Search:gl

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

This release has a mythical status as it was only released on a white label back in the day and for the past 30 years it was assumed that the release was by Liquid Aliens. But now the internet has been set straight after all these years, these two tracks were actually created by DJ Phantasy himself, who had a habit of changing his catalogue numbers around on his label back in the day, possibly helping to fuel the rumour that they were made by Liquid Aliens.

Recorded at Jack Smooth’s studio with Alex release as the engineer, the original pressing has been going to crazy money on Discogs. But now is your chance to own a copy at a small fraction of the price.

Released in a high quality gloss Liquid Wax housebag and white inner sleeve. Available on either red, white or blue 180g heavyweight vinyl.
LIMITED PRESSING.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

Although sound is his medium, what is seen is central to Larionov’s new 12”; I Want To Believe. After scanning the heavens, the Russian producer lands with six tracks that encompass a spectrum of electronics. A glistening dawn of bright melodies and murky basslines introduces “Morning Light”, crisp percussion adding balance and ballast. Aquatic lines and soulful arcs are at the core of “Across the Sky” before the bold synth stabs and rasping rhythms of “External Twilight.” Illuminating the flip is the sci-fi inspired “Strange Lights” with the eclipsing shades and tones of “Shadows” darkening speakers while igniting floors. The close is the future gazing “Space and Time.” Fluid strings, reverberating arpeggiators and vocoder lyrics are kept in check by incising snares in this superb finale.

2xLP, 180g Vinyl. Zehn Jahre ist es her, dass ANE BRUN ihr erstes Jahrzehnt als Künstlerin mit der Veröffentlichung von SONGS 2003-13, einem karriereumfassenden Doppelalbum, markierte. Jetzt, wo ihr internationaler Ruf floriert, gibt SONGS 2013-23 der angesehenen, mit Platin ausgezeichneten und mit mehrfachen norwegischen und schwedischen Grammy-Auszeichnungen geehrten norwegischen Singer-Songwriterin die Möglichkeit, ihr zweites Jahrzehnt als Künstlerin zu feiern und gleichzeitig die fortlaufende, faszinierende Entwicklung ihres einzigartigen, fesselnden Talents zu illustrieren. Die Sammlung vereint Tracks des extrovertierten "When I'm Free" von 2015 und der Zwillingsveröffentlichungen der Pandemie-Ära, dem reich strukturierten "After The Great Storm" von 2020 und dem zerbrechlicheren, intimeren "How Beauty Holds The Hand Of Sorrow", und bietet mit dem brandneuen Song "Hand In The Fire" auch einen möglichen Hinweis auf Bruns nächste Schritte. Wie seine Vorgänger wird das Album von ihrem eigenen Label Balloon Ranger veröffentlicht und verkörpert Bruns Mischung aus kühnen, erhebenden Gefühlen und tröstlichen, melancholischen Melodien, vorgetragen von einer der einfühlsamsten Stimmen unserer Zeit.

International Velvet is the second album by Welsh band Catatonia. It was the band's breakthrough, reaching number 1 in the UK Albums Chart.

In celebration of the 25th Anniversary of this seminal album, Belle & Sebastian are releasing If You’re Feeling Sinister on coloured vinyl for the first time. Originally released on November 18th 1996, it will be available on transparent red vinyl through Jeepster on November 26th 2021 and included as part of the Black Friday sales event. The album is released on gatefold vinyl and is distributed by Republic of Music

The album was recorded in Glasgow at CaVa Studios in August 1996 over just 10 days and was the first album released by Jeepster. There were no singles released from the album which was a famous Belle & Sebastian trait of the time. In line with this, there were also no interviews given and promotion involved a three gig tour over London, Manchester and Glasgow.

For the recording of this album, the band consisted of the six original members but this time also included Sarah Martin as the seventh member in her debut for the band. This was the second album released by Belle & Sebastian and all songs were written by Stuart Murdoch. The session produced 11 songs of which 10 made it to the album and the other became the single ‘This Is Just A Modern Rock Song’. Although there were no videos made for any of the album tracks, Sarah Martin recorded a video for this eleventh track.

The album cover features Ciara MacLaverty, a great friend of Stuart’s, beside a copy of Franz Kafka’s ‘The Trial’. The inside cover features some members of the band with friends in their impression of The Last Supper.

Die Wiederveröffentlichung zum 50zigen Jahrestag von Fela Kutis Album 'Shakara' von 1972.

'Shakara' ist ein hauptsächlich instrumentales Stück mit einem kurzen, auf Yoruba gesungenen Text, der vor Prahlern und Angebern warnt. In 'Lady' hebt Fela die Übernahme europäischer sozialer Gewohnheiten zum Nachteil der afrikanischen Kultur hervor. Das Album ist der Sound der Reifung des Afrobeat zu einer globalen Musik. Felas Texte in Pidgin-Englisch erweitern das Publikum seiner Musik über Yoruba-Sprecher:innen hinaus und machen seine Worte in der gesamten anglophonen Welt verständlich. Wie schon bei seinen anderen Veröffentlichungen in den frühen 70er Jahren hat Fela jede Seite seiner LPs genutzt, um einen intensiven Groove zu kreieren, der die Hörer:innen in seinen Bann zieht und von metaphorischen Texten begleitet wird, die den korrupten Kolonialismus kritisieren.

Auf pinkes Vinyl gepresst und mit einer zusätzlichen gelben 7" enthält die Jubiläumsversion auch ein kurzes Essay über das Album und Fela Kutis globalen Einfluss auf die Musikwelt. Darüber hinaus gibt es zwei Remixes des Ezra Collective aus UK.

In 2019 BC (Before Covid) Discharge frontman Jeff Janiak reached out to longtime friend and musician JP Parsons to assist on a new project. The pair wrote and recorded various ideas before reaching out to Amebix guitarist Stig.C.Miller who joined them in the midst of the global pandemic. The trio utilized this new creative climate of physical restriction and went on to set the foundations for their first album, via file sharing home recordings, which would be arranged and produced by Stig. It was several months later when he would call upon Nausea, Ministry and former Amebix drummer Roy Mayorga to complete the line up. Roy went onto record drums, mix and produce the band's debut album 'LET THEM EAT FAKE'.

In these unprecedented times of global restriction, fear and the everlasting lack of faith in the hierarchy 'False Fed' has cultivated a heavy sound that is drenched in melody, aggression and shrouded in darkness. It is not bound by genre, yet still offers subtle hints to the creators lineage. 

False Fed are:
Jeff (JJ) Janiak - Vocals 
Stig.C.Miller - Guitar 
JP Parsons - Bass Guitar 
Roy Mayorga - Drums 

On his latest album as The Drums, New York-based indie pop artist Jonny Pierce plunges into the work of healing from childhood trauma and the long shadow it casts over adulthood. The sparkling, eponymous Jonny unfurls a love letter to a galaxy of younger selves, all hungry to be nourished, all rejoicing now that they finally get to belong. Playful, heartbreaking, raucous, and serene all in turn, Jonny embraces the mess of life in all its facets. It renders the magic that happens when you fall in love with yourself down to the marrow. Soaring to alt-pop prestige on arrival, The Drums have released studio albums that deftly walk the line of aching melancholy and irresistible pop sensibilities, presented through a kaleidoscope of pastel guitars, reverb, modular synthesizers and drum machines. It"s a sound that"s wholly unique, and unmistakably The Drums. The Drums" music remains timeless, as evidenced by the recent explosion of their RIAA Gold-certified song Money, which first appeared on their breakout sophomore album Portamento, reaching #1 on the Alternative Global Shazam Chart and #2 on the TikTok Global Hashtag Chart.

Obscure British prog-rock band Mighty Baby evolved from a Mod group called The Action, but moved heavily into experimental psychedelia in 1969, when they cut an incredible debut for the Head label. Glastonbury Fayre Festival 1971 captures the legendary group in live action, ‘A Blanket In My Muesli’ being a free-form jam that remains their best-loved effort; ‘India’ is a similarly hefty instrumental mega-jam with lilting flute amidst the bluesy guitar work, and there are awesome renditions of ‘Virgin Spring,’ ‘Devil’s Whisper’ and ‘Lazy Days.’ If you like your prog thoughtful, complex, and multi-layered, this one’s for you!

Die in Antwerpen ansässige Progressive-Hardcore-Band BEAR meldet sich mit ihrem mit Spannung erwarteten neuen Album "VANTA" triumphal zurück. Entstanden aus dem Schmelztiegel persönlicher Prüfungen - Krebs, eine globale Pandemie, zerbrochene Beziehungen und tiefgreifender Verlust - haben BEAR ein Album geschaffen, das den Schmerz, die Qualen und die Angst widerspiegelt, die unsere menschliche Erfahrung ausmachen."VANTA", benannt nach der dunkelsten bekannten Substanz, repräsentiert die Reise der Band durch ihre schwierigsten Zeiten. Es ist ein Zeugnis ihrer Unverwüstlichkeit, eine unapologetische und unerbittliche akustische Reise, die furchtlos durch den Sturm der Widrigkeiten navigiert. Doch hinter der wilden Fassade des Albums verbirgt sich auch die Schönheit, die im Leiden liegt, und es unterstreicht die tiefe Wahrheit, dass es kein Licht ohne Dunkelheit gibt. Mit seinen elf Tracks ist "VANTA" ein Leuchtfeuer der Beharrlichkeit und Stärke im Angesicht der Turbulenzen des Lebens. Das Album beginnt mit "Atone" und endet mit "Andram" und führt den Hörer durch eine Achterbahn der Gefühle, wobei jeder Track ein Kapitel in seiner persönlichen Saga darstellt. Tracks wie "Cisplatin" und "Defeatist" verdeutlichen den Kampf mit dem Krebs, während "Earthgrinder" und "Cells" den mentalen Kampf offenlegen, der durch die Isolation in der Pandemie hervorgerufen wird. "VANTA" ist nicht nur ein Album. Es ist die Verkörperung von BEARs Reise durch persönliche und globale Umwälzungen, ihre Verwandlung von Opfern der Umstände zu Vorboten der Hoffnung. Es ist ein klarer Ruf an alle, die es hören: Im Angesicht der größten Finsternis kann es immer noch Licht geben.Während BEAR sich weiterentwickeln und ihren Weg formen, bleibt eine Sache sicher: Fear The BEAR! Für Fans von The Dillinger Escape Plan, Botch, Converge, Meshuggah, Frontierer, Lo! Ltd Single Colour LP (Transparentes Vinyl, Transparent Blood Edition) in Gatefold-Cover w/ copper foil embossing

Underground prominent figures of the Belgian 80's scene, Alain Neffe and Nadine Bal have released and produced dozens of tapes under different monikers.
Bene Gesserit is probably their most famous and iconic one due to its multiple facets.

Originally a tape released in 1981 on their own Insane Music label, "Best Of" encaptures all the DIY and creative freedom of the band.
From the yagé vapors of "Erg Habbiana" to synth madness of "Gloria" or "Gppm" this album summarizes the full spectrum of their ethos :
Insane music without borders.

This reissue additionally includes four unreleased tracks from Alain Neffe vault.

Remastered by Krikor Kouchain and limited to 300 copies.

Works for the Ever Present Orchestra Vol. II continues Black Truffle’s documentation of the late work of legendary American experimental composer Alvin Lucier, who sadly passed away in 2021 at the age of 90. Like the first volume of the series, the two works recorded here were written for The Ever Present Orchestra, an ensemble founded in Zürich in 2016 to perform Lucier’s work exclusively. At the core of the music Lucier wrote for the ensemble is the electric guitar, an instrument he began to explore in 2013. Played with e-bows, in these works electric lap steel guitars take on roles akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s. This strikingly elegant pair of compositions would serve as an ideal introduction to Lucier’s late music for a listener as yet unfamiliar with its graceful exploration of beating patterns and other acoustic phenomenon.

The two pieces have quite different characters, exemplifying Lucier’s ability to harvest a remarkable range of musical results from closely related compositional procedures and concerns. In Arrigoni Bridge (2019), Lucier uses a technique familiar from earlier works such as Still Lives (1995), where sine waves traced the shapes of household objects. Here, three lap steel electric guitars (played by Oren Ambarchi, Bernhard Rietbrock, and Jan Thoben) follow the form of the Arrigoni Bridge that connects Middletown and Portland, Connecticut. The bridge’s two enormous steel arcs become slowly sweeping pitches, alongside which alto saxophone (Joan Jordi Oliver Arcos), violin (Rebecca Thies) and cello (Lucy Railton) sustain long tones, creating a variety of audible beating patterns depending on their distance from or proximity to the guitars. With its stately pacing, warm middle register tones, and rich timbral variety in the sustaining instruments, Arrigoni Bridge is a beautiful example of compositional reduction producing immersive results. Flips (2020), on the other hand, is more austere. Scored for two lap steel electric guitars (Rietbock and Thoben), double bass (Ross Wightman) and glockenspiel (Trevor Saint), the two acoustic instruments played with bows, the piece zooms in on the range of a major second (two semitones). The two guitars sweep in opposite directions within the range, crossing every four minutes; the double bass and glockenspiel sustain long tones, producing beats of different speeds determined by their distance from the guitar tones. This limitation of the tonal range means the music is often dissonant and forces the phenomenon of audible beating to the surface, resulting in a paradoxical music composed entirely of long tones yet alive with pulsating rhythm. Exemplifying Lucier’s ability to uncover near-infinite complexity within seemingly simple materials, Works for the Ever Present Orchestra Vol. II is a fitting tribute to one of the major figures of the experimental music tradition and a testament to the continuing power of his work.

Formentera II ist die überraschende Fortsetzung der Geschichte, die die Band im letzten Jahr mit ihrem von der Kritik gefeierten Album begonnen haben.

Zwei Seiten der gleichen Medaille, sie leben in der gleichen Klangwelt - aber wenn Formentera die dunkle, insulare Besessenheit war, die aus der Abriegelung resultierte, ist Formentera II die helle Seite der Möglichkeit wieder erkunden zu können.

It features a collection of Finbar's own compositions and four well known traditional songs; Kitty, The Rocks Of Bawn, Slieve Gallen Braes and The Parting Glass. Finbar brings his own unique style to these classic Irish songs, using his romantic eloquent voice to evoke ages past. Music's Door is Finbar's ode to music, but there is a poignancy to it as well, in September 2022, he recorded this duet with his friend, 'Jump The Gun' singer Roy Taylor to raise awareness for MND which Roy was suffering from. Sadly he died in June 2023.

September Said Goodbye is an emotional cry for a lost loved one in the 9/11 tragedy. The mood takes an upbeat turn with Wild Horses, a joyful and carefree instrumental, and Blue Jewel In The Sky, a song Finbar released in 2020 with his daughter Aine Furey, alerting us to the impending horrors of climate change. Finbar draws inspiration from the world around him. His passion for music and the plight of the underdog has always underscored his work. He has honed a talent for finding the soul of a person, a place or a time through his music. 'Moments In Time' reflects the artist looking back at the vagaries of life, completing the album with the timeless The Parting Glass.

However, he is also looking forward, emboldened by his music he embraces and celebrates life, and most of all, love.

30 Jahre nach seinem Boygroup-Senkrechtstart mit der 90er-Sensationsband Caught In The Act , fünf Jahre nach den ersten Soloerfolgen mit " Egal, was andere sagen " und dem #1-Auftaktalbum "Kopf aus, Herz an" steht Eloy de Jong mit seinem ultimativen Best-of-Album in den Startlöchern: " Viel mehr als das Beste " erscheint am 13. Oktober! Mit gleich 13 Bonustiteln und doppelt so vielen Meilensteinen aus den letzten Jahren vereint es tatsächlich sehr viel mehr als das Beste ?

Eloy de Jong hat dieses Jahr so einiges zu feiern! 50. Geburtstag, 30 Jahre Bühnenjubiläum und vor allem fünf Jahre ganz oben als Solokünstler, der nach seinen ikonischen 90er-Erfolgen nun auch ein paar der größten Hits der jüngeren Popschlagergeschichte verbuchen kann!

Zum fünften Jahrestag seines Durchbruchs mit der Sensations-Single "Egal, was andere sagen" präsentiert der sympathische Musiker aus den Niederlanden sein ultimatives Best-of-Album, für das er insgesamt gleich 13 Bonustitel eingesungen hat - "Viel mehr als das Beste"!

Tear Gas wurde 2009 veröffentlicht und ist das vierte und wohl bemerkenswerteste Studioalbum von The Jacka. Das 19- Track-Album erreicht Platz 93 der Billboard Top 200 und ist vollgepackt mit Features aus der Bay Area und nationalen Legenden wie Andre Nickatina, Matt Blaque, E-40, Mistah F.A. B., Cellski, Zion I, AP.9 , Dubb 20, J. Stalin, Devin The Dude, Paul Wall, Masspike Miles, Planet Asia, Cormega, Ampichino und Freeway. Das Album enthält die Hitsingles „All Over Me feat. Matt Blaque“ und „Glamorous Lifestyles feat. Andre
Nickatina“.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Limitierte Auflage Neon Violet Vinyl! Kari Faux ist nicht zu bremsen. Die aus Arkansas stammende Künstlerin kehrt mit ihrem dritten Album REAL B*TCHES DON'T DIE! zurück, einer 12-Track-Ode an ihre Südstaaten-Wurzeln. Die LP verwebt Karis knackige Produktion mit ihrem lässigen und herrischen Flow, gleitet mit Leichtigkeit durch ihre Dirty South-Wurzeln und verweist auf Outkast und UGK als Einflüsse, während die Femcee ihre Macht behauptet. Die Rapperin und Singer-Songwriterin hält den regionalen Vibe mit ihrer unverschämt dominanten Energie im Herzen ihres neuesten Werks authentisch. Karis Exzentrik wurde auf ihrem 2020 erschienenen Album Lowkey Superstar hervorgehoben, auf dem sie die Hörer mit ihrem verführerischen, aus Arkansas stammenden Akzent und ihren schwungvollen Arrangements faszinierte. Auf REAL B*TCHES DON'T DIE! hat sich Karis einzigartiger Blick auf die Welt und ihre Vision nur noch erweitert, was die Künstlerin auf die Verfeinerung ihres Handwerks zurückführt. "Lowkey Superstar felt very Southern - it was me getting super-immersed back into southern rap and gospel music," sagt sie und fährt fort "Since I've been in this space for over two years now, it's like, Let me keep refining this and making it better." In der gegenwärtigen Hip-Hop-Landschaft stehen weibliche Rapperinnen unangefochten an der Spitze. Methodisch in ihrer Herangehensweise an die Musik - und selbstbewusst in ihrem Ansatz, authentisch zu leben - fühlt sich Kari in der wachsenden Wiederauferstehung von Frauen im Rap zu Hause. Auf REAL B*TCHES DON'T DIE! erinnert Kari Faux die Hörer an eine unbestreitbare Wahrheit: Der Süden hat etwas zu sagen.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Viertes Album der griechischen Power/Prog Metal Band. Mitte der 90er Jahre gegründet, liefern Fortress Under Siege aus Athen Power/Prog Metal, der traditionellen Heavy Metal mit technischer und melodischer Power auf höchstem Niveau verbindet. 1996 gehörten FUS zu den ersten griechischen Bands die Power Metal mit Prog verbanden. Seitdem wurden 3 Alben veröffentlicht: "The Mortal Flesh of Love" (2011), "Phoenix Rising" (2014), "Atlantis" (2020). . "Envy", ihr bisher kraftvollstes Album, bietet modernen Power Metall, ohne die Verbindung zu ihrer Vergangenheit zu verlieren. Der Lyrics bieten wieder eine große Vielfalt, die sich mit sozialen, historischen, Science-Fiction- und mythologischen Themen befasst. Ein Original-Meisterwerk von Ioannis Koutrikas ziert das Cover der neuen Platte, eine Allegorie des Neids. Nachdem sie die Bühne mit Bands wie Accept, Hammerfall, Guano Apes, Serious Black und anderen geteilt haben, werden sie bald wieder auf Tour gehen. Das Power-Prog-Metal-Abenteuer geht weiter.

Since 2011, Mike"s been a Drag City stalwart, first with Sic Alps, then as a solo and with The Peacers - but Mike "The Mighty Flashlight" Fellows has been a behind-the-scenes figure at Drag City since the early early days, playing live and on record with Royal Trux, Silver Jews and Will Oldham. Mike D"s music, in all phases, takes the form of a next-phase roots-pop: soaked in the traditional waters of rock and roll and passed through a variety of after-punk sonic sieves, highlighted with DIY and lo-fi values, and making a jolly hallucinatory racket, at that! He prefers a particular density of obtuse angles colliding sweet and hot noise, an arrangement he has perfected over all his Sic Alps/solo/The Peacers years; his innate understanding of the mechanics of a pop song wends purposefully through the junk-strewn landscape, sharing secrets with cipher in hand. Playing in this cracked kingdom of sound/garden of verse, Mighty Flashlight alternately accents and balances Mike"s eccentricities with his playing and knob-spinning - and with the Flashlight shining bright upon him, Donovan"s serpentine path becomes ever so much more elastic, heightened from line to line, change to change, its motility creating different shapes in our ears. Mighty"s own kind of stereo imagining informs Donovan"s smoky subterranea with additional depth of field, while still allowing all the wayward details within the arrangement to diverge as one. Mike and Mighty wind it all together: art punk utterance and top 40 radio junk of yore, the primitivity that formed recorded music in its youth, honkytonk romanticism, liminal chamber-folk and ever-present disassociated psychedelia, transformed via self-medication into a gleeful, extramusical ennui while giving the listener impetus to sing along with Mike"s patented unlikely combos of melody and lyric.

The dual forces of shadow and light, despair and hope, frustration and catharsis are at play in the music of Cupid & Psyche, the Los Angeles-based indie rock duo of Michael Vidal and Juan Velasquez. First gaining recognition in the late aughts as members of the punk band Abe Vigoda, whose 2010 album Crush was named one of the "Best 50 Albums of the 2010s" by Pitchfork, the two have reunited as collaborators for the first time in a decade. Cathartic jam sessions would birth the emotionally resonant songs that appear on their debut album, Romantic Music. Though they pull from a wide array of `80s and `90s influences, Cupid & Psyche bring together these disparate moods and genres through their own esoteric lens on Romantic Music_making for a singular sound that at once feels familiar and alluringly hypnotic. Listeners will detect the gloom of post-punk and goth, the haziness of dream-pop and shoegaze, the bittersweet guitar melodies of second-wave emo, and the manic electronic rhythms of trip-hop and big beat. The immersive soundscapes on Romantic Music are sometimes agitated and driving, while other times ethereal and transcendent. This duality matches the album's lyrics of looking for a divine escape from the grim realities of existence, as well as the darkest parts of one's psyche. "The thesis of the album is trying to transcend the limits of life and the struggle therein," Vidal says. "There's a lot of lyrics about feeling trapped or frustrated, and then trying to find a way out. There's a lot of times I sing of hope and grasping towards love. But maybe in trying to escape, you take the wrong door, be it substance abuse or other vices." Now as Cupid & Psyche, Vidal and Velasquez return to a friendship that creatively feels like home_except this time, with more experience, self-knowledge, and less pressure to make anything other than the music that emerges naturally. The LP's title Romantic Music is tongue-in-cheek, since there are no love songs proper on the project, and the phrase itself can imply a kind of light listening. But it befits that deep bond that the members have, as friends who understand and empathize with each other's worst, so they're capable of bringing out each other's best.

ON THORNS I LAY sind griechische Titanen. Während ihre Kollegen von Rotting Christ, Septic Flesh und Nightfall eher dem symphonischen und schwarzen Metal zugeneigt waren, setzte die Band aus Athen auf ihrem Debüt von 1994 auf einen Hauch von Gothic. Das macht Sinn, schließlich sind sie nach einem Sonett von Shakespeare benannt.

ON THORNS I LAY haben bisher 9 Alben veröffentlicht, darunter Orama, Crystal Tears, Aegean Sorrow und Threnos, die großartige Kritiken erhielten (Scream Norwegen, Album des Monats, Inferno Finnland 5/5, Metal Storm Top 5 Alben des Jahres 2020 und viele andere...). Sie teilten die Bühne mit großartigen Bands wie Dream Theater, In Flames, Anathema, Amorphis, Katatonia, Rotting Christ, Tiamat, The Gathering, Satyricon, Septic Flesh und vielen mehr.

Ihr Musikstil ist purer, atmosphärischer, melodischer Doom Death Metal!

Das letzte Album "Threnos" folgte dem Pfad des atmosphärischen, aber dennoch emotionalen Doom Death Metal - eine Hommage an die Wurzeln und ein weiteres Mal das Markenzeichen der Band. ON THORNS I LAY erzählen weiterhin dichte Geschichten von Verlust und Verzweiflung.

Dreißig Jahre und zehn Alben später veröffentlichen ON THORNS I LAY nun ihr erstes Album bei Season of Mist. Ihr selbstbetitelter Longplayer treibt den Death-Doom in epische Höhen und wirft einen neuen, gotischen Glanz auf die muskulösen Riffs und den höhlenartigen Gesang, der an die seligen Tage des Peaceville-Death-Dooms der frühen 90er Jahre erinnert.

ON THORNS I LAY sind griechische Titanen. Während ihre Kollegen von Rotting Christ, Septic Flesh und Nightfall eher dem symphonischen und schwarzen Metal zugeneigt waren, setzte die Band aus Athen auf ihrem Debüt von 1994 auf einen Hauch von Gothic. Das macht Sinn, schließlich sind sie nach einem Sonett von Shakespeare benannt.

ON THORNS I LAY haben bisher 9 Alben veröffentlicht, darunter Orama, Crystal Tears, Aegean Sorrow und Threnos, die großartige Kritiken erhielten (Scream Norwegen, Album des Monats, Inferno Finnland 5/5, Metal Storm Top 5 Alben des Jahres 2020 und viele andere...). Sie teilten die Bühne mit großartigen Bands wie Dream Theater, In Flames, Anathema, Amorphis, Katatonia, Rotting Christ, Tiamat, The Gathering, Satyricon, Septic Flesh und vielen mehr.

Ihr Musikstil ist purer, atmosphärischer, melodischer Doom Death Metal!

Das letzte Album "Threnos" folgte dem Pfad des atmosphärischen, aber dennoch emotionalen Doom Death Metal - eine Hommage an die Wurzeln und ein weiteres Mal das Markenzeichen der Band. ON THORNS I LAY erzählen weiterhin dichte Geschichten von Verlust und Verzweiflung.

Dreißig Jahre und zehn Alben später veröffentlichen ON THORNS I LAY nun ihr erstes Album bei Season of Mist. Ihr selbstbetitelter Longplayer treibt den Death-Doom in epische Höhen und wirft einen neuen, gotischen Glanz auf die muskulösen Riffs und den höhlenartigen Gesang, der an die seligen Tage des Peaceville-Death-Dooms der frühen 90er Jahre erinnert.

World-renowned Tibetan singer Yungchen Lhamo makes her finest offering yet. A collection of songs, prayers and mantras devoted to spiritual awakening, unconditional love and compassion for all beings, Lhamo's seventh album finds her otherworldly voice framed by an array of western and global instruments. From quiet, shimmering beauty to rhythmic tribal trance, this is sound healing for the world.

A 10-year anniversary product suite of Chvrche’s 2013 debut album including 2LP edition with bespoke die-cut sleeve & 2CD inc. booklet. The album originally charted at number 9 in the UK & is now gold status with over 170K UK sales – All formats feature 10th anniversary artwork & the album has been newly remastered by Gavin Lurrsen in LA. The band have just come off tour with Coldplay & are playing the Other Stage at this year’s Glastonbury festival.

GER SMILE zeigen mit ihrem hervorragenden Debut PRICE OF PROGRESS leichtfüßig auf, dass Post Punk im Jahre 2023 noch immer erfrischend klingen kann. Sie nehmen ihre Referenzen nicht als Dogma, bleiben experimentell, eigensinnig. Erzählerisch, eingängig, rough und anschmiegsam verschmelzen dabei die feinsinnigen, poetischen Beobachtungen von Sängerin Rubee True Fegan (USA) mit dem versierten Sound einer Band, die von Produzent Olaf Opal genau dahin gebracht wurde, wo sie hingehört: an den Startblock innovativer, kluger und sinnlicher Gitarrenmusik. In PRICE OF PROGRESS manifestiert sich das Zusammenspiel aus musikalischem Sturm und Drang und der Reife einer reflektierten Erzählperspektive. Was hier entstanden ist, klingt nun, 2023, in seiner jugendlichen Frische durchaus nach einem Debut - gleichzeitig aber nach dem Werk einer erfahrenen, über lange Zeit gewachsenen Band. Nur deutsch klingt es nicht, was sicher im Wesen von Sängerin Rubees True Fegans Heimat Albuquerque (New Mexico) begründet liegt, gleichsam aber in der Vielseitigkeit, die sich SMILE erlauben - und ihrer einhergehenden Virtuosität an den Instrumenten. SMILE versuchen sich dabei - einem Post-Punk britischer Machart folgend - durchaus in homogener Geradlinigkeit (Herrengedeck), lassen Kühle zu (Machine Dreaming) und folgen einem düsteren Ernst (Säge). Diese Facetten aber vermengen sich mit einer heiteren Experimentierfreude (Stalemate, Produce, Hungry Ghosts), mit Humor (Doohickey), mit verträumter Beschwingtheit (Commuter) und Genresprengender Pop-Af finität (Protection). So zeigt sich dieses stilsichere Album in einer Vielseitigkeit, die heute selten zu finden ist - und klingt trotzdem wie aus einem Guss. Auch die ersten drei Singles zeigen gut das Panorama, das SMILE mit ihrem Debut aufmachen: Dog In The Manger erinnert zunächst an Talk Talks Happiness Is Easy, wechselt aber nach dem Drum-Intro schnell die Spur. Der Opener der Platte stellt Rubee als Sängerin vor, die, trotz einer gewissen Gelassenheit in der Performance, von Wut und Traurigkeit getrieben ist. Der Text ist eine politische Reflexion, ausgelöst vom gekippten Abtreibungsrecht in den USA, das sich mit einer alten griechischen Fabel verbindet. So startet das Album mit einem Rätsel und offenbart, das Musik noch immer eine Waffe sein kann - aus Sound, Herz und Verstand. In Doohickey, einem der beschwingtesten Songs der Platte, kramt Rubee in ihrer Erinnerung, besucht ihre verstorbene Großmutter, eine unfreundliche alte Frau, die in ihrem Haus hortete, was sie fand. So entsteht eine Kurzgeschichte über die weirdest person alive und zeigt SMILE als Band, in der Text und Musik nicht konkurrieren, sondern stets Symbiose feiern. Zackig und temporeich wie das erzählte Leben kommen auch Gitarren und Rhythmussektion daher, finden zu einer soghaften Dynamik, ohne mit billigen Sing-alongs zu arbeiten. Protection, die dritte Single, ist wohl das eigensinnigste Stück der Platte, erzeugt, gesanglich pendelnd zwischen Blood Orange und Bands wie Siouxsie & The Banshees oder Bow Wow Wow, eine breite und intensive Palette, bringt einen The Fall-artigen Witz ein und wird zwischen den vermittelten Gefühlen zur Achterbahnfahrt. Das Stück schrieb Gitarrist Lars Fritzsche, mit dem Ziel, einen klassischen Hit zu schaffen (gelungen, wenn auch nicht klassisch!) - und schuf in der Offenheit des Songs dabei eine perfekte Fläche, die nun gleich mehrere Stimmen der Band versammelt. Im Zentrum: Rubee, die hier einen Text performt, der zwischen Traum und Cut-up ihren poetischen Glanz scheinen lässt. Die aus der Hüfte geschüttelte Dramaturgie ist dabei Paradebeispiel für die Innovation einer der spannendsten neuen Gitarrenbands, die nun auf dem Indielabel Siluh (Wien) eine Heimat zwischen Köln, Bonn und Albuquerque gefunden hat. Wahnsinn! (Hendrik Otremba)

ENG SMILE IS A POST-PUNK BAND WITH A SINGER, WHO PREFERS NOT TO SING. INSTEAD, SHE INTONES HER POETIC STORIES SPIKED WITH PERSONAL REFLECTIONS. With their excellent debut PRICE OF PROGRESS, SMILE light-footedly show that post punk can still sound refreshing in 2023. They don't take their references as dogma, remain experimental, stubborn. Narrative, catchy, rough and cuddly, the subtle, poetic observations of singer Rubee True Fegan (USA) merge with the accomplished sound of a band that producer Olaf Opal has put exactly where it belongs: on the starting block of innovative, clever and sensual guitar music. In PRICE OF PROGRESS, the interplay of musical Sturm und Drang and the maturity of a reflective narrative perspective manifests itself. Ltd pink vinyl LP!

GER SMILE zeigen mit ihrem hervorragenden Debut PRICE OF PROGRESS leichtfüßig auf, dass Post Punk im Jahre 2023 noch immer erfrischend klingen kann. Sie nehmen ihre Referenzen nicht als Dogma, bleiben experimentell, eigensinnig. Erzählerisch, eingängig, rough und anschmiegsam verschmelzen dabei die feinsinnigen, poetischen Beobachtungen von Sängerin Rubee True Fegan (USA) mit dem versierten Sound einer Band, die von Produzent Olaf Opal genau dahin gebracht wurde, wo sie hingehört: an den Startblock innovativer, kluger und sinnlicher Gitarrenmusik. In PRICE OF PROGRESS manifestiert sich das Zusammenspiel aus musikalischem Sturm und Drang und der Reife einer reflektierten Erzählperspektive. Was hier entstanden ist, klingt nun, 2023, in seiner jugendlichen Frische durchaus nach einem Debut - gleichzeitig aber nach dem Werk einer erfahrenen, über lange Zeit gewachsenen Band. Nur deutsch klingt es nicht, was sicher im Wesen von Sängerin Rubees True Fegans Heimat Albuquerque (New Mexico) begründet liegt, gleichsam aber in der Vielseitigkeit, die sich SMILE erlauben - und ihrer einhergehenden Virtuosität an den Instrumenten. SMILE versuchen sich dabei - einem Post-Punk britischer Machart folgend - durchaus in homogener Geradlinigkeit (Herrengedeck), lassen Kühle zu (Machine Dreaming) und folgen einem düsteren Ernst (Säge). Diese Facetten aber vermengen sich mit einer heiteren Experimentierfreude (Stalemate, Produce, Hungry Ghosts), mit Humor (Doohickey), mit verträumter Beschwingtheit (Commuter) und Genresprengender Pop-Af finität (Protection). So zeigt sich dieses stilsichere Album in einer Vielseitigkeit, die heute selten zu finden ist - und klingt trotzdem wie aus einem Guss. Auch die ersten drei Singles zeigen gut das Panorama, das SMILE mit ihrem Debut aufmachen: Dog In The Manger erinnert zunächst an Talk Talks Happiness Is Easy, wechselt aber nach dem Drum-Intro schnell die Spur. Der Opener der Platte stellt Rubee als Sängerin vor, die, trotz einer gewissen Gelassenheit in der Performance, von Wut und Traurigkeit getrieben ist. Der Text ist eine politische Reflexion, ausgelöst vom gekippten Abtreibungsrecht in den USA, das sich mit einer alten griechischen Fabel verbindet. So startet das Album mit einem Rätsel und offenbart, das Musik noch immer eine Waffe sein kann - aus Sound, Herz und Verstand. In Doohickey, einem der beschwingtesten Songs der Platte, kramt Rubee in ihrer Erinnerung, besucht ihre verstorbene Großmutter, eine unfreundliche alte Frau, die in ihrem Haus hortete, was sie fand. So entsteht eine Kurzgeschichte über die weirdest person alive und zeigt SMILE als Band, in der Text und Musik nicht konkurrieren, sondern stets Symbiose feiern. Zackig und temporeich wie das erzählte Leben kommen auch Gitarren und Rhythmussektion daher, finden zu einer soghaften Dynamik, ohne mit billigen Sing-alongs zu arbeiten. Protection, die dritte Single, ist wohl das eigensinnigste Stück der Platte, erzeugt, gesanglich pendelnd zwischen Blood Orange und Bands wie Siouxsie & The Banshees oder Bow Wow Wow, eine breite und intensive Palette, bringt einen The Fall-artigen Witz ein und wird zwischen den vermittelten Gefühlen zur Achterbahnfahrt. Das Stück schrieb Gitarrist Lars Fritzsche, mit dem Ziel, einen klassischen Hit zu schaffen (gelungen, wenn auch nicht klassisch!) - und schuf in der Offenheit des Songs dabei eine perfekte Fläche, die nun gleich mehrere Stimmen der Band versammelt. Im Zentrum: Rubee, die hier einen Text performt, der zwischen Traum und Cut-up ihren poetischen Glanz scheinen lässt. Die aus der Hüfte geschüttelte Dramaturgie ist dabei Paradebeispiel für die Innovation einer der spannendsten neuen Gitarrenbands, die nun auf dem Indielabel Siluh (Wien) eine Heimat zwischen Köln, Bonn und Albuquerque gefunden hat. Wahnsinn! (Hendrik Otremba)

ENG SMILE IS A POST-PUNK BAND WITH A SINGER, WHO PREFERS NOT TO SING. INSTEAD, SHE INTONES HER POETIC STORIES SPIKED WITH PERSONAL REFLECTIONS. With their excellent debut PRICE OF PROGRESS, SMILE light-footedly show that post punk can still sound refreshing in 2023. They don't take their references as dogma, remain experimental, stubborn. Narrative, catchy, rough and cuddly, the subtle, poetic observations of singer Rubee True Fegan (USA) merge with the accomplished sound of a band that producer Olaf Opal has put exactly where it belongs: on the starting block of innovative, clever and sensual guitar music. In PRICE OF PROGRESS, the interplay of musical Sturm und Drang and the maturity of a reflective narrative perspective manifests itself. Ltd pink vinyl LP!

Im Anschluss an ihre zweite LP "The Rest Is Distraction" hat die Band auf "Die Leere" einige der atonalen, lärmenden Elemente ihres Sounds zurückgenommen und durch eine intensive Sparsamkeit, gläserne Klarheit und einen zusätzlichen melodischen Touch ersetzt. Die für die Band typischen Tribal-Drums und der treibende Bass sind immer noch vorhanden, zusammen mit verzerrten, vom Deathrock beeinflussten, modulierten Gitarrenfiguren, die allesamt ein erfrischendes Update ihres wahrhaft experimentellen Post-Punks darstellen. "Die Leere" wurde von Girls In Synthesis produziert und gemischt. Aufgenommen wurde in London in der Gun Factory und dem S.I.C.K. Studio. Die Besetzung besteht aus John Linger (Leadgesang und Bass), James Cubit (Gesang und Gitarre) und Nicole Pinto (Schlagzeug).

Cititrax present two new releases by Cosmetics, a Vancouver-based synth wave duo formed by Nic Emm and Aja Emma in 2008. Cosmetics reappeared in 2022 after having been relatively quiet since its very memorable releases on Captured Tracks in 2010. In 2023, the band returns with a phenomenal full-length LP entitled ‘Baby’ and a 7” single entitled Pillow Talk / Tell Me (Alternate Versions). Their music is sultry, minimalist, and atmospheric, backed by lush analog synths and sparse drum machines. Aja’s seductive vocals cut through the perfectly crafted dark synthpop forming a filmlike narrative that draws us in. The ‘Baby’ LP will have you listening on repeat and the single featuring alternate versions of two songs from the album will bring you from your bedroom listening to the dance floor. Cosmetics continue the lineage of Minimal Wave into the present day.

The ‘Baby’ LP will be pressed on 160-gram ultra clear vinyl and presented in a spot-gloss LP sleeve accompanied by a photobooth strip of the band.

Recital publishes the first vinyl edition of Let the Darkness Fall, a forgotten corner from the vast discography of Suzanne Langille & Loren Connors. Joined here by David Daniell and Andrew Burnes (of the Atlanta-based group San Agustin), Darkness was recorded in the summer of 1998 on a Tascam Porta-5 in Loren and Suzanne’s Brooklyn living room, and issued the following year as a limited CD by Secretly Canadian.

The tender gloom of Let the Darkness Fall sounds like a broadcast of some private séance. The trio of guitarists here show a beautiful restraint, hovering just underneath vocalist Suzanne Langille’s ephemeral poetry. Once they hit RECORD, the sensitivity of the players melded this quartet into a sole-entity; finishing each other’s phrases in slow motion. Suzanne’s gentle voice glows through the wispy guitar shadows with a quiet determination. One could almost imagine her building a nest out of the guitar lines she’s gathered.

This collection of musicians is a precursor to the band Haunted House, a wild sort of jam-band playing the blues without playing structure. Recital continues the series of Loren Connors-related editions, stretching from his art books Wildweeds & Night of Rain, to his masterpiece solo LPs Airs & Lullaby. And Recital is equally thrilled to highlight Suzanne Langille’s mystifying command of voice and word and the intricate guitar work of Andrew Burnes and David Daniell. Come revisit the mist that filled that living room 25 years ago.

Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

DAS LETZTE KONZERT wurde 1990 veröffentlicht und markierte eine Art Abschiedsarbeit der Band. Es handelt sich um eine Aufnahme des gleichnamigen Konzerts, das im Jahr zuvor in Wien stattgefunden hat. Das Album präsentiert eine Mischung aus Live-Performances, die die charakteristische Bühnenenergie wiedergeben.

Mit ausladenden Studioalben und fesselnden Live-Shows haben Spurv in den letzten zehn Jahren einen unauslöschlichen Eindruck in der internationalen Post-Rock-Szene hinterlassen. Das norwegische Sextett hat bisher drei herausragende Alben veröffentlicht, aber ihr neues Album Brefjære eröffnet eine völlig neue Dimension in Bezug auf Komposition, Musikalität, Umfang und Produktion. Brefjære verbindet die orchestrale Erhabenheit von MONO mit den wehmütigen Texturen von This Will Destroy You und der skandinavischen Mystik von Sigur Ro's. Ein Oratorium für eine verzweifelte Welt, mit dem Spurv die Grenzen von Symphonic Rock und Post-Rock neu definieren und Schönheit und Trost in der Schnittmenge von Zeit, Natur, Geschichte und Menschlichkeit finden.Als Sammlung von vier Monologen ist Brefjære weniger eine Konversation im Sinne eines Satzaustauschs als vielmehr eine Konversation im akademischen Sinne, bei der das Gespräch im Austausch von Ideen stattfindet. In acht Liedern halten die vier Figuren, die von Chören oder Solisten dargestellt werden, jeweils einen eigenen Monolog in norwegischer Sprache, in dem sie in reicher Poesie sowohl ihre eigene Realität als auch ihre wechselseitigen Beziehungen kommentieren. Von der Zerbrechlichkeit der Motte, die mit dem Wind tanzt, bis zur Birke, die ihren Durst in den Tiefen des Berges löscht, wird ein dynamisches Gefühl für sich verändernde Zeitskalen und Beziehungen vermittelt, das sich in der Musik widerspiegelt.Von seiner makellosen Konzeption während eines ahnungslosen Blicks aus dem Fenster bis hin zum umfassenden Entstehungsprozess ist Brefjære ein Kunstwerk, das das Zeitliche und das Ewige sowohl in der Musik als auch in der Poesie zusammenbringt und die universelle Wahrheit offenbart, dass wir alle gleichermaßen ewig und ebenso vergänglich sind. Von den bescheidenen Solo-Gesangsdarbietungen gegen die riesigen dröhnenden Noten von "Under himmelhelvingen" und "A° vente er a° endre" bis zu den herrlichen himmlischen Melodien von "Som skyer" und "Til en ny va°r" berührt Brefjære flüchtig und ewig jene unvergängliche Qualität, die Spurv mit ihrer Musik unbedingt erreichen wollen. Eine klangliche Saga für die Ewigkeit. Ltd Single Gold Colour (XXI Edition), Gatefold sleeve printed on mat all black-died special fibrous paper with a gold foil embossing.

Die Musik von Arabrot ist zeitlos. Gerade wenn man glaubt, einen Einfluss oder Bezugspunkt ausgemacht zu haben, entzieht sie sich dem Zugriff, dreht und wendet sich in unerwartete Richtungen und formt einen Sound, der wirklich einzigartig ist. In den letzten zwei Jahrzehnten hat sich Arabrot durch mehrere Iterationen gewandelt; sie haben verschiedene Formen und Größen ausprobiert, verschiedene Stimmungen aufgenommen und die Außengrenzen verschiedener Genres erkundet und klangen dabei nie weniger als ganz sie selbst. 2023 erscheint ihr zehntes Album, Of Darkness and Light - ein Grund zum Feiern. Kjetil Nernes war der Kern und die Konstante von Arabrot, und seit einiger Zeit schlägt neben ihm ein weiteres Herz im perfekten Gleichklang. Karin Park, eine Partnerin im Leben, in der Liebe und in der Musik, trägt seit zehn Jahren in unterschiedlichem Maße zu Arabrot bei, und auf Of Darkness and Light ist ihre Präsenz sowohl gefestigt als auch verstärkt. Die beiden leben zusammen in einer Kirche in dem schwedischen Dorf, in dem Karin aufgewachsen ist, und haben sich ihr eigenes Reich geschaffen, in dem sie ihre Kinder, ihr Handwerk und ihre kreativen Visionen pflegen. Of Darkness and Light brauchte einige Zeit, um Gestalt anzunehmen. Der Lebenslauf von Produzent Alain Johannes liest sich wie ein Who's Who der Rockmusik. Er ist selbst ein versierter Musiker (er spielte mit PJ Harvey, Queens of the Stone Age und Them Crooked Vultures und hatte auch seine eigene Band Eleven) und verfügt über langjährige Erfahrung als Produzent. Es war seine Arbeit an Mark Lanegans Album Straight Songs of Sorrow aus dem Jahr 2020, die Kjetil auf ihn aufmerksam machte, bevor Kismet eingriff und die beiden zusammenbrachte. Alain erklärte, dass "mein Bauchgefühl immer richtig ist" und zog im August 2022 ins Djura Missionshus, auch bekannt als die Kirche von A°rabrot, um mit der Arbeit zu beginnen. Das Trio verbrachte mehrere Wochen damit, die Arbeit mit dem Familienleben zu verbinden und die Puzzleteile zusammenzusetzen, aus denen sich Of Darkness and Light zusammensetzt - ihr erstes Album, das komplett in der Kirche aufgenommen wurde. Das Ergebnis ist ein echtes Rockalbum - unter der elektrisierenden Fassade aus flirrenden Synthesizern und raffiniertem Glitzern schlägt ein schweres Rockherz. Die Worte werden dem unbändigen, konkupiszenten Verlangen kaum gerecht, das sich hinter ihrem Schlachtruf We Want Blood verbirgt - einem hymnischen, mit den Füßen stampfenden Vorstoß, der in der Mitte des Albums liegt. An anderer Stelle stehen düstere Mörderballaden neben feierlichen "Fuck Yeah"-Momenten der Freude; ihre reduzierte Herangehensweise an die Instrumentierung schmälert nicht den Reichtum ihres Sounds. Für Freunde von SWANS, KILLING JOKE, WOVENHAND, CHELSEA WOLFE, THE MELVINS, CAPTAIN BEEFHEART, NINE INCH NAILS Ltd Pink Single Colour LP (We Want Blood Edition), Gatefold Cover

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

First 7'' release from Dressel Amorosi, the duo of Federico Amorosi (bass) and Valerio Lombardozzi (keys, synth & programming). Halfway between cosmic-funk and Italo-disco, the two tracks on this release are infused with the fusion- and electronic-oriented spirit of late '70s and early '80s Italian soundtracks and library music.

"Synthporn", on side A, is a midtempo instrumental with a voluptuous electronic feel, a mixture of glamour and retrofuturism driven by Amorosi's pulsating bass and Lombardozzi's elegant oscillators.

"Cargo", on the flip side, brings infectious '80s dance vibes to the table with a warm slice of synth-pop that can fit any scenario and filmic mood, from action to comedy.

BMG are delighted to announce the Double LP release of Uriah Heep's, Your Turn To Remember: The Definitive Anthology 1970-1990 pressed on limited edition yellow vinyl. Evoking an era when prog, hard rock and heavy metal co-existed in an era of glorious, boundary-breaking music, the songs trace the evolution of Heep from inexperienced studio musicians with everything to prove to bona fide, limo inhabiting rock stars. The Anthology cherry picks tracks from some of Heep's most celebrated albums including Demons and Wizards, Look At Yourself, Return To Fantasy, Equator, Conquest and The Magician's Birthday.

Stell dir vor, NITZER EBB, FRONT 242, NERO und THE PRODIGY spielen um Mitternacht in einem viktorianischen Friedhof, beleuchtet vom ultravioletten Mondlicht. DEAD LIGHTS präsentiert moderne EBM, geformt zu eingängigen Songs mit chirurgischer Präzision. Basslastige, summende Anziehungskraft mit dröhnenden, aber groovigen, mechanischen Rhythmen. All das wird geliefert mit einem 80er-Jahre UK Synth-Pop-Glamgoth-Flair und einer spürbaren Dringlichkeit. Die 11 Songs auf 'Glitterspit' sind gefüllt mit süchtig machenden Synth-Basslines und rohen Klängen, viralen Vocals und brutalen, industriellen Dance-Beats für die Tanzfläche, deine Kopfhörer und dein Wohnzimmer. Textlich tauchen DEAD LIGHTS in die dunklere Seite des Menschen ein und zeigen das Leben im Zeitalter der sozialen Medien mit bissigem Witz und poetischem Flair auf. Bereite dich auf Lieder über Verlust, Lust, Drogen und Tod vor. Mit 'Glitterspit' präsentiert DEAD LIGHTS eine viszerale und schlüpfrige Mischung aus druckvollen Dance-Beats, monumentalen Synth-Basslines und eingängigem Gesang. Das internationale Duo bietet energiegeladene, dunkle elektronische Songs mit mitreißenden Grooves, düsteren Industrial-Popsongs, die dafür gemacht sind, Tanzflächen in einer dystopischen Welt zu füllen.

Das Electro / Synthwave - Trio LSSNS aus Leipzig und Helsinki nimmt nach der 'Tempest EP' und tollen Collabs u.a. mit Adam Port oder Magdalena endlich den Faden wieder auf. Im Oktober erscheint das erste Full-Lenght-Album 'Transit'.

'Transit' erzählt in 10 düster-flimmernden Synthiepop-Songs vom Ausharren im Ungewissen, von Brüchen, von Reisen ohne Ziel. Aber auch von der Schönheit, die sich irgendwo in der Dunkelheit finden lässt.

Soul und Weihnachten gehören zusammen wie Lebkuchen und Zuckerguss. Raphael Wressnig veröffentlicht ein Weihnachtsalbum, welches in dieselbe Kerbe schlägt. So begibt sich Wressnig in der Boogaloo Version von „Santa Claus is Coming to Town” auf eine flotte Fahrt entlang des Jimmy-Smith-Highways und das traditionelle Weihnachtslied „Leise rieselt der Schnee” kommt als Soul-Ballade via Muscle Shoals in Alabama auf den Plattenteller! Weil die Quintessenz des Funk in New Orleans liegt, schickt das Christkind den „Little Drummer Boy” zu einer „Crawfish Fiesta” mit Professor Longhair und Eddie Bo.

Weihnachten macht mit Groove und New Orleans-Funk deutlich mehr Spaß: Raphael Wressnig an der WeihnachtsOrgel und das auserlesene Ensemble zeigen wie viel Soul und Groove in Weihnachtsmusik stecken kann!

Soul and Christmas belong together like gingerbread and sugar glaze. Raphael Wressnig releases a Christmas album like this. In the boogaloo version of „Santa Claus is Coming to Town“, Wressnig takes a jaunty ride along the Jimmy Smith highway, and the traditional Christmas carol „Leise rieselt der Schnee“ (The snow is falling softly) hits the turntable as a soul ballad via Muscle Shoals in Alabama! Because the quintessence of funk resides in New Orleans, the Christ Child sends the „Little Drummer Boy“ to a „Crawfish Fiesta“ with Professor Longhair and Eddie Bo.

Christmas is much more fun with groove and New Orleans funk: Raphael Wressnig on the Christmas organ and the superb ensemble show how much soul and groove can be found in Christmas music!

FFF joins Straight Up Breakbeat with two slabs of hybrid hardcore! Connecting the dots between original jungle, footwork, rave, and then some, FFF taps into his multi-faceted musical history with two tracks aimed straight at the floor. Modern day Dance Mania !!
Dead Man's Chest - 5/5 “Sick, always got time for some rolling bongo jungle!”

Sherelle - “Sounding Big!”
Settle Down - "These are silly good"
Jay Cunning - 5/5 “LOVE IT! Full support from me!”
Louise Plus One & Simon Hughesee (Distant Planet) - 5/5 “A great release, both great tracks!”
Further support from Gremlinz, Mister Shifter, Yorobi, Jaise, Esc, Glowkid & more.

After releasing their debut album Red Forest in 2022, a stint at the Trans Musicales in Rennes and on legendary American radio station

KEXP confirmed the delicious identity of a corrosive sound that has hypnotised many. Sarakiniko is his name. It's both the name of a lunar-like beach in Greece and, without realising it, the translation of buckwheat, the emblematic plant of Brittany, where he comes from. Sarakiniko is a man, Yann Canevet (Venera 4, Future, Maria False), who writes, composes and records the music that comes from his dreams and his aesthetic vision of a magnificent world in disuse. Having first transported us into the deep forests of her heart-rending, sentimental music, Sarakiniko now unfurls her roots in an even more personal soundscape. Sophisticated, demanding music carved out of a tree trunk with chisels and chisels. A slightly grimy, slightly disturbing pop that he himself describes as "mud-pop", but which ultimately comes across as fearsomely massive shoegaze, with delightful echoes of Andrew Weatherall's productions. His second album, Dehors, takes us back to an inner child overwhelmed by his own élan vital. A naïve child who justly cries out upon his arrival on Earth. Tender, luminous and terribly fatalistic, this new stage in Sarakiniko's journey leaves us hanging in poetic and abrupt lyrics inherchildhoodlanguage,toresonateevenmoreprimal.Powerfulwords,headyrefrainstobesunguntiltheendoftime.

Als 2017 Ilgen-Nurs Solo-EP No Emotions erschien, war die junge Songwriterin schnell in aller Munde. Ihr damaliger Slacker-Sound wurde als die neue Coolness im deutschen Indie-Pop gefeiert, es folgte eine Europa-Tour und Supports für Bloc Partys Kele Okereke und Tocotronic. Für Ilgen wurde ein Traum wahr, den sie von Kindheitstagen an geträumt hatte: Mit ihren eigenen Songs auf die Bühne!

Sie gewann Musikpreise, wurde zu Features eingeladen, ihre Songs wurden für erfolgreiche Netflix-Produktionen genutzt. Ilgen brach zwei Studiengänge ab, ging von Hamburg nach Berlin. 2019 kam dann ihr Debut Power Nap raus, das sie gleich auf dem eigens dafür gegründeten gleichnamigen Label selbst veröffentlichte. Die Kritik reagierte begeistert.

2022 dann also: Mit einer Handvoll Songs im Gepäck ging Ilgen schließlich mit ihrem Wahlproduzenten Jon Joseph in dessen Studio in San Pedro. Maximilian Barth, ihr neuer Gitarrist, flog über den großen Teich, Sessionmusiker wurden eingeladen. IT‘S ALL HAPPENING nun, das Resultat dieser Zeit, zeigt eine neue Ilgen-Nur, die herausgefunden hat, wer sie sein will, wer sie ist. Es klingt warm und melancholisch, gibt ihrem dunklen Timbre genau die Fläche, die
es verlangt. Und zeugt von gewonnener, hörbarer Reife.

Wax Legs reihen sich in die aufregend wachsende Riege der internationalen Delinquenten von Bretford Records ein und veröffentlichen mit "Horny Tears From Hell" eine Fusion von Klängen bedrohlicher Genres, die auf eine dunkle, eindringliche und liebenswerte Weise aufeinander prallen. Hardrockige, eskalierende Elektro-Riffs lassen dich zurück auf dein Kindheitssofa gleiten, die Guitar-Hero-Gitarre auf deiner Brust, während du deinen Kumpel 'Through The Fire And Flames' auf dem Schwierigkeitsgrad 'Experte' spielen hörst. Die düstere Metal-Ästhetik führt dich in die verschwitzten, urkomischen Death Pits deiner örtlichen Headbanger-Bude mit schwarzer Fassade. Wax Legs schlugen ihre Zelte im O'tool Studio vor den Toren Berlins auf, um etwas zu erschaffen, das nach musikalischer Integrität strebt. Das natürliche Brummen und Zischen des Verstärkers wird beibehalten, während unheimliche Geräusche aus Welten hinzugefügt werden, die wir nicht finden wollen

This is the first official reissue of The Candles Burning Blue’s highly appraised cult album Pearls Given To The Swine. For two decades the original CD pressing has been sought after but nearly impossible to find. Known for their violent and chaotic gigs, The Candles Burning Blue were an unconventional Gothic Rock band. Instead of romantic beauty they dealt with the harsher aspects of the darkness oozing from their own troubled lives. Even though they only released two CD-r, a split 7” and one full album, their impact on the Finnish Goth underground was a lasting one. Pearls Given To The Swine was recorded in 2000 and released in 2001 on CD, with only 500 official copies pressed. Some years later new copies appeared from shady sources, but basically the album disappeared from the face of the Earth. In 2001 the band started to work on the second album Pleasure Dome and also had some material recorded for the projected third album Abhorrence, but ceased to exist before any of this material was released. Until now. This reissue has a full length bonus disc consisting of these songs. The Candles Burning Blue had its roots firmly in Gothic Rock as performed by bands like Bauhaus, Christian Death, Virgin Prunes and The Cure, but they mixed in elements of experimentalism and art rock. Pearls Given To The Swine is a lost and found classic of Finnish Gothic Rock, and a fine example of Finnish dark culture around the turn of the millennium. Members went on to play in bands like Reverend Bizarre, The Puritan, Werwolf Lodge and Opium Warlords, but never reunited.

As for the direction of their new album, DÉCEMBRE NOIR reveal the following: "Your Sunset | My Sunrise" is the cry for inner peace set to music. A heavy heart full of tears, which threatens to plunge its bearer into the abyss at any moment. Even if this means giving up oneself, in the end only the long-awaited silence counts. It is the escape on the wings of addiction from the battlefield of never-ending depression. The approach of the band from Thuringia, Germany also reaches deep on their fifth full-time album - both lyrically and musically. This is already known from the previous records "The Renaissance Of Hope" (2020), "Autumn Kings" (2018), "Forsaken Earth" (2016) and "A Discouraged Believer" (2014). DÉCEMBRE NOIR act consistently atmospheric, gloomily tuned and open to interpretation. The underlying thoughts, emotions and intentions of the songs of the quintet are not always clearly determinable. And they don't have to be. For the nuances and forebodings set to music have a special significance in the German band's playing. What once started between doom and death metal, has developed over the years and releases to an independent, organic gloomy sound, which achieves its ominous effect space and its captivating fascination quite independently of liking or style questions. On "Your Sunset | My Sunrise", produced by HEAVEN SHALL BURN's Alexander Dietz at his Chemical Burn Studio, DÉCEMBRE NOIR again rely on melancholic as well as melodically addressed pieces that stand completely on their own and therefore captivate because they are presented so heavy, dark and atmospheric.

'Ala Mai' is the second studio album from New Zealand's dynamic metal powerhouse, Shepherds Reign. Shepherds Reign’s unique blend of music, muscle and mayhem, is a supreme listening experience crossing genres, cultures and myriads of other borders. Early press has been glowing, with a 9/10 rating from Distorted Sound, 4.5/5 from Metal Epidemic and Classic Rock mag stating "Beneath the band's groove-metal bedrock lies a capacity for world-beating melodies"

Die britische Singer-Songwriterin Holly Humberstone veröffentlicht ihr Album ”Paint My Bedroom Black”!

Das Album ist geprägt von der lyrischen und klanglichen Dualität einer Künstlerin, die zu neuen Erfahrungen und wechselnden Identitäten aufbricht.

Humberstone, die bereits für zwei Ivor Novellos nominiert wurde, 2022 den BRIT Rising Star gewann und beim BBC Sound Of 2021 den zweiten Platz belegte, ist das Herzstück ihres Handwerks, das Geschichtenerzählen. Sie ist zu einer der beliebtesten Künstlerinnen geworden, die mit ihrer unverwechselbaren Stimme und ihrem bemerkenswerten Songwriting letztes Jahr vor 5000 Fans ihre Headline-Tournee in Großbritannien beendete. Fanfavoriten wie „Scarlett“ und „Overkill“ wurden bereits über 242 Millionen Mal global gestreamt.

Das Album wird als 12” Vinyl und als CD erhältlich sein.

Trumpeter, composer and bandleader Nick Walters returns to his D.O.T. Records imprint with his majestic new album, Marine Moods. The album revives his sextet, who last appeared together on his 2019 album 'Active Imagination' (22a). This stellar collection of musicians picks things up where they left off, delivering an exquisite suite of contemporary jazz-fusion, gleaning the very best elements from afro, modal and spiritual jazz.

The debut recording by Setting, a trio comprising Nathan Bowles (solo/trio, Pelt, Black Twig Pickers); Jaime Fennelly (Mind Over Mirrors, Peeesseye); and Joe Westerlund (solo, Califone, Sylvan Esso, Jake Xerxes Fussell). Deluxe LP edition features 140g black virgin vinyl and a reverse board jacket with art by Timothy Breen. Deluxe CD edition features a gatefold jacket with art by Timothy Breen. RIYL: Popol Vuh, Brian Eno’s Ambient 4, Harmonia, The Necks. Setting, befitting its name which can be read as noun or verb, and simultaneously suggests the sun, or any star in the firmament from our earthbound perspective; a story and its surroundings, its scenic context or mise en scène; or a psychedelic experience, as in the prescription to mind one’s “set and setting” arose outdoors, uncontained and unconstrained by architecture. The group’s debut recording Shone a Rainbow Light On traverses textural, phosphorescent topography with a certified organic folk-engine. Kosmische correspondences are inevitable and valid, but also somewhat deceptive, given this meditative music’s terrestrial rootedness in the familiar natural world, more in native humus and humidity than in outer space. Fuelled by a vibratory hybrid of acoustic and electronic instrumentation, these four stately longform pieces sound like a UFO slowly sinking into a peat bog (or, as we call it in North Carolina, a pocosin). An instrumental trio comprising Nathan Bowles (solo/trio, Pelt, Black Twig Pickers) on strings, keys, and percussion; Jaime Fennelly (Mind Over Mirrors, Peeesseye) on harmoniums, synthesizers, and piano zither; and Joe Westerlund (solo, Califone, Sylvan Esso, Jake Xerxes Fussell) on drums, percussion, and metallophones, Setting established its own setting and found its footing in regularly scheduled improvisational sessions outside Westerlund’s home in Durham, North Carolina, beginning in 2021. The three players began as two, in the context of occasional Bowles and Westerlund percussion duo performances dating back to 2018. Fennelly provided the initial impetus to gather and play together with intentionality and discipline, as well as an harmonic adhesive and thickening agent in the grain and gravity of his harmonium and synthesizer. As always, Bowles’s background as a pianist and drummer informs his approach to banjo, imparting a woodiness, a piney verticality and resinous tang. Westerlund’s training with Milford Graves is apparent in his polyrhythmic flow and its correspondences to human circulatory and corporeal rhythms. They recorded their collective discoveries with engineer Nick Broste in the spring of 2022.The record begins, like the group’s name, and like the language of its unique instrumental interplay, with ambiguous grammar: “We Center,” the first and longest track at thirteen and a half minutes, builds patiently to a percolating climax of tidal heaving, with ceremonial connotations. “Zoetropics,” the shortest piece, follows, offering a more diaphanous counterpoint to the density of its predecessor. The zithery, shivering “A Sun Harp,” its title redolent of Sun Ra, showcases Westerlund’s unfettered drumming, which skitters restlessly until anchored, at its conclusion, by a minor bass progression. Finally, “Fog Glossaries” exhales through the maritime and meteorological evocations of its title, distant buoys clanging. Although certainly elements and strategies of so-called ambient and drone musical traditions are invoked and deployed, those diffuse terms feel inadequate to describe everything else happening here: the devotional valences, the minimalist rigor, and even submarine jazz inclinations perceptible beneath the surface. Throughout this four-movement program, which invites deep listening, it is often difficult to differentiate individual instruments from the massed choir of the group’s unified sonic presence. At times what sound like field recordings cicadas, birds, wind, water splash out of this slow but powerful current, only to be revealed as overtones produced by harmonium, banjo, or cymbals. Setting’s sound is fundamentally synthetic in the sense of synthesis, not artifice—in a manner remarkable for its almost entirely acoustic arsenal of instrumentation, often registering as the product of a single alien technology, perhaps the rainbow lights of that bog-marooned UFO. (“Setting,” of course, can also refer to a machine’s variable operational amplitude its temperature, volume, speed, elevation, etc.) Sometimes the most seemingly extraterrestrial lifeforms are in fact our unfamiliar earthbound neighbors. Despite the destruction of many such habitats, the coastal plains of eastern, tidewater North Carolina is home to more pocosins freshwater, evergreen wetlands with deep, acidic, sandy, peat soils than anywhere else in the world. These threatened peat-bog ecosystems are the only native environment to sustain the carnivorous Venus flytrap, among other oddities. The sonic ecosystem of Setting similarly deep, acidic, and boggy contains equivalent wonders, savage and delicate, for listeners willing to take the time to sink.

The Art of Surrender marks a return to life, sown from primal impulses and hard-won emotional truths. Unrestrained melodic rapture soars above a relentless kick drum, speaking a need to move, to dance, to love. The music is as ambitious as its origins are personal. Tignor plays with scale, crafting multi-movement epics alongside one-minute miniatures. The smallest, most fragile violin gestures, where the finger barely touches the string to extract natural harmonics exist side by side with angular, exotic melodies, asymmetric rhythms, and rapid-fire string crossings. On this LP, Tignor digs even more deeply into the violin and its technicolor reimaginings under his electroacoustic treatments. Christopher Tignor is a composer, violinist, lecturer, and software engineer. His emotionally charged scores and unique focus on live, performance-based electroacoustic practice has won acclaim within both the classical and experimental communities across 10 LPs on the Western Vinyl and New Albion record labels. He creates the live performance software he uses, shared freely. As a composer he has written and recorded work for ensembles including The Knights, A Far Cry string orchestra, and Brooklyn Rider string quartet, performing alongside them at premiere venues including Carnegie's Zankel Hall. As a string arranger he has worked with Helios, Jefre Cantu-Ledesma, John Congleton, This Will Destroy You, Meshell Ndegeocello, and several other artists at the boundaries of popular music. This music breathes, swoons and swoops elegiacally, in the same way a crack symphony might on a good night." MAGNET // "A bulwark against the ambient clatter of everyday life...sheer technical mastery" BANDCAMP (ALBUM OF THE DAY) // "Tignor creates a muttered hum of activity that burbles at the fringes of an internally focused halo of sustained, glowing chords, and the effect is powerful." NPR // "Making computers coexist in harmony with acoustic instruments in a live setting is more easily imagined than achieved. But Christopher Tignor, a young composer and performer shaped as much by his work in downtown nightclubs as by his formal education at Bard College and New York University, proves that it can be done." THE NEW YORK TIMES // "Absurdly talented"

Marathon is not just a band, it's a top-level sport. The Amsterdam-based trio is bursting with energy, and it explodes out of them on stage, captivating audiences everywhere they go. With four Paradiso
shows under their belt, a packed Popronde, Welcome to the Village, Grauzone and many more, Marathon has quickly amassed an impressive live reputation, culminating in a top-10 spot at
Noorderslag. Both KINK and 3voor12 recognize the band as one of the talents of 2023.

V2 Benelux has signed Marathon for their debut EP, set to be released in May 2023. This is a major milestone for the band and a testament to their skills. Marathon's music is a passionate response to the crisis-ridden twenty-first century, channelling the energy of punk and the dissonance of shoegaze and post-punk to give voice to urban anxiety. Lennart's dynamic drumming, Kay's aggressive vocal delivery, and Nina's skillful six-string bass work create an explosive mix that is both raw and polished. Live, Marathon is a force to be reckoned with, with keyboardist Sofie and guitarist Victor bringing even more depth to their layered songs. Together, they create a high-energy defense against the doom and gloom of the modern world, making the uncomfortable bearable. Marathon is a band that demands attention, and their growing fan base is a testament to their undeniable talent.

The album represents an opportunity for the globetrotting family trio to explore their origins. TENGGER means ultimate expanded sky in Mongolian. The album finds TENGGER accepting the mood of the world, using the motion of wind and waves as sonic inspiration. TENGGER's interest in cosmology reflects in their outlook and lyrical approach.

In their words "the sound starts from the breaking dawn and circulates around until the night sky and the milky way."

Opening single "PANAPTU" offers a reverent respect to "the earth and the sky", the band write. "The sun, the rain, and the things that grow on the ground make up our bodies and soul. Both can be compared to a mirror. Humanity (on the earth) looks up at the sky; the sky looks at us Illuminate each other and influence each other. Change is happening every moment."

More complex and purposeful than the fragile post- punk of 2019 debut Essentials, the album reflects transition, conceived to flow from "day" (contemplative opener "The Sun") to "night" (dub- inspired closer "Inheritance"). New sonic influences like disco (Donna Summer, The Bee Gees) and 2000s New York indie (Yeah Yeah Yeahs, Interpol) evoke freedom and euphoric joy -- maintaining the band's signature minimalism, When the members of Patio contemplated the inspirations for their long-awaited second album, Collection, they came up with an eclectic mood board comprising videos and images.

A 1977 David Bowie performance of "Heroes" on Top of the Pops.

Laura Branigan belting "Gloria" beneath a sea of disco balls. Masterpieces in marble by Michelangelo and Bernini. Jude Law in The Young Pope. Portraits of iconic superstars: A dapper Bryan Ferry, a melancholy Carmela Soprano, Bianca Jagger serving side-eye, and Andy Warhol eating a cheeseburger. "Collection" is out in September on Fire Talk.

Their notoriously fierce live performances are only going from strength to strength, with Wolf Alice inviting her on their extensive 2021 UK tour having witnessed the energy of their show.

Her stagecraft also caught the eyes of legendary fashion house Alexander McQueen, becoming creative director Sarah Burton's recent muse. Having recently closed their flagship runway show at London Fashion Week, the band also partnered with McQueen for a campaign this summer which captured them taking to the stage in Glasgow's legendary and glitzy Barrowland Ballroom.

Oozing confidence and ready for what lies ahead, 2023 feels like a defining year for Lucia & The Best Boys.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city.

After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

The follow-up album to the hugely successful I Do Not Want What I Haven't Got album, Am I Not Your Girl? was released in September 1992 and features Sinead performing a collection of songs that she had grown up listening to and which had inspired her to become a singer. It was during the promotional campaign for the album when Sinead made a controversial appearance on Saturday Night Live.

Am I Not Your Girl? features Sinead's unmistakable voice accompanied by an orchestra, performing big- band arrangements of tracks such as the single 'Success Has Made A Failure Of Our Home' (a Top 20 hit), 'Don't Cry For Me Argentina', and 'Why Don't You Do Right?'.

The album features tracks "Ode to a Conversation Stuck in Your Throat" (performed on Late Night with Seth Meyers), "Perfume" (Top #8 Most Spun at SiriusXM), "Sorry I Am" (Triple J's Best New Music)" and more.

In addition to a run of sold out headline dates in the US and UK/ EU, Del Water Gap has recently been on the road with Maggie Rogers, Arlo Parks, girl in red and Jeremy Zucker. His sophomore album I Miss You Already + I Haven't Left Yet will be out this fall.

The Evening Sons wear their powerpop credentials like a badge of honor; crunchy barre chords, big choruses and multi- layered harmonies hark back to those halcyon days when 3-minute songs ruled the world.

As one of Britain's finest songsmiths of the 1960s and 1970s, Peter's voice continues to convey magic and emotion with a lustre of lysergic lyrical lacquer.

His brilliant 60's group Kaleidoscope were one of the great psychedelic groups to emerge from the U.K. during those heady days.

With infectious pop tunes laced with folk- rock jingle- jangle goodness and anapaestic lyrics that set them apart from many of their contemporaries, Kaleidoscope were vital as was too their more progressive folk early '70s incarnation as Fairfield Parlour. The band has often been spoken about with the same reverence reserved for Pink Floyd's Syd Barrett era, despite their lack of mainstream success.

This is a 50-50 collaboration with Mark Mortimer, formerly of DC Fontana and The Sorrows, who has always been a fan of Peter's work. Chelsea is more sonic expressionism from the two musicians; the songs are "psychedelic" in a sense without ever falling into the trap of being shoddy xeroxes of past glories. As Spill Magazine put it:"This is not a retro or throwback album. This is an album that may be ahead of its time." This is modern, forward-looking music that longtime Kaleidoscope fans will enjoy.

The album is produced by Julian Cope producer Donald Ross Skinner in London and Rick Reil in New York.

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

TOP PRIORTY RELEASE. Escape Music is delighted to announce the release date for the long awaited Jelusick debut album title “Follow The Blind Man” featuring Dino Jelusick the most well loved and respected vocalist in the Rock World! will be available on CD, Vinyl, and digital platforms! The Vinyl will be limited edition to 500 copies only! “Blade Bullet” colour and all will be numbered 1-500.Jelusick is: Dino Jelusick – vocals, keyboards, guitar / Ivan Keller – guitar / Luka Broderick – bass, backing vocals / Mario Lepoglavec – drums, backing vocals / Produced by Dino Jelusick, Mixed and Mastered by Simon Jovanovic, Executive Producer Dario Jelusic - JELUSICK played on 4 European tours during 2021- 2023 which also included Guitar Scene festival 2021 where they played with all star band together with John Norum and Gus G. The same line up also played there in 2022 and shared the stage and jammed with Airbourne, Johnny Depp & Jeff Back, Black Label Society, and Beth Hart. Dino Jelusick, born 4 June 1992, is a Croatian rock singer, musician, and songwriter. He was the founder, principal songwriter and lead singer of hard rock band Animal Drive, which was formed in 2012. and dissolved in 2020. Since 2016 Dino became a permanent member of American rock band Trans-Siberian Orchestra. He also worked with Gus G, Mike Mangini, George Lynch, Will Hunt, Michael Romeo, Jeff Scott Soto, Joel Hoekstra, Steve Smith, Jon Oliva, Kip Winger, John Macaluso, Deen Castronovo, Phil Demmel, Mike Portnoy, Henrik Linder, Justin Johnson, Tony Franklin, Kyle Hughes, Virgil Donati, Kiko Loureiro, Jordan Rudess, David Coverdale, Tommy Aldridge, Reb Beach, Michele Luppi, Lachy Doley etc. On July 27th, 2021, upon direct phone call from David Coverdale shortly after that David announced that Dino had become the new member of Whitesnake! In 2009 he started recording a new studio album in Melbourne, Australia which was finalised with producer Robert Ahrling in Malmö, Sweden. The album named “Living My Own Life” was released in August 2011. Between 2012 and 2013 Dino was hired to take part in an international project in South Africa named “Synkropation” where he was featured in several songs and played to an audience of 50.000 people in Johannesburg and also participated in two rock operas. In 2015, American drummer John Macaluso (Ark) invited him as singer and the keyboardist for his new American-Croatian band Stone Leaders. During this time, Dino was also a member of Croatian metal band The Ralph with whom he released the album “Enter Escape” in February 2017. In February 2016 he was noticed by American rock band Trans-Siberian Orchestra. After auditioning and meeting with producer Paul O’Neill and Dino was chosen to join the group. 2018 his band Animal Drive released debut album, “Bite!”, to critical acclaim. April 2019, they released a covers EP titled “Back to the Roots”. Dino was also featured singer on two songs on Magnus Karlsson “Free Fall” album. 2020 Dino Joined ex-Krokus members and Mandy Mayer (Gotthard, Asia, Unisonic…) for a concert project named Gotus and they released a video for the song “Souls Alive” (Unisonic). July 2021 Michael Romeo, guitar master from NY insisted that Dino should sing on his new album “War of the Worlds part 2” and it became a great and successful collaboration. 2022 Dino toured Europe with Whitesnake. As the last part of the EU tour was cancelled due to some DC health issues, Dino joined The Dead Daisies tour replacing Glenn Hughes who got unwell at the end of November 2022.A 2 year long legal battle with Dino’s ex-label was over and he immediately started recording new songs for his band JELUSICK…Welcome back Dino!

Two x Grammy nominated band Code Orange return with their highly anticipated fourth studio album, The Above, their first for Blue Grape Music. The Above is the follow up to 2020's critically lauded album Underneath, which earned the band their second Grammy nomination.

Underneath closed out 2020 on multiple year-end lists including NPR, The New York Times, Billboard, Noisey and Revolver.

The band has major global touring planned in support of the new album and have shared the stage with $UICIDEBOY$, Deftones, Slipknot, Korn, System of a Down, Loathe, Power Trip and many more.

The new album features the single "Take Shape" featuring Billy Corgan of The Smashing Pumpkins.

Zwei Jahre nach der Veröffentlichung ihres Hit-Singles "bad grades" und ein Jahr,
nachdem sie es auf eine Times Square-Billboard als Spotify Equal-Künstler geschafft
haben, kündigen Kids With Buns ihr Debütalbum "out of place" an. Ein Album über das
Erwachsenwerden und das Gefühl, ein Außenseiter zu sein, in eine Sammlung von
traurigen Songs übersetzt.
Einerseits enthält die Platte eine Sammlung von Dingen, die du dir einfach gewünscht
hättest, rückblickend auf einen bestimmten Moment, den du jedoch irgendwie nicht
ausgesprochen hast. Andererseits enthält sie auch starke introspektive und selbstkritische
Passagen. Obwohl das zentrale Thema des Albums das Erwachsenwerden ist, berührt es
viel mehr als nur das Erwachsenwerden, einschließlich Themen wie Trauer (was in
deinem Gehirn passiert), queer sein (wie schlimm, nichts Neues) und sich in seinem
eigenen Kopf festgefahren fühlen (Unordnung, das Gleichgewicht).
In einem improvisierten Heimstudio, in dem Amber und Marie praktisch den ganzen
Sommer über lebten, wurde "out of place" von Mathias Stal (1712, bad grades)
aufgenommen und produziert. Unter Beibehaltung ihres unverwechselbaren Sounds, der
aus Maries androgyner Stimme und Ambers eingängigen Gitarrenhooks besteht,
markieren die neuesten Singles eine Entwicklung hin zu einem lebhafteren und
extrovertierteren Sound. Ihre persönlichen Probleme und Unsicherheiten in
Ohrwurm-Refrains zu verwandeln, führte zu sofortigen Erfolgen bei Live-Auftritten mit
ausverkauften Konzerten an Orten wie AB (Brüssel), Vooruit (Gent), Ekko (Utrecht) und
Merleyn (Nijmegen). Dennoch ist "out of place" auch ein herzlicher Soundtrack zum
Cruisen oder für eine spätabendliche Wein-und-Weh-Sitzung.
Nach einem erfolgreichen Auftritt beim ESNS, der ihnen einen Platz in den Top 25 der
Acts des Festivals von 3voor12 einbrachte, erweitern Kids With Buns ihren Horizont. Mit
einem neugewonnenen größeren Sound kommt auch ein beeindruckender internationaler
Tourneeplan: von Slots in der Line-up von Down The Rabbit Hole (NL), Pukkelpop (BE)
und Reeperbahn (DE) bis hin zu ihren eigenen Release-Shows im Hauptsaal der
Ancienne Belgique und De Helling in Utrecht. Mit "out of place" fangen Kids With Buns
gerade erst an.

Jan Erik Vold and Jan Garbarek, two of Norway's most prominent figures in jazz teamed up with
bassist Arild Andersen, drummer Jon Christensen, guitarist Terje Rypdal and Bobo Stenson on
keyboards and these two September days in 1970 and made a formidable jazz album. Two poems
from Violence ("Det alle vet" from the collection of poems Mor Godhjertas glade version. Ja (1968) and
"Dikt" from Kykelipi (1969)) and long tenacious instrumental parts.

JOACHIM WITT ist eine Lichtgestalt der deutschen Kulturszene. Seit über 40 Jahren steht der erfolgreiche Musiker auf der Bühne. In diesen Jahrzehnten hat er eine enorme Wandelbarkeit bewiesen. 17 Alben veröffentlichte Joachim Witt seit 1980. Beginnend mit "Silberblick" und der Auskopplung "Der Goldene Reiter" (Gold-Status) in der Zeit der NDW, über das 1998 erschiene Comeback-Erfolgsalbum "Bayreuth I", das Platin Status erreichte, bis "DOM" in 2012 mit der Singlekopplung "Gloria" und dem kontrovers diskutierten Video, seinen Auftritten beim Wacken Open-Air oder auch seiner jüngst entdeckten TikTok-Karriere: Der 74-Jährige gebürtige Hamburger ist ein Garant für Vielseitigkeit, Genre Wechsel und Stil-Mischungen.

Sein neues Album trägt den Titel "Der Fels in der Brandung" . Keine Metapher passt zu JOACHIM WITT persönlich besser: Der Ausnahmekünstler hat im Laufe seines Lebens immer wieder Veränderungen unternommen, unzählige Herausforderungen gemeistert, Höhen und Tiefen durchlebt und dabei seine künstlerische
Integrität fortwährend bewahrt.

JOACHIM WITT nimmt sich immer wieder neuer Visionen an und verwirklicht diese konsequent.

"Der Fels in der Brandung" ist ein Album, das seine Zuhörer auf vielen Ebenen überraschen wird. In enger Zusammenarbeit mit dem Flensburger Gold-Produzenten Hardy Krech (Elephant Music), hat JOACHIM WITT wieder einen neuen und eigenen Sound kreiert, der seine Stärken und seine Botschaften in eindrucksvoller Weise mit elektronischen Klängen und Gitarrenmelodien verwebt

Es ist ein seltenes Glück, auf ein Album zu stoßen, das weit herausragt aus dem Meer der wöchentlichen Veröffentlichungen. Das als Kunstwerk so schlüssig und selbstverständlich dasteht, als hätte es schon immer existiert.

Das emotional sofort andockt, Song für Song für Song. INSTINCTIVE TRAVELS ON THE PATHS OF SPACE AND TIME ist eines dieser Ausnahmewerke: von erhabener Schönheit, unmittelbar relevant. . Ein Klassiker? Vielleicht.

Wird die Zukunft zeigen. Womit wir schon beim Thema wären. INSTINCTIVE TRAVELS ON THE PATHS OF SPACE AND TIME ist der musikalische Teil einer Trilogie, mit der sich Florian Kreier als Angela Aux an die Grenzen des Vorstellbaren wagt. „Nach dem Ende der Zeit“ heißt die zugehörige SciFiNovel, „Introduction To The Future Self“ das transmediale und alles verbindende Theaterstück - uraufgeführt in den renommierten Münchner Kammerspielen vor einem Publikum,
das diesen Abend wohl nicht vergessen wird.

Die Sonne braucht die Dunkelheit, um noch heller zu erstrahlen. Aber die Dunkelheit braucht die Sonne ebenfalls, um in vollem Kontrast zu ihrer Helligkeit zu stehen. Doch die Tragik liegt in der Beziehung zwischen den beiden: Die eine kann ohne die andere nicht existieren, aber beide werden sich nie begegnen können. Es ist eine Wechselwirkung und eine Abhängigkeit: eine Symbiose - auf die auch der Bandname SYMBIONTIC verweist.

“The Sun And The Darkness” scheint erstmal nur der zweite Release in der Geschichte von SYMBIONTIC zu sein, aber für die Melodic Death Metaller aus Dortmund ist es gleichwohl das Ende einer langen Reise. Nach der Veröffentlichung ihres Underground-Juwels “Vaya” löste sich die Band bereits 2011 auf… Zehn Jahre später kehrte sie jedoch zurück, inmitten der Pandemie, mit dem Gefühl, dass da noch etwas ist, was es zu sagen gilt.

Kaum eine deutsche Band legt so viel Wert auf ihren Sound, während sie gleichzeitig so gehaltvolle und doch zugängliche Songs schreibt. Und wer nimmt es schon freiwillig auf sich, bei den Album-Aufnahmen auf Taschenlampen und WalkieTalkies angewiesen zu sein? Ohne die ist es einfach nicht möglich, sich in dem langsam zerfallenden, ehemaligen Rundfunkgebäude des MDR und seinen vielen Studios
zurechtzufinden.

In diesem Lost Space in Weimar haben YUUN sich für die Dauer der Aufnahmen häuslich eingerichtet.

Möbel dafür finden sie im ganzen Haus verteilt. Ein Tisch aus dem großen ehemaligen Tanzsaal; ein Stuhl aus dem Untergeschoss, in dem der Schimmel zentimenterdick und pelzig von den Wänden wächst, sodass es nach 10 Minuten schon schwerfällt zu atmen. Wenn sie nachts in den riesigen, gruseligen Gängen des Gebäudes, das noch aus der NS-Zeit stammt, unterwegs sind, verständigen Basti, Jannis und Max von YUUN sich mit Hilfe von drei kleinen bunten Spielzeug Walky-Talkies, um sich nicht zu verlieren.

A 10-year anniversary product suite of Chvrche’s 2013 debut album including 2LP edition with bespoke die-cut sleeve & 2CD inc. booklet. The album originally charted at number 9 in the UK & is now gold status with over 170K UK sales – All formats feature 10th anniversary artwork & the album has been newly remastered by Gavin Lurrsen in LA. The band have just come off tour with Coldplay & are playing the Other Stage at this year’s Glastonbury festival.

Sweet little Tekno-Tribe sound, with more familial selecta of artists... A side tends on Techno Pump while the flip is really reminding the old school first OKUPE kind of sounds... Records comes with stickers.

Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies.

He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”.

in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000.

“Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003.
Robert Calvin Brooks, known professionally as Bobby “Blue” Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records.

His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”.

Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992.

Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside – two of the best from two of the all-time greats.