOR. Sie selbst zählen noch Blue Öyster Cult zu ihre Vorbildern, und tatsächlich besitzt die Melodieführung von Sängerin Annick mitunter einen leichten BÖC-Vibe (etwa bei ´Ceux Qui Sommeillent´). TONNERRE gehören zur französischsprachigen Minderheit Torontos, und so kommen auch noch ein paar Trust-Reminiszenzen hinzu. Ganz schöne Mischung. Etwas energischer könnten sie hin und wieder zur Sache gehen, aber sie wollen sich wohl ihren Pegel nicht wegschwitzen."

Als eine der frühen Bastionen des US-Metals sind Attacker aus New Jersey zurück, um ihr 40-jähriges Jubiläum mit einem neuen Album zu feiern, einem triumphal, klassischem Metal-Album mit acht Songs! Bekannt wurde die Band durch ihr einflussreiches Debüt von 1985 und ihr zweites Album 'The Second Coming' drei Jahre später, sowie durch Alben nach der Reformation 2001. 'The God Particle' ist wieder die bewährte Dosis reinen, ungezügelten Heavy Metals mit reichlich Aggression und Melodie - beides dauerhafte Elemente des Attacker-Sounds, der auch von Marc Sassos (Dio, Halford, Marvel) packendem Cover-Artwork unterstrichen wird. Die Band würdigt mit dem neuen Album ihr geschichtsträchtiges Erbe und schafft neue, fesselnde Musik, um eine ihre Fangemeinde zufrieden zu stellen.

Turbo Recordings is proud to present the label debut of Anastasia Kristenen, with her Moments of Inertia EP. As we enter our 26th year of existence, Turbo is constantly and violently shocked that exciting techno music is still being made. After a certain point, you expect yourself to look a genre square in the face and say “Enough!” But we consider ourselves the luckiest vanity imprint on the planet to be able to harness the talent of artists like Copenhagen-based DJ-producer Anastasia Kristensen and serve it up to you in this - your darkest hour.
Escaping the massive shadow of Norway’s hip-hop scene, ‘Moments of Inertia’ captures a sound that evokes nothing but itself, as though Kristenen were recording sub-rosa dimensional machinery at oblique angles and arranging the best parts with the kind of narrative grandeur most techno artists would never dare interrogate. It should also be noted that the track “Paradox & Puzzle" shares a name with Tiga’s moderately successful escape room gastropub.
The A1 ‘I’d Love To Do It’ leads with vivacious drum programming and Kristensen’s enigmatic vocals setting the stage for 'Paradox & Puzzle’ which shares a name with Tiga’s moderately successful escape room gastropub. The title track closes the show with slamming industrial tones, summarizing Anastasia’s bespoke futuristic flow.
If you think Turbo might start slowing down in its mid-20s, we respectfully ask you to get real. And while you’re at it, get a clue. ‘Cause we know in our heart of hearts that music can and will save the day, even if it’s just for just one day.

Vintage Hardrock der 1970er Jahre direkt aus Down Under! Das lang erwartete zweite Album der australischen Band Tarot besticht mit Hardrock inkl. Hammond-B3 für eine neue Generation von Fans! Als geschlossene Formation haben Tarot mit 'Glimpse Of The Dawn' ein lebendiges, weitläufiges Album zusammengestellt, das seinen Kerneinflüssen Uriah Heep, Rainbow und Deep Purple ernsthaft Tribut zollt und gleichzeitig eine eigene Identität hervorbringt. Dabei ließ die Band Freiräume, um Improvisation zu ermöglichen. Viele der Leadgitarren des Albums wurden spontan im Studio geschrieben und anschließend beibehalten, sodass Tarot "den Blitz in einer Flasche einfangen" konnte. Dieser Ansatz wird vielleicht am besten im Titeltrack veranschaulicht, der das Album mit ausgelassenen Hammond-Keyboards und Stimmengewalt auf großartige Weise eröffnet.
Artwork von Lena Richter, Mastering von Patrick Engel (Temple of Noise).

Rock Hard:
"Achtung: Bei "Glimpse Of The Dawn" handelt es sich mitnichten um einen weiteren Output der finnischen Hardrocker Tarot, bei denen sich Ex-Nightwish-Bassist Marco Hietala zurzeit (mal wieder) austobt, sondern um einen Eintrag in der noch vergleichsweise kurzen Diskografie der gleichnamigen australischen Band, die mit ihrem Full-length-Debüt von 2016 erstmals in weiteren Kreisen von sich hören machte. Diesem famosen Scheibchen stellt das Quintett aus dem tasmanischen Hobart nun nach schlappen acht Jahren einen Nachfolger zur Seite, der den Herrschaften nicht minder exzellent geraten ist. TAROT zocken entspannten, von Siebziger-Größen wie Deep Purple inspirierten Hardrock mit Metal-Schlagseite. Die Hammondorgel ist nicht von dieser Welt, und Frontmann Will Spectre verfügt über ein gefühlvolles, warmes, kräftiges Organ, das den Hörer im Zusammenspiel mit den verträumten Gitarrenmelodien in mystische Welten entführt. Wunderschön!"

Die Debüt-Solo-EP CA von Canaan Amber wurde in dem Jahrzehnt aufgenommen, nachdem Duster sich in ihre Pause verabschiedet hatten, und zeigt die Vorliebe des in Kalifornien geborenen Gitarristen für San Francisco Jangle und Santa Cruz Surf. Mit dem Tempo einer Bananenschnecke verpackt Canaan Amber die einsamsten einsaitigen Gitarrensoli um eine Ansammlung hohler Rhythmen und geisterhaften Gemurmels. Für diese Wiederveröffentlichung wurde die ursprüngliche Fünf-Song-CD von 2012 um sechs weitere Demos erweitert, die aus dem Fundus des produktiven Songwriters geplündert wurden. Mehr Wolf Moon als Black Moon, erforscht und kartographiert CA weiterhin die versteckten Galaxien, die das Duster-Universum ausmachen.

Die Debüt-Solo-EP CA von Canaan Amber wurde in dem Jahrzehnt aufgenommen, nachdem Duster sich in ihre Pause verabschiedet hatten, und zeigt die Vorliebe des in Kalifornien geborenen Gitarristen für San Francisco Jangle und Santa Cruz Surf. Mit dem Tempo einer Bananenschnecke verpackt Canaan Amber die einsamsten einsaitigen Gitarrensoli um eine Ansammlung hohler Rhythmen und geisterhaften Gemurmels. Für diese Wiederveröffentlichung wurde die ursprüngliche Fünf-Song-CD von 2012 um sechs weitere Demos erweitert, die aus dem Fundus des produktiven Songwriters geplündert wurden. Mehr Wolf Moon als Black Moon, erforscht und kartographiert CA weiterhin die versteckten Galaxien, die das Duster-Universum ausmachen.

Deicide ist eine der drei großen US-Death-Metal-Bands, zusammen mit Cannibal Corpse und Morbid Angel. Nach ihrem letzten Album "Overtures of Blasphemy", das 2018 erschienen ist, kehren Deicide nun mit ihrem neuen Werk "Banished By Sin" zurück.

Deicide sind bekannt für ihre kompromisslose Musik, und dafür, dass sie in den mehr als drei Jahrzehnten ihres Bestehens einige der esten und härtesten Death Metal-Songs hervorgebracht haben. Erwartet die intensivste, brutalste und einprägsamste Florida Death Metal-Platte!

ACCEPTs neues Teutonic Metal Meisterwerk Humanoid!

Die deutschen Heavy Metal-Titanen ACCEPT melden sich mit ihrem voller Spannung erwarteten neuen Studioalbum Humanoid zurück, das am 26.

April 2024 über Napalm Records erscheint! Humanoid wurde vom britischen Metal-Mastermind Andy Sneap (Judas Priest, Amon Amarth, Testament, Saxon, etc.) in seinen Backstage Recording Studios Ltd. in Derbyshire, UK, produziert und ergänzt die Diskografie der 1976 gegründeten Band um ein weites Erstklassewerk, das mit Sicherheit Fans weltweit in Ekstase versetzten wird. Humanoid erscheint in zwei unterschiedlichen CD-Formaten und auf Vinyl.

Humanoid reiht sich ein in absolute Genre-Klassiker wie das in den USA und Kanada mit Platin ausgezeichnete Balls To The Wall, Metal Heart und neueren Alben wie Blood of the Nations, oder dem #1 Album Blind Rage. ACCEPT haben bis heute über 17 Millionen Mal Tonträger weltweit verkauft und platzierten sich regelmäßig in den Top 10 der internationalen Charts.

'This Is Street Funk' ist Teil einer neuen Serie, die sich an Vinylkäufer richtet, die eine genrespezifische Zusammenstellung suchen. Zusammengestellt von Dean Rudland, der auch die Liner Notes schrieb, bietet der Sampler 14 Tracks mit knallhartem, heftigem Funk und fasst den Sound des 70's Black America zusammen. Eine Kombination aus Fatback-Grooves, synkopiertem Bass, rhythmischen Gitarren und explosivem Gesang. Die Auswahl an Tracks umfasst Klassiker von Fatback Band oder Millie Jackson, Dancefloor-Faves von Billy Garner und Billy Sha-Rae sowie schreiende Orgel-Instrumentals von Fame Gang und Larry & Tommy.

Arð stammen aus Northumbrien. Die Erfinder des Monastic Doom Metal errichten mit ihrem sehnsüchtig erwarteten zweiten Album "Untouched by Fire" einen weiteren beeindruckenden Meilenstein auf dem Weg ihres rasanten Aufstiegs. Sowohl musikalisch als auch textlich erklimmt Bandkopf Mark Deeks neue Höhen. Arð setzen ihre Mission fort, die Kultur, das Erbe und die Identität der alten nordenglischen Region Northumbria zu erforschen. Das Debütalbum "Take Up My Bones" folgte den Legenden und dem Jahrhundert der Wanderung der Reliquien des Heiligen Cuthbert von Lindisfarne (634-687). Die Geschichte des neuen Albums, wirft ein Schlaglicht auf eine ganz andere Art von Heiligen. Arð erzählen vom Kriegerkönig Oswald (604-642), der Northumbria mit Feuer und Schwert schmiedete, indem er die Reiche von Bernicia und Deira vereinigte. Seine Zeitgenossen bis ins Frankenreich hinein, sahen Oswald als den mächtigsten angelsächsischen König auf der Insel an. Arð zeichnen mit "Untouched by Fire" seinen Aufstieg zur Macht nach. Die Reise beginnt mit seiner Jugend im Exil. Seine Mutter war aufgrund einer Familienfehde nach Norden in das irische Machtzentrum Dal Riada an der schottischen Westküste geflohen. Oswalds Weg führt weiter über siegreiche Schlachten, in denen Oswald jene Territorien zurückgewann, die bereits sein Vater Æthelfrith beansprucht hatte. Am Ende steht die Gründung des Königreichs Northumbrien. Musikalisch bleiben Arð ihrem ursprünglichen Doom-Kurs treu. Die charakteristischen, Stil prägenden "Mönchschöre" sind weiterhin stark präsent, wie man es von einem Musiker erwarten kann, der neben seiner Tätigkeit als Bestseller-Autor, Klavierlehrer und Keyboarder bei der führenden britischen Black-Metal-Band WINTERFYLLETH auch als Chor-Arrangeur und -Dirigent arbeitet. Doch Deeks bereichert seinen Doom Metal auch durch neue Elemente, wie zum Beispiel über das gesamte Album verstreute, wohlplatzierte Prog-Momente. Die Kompositionen auf "Untouched by Fire" spiegeln die auch auf der Bühne gewachsene Erfahrung und das gewonnene Selbstvertrauen des Bandkopfs in Form eines konzentrierten Songwriting und einer größeren Dynamik wider. Diese Entwicklung wird durch die kraftvolle und organische Produktion von Markus Stock (EMPYRIUM, THE VISION BLEAK) deutlich gemacht - da Arð das Album in der Klangschmiede Studio E aufgenommen haben. Als Deeks Arð im Jahr 2019 gründete, wagte der Komponist nicht einmal in seinen kühnsten Träumen darauf zu hoffen, was alles in den kommenden Jahren passieren würde. Seine Demos brachten ihm bald einen Plattenvertrag ein und die erste Auflage des Debütalbums "Take Up My Bones" (2022) war schon ausverkauft, bevor das Album in die Läden kam. Es folgten mehrere Auflagen und auch alle limitierten Editionen waren schnell vergriffen. Die ersten Auftritte der Band, z.B. beim Prophecy Fest in Balve, verbreiteten den Ruf von Arð als hervorragender Live-Act durch Mundpropaganda wie ein Lauffeuer. Die Band wurde nicht nur in der weltweiten Metal- und Musikpresse gefeiert, sondern landete sogar im deutschen Staatsfernsehen, wurde von der renommierten britischen Zeitung The Guardian interviewt und in der BBC sowie anderen britischen Medien mit ihrem speziellen "Organic Doom" Konzert erwähnt - für die Deeks Stücke von "Take Up My Bones" neu arrangiert hatte, um sie mit Band und einer echten Orgel in Huddersfield zu spielen. Dieses Konzert findet sich in voller Länge als CD und DVD in der limitierten Artbook Edition. Mit dem zweiten Album "Untouched by Fire" legen sich Arð die eigene Messlatte gleich um mehrere Stufen höher auf. Perfekt arrangierte Monastic Doom Songs mit hoher Dynamik und unverfälschtem Songwriting finden in einer opulenten Produktion ihre Entsprechung. Es ist Zeit, die Augen zu schließen und sich von Arð aus Northumbrien in eine Zeit entführen zu lassen, in der germanische Kriegerkönige mit Schwert und Feuer und einem neuen Gott als Sieghelfer an ihrer Seite neue Reiche erschufen. Ein blutiges Fest für die Raben, ein Goldschatz für die Ohren!

Neuauflage des Jubiläumsformats anlässlich des 15-jährigen von Of Montreals bahnbrechendem Album "The Sunlandic Twins" (2005) mit seinem erratischen Indie-Disco-Sound, das 2020 als erweiterte 2LP-Auflage auf rotem und orange-farbigem Swirl-Doppelvinyl im neu gestalteten Gatefold mit 5 zusätzlichen Bonustracks auf Seite D (die vorher nur geedged war) erschien. Ein superlatives 23-Track-Format.

Die chinesische Progressive-Metal-Band OU wird auf ihrem kommenden zweiten Album "II: Frailty" ihren hypnotischen Sound entfesseln. "II: Frailty" beschäftigt sich mit der volatilen Natur des Lebens und fängt Momente ein, die so flüchtig sind wie ein verwelktes Blatt, das aus dem Fluss der Zeit geboren wird. Produziert und abgemischt von Devin Townsend, der auch im hypnotischen Song Purge" zu hören ist, verspricht "II: Frailty" ein klangliches Meisterwerk, das Dich auf eine transformative Erfahrung vorbereitet, während OU durch die Tiefen des Progressive Metal navigieren und eine einzigartige Perspektive auf die Zerbrechlichkeit und Schönheit unserer Existenz bieten.

About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival's success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others' at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018's Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O'Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he's done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener "Now Dream," the droning "Sleep Walker," and the closing triptych of "Lost in Descanso," "Sunrise," and "The Hidden Path" occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, "Ticking Clock" is reminiscent of Stereolab's non-easy listening vintage electronic side, while the two-part arpeggiated "Euphoria" recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between "One Breath"'s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album's lingering tension between electronics' ability to project mechanical rupture as well as the organic and the infinite _or "walking between dreams," as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos' first solo album, Welcome Home, back in 2005), released by Stephen O'Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what's come before, both in his own work and in the music he loves. -Alan Licht, New York, December 2023

Das französische Label für audiophile Vinylliebhaber, WNTS, präsentiert mit "Jazz Pearls" einen Sampler des legendären US-Jazz-Trompeters Chet Baker mit acht grossartigen Jazzstandards. Darunter befinden sich zwei einzigartige Vocal- und Instrumental-Interpretationen des Klassikers "My Funny Valentine", geschrieben 1930 für das Broadway-Musical "Babes In Arms", die dank Chets fragiler Stimme und sanfter Trompete für immer Teil der Musikgeschichte bleiben werden.

Napoleon is the 2023 spectacle-filled action epic film that details the checkered rise and fall of the iconic French Emperor Napoleon Bonaparte, played by Oscar-winner Joaquin Phoenix. Against a stunning backdrop of large-scale filmmaking orchestrated by legendary director Ridley Scott, the film captures Bonaparte's relentless journey to power through the prism of his addictive, volatile relationship with his one true love, Josephine, showcasing his visionary military and political tactics against some of the most dynamic practical battle sequences ever filmed. At the 96th Academy Awards, Napoleon received nominations for Best Production Design, Best Costume Design, and Best Visual Effects. The film features an original score written and composed by 7-time Primetime Emmy nominatated British composer Martin Phipps. Phipps is best known for his work for the series Peaky Blinders, The Crown, and Black Mirror amongst others. Napoleon marked his first collaboration with Scott and was described by critics as “one of the most interestingly unique, albeit brief scores to debut in this genre for many years.” Napoleon is available as a limited edition of 500 individually numbered copies on translucent red coloured vinyl and includes an insert.

Napoleon by Martin Phipps, released 26 April 2024, includes the following tracks: "Josephine ", "Ladies In Waiting ", "We Are Discovered ", "Look Down " and more.

This version of Napoleon comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, red disc.

Mecca And The Soul Brother by Pete Rock & C.L. Smooth is considered by fans and critics as one of the finest hip hop albums of the early Nineties. Songs like "Lots of Lovin", "They Reminisce Over You (T.R.O.Y.)","Anger In The Nation" and "If It Ain't Rough, It Ain't Right" have everything; funky basslines, solid production, convincing lyrics and lots of soul. Producer Pete Rock built his beats from obscure R&B, funk and jazz records and CL Smooth added his sometimes-philosophical raps. Guest rappers on the album include Grand Puba (of Brand Nubian), Heavy D, Rob-O, Grap & Dida, and it reached #7 in the US R&B/Hip-hop charts and #43 in the US album charts. Mecca And The Soul Brother is available as a limited of 1500 individually numbered copies on silver coloured vinyl and includes an insert.

Mecca & The Soul Brother by pete & Cl Smooth Rock, released 19 April 2024, includes the following tracks: "Ghettos Of The Mind", "Act Like You Know", "Soul Brother #1", "Anger In The Nation" and more.

This version of Mecca & The Soul Brother comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, yellow disc. Another vinyl is pressed as a translucent, yellow disc.

Featuring 17 chart-topping hits from the legendary band Earth Wind & Fire, this album is a must for any collector. Earth Wind & Fire's Greatest Hits is perhaps the best collection for both beginners and lifelong fans of the band. Featuring all the hits of the 100 million selling band, this album is bursting with groovy, funky, and soulful music.

With certified classics such as "September", "Let's Groove", "Boogie Wonderland", "After The Love Has Gone", "Fantasy" & "Shining Star", this is a must for anyone with a turntable.

Greatest Hits is available as a limited edition of 3000 individually numbered copies on flaming coloured vinyl, housed in a gatefold sleeve.

Cocoon Crash is the third studio album of the Belgian band K's Choice, released in 1998. Its singles were 'Believe', 'Everything for Free',
and 'If You're Not Scared'. Musically, it is comparable to their second album, Paradise In Me MOVLP1543, though more musically diverse, and with a generally lighter tone and subject matter.
Since its release, Cocoon Crash has sold more than 1.000.000 copies, and went platinum in Belgium and Netherlands.
The album was produced by Gil Norton (Pixies, Counting Crows, Feeder).
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James Murphy calls LCD Soundsystem drummer Pat Mahoney the best lyricist in the group, though it's in Museum Of Love - Pat's band with Dennis McNany - where he actually steps out in front. This 7" is the MOLove's first material on DFA since their debut album in 2014. "After Us" is a simple, buyoant pop song heavily tempered by warnings of a bleak future. The old sugar with the medicine approach. "Look Of Disgust" is its perfect foil, a notty, almost industrial sounding wind up that ends just like a slap in the face.

Pigeons Playing Ping Pong, a veritable tour de force known for turning heads coast-to-coast with their high-octane live concerts, not only grabs life by the horns, but they harness its energy within their hypnotic hybrid of funk, rock and psychedelic groove.With a devout fanbase and trail of sold-out tours behind them, the Maryland quartet takes a major step forward on their seventh full-length offering, Day In Time.Guitarist Jeremy Schon says, "This album is the most cohesive group of songs we've ever had in the studio"."This record is a snapshot of our band as a group and as individuals at this exact moment." says Greg Ormont (vocals, guitar). "The title serves as a reminder that life moves fast, so we better make the most of each day, make each second count."

Christina Kubisch’s Stromsänger finds this legendary sound artist at the top of her game mixing electromagnetic wave recordings with a score for six voices, creating powerful results. Stromsänger is based on a collaboration with the Norwegian vocal ensemble Trondheim Voices and on a special experience while researching and recording electromagnetic waves in the city of Trondheim.

“The general theme of the composition is the idea of sounds which travel. During a tram ride from the city up to the hills with an old tram I discovered not only stunning views of the surrounding landscape but as well a special soundscape. Wearing a custom made induction headphones, I could hear the normally hidden electromagnetic fields of the tram, which were so impressive and musical to me that I immediately decided to base my piece for Trondheim Voices on this discovery.

As a start, a series of pure vocal recordings were produced by Trondheim Voices while listening to a choice of electromagnetic tram sounds and following score instructions. This material was mixed in my Berlin studio and afterward was played back through a multi-loudspeaker setup into the room of the Elisabeth Church in Berlin and was instantaneously recorded. The emerged recording was played back and recorded again. The process of playing back the previous recording was repeated numerous times, generating numerous “re-recordings”, until the voices sounded aethereal and abstract. The last one of these recordings became the very beginning of the Stromsänger piece.

Part A is based on the electromagnetic sounds of the waiting tram and previously recorded voices. The singers come on stage and start to sing together with their recorded part which slowly fades out while the live singing takes over: a kind of choral for electrical tram waves and voices.

Part B is based on the actual tram ride with strong and intense electromagnetic sounds. The single recordings were treated electronically and were divided into six channels. Each singer has chosen one of these files and improvises with the magnetic sounds as a soloist or in duos or trios.

Part C is based on the itinerary of the tram ride to Lian, where a pilgrim's path starts. The names of the single stops, which have very beautiful and poetic names, are performed together as a kind of "sound poetry". The singers walk around on stage and/or can choose special positions for their performance. The recording of the word "Lian", the final stop, was recorded beforehand and played back and re-recorded several times in the open Norwegian landscape near the final tram stop. The voices slowly disappear and fade out.”

Christina Kubisch, 2024

The sixth studio album, 'Matango!, its title referring to the 1963 Japanese psychological horror film of the same name (directed by Godzilla/kaiju maestro Ishiro Honda) by Australian band The Kill Devil Hills is out on Bang! Records! New album has ten songs, that - according to the band's own words - "entwined in the lyrics are inferences of global unrest and displacement, near future scenarios, climate catastrophe, pandemic vortices, the Simpsons, the grace of women, refugees and boat people, Cold War paranoia, the creative process itself, and of course Australia and its peculiar place in things". Cheery stuff, no? A strange and sinewy beast of an album, it's something of a departure from earlier KDH work: minimal, leering with glitching drums samples, synth swells, empty spaces, and a soup of fat bass tones to float it all in. From the opening ghost radio hums of Survivor Guilt, to the entrancing closing whispers of violin on Weigh of a Woman, this album goes on a pretty strange and serpentine journey. Enjoy listening, as much as we have enjoyed making it.

Like A Motorcycle ist ein Ansturm von bombastischen Queers und einem sehr geduldigen Mann. Die vierköpfige, von einander abhängige Familie, behandelt emotionsgeladene Themen, die hinter einem Schild aus rotziger Gereiztheit versteckt sind. Like A Motorcycle könnten dich verprügeln, würden dir aber lieber ein Abendessen zubereiten. Like A Motorcycle sind Kanadas scharfkantige Lieblinge. Like A Motorcycle sind die Freunde, um die du nie gebeten hast. Das 11-Song-Album zeigt eine unbestreitbare Entwicklung der Band, sowohl in Bezug auf ihre Musikalität als auch auf ihre Fähigkeit, ihre Wahrheit und Erfahrung in Bezug auf emotionale Eingeständnisse, die zu gleichen Teilen herzzerreißend und ermächtigend sind, zu ehren. Ohne sich selbst zu ernst zu nehmen, unterhalten die vier sich selbst und alle um sie herum.

In her intimate 1992 recording with jazz piano legend Hank Jones, AbbeyLincoln contemplates the subject of love, sounding more optimistic than usual. About When There is Love Lincoln noted in 1992: “I have a sombre outlook and assessment of the world in which we live, but I also have love, love for the beautiful man that makes life bearable in an otherwise unbearable world. So this is my offering on the altar of conjugal love.” She offers highly personalized interpretations of four of her originals and ten standards, among which Duke Ellington's "Black Butterfly," "The Nearness of You," "You Came a Long Way from St. Louis," Fats Waller's "Jitterbug Waltz" and "You Won't Forget Me" are most memorable. A truly moving testament from two of jazz's finest artists. This 140-gram vinyl is the first international vinyl reissue, pressed at Pallas, and is presented in a wide-spine, single-sleeve jacket.

On his 1963 debut release for the Phillips label, baritone saxophonist Gerry Mulligan is joined by familiar friends, including Art Farmer, Bob Brookmeyer and Jim Hall for a relaxed and refined set of cool jazz ballads. Highlights include the Mulligan-penned title track and Chopin’s ‘Prelude In E Minor’.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Ltd Edition!

Nach dem überwältigenden Erfolg der Debüt-EP "You're Welcome" melden sich die Lambrini Girls mit ihrer neuen 7Inch 'God's Country / Body Of Mine' via City Slang zurück!

Das aus Brighton stammende Duo besteht aus Phoebe Lunny (Gesang/Gitarre - sie) und Lilly Macieira (Bass - sie) sowie Schlagzeuger Banksy (nicht zu verwechseln mit gleichnamigen Street-Art Künstler). Sie haben sich durch unvergessliche Live-Auftritte einen Namen gemacht und wurden vom Variety Magazine, BBC Radio 1, NME, The Line Of Best Fit, KEXP, Consequence, Evening Standard, CLASH, So Young und kürzlich vom Kerrang! Magazine an der Seite von Sleater-Kinney, wurde für den Rolling Stone UK's Rising Stars Award nominiert, und sogar Iggy Pop ist ein Fan.

Auftritte bei Wide Awake, Reading & Leeds Festivals, Manchester Psych Fest, sowohl als auch deutschen Shows in in Hamburg und Berlin!

Fievel Is Glauque ist eine von der Kritik gefeierte genreübergreifende Indie-Jazz-Rock-Band unter der Leitung von Zack Phillips (NYC) und Ma Clement (Brüssel), deren Sound von The Fader als "cosmic randomness" (kosmische Zufälligkeit) beschrieben wird. FIG unterschrieben 2023 bei Fat Possum Records und beeindrucken ihre wachsende Fangemeinde weiterhin mit seltsam-schönen Songs. Ihr zweites Album "Flaming Swords" (2022) wurde im Sommer 2022 an einem einzigen Abend in Brüssel live aufgenommen. Pitchfork feierte es mit einer 8.1 Bewertung und den Worten ab: "Berauschend, aber nicht spießig, präzise, aber nicht starr, dicht, aber nicht überladen und nachdenklich, aber nicht an guter Laune mangelnd."

Fievel Is Glauque ist eine von der Kritik gefeierte genreübergreifende Indie-Jazz-Rock-Band unter der Leitung von Zack Phillips (NYC) und Ma Clement (Brüssel), deren Sound von The Fader als "cosmic randomness" (kosmische Zufälligkeit) beschrieben wird. FIG unterschrieben 2023 bei Fat Possum Records und beeindrucken ihre wachsende Fangemeinde weiterhin mit seltsam-schönen Songs. Ihr 2021er Debütalbum "God’s Trashmen Sent To Right The Mess" verwebt Aufnahmen von rund 30 Musikern in fünf verschiedenen Bands zu über 20 Songs, die Jazz-Fusion, Pop, Lounge und Soul zu einer einzigen freudigen Vision vermischen.

"Black Sheep" bringt einige der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa, der vollends seine Vielseitigkeit nutzt: melodische Hooks, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und mit allen - von Honey Dijon über Injury Reserve bis Rye Rye - zusammengearbeitet.

12. Mr Black Sheep (LPX Bonus Track)
13. Chain Gang Pimpin (LPX Bonus Track)
14. The Mix (LPX Bonus Track)
15. Not The One (LPX Bonus Track)
16. Standing Ovation (LPX Bonus Track)

"Black Sheep" bringt einige der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa, der vollends seine Vielseitigkeit nutzt: melodische Hooks, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und mit allen - von Honey Dijon über Injury Reserve bis Rye Rye - zusammengearbeitet.

It’s Monk’s Time is probably the most appropriate title for a Thelonious Monk album. The fact that he was on the cover of Time Magazine in February of that year (1964) shows how important the jazz composer and pianist was. It is also an
essential part of his discography with the impressive jazz classic “Stuffy Turkey” and the amazing interpretation of “Nice Work
If You Can Get It”, originally composed by George Gershwin. Monk recorded the album together with Butch Warren, Ben Riley, Charlie Rouse, and Teo Macero.
It’s Monk’s Time is available as a limited edition of 1500 individually numbered copies on translucent red coloured vinyl.