Breaking new boundaries for himself creatively Matt Hegarty played almost all
the instruments on the record as well as largely self-producing it with some help
from the talented producer Ali Chant (Yard Act, Sorry, Katy J. Pearson).
Matt has built up a loyal following from his years touring with Mumford & Sons,
Daughter, Bear's Den, Ben Howard - finding fans amongst those audiences and
musicians alike.
The cult singer- songwriter delivers songs full of wisdom, emotional heft and a
relatable sentimentality in his striking and distinctive vocal.
Cerca:ha lo
Sophie Lloyd is one of the most prolific guitarists on the world wide web,
a trailblazer who is redefining the concept of a "bedroom" guitarist
A talented composer and accomplished musician, Sophie graduated from the
prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music
Performance, honing and refining a talent she has nurtured since childhood.
Since then, she has amassed the kind of following that even the guitar gods she
grew up idolizing would be envious of, with a reach surpassing 3 million followers
across her social channels, built through a steady stream of sharing her talent via
guitar "shredleys", covers and her own original material.
In addition to her own content, Sophie's talent and popularity has led to
collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation
and Harley Davidson, her own Guitar course on Truefire and a stunning
performance at Paris Fashion Week for Redemption Brand Clothing.
She has also released her own signature guitar, becoming the first female artist to
do so for exclusive Californian Guitar maker KIESEL.
Most recently, Sophie could be seen shredding on stage as guitarist for multiplatinum recording artist Machine Gun Kelly on his recent Mainstream Sellout
World Tour, which included sold out shows at legendary venues such Madison
Square Garden in New York and Wembley Arena in London.
"Ruiner" the new full-length LP from time-honored US black metal entity
KRIEG will see its release on Oct 13
"Ruiner" is the first full- length from the cult US black metal force since 2014's
"Transient" and is a despondent expression that captures the classic KRIEG
complexion which has solidified KRIEG as a vanguard and pioneer of US black
metal.
Even though "Ruiner" is the first KRIEG full-length album in nine years, KRIEG has
continued to remain active leading up to its long-awaited release through various
splits, collabs and EPs. This all culminated in that moment for "Ruiner" to
ultimately manifest itself.
"Ruiner" is unrepentant and remorseless black metal in the reflective manner
KRIEG and mastermind N. Jameson have always been known for. Most-notably
that of the savage and unhinged aura present in the triarchy of classic KRIEG
works, namely "Destruction Ritual" (2001), "The Black House" (2004), and "Blue
Miasma" (2006) while maintaining that harsh, sorrowful and cold- blooded
melancholic aura
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
For the last 15 years, Allah-Las have alchemically melded surf rock
washes with folk rock jangle and rock, building up their lauded music
podcast, Reverberation Radio, and record label, Calico Discos, in the
process - But a lot has changed since Matthew Correia (drums/vocals),
Spencer Dunham (bass, guitar, vocals), Miles Michaud (guitar, organ,
vocals), and Pedrum Siadatian (guitar, synth, vocals) first bonded over
psych rock vinyl in the back room at Amoeba Records in the late aughts
Zuma 85 signals the start of a new era for Allah- Las, and finds the band
reinventing itself in defiance of the algorithmic categorization and robotic sterility.
Recorded in the midst of the shift from the Old World to whatever branch of
reality we're on now, it's a return, too: The album will be released October 13th on
their own label, Calico Discos, in partnership with Innovative Leisure, which
released early defining statements like Allah- Las (2012) and Worship The Sun
(2014)
Berlin's Hello Pity release their forthcoming debut album "Naked" on
limited edition Crystal Clear vinyl and digitally via Duchess Box Records
on Friday 13th October
The Berlin post punk band Hello Pity have been collaborating this year with acts
such as The KVB and Anika on remixes of tracks such as An Idea Of Guilt and
Ms45 which appear on the album.
Naked was recorded in Berlin at the studio of Leonard Kaage, the guitarist from
The Underground Youth.
Hello Pity are masters of atmosphere and Naked gives us a dystopian love album
which complete with twisted elements of hate.
The band - Colin (vocal, guitar), Gael, (vocal, guitar), Jonas (bass) and Max
(drums) - have been performing around berlin at 8MM, Loophole scene since
2019 and performed two shows at Synasthesie Festival before coming to the
attention of Duchess Records.
Tallahassee, FL singer-songwriter Sarah Morrison's debut studio album
Attachment Figure depicts the strangeness of exploring new
relationships with subtle and spacious electronic production - As a
former live keyboardist in Locate S,1, Morrison co-produced Attachment
Figure with fellow bandmates Ross Brand and Clayton Rychlik, both of
whom also play in Of Montreal's backing band
She was motivated to experiment with looser song structures and more
unconventional chord progressions by her collaborators' fondness for avantgarde jazz, as well as Locate S,1 frontwoman Christina Schneider's idiosyncratic
writing style.
Throughout the album, echoing keys, woodwinds, and guitar ripple like a moonlit
lake from which Morrison's voice emerges. Her presence is spectral, yet
conversational, willing to conjure concrete imagery of mango- flavored vitamins
and the warmth of phone chargers alongside ghost stories of mannequin corpses
and epistolary curses, a balance shaped by an obsession with the theatrical
sincerity of Kate Bush and Mark Hollis.
Lyrically, Attachment Figure meditates on questions about identity, personal
growth, and helplessness - whether within a relationship or the oppressive
structures of society itself - often rooted in Morrison's experiences growing up in
the South. "There's a connection between Southern hospitality and femininity and
just allowing things to happen," Morrison says. "I've been in many relationships
with people who have used that 'southern charm' to their advantage. I think a lot
of people, non- men in particular, put on this charm instinctively. It's a defense
mechanism that I was interested in studying."
Attachment Figure is perpetually suspended between states of being, harmony
and dissonance, and contradictory sentiments we all hold as we enter into the
arms of someone new, but ultimately, it's guided by a desire for authentic love--
and a flair for intricate, intuitive songcraft.
Heart's Ann Wilson is releasing a new record with Tripsitter, 'Another
Door'
Prior to starting the 2023 tour, Ann Wilson and her band Tripsitter finished
'Another Door', a record of all-original material, which marks the first time since
the '70s that Ann has written a full- length album collectively with a band.
Tripsitter features Tony Lucido (bass), Ryan Wariner (guitars), Sean T. Lane
(drums), and Paul Moak (guitars and keyboards). Tom Bukovac (guitars) was also
a primary contributor.
ANOTHER DOOR marks the first time in her career where Ann was the sole lyricist
and her presence on a record has never been greater. Ann says, "This is an
exciting time in my creative life; so much new and fresh to remind me of why I
love my calling!"
The cover for 'Another Door' was created by Storm Studio which began in the
early 1990s with Storm Thorgerson, Peter Curzon, Rupert Truman, and Dan
Abbott. Storm Thorgerson and Aubrey Powell co- founded Hipgnosis, who
between 1968 and 1983 created artwork for the likes of Pink Floyd, Led Zeppelin,
Paul McCartney & Wings, 10cc, AC/DC, Genesis, Peter Gabriel, and many others.
Following Storm's passing in 2013 Aubrey Powell has worked closely with Storm
Studio on numerous projects since.
** Widely praised as one of the greatest singers in the history of Rock, Ann's
extraordinarily powerful voice has been sending chills down her audience's
collective spine for over five decades, earning record sales of more than 35
million, an induction into the Rock and Roll Hall of Fame, and a Grammy Lifetime
Achievement Award.
** "Barracuda," "Crazy On You," and "Magic Man" are among the many songs she's
written that now reside in the pantheon of Rock's greatest hits. "This Is Now" from
ANOTHER DOOR plays seamlessly alongside the classics in her current live set.
** Last year Ann sang with Disturbed's frontman David Draiman on the duet,
"Don't Tell Me," from their recently released DIVISIVE album, and lent her voice to
Dolly Parton's forthcoming rock record "Rock Star." Ann Wilson defies genre!!
When the two brothers Alex and Mikael Lachan grew up in the small town of
Finspang, music was the highway and the world was the destination.
Playing together in the basement every day since they were kids, they formed a
bond that would translate into an explosive live show years later. The rejuvenated
band hammers out a sound that is energetic enough to sustain a live show
revolution, talented enough to keep your attention and welcoming enough to let
your voice sing the anthemic choruses like there was no tomorrow.
Over the span of their career they have released three full length albums (soon to
be four), two EPs and multiple digital singles. They have toured Europe many
times and played with bands such as Millencolin, Street Dogs, Asta Kask and
received praise from bands such as Dropkick Murphys for their heart-and-soulpacked melodic punk rock.
Now in 2023 they are back with a brand new full length album called Wanderlust
& Hardships. Recorded with the acclaimed producer Niels Nielsen, known for his
work with In Flames, Dead Soul, Ghost, and MCC, the album showcases the
band's signature sound that blends hard- hitting instrumentals with anthemic
lyrics. Fans can expect a celebratory and energetic tone that is sure to get them
involved.
Mint Vinyl[33,57 €]
The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album
- Push (Remastered)
- Rain (Remastered)
- Speak For Yourself (Remastered)
- Look For The Good In Others And They'll See The Good In You (Remastered)
- Wet Blanket (Remastered)
- Ghosts (Remastered)
- Dan Destiny And The Silver Dawn (Remastered)
- Night Of Chill Blue (Remastered)
- 16: Heart-Throbs (Remastered)
- Brave Words (Remastered)
- Dark Carnival (Remastered)
- Creep (Remastered)
- The Oncoming Day (Remastered)
- I Think I'd Thought I'd Nothing Else To Think About (Remastered)
- House With A Hundred Rooms (Remastered)
- Party In My Heart (Remastered)
- Living In A Jungle (Remastered)
- Rain (Alternate Instrumental Version - Remastered)
Pearl Vinyl[33,57 €]
The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album
The Undisputed Kings of Garage Rock! **Timely repress of their classic singles compilation on 2 CDs or 3 LPs with new gatefold sleeve! – please note unavoidable price hike! A retrospective compilation of singles released on a multitude of different labels throughout the 90′s. Featured tracks are ‘(We Hate The Fuckin’) NME’ ‘My Dear Watson’ & ‘Every Bit Of Me’. A fitting tribute to one of the greatest bands ever. Thee Headcoats were mainly Billy Childish (Git/Vox) Bruce Brand (Drums) and Johnny Johnson (bass), they formed in 1989 after Billy’s previous band Thee Mighty Caesers gave up the ghost. By 1992 they had already released something like 6 albums and 15 singles one of which was catalogue number Damgood1, a split single with Thee Headcoatees. During the ’90′s I must have seen them 60 times, I even went over to Japan with them in 1993. There was something really natural about them, no bullshit. We did the ‘We hate The Fuckin’ NME’ single after journalist Johnny Cigarettes walked out of their gig in Archway after insisting that he should get in for free as he was from the NME and then reviewing Thee Headcoatees by saying there were no girls in the band (he'd left before they came onstage!!). Lots more releases followed including the great ‘In Tweed We Trust’ album. Thee Headcoats carried on touring and releasing records in every corner of the world until mid 2000 when they called it a day
The central theme of Steady is perseverance. Each track is based on a personal story or a fleeting encounter with people these past few years, from close friends to total strangers, either at home or on night shift commutes. People navigating their own hardships, almost giving up but always struggling through. More broadly, it’s about multiplicity, and contradiction. These central figures displaying hope and determination within a city of development and neglect, uniformity and chaos - an unfiltered representation of a city with all its jagged edges, darkness, and shards of light. It's broken and disheveled, but never not beautiful, just like the people in it. Musically, Steady continues where Bleach (debut album) left off - a sonic language of glitch, decaying tape and analogue distortion through which hints of RnB and soulful ballads bleed through. With a greater emphasis on beats, albeit lopsided on pitch-shifted tape loops, Steady feels more self-assured, more confident, more recognisable. At the same time, it's never stable or predictable - choruses break down early, harmonies bend into beating microtones, tracks emerge before others have finished. The symphonic scope of Bleach is still retained in Steady though. This is music of motivic development, of micro and macro form, of meticulous refining. The work of two classically trained composers, the album's chaos is heavily considered and carefully shaped. Hours of improvisation sessions have since been painstakingly refined into ten distilled tracks, owing to Steady's three year gestation.
country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, The Rainbow Wheel of Death. Rooted in sharp songwritingvand the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world. The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole _ who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 _ it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he in his New York City bedroom and wrapping up the songwriting process in the recording studio itself. Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" _ whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship _ mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release The Freelancer's Blues told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time. With The Rainbow Wheel of Death, Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work _ drum machines, synthesizers, and his deep-set voice _ while pushing toward something warm, organic, and prismatic.
country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, The Rainbow Wheel of Death. Rooted in sharp songwritingvand the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world. The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole _ who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 _ it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he in his New York City bedroom and wrapping up the songwriting process in the recording studio itself. Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" _ whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship _ mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release The Freelancer's Blues told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time. With The Rainbow Wheel of Death, Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work _ drum machines, synthesizers, and his deep-set voice _ while pushing toward something warm, organic, and prismatic.
Bloodred Hourglass, das Finland’s Powerhouse des Melodic Modern Metal’s, wollen mit ihrem neuen Album “How’s The Heart?” die Musikwelt wieder einmal in ihren Bann ziehen.
Sie sind bekannt für ihre Melodic und Death Metal Einflüsse und haben sich längst einen Namen in der Metal-Szene gemacht. “How’s The Heart?” wird zweifelsfrei eine der einflussreichsten Veröffentlichungen der bisherigen Band Historie und zeigt eine beeindruckende Entwicklung dieses Musikgespanns. Einmal mehr stellen die Jungs aus Finnland ihr musikalisches Können unter Beweis und nehmen ihre Fans mit auf eine Reise voller Energie und der klassischen Bloodred Hourglass-Brutalität.
“How’s The Heart?” leitet seine Hörer außerdem durch die verschiedenen Phasen von Trauer und Wut, und bricht mit einem perfekten Mix aus Aggression und Charme jegliche Genre-Grenzen. Ein dynamischer, moderner Sound, der aber weiterhin an die traditionellen Nordischen Wurzeln der Band anknüpft.
Die BRHG-typischen Riffs, aggressiven Drums, vielseitigen Vocals, Synths und Refrains mit Ohrwurm-Garantie dieses Albums wurden gemixt und gemastert von Dan Braunstein (Spiritbox, Veil Of Maya, Dayseeker).
The Best of Kris Drever includes all the highlights of his acclaimed career to date including those made with Lau and Drever McCusker Woomble Limited Edition of 500 Black LP's. Featuring for the first time on vinyl format "Wintermoon" , hard to find / out of print classics "Ghosts", "Harvest Gypsies" and "The Poorest Company" alongside two brand new songs "Catterline" and "Punchbag". "The Best of" album features many incredible guest performances from over 17 years of recordings including: Boo Hewerdine, Eddi Reader, Kate Rusby, Ian Carr, Yola, Heidi Talbot, Norman Blake (Teenage Fanclub), Roddy Woomble (Idlewild), Louis Abbott (Admiral Fallow), Andy Cutting (Leveret), Euan Burton, Rachel Lightbody, Elysian Quartet, John McCusker, Tim O'Brien, Megan Henderson (Breabach), Eamonn Coyne and Joan As Police Woman. ' Completely infectious' BBC Music ***** ' Immense yet ultra- supple sophistication, musicianship of the first order ...a breath of fresh air' SONGLINES ' Guitarist with that bravely experimental trio Lau, Kris Drever has all the makings of a solo celebrity' THE GUARDIAN ' Sets the standard for others to follow - Kris Drever is a serious talent' MOJO
MARKING 25 YEARS, THE CLASSIC FOURTH ALBUM FROM THE UK MASTERS OF EMOTIONAL PROGRESSIVE ROCK & METAL, PRESENTED ON LIMITED MARBLE VINYL Anathema formed in Liverpool in 1990, initially under the name of Pagan Angel & grew from a heavy doom/death metal style act into a more progressive & melodic group, blending rock elements with strong atmospherics inspired by classic acts such as Pink Floyd & Radiohead. The band signed with Peaceville Records after recording the 'All Faith Is Lost' demo in 1991 & is known for being part of the hallowed Peaceville doom metal trinity in the early 1990's (alongside fellow UK bands Paradise Lost & My Dying Bride), with some highly influential releases in the early part of their long, esteemed career. Released in 1998, 'Alternative 4', Anathema's fourth studio album, quickly became the band's best- selling & most highly regarded release to date. Containing evocative atmospheric passages & emotional Rock anthems, 'Alternative 4' represented a giant progression from the band's previous work & hinted at the massive changes to come. Displaying a more mature sound than the band's earlier recordings, this is the album that gave birth to the more conceptual approach, which the band took further on such albums as a 'A Fine Day To Exit', 'A Natural Disaster' & beyond, leading up to some of their most revered work under the Kscope label. This edition of 'Alternative 4' marks 25 years since release & features the album presented on limited marble-effect vinyl.
Second album from the electronic lounge-jazz-dance hybrid of William Basinski, Preston Wendel (Shania Taint), and Gary Wright. Limited edition Opaque Red Colored Vinyl (TRR412LPC Edition of 1,500) is for Indie stores only. 1969. Two gorgeous young interns in the film industry get invited to a glamorous A-list Hollywood party in the Trousdale Estates in one of those fabulous pavilion-style mid-century modern homes at the top of Beverly Hills. They go in their best mod clewths. Eyes popping at the technicolor scene of Hollywood stars smoking and drinking in the sunken living room, they do as instructed and have some punch and watch wallflower style as drama ensues...oh, and the the house is owned by Foxy, the pimp and drug dealer who everybody there owes munty, hunty...and he’s ready to get paid! Oh yeah, and the punch is dosed with LSD25. They manage to make it home, panties and purses and shoes intact and will never forget this party for as long as they live.
12 new songs of love and loneliness in the modern world using jangly new wave
glory guitars and west coast classic pop melodies. Recorded skillfully and
completely analog by Michael and Brian D'Addario of The Lemon Twigs at their
studio in the East Williamsburg neighborhood of Brooklyn. Beach Boys harmonies
& a myriad of keyboards were added to the Uni Boys Power-Pop and Rock'N'roll
path giving Buy This Now! a fresh new slant.
- A1: The Projectionist
- A2: Melody
- A3: Dawn
- A4: The Awakening Of A Woman (Burnout)
- B1: Reel Life (Evolution Ii)
- B2: Postlude
- B3: Evolution (Versao Portuense)
- C1: Work It! (Man With The Movie Camera)
- C2: Voyage
- C3: Odessa
- C4: Theme De Yoyo
- C5: The Magician
- D1: Theme Reprise
- D2: Yoyo Waltz
- D3: Drunken Tune
- D4: The Animated Tripod
- D5: All Things
1 LP[24,58 €]
The Cinematic Orchestra kündigen eine limitierte Vinyl-Reissue ihres erstmal 2003 veröffentlichten Klassikers 'Man With A Movie Camera’ an. Im Rahmen der Filmfestspiele zur Europäischen Kulturstadt Porto im Jahr 2001 wurde Jason Swinscoe vom Cinematic Orchestra beauftragt, einen Soundtrack zu einem Stummfilm zu komponieren, der einmalig aufgeführt werden sollte. Bei dem Film handelte es sich um Dziga Vertovs Experimentalwerk „Der Mann mit der Kamera“, einen frühen Dokumentarfilm aus der Ukraine von 1929, den viele, darunter das British Film Institute, fast 100 Jahre nach seiner Entstehung als einen der besten Filme aller Zeiten bezeichnen. Die Aufführung fand im historischen Coliseu do Porto statt und endete mit stehenden Ovationen von 3.500 Menschen. The Cinematic Orchestra hat die Show im Laufe der Jahre auf internationalen Tourneen aufgeführt, unter anderem im Barbican in London, im Winter Garden des World Trade Centers in New York und im Sydney Opera House.
Discos Perdidos - which translates as Lost Records - is a new series started by Lisbon label Paraiso, dedicated entirely to releasing archival music that, for a reason or another, never saw the light of day. The first outing on this adventure into the unknown is by none other than the legendary portugal-born, london-based techno instigator The Advent aka Cisco Ferreira. The three tracks on this EP were written in 1998 and were meant to be released on a label that another Portuguese techno legend - Jiggy - meant to start running, but other projects got in the way. Fast forward to early 2023, Jiggy showed the Paraiso crew the DATs containing these gems - immediately entrancing - and both him and The Advent agreed to give Discos Perdidos the honours of putting them out. Titled Shiolas, this three-tracker opens with 'Don't Do It', a relentless techno banger that, albeit its four to the floor drum pattern, feels swingy thanks to cleverly programmed percussion and claps. A concise but extremely effective bassline and synth lead guides the energetic smasher, with cut-up vocals, timely placed filters and hi hats giving it a final shimmer. It's followed by the Piano Mix, with an equally strong and raw arrangement and a new element - an alien, sound-sculpted piano that gives it an extra sense of urgency. The closing track 'Jacker' has more abstract leanings, although similarly dancefloor-ready, featuring an off-kilter yet driving conversation between stabs and bells in a display of expertly crafted dubby yet visceral sound design. A piece of dance music history is recovered - techno is now a story told more accurately.
Funk The System! The recipe is simple: Dig deep, listen to your heart, record everything you got on a dusty old desktop computer, leave it to simmer for the time of a pandemic, and if it's still fresh, serve it up on the finest plate of black wax! This collaboration started in Dusseldorf in the year 2018. Locked up for a week in the Flanger Studios, Wolf Muller and Credit 00 recorded everything: from the jaw harp to smartphone apps, chopping up GDR Jazz breaks and squeezing the Funk out of every synthesizer and drum machine at hand. You will hear the open mindedness towards all sorts of musical influences from the first note. Each of the five tracks showcases a wild mix of flavours: Disco Reggae, B-Girl Breakbeats, Protest Folk, Subway Funk, Tabla Rhythms, you name it... they'll take it and shake it! It is obvious these two got sonically socialized and educated by the multiculturalism of Hip-Hop in their early days. After the first Recording Session, the tracks fermented for some time until they were cracked open again. This time in Leipzig at Credit 00's Westend Workshop. That's also where Rizmi from Birmingham joined the team and lent her voice to the title track. She reinterpreted the lyrics of the obscure German 1980s Workers' Rock Song, that Wolf digged out for the Intro Skit of ,,Funk The System". A long time in the making, Rat Life is very happy to finally publish this EP!
MAW Records release the next tracks in line from the Maw Lost Tapes digging saga by Masters At Work.
This release entails the story of a special studio session by one of the NY House Pioneers who brought you 'The Music's Got Me' by Visual along with his partner Timmy Regisford back in 1982. His name is Boyd Jarvis (RIP), a keyboard genius, also one of the early creators of this unique sound. Masters At Work had only a few rare sessions in the early 90s with Boyd and the outcome are some of these stunning outtakes on 'Boyd's Jam' produced by MAW. Driven by the Zipper sound and swinging house KD beats in MAW style, the Boyd bassline carries the tune in the pocket groove with LV chords bringing atmosphere and mood. Then comes the Boyd magic with his organ solo ripping through the hypnotic groove.
This one is classic Masters At Work taken from the early 91-92 sessions, it's as authentic as can be.
THE all-time classic '86 debut album from the Beastie Boys, with classics including 'Rhymin' and Stealin' and 'The New Style', 'Girls', 'Fight for your Right', 'Brass Monkey' and 'No Sleep Till Brooklyn', a must-have album, reissued here to mark the 50th Anniversary of Hip-Hop.
Teakup is Lauri Reponen, the Columbus, Ohio DJ, producer and torch-bearer for the city’s proud Techno heritage. Following in the footsteps of Columbus originators, Titonton Duvanté, Archetype and Todd Sines, Teakup has spent the past decade forging a sound of his own via a genre alchemy that embraces genres past and present. Hardcore’s staccato samples and chopped breakbeats, UKG’s crunchy triplet hi hats and mellifluous House melodies combine in novel forms. Titonton’s wonky Tech House takes, Todd Sines’ stripped minimalism and Archetype’s broken rhythmic exploration are more key ingredients in the Teakup stew. This recipe has cooked up a massive cache of unreleased tunes as well as previous 12”s on is / was, Residual, Shut Off Notice and Lauri’s recently-minted TKP imprint.
Compiled from over 200 demos, Signal 23 has Lauri flexing a new level of genre-mastery. The title track explores Spiral Tribe’s ripping, psychedelic Freetekno. ‘Valve’ is cutting-edge rhythm hypnotism. ‘Felopzd’ loops into ecstatic trippy crescendo and ‘Pad Thai Mystic’ takes you on the spiritual voyage of late-night food delivery in middle America. Four modes, four hitters – to warm floors, open hearts or split psyches.
Sampha announces the full details of his highly-anticipated, sophomore album LAHAI, out October 20th on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesizing the exquisite chaos that one experiences confronting the cycle of life and the beyondness. Spanning 14-tracks, with contributions from some of Sampha’s closest friends, peers and collaborators including: Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves and Kwake Bass, LAHAI, in contrast to Process, is a communal affair seeing Sampha explore the many ways in which we as humans connect to each other, and to something bigger than ourselves. On the album’s latest single “Only,” premiering today via a new music video directed by Dexter Navy in collaboration with Sampha, which follows the recent “Spirit 2.0,” we meet a newly energized Sampha, as he spits melodically over a fragmented hip-hop hued beat with co-production from El Guincho.
Not unlike its maker, LAHAI defies clear categorization. Spanning jazz, soul, rap, dance, jungle and west African music, LAHAI sees Sampha elevating his production and vocal ambition to great new heights. A notable singer, songwriter and producer, it’s no wonder that artists like Kendrick Lamar, Stormzy, Travis Scott and previously, Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne and Alicia Keys have all tapped the artist for his inimitable voice plus songwriting and production contributions to their music. His work expands across multiple disciplines, with previous creative partnerships including the fashion designer Grace Wales Bonner, the Shy Light zine with Durimel (who also shot the LAHAI artwork) his Process film with director Kahlil Joseph, and most recently creative director Jonny Lu, with whom Sampha worked to create the LAHAI album artwork and logo.
If Process, Sampha’s 2017 Mercury-Prize-winning debut album, was an artist figuring out his own place in the world, engulfed in the shadows of grief and loss, LAHAI is an exercise in the radical acceptance and joy in the human condition, and the beauty in the journey itself. Welcome to Sampha’s next musical chapter: LAHAI.
- A1: The League Unlimited Orchestra - The Things That Dreams Are Made Of 5 09
- A2: Roxy Music Love Is The Drug 4 06
- A3: Kitty Grant Glad To Know You 5 08
- A4: Depeche Mode Enjoy The Silence 4 30
- B1: Max Berlin - Elle & Moi (Joakim Remix) 8 29
- B2: The African Dream - Makin’ A Living 5 46
- B2: Midlake - Roscoe (Beyond The Wizard’s Sleeve Remix) 6 54
- C1: Liquid People - Son Of Dragon 7 57
- C2: Ace - How Long 3 24
- C3: Chris Rea - Josephine (French Edit) 7 07
- C4: Will Young - Friday’s Child (Andy Cato Edit) 4 08
- D1: Marvin Gaye & Tammi Terrell You’re All I Need To Get By 2 50
- D2: Groove Armada - Are ‘Friends’ Electric? 4 29(Exclusive Cover Version)
- D3: Peter, Bjorn And John - The Chills 3 50
- D4: The Cure - Close To Me 3 40
- D5: Finley Quaye - Even After All Dub (Clean Version) 7 16
- D6: Will Self - The Happy Detective (Part 1) 1 52
The Bug ist das Hauptprojekt des umtriebigen Londoner Produzenten Kevin Martin. Martin, der bereits für Thom Yorke, Grace Jones, Einstürzende Neubauten und Primal Scream arbeitete, verbindet auf "London Zoo" eindrucksvoll Dubstep mit Dancehall, Grime und HipHop-Elementen. Eine Platte, direkt aus dem Herzen der britischen Hauptstadt, die aller Orten funktioniert und mitreißt. 12 mal Londoner Soundkultur mit Gastauftritten von Ricky Ranking, Flowdan, Warrior Queen, Spaceape und vielen weiteren.
- A1: Quality Over Opinion 03 39
- A2: Dead Inside Shuffle 03 20
- A3: Not Needed Anymore 01 32
- A4: Shallow Laughter 01 48
- A5: Bitches (Feat. Sam Gendel) 02 35
- A6: Message (Feat. Chris Fishman & Nate Wood) 04 28
- B1: Failing In A Cool Way 03 15
- B2: Disappear 03 53
- B3: I’m Tight 07 00
- B4: True Love 03 41
- C1: Planet X 02 47
- C2: Let Me Snack (Feat. Marlon Mackey) 02 18
- C3: Forgetting 01 55
- C4: Park Your Car On My Face 03 36
- C5: Don’t Care (Feat. Genevieve Artadi) 05 22
- D1: Laughing In Her Sleep 03 33
- D2: Outer Moat Behavior 01 51
- D3: When (Feat. Kurt Rosenwinkel) 04 27
- D4: Let It Happen 06 43
- D5: Little Piano Thing 02 11
Louis Cole ist ein Singer-Songwriter und unverschämt talentierter Multiinstrumentalist mit einem ausgeprägten DIY-Ethos aus Los Angeles, Kalifornien. Er ist auf der Mission, tiefe Gefühle durch Musik zu erzeugen und ist das Aushängeschild einer allgemein dem Jazz nahestehenden Szene in L.A., zu der Genevieve Artadi (mit der Cole 2009 die Alt-Pop/ Elektrofunk-Band KNOWER gründete), Sam Gendel, Sam Wilkes, Jacob Mann, Thundercat-Keyboarder Dennis Hamm, Pedro Martins und viele mehr gehören. Sein neues Album, „Quality Over Opinion“, erscheint Mitte Oktober 2022 auf Brainfeeder Records.
Die 20 Tracks des Albums wurden von ihm selbst in seinem bescheidenen Heimstudio geschrieben, eingespielt und produziert, aber Louis lud eine Handvoll enger Freund*innen ein, ihren Beitrag zu leisten, u.a. Genevieve Artadi, den Saxophonisten Sam Gendel, den Pianisten Chris Fishman, Nate Wood von der Band Kneebody, Marlon Mackey und den Gitarristen Kurt Rosenwinkel. Louis' Hauptinstrument ist das Schlagzeug, und er hat einen Hintergrund im Jazz, obwohl die Musik, die er schreibt, wenig Ähnlichkeit mit Jazz im reinen oder klassischen Sinne hat. Dementsprechend gehören zu Coles Maßstäben für „Quality Over Opinion“ neben Jazz-Ikonen wie Miles Davis, der schwedischen Experimental-Metal-Band mit einem ausgeprägten Hang zu Jazz, Meshuggah, Morten Lauridsen und Super Mario Kart auch grenzüberschreitende Komponisten wie Gustav Mahler und György Ligeti. Coles verrückte Musikalität ist kein Geheimnis - seit einem Jahrzehnt lädt er Performance-Videos auf Youtube hoch und hat sich so eine treue Fangemeinde aufgebaut, die sowohl sein Handwerk als auch seinen ausgefallenen Stil zu schätzen weiß. Schlagzeug, Bass, Tasten... er hat eine sehr strenge Einstellung zum Üben und zur Perfektionierung seiner Kunst. Thundercat beschreibt ihn als „einen der größten Musiker von Los Angeles“ und lud ihn Anfang des Jahres ein, auf seiner jüngsten Japan-Tour Schlagzeug zu spielen. Die beiden haben häufig zusammen geschrieben, unter anderem auf Thundercats Liebeserklärung an Cole, „I Love Louis Cole“, aus seinem Grammy-gekröntem Album, „It Is What It Is“, auf „Bus In The Streets“ und „Jameel's Space Ride“ (aus Thundercats 2017er Werk, „Drunk“) und „Tunnels In The Air“ für Louis' 2018er Album, „Time“. Auch Flying Lotus hat seine Bewunderung für Louis zum Ausdruck gebracht und ihn während der Arbeit an seinem 2019er Album, „Flamagra“ als „super inspirierend“ bezeichnet. Im vergangenen Jahr begann Louis seine bisher größte Zusammenarbeit mit dem Grammy-prämierten Metropole Orkest, unter der Leitung von Jules Buckley, für eine Reihe einzigartiger Konzerte in den Niederlanden, die 2023 fortgesetzt werden, bevor er im Oktober dieses Jahres mit seiner Big Band durch die USA touren wird.
Marcus Belgrave's Gemini II album has never been reissued before with the original artwork, but here it comes with a Japanese Obi-strip and featuring prominent musicians and legends like Wendell Harrison, Phil Ranelin, Roy Brooks and Harold McKinney. This is a diverse record with plenty of spirituality and a loud and proud sense of blackness. The standout tune 'Space Odyssey' is the best known, not least because it was later covered by pioneering Detroit techno talent Carl Craig. Next to that tense cosmic workout are two parts of 'Gun Finger' which are both horn led and upbeat grooves, the seductive sounds of the title tune and free-bop jam 'Marcia's Opal'. 'Odoms Cave' is a tender and introverted closer.
“Cinematic electronica embraces intelligent Indian infused beat making”.
Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.
"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."
Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.
Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.
The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.
"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.
OVERVIEW: This is essential. We don't just refer to the album title: this new record by multi-instrumentalist and producer Thysenterprise is essential material for lovers of spiritual jazz with a hip-hop edge. As described in the liner notes: "The spirit of Pharoah Sanders, Archie Shepp, and Coltrane permeate the music here. At times, Thysenterprise and his guests meld the influence of the great jazz cannon with the rhythms of hip-hop."
'ESSENTIAL' moves with ease from spiritual sounds to hip-hop-infused head nods. The liner notes by writer John Morrison perfectly encapsulate the type of sonic trip you're in for: "While the improvisational heights that Thysenterprise and crew reach throughout the album owe a debt to hardbop and the avant-garde, there are beats and textures here akin to the work of Karriem Riggins or A Tribe Called Quest. The result is a truly contemporary sound that plays freely within the depths of human feeling."
'ESSENTIAL' is by far Thysenterprise's most personal album to date. From beginning to end, he pays a heartfelt tribute to his late father. The artist revisits and rearranges melodies from iconic jazz records that formed a profound connection between the two of them. Throughout the album, there are nods to songs that were essential for Reinier's musical upbringing. It shows that the saxophonist plays with heart and doesn't shy away from expressing grief and loss. Or as stated in the liner notes: "We play for pleasure, we play to understand ourselves and the world around us, we play to celebrate and remember our loved ones."
Renowned Dutch alto saxophonist Benjamin Herman joins Thysenterprise for intimate call-and-response on "Feedback of Silence." Next to that, Michael Moore graces "Happiness Is a Memory" with a heartfelt bass clarinet solo. Moore is part of the Han Bennink-founded ICP Orchestra. It's safe to say that Thysenterprise builds on that rich lineage of improvisation, playfulness, and distinct originality. On 'ESSENTIAL,' he takes that to new heights. The album comes beautifully packaged as a gatefold 2LP with vinyl-exclusive alternate takes on the D-side.
Sophie Lloyd returns to Luke Solomon’s imprint alongside the effervescent singer songwriter Amy Douglas for a wax release of ‘Sweet Love’, an anthemic disco release bursting with sensuality. The pair are well known to Classic fans; Sophie for her debut release, ‘Calling Out’ with Detroit trio Dames Brown, and her subsequent release ‘Angels By My Side’ which received a soulful remix package from Floorplan.
Additionally, nostalgic house vocals from Brooklyn’s Amy Douglas have appeared on tracks from Luke Solomon’s ‘Love. Hope. Happiness’ to Horse Meat Disco’s ‘Message To The People’, also featuring the Dames. For the Love Hangover mix of ‘Sweet Love’, a slow, intoxicating intro erupts in a burst of energy as Amy’s vocals and Sophie’s production come together for an ambitious, driving composition.
The vinyl also features a remix from the label boss himself; Luke Solomon’s Always Love Revision of this modern disco anthem ups the ante, adding huge swathes of energy to the previously sensual record. Similarly, the Sweet Lovin’ Mix capitalises on the raucous finale from the original Love Hangover Mix.
Soul Clap Records serve up the flavours of Tatie Dee for their next release. Morning Routine is a six-track weave through bumping house complete with trademark remixes from Black Loops and Belaria.
Opener ‘Nuit d'Ménil’ channels journeys home through the 20th arrondissement of Paris, around Ménilmontant, for Tatie and her friends. Those late-night walks inspiring this dreamy glitched out, synth heavy roller.
Next up, ‘Bed and Break fast’ is a dancefloor bumper, raw and emotive yet powerful and punchy. Moving from a breakbeat to a 4/4 rhythm it’s an intoxicating concoction laced with grooving bars, glistening pads and deft sax injections. Black Loops steps up on remix duties honing in on that breakbeat flavour with a late night, blissful, bouncy burner.
On the flip, ‘I Wasn't Born In 1937’ nods to Tatie’s pal Lucas Moinet, who runs Studio 937. The person that introduced her to the world of the MPC, rolling with her to buy her first one. Having got home and plugged everything in, the first sound Tatie composed on her MPC was this one - it was for him.
Next, ‘16 Swing-71’ is a classic-leaning, ‘90s feeling deep house track. Weighty organs and trademark deep house stabs are served with the 16 swing-71 shuffle from the SP1200 to make everything groove just right. Closing it out Baleria puts a fast-paced new beat spin on 'Bed and Break fast’ for a club ready powerhouse remix.
In his childhood home among the Bavarian Alps, where the loudest sounds were the ringing of church bells and the mooing of cows, he discovered the power of music via his sister's collection of rock records: Jimi Hendrix, The Red Hot Chili Peppers and Nirvana. Improvised music and the double bass were revelations that spurred his next voyages of discovery - first to the Richard Strauss Conservatory in Munich, then north to the Jazz Institute in Berlin, then across the ocean to New York at the Manhattan School Of Music. Since returning to Berlin, he has released two acclaimed albums as part of the band SCOPES. Now we are invited to join him for Journey, his debut album as a leader & composer. With him is a select crew of his peers from among the brightest young stars of the thriving Berlin scene - Ben Kraef on tenor sax, Carl Morgan on guitar, Simon Seidl on piano and drummer Fabian Rosch - Tom has embarked on a fascinating journey of musical exploration; producing a superb culmination of all he has learned along the way and venturing to another level.
Ben Bondy dives deep into the aether on this latest full length for Good Morning Tapes, folding blissed chorus-pedal shimmers into smudged dreampop vapours, a bit like like how we’d imagine claire rousay if she were releasing on Chain Reaction.
Mining a similar path to Jake Muir’s Mana album, Bondy explores a late, late night mood on this one, obscuring delicate digital processes behind gossamer webs of static, windchimes and smeared guitars drifting into bliss. Over the space of half an hour, breathy atmospheres blur into a pastel-hued paradise, feeding digitally distressed melodies into whirring machinery and swirling pads.
On ‘Omni Field’ diffracted dub chords swirl around a rainstorm, before ‘Pool’ arranges a guitar arpeggio like some lost E2 E4 edit, and ‘conté' evokes the meditative calm of Harold Budd or Roger Eno with its enigmatic, pastoral ambience. The album’s central point comes with 'kanga', a fuzzy dreamscape assembled from booming subs and psychoactive bells that feel more potent than a blotter under the tongue...
Quantize Recordings proudly present a special 12-inch release from the master John Morales, as he remakes two of Curtis Hairston’s biggest tracks ‘I Want Your Lovin’ and ‘I Want You All Tonight’, to bring that mid ‘80s brilliance to the modern dancefloor.
Master of the boogie sound, Hairston had many a hit both as a solo artist and as part of the legendary BB&Q Band. Mid-tempo groovers, laced with funk-fuelled basslines, cosmic synths and strutting guitars, tied together with Hairston’s luscious vocals, ‘I Want Your Lovin’ and ‘I Want You All Tonight’ are shining examples of boogie at it’s best.
Fast forward to 2023 and the masterful John Morales, who originally mixed ‘I Want You (All Tonight)’ alongside Sergio Munzibai, unlocks the vaults to the multitracks, creating four brand new mixes. Teaming up with one of the original writers and producer of both tracks Greg Radford to replay and reconstruct elements that have been lost over time. The result, a wondrously weighty vocal and dub mix of each of these certified classics that retain all that disco-channelling greatness whilst adding an extra punch and brightness that will rock any modern dance floor they’re put before.
Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.
Following their sold-out launch at London’s iconic KOKO, Mercury Prize-winning MC, producer and creative Skepta and
renowned Lord Of The Mics founder Jammer are keeping things moving in impressive fashion as they continue to establish their new Más Tiempo project. Taking the sound from London to Miami and Milan via high-profile DJ sets before returning to Ibiza for the collective’s debut at the World’s #1 Club Hï alongside The Martinez Brothers, the co-founders unite once again as they deliver the second instalment of their house-focused imprint.
Set for release on 30th June 2023, the BBK mainstays are joined by British singer-songwriter and OddChild Music favourite Etta Bond, who reunites with the Big Smoke Records boss following their 2012 record ‘Mastermind’, as they serve up a resonant and soulful anthem built for the summer months with ‘Touching My Body’ - showcasing a deeper, more profound side to their sound.
Harnessing Bond’s alluring and absorbing vocals and weaving rich sun-soaked melodies, crisp percussion arrangements and
sweeping, warping leads around them to create a captivating journey through sounds, ‘Touching My Body’ welcomes a
production built for bustling daytime terraces and memorable early hours moments in equal measure.
Welcoming another new name to the Más Tiempo family, the B-side brings an impactful label debut from fellow Grime talent and London-based musician/producer Jus Jammin, who steps out under Jammin and showcases his own explorations into house music. Here on ‘Down Shovel’ he draws for sharp snappy drums, zig-zagging synths, bubbling leads and warped vocals, serving up a heavy slice of dancefloor ammunition that has been making some serious noise in Skepta’s recent DJ sets.
These two tracks from Mike Bandoni and Chip Wickham have been a long time coming. These two stable mates from the 'Craig Charles Fantasy Funk Band' have been discussing a collaboration for years and now; it's finally in the bag! Mike brings his trademark killer funky Drums (Recorded by the legendary Malcolm Catto), Percussion, Rhodes, Bass and vintage Guitar vibes to the party whilst Chip delivers some sublime and highly complimentary work on sax and flute. Infinity Pool sounds like a long lost Bobbi Humphrey meets Bob James composition with the flute taking centre stage underpinned by what can only be described as mammoth funk grooves on every other instrument. A true modern Jazz Funk classic with just a fraction more Funk than Jazz! Get It! is a cool number with a phenomenally infectious groove and a hook that stays in the brain for days! Think early Kool & The Gang. You'll be humming these hooks day and night! Chip again raises the bar further with some sublime flute and ...
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.
Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.
Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.
At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.
This is part two. From the original master tapes. Unmissable!
repressed !
The mysterious Rahul Yusina has resurfaced for RY002. Floating high but swinging low for 2 exceptional dance floor / lounge floor cuts.
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
INDUSTRIAS MEKANIKAS returns to the fray, and comes with force, with this new release from producer CUTE HEELS.
This Colombian producer and DJ based in Berlin, and who has published in labels like; Dark Entries, Moustache Records or Schrödinger’s Box, lands in the Madrid label to present us his latest work “Steel Field”, a 12″ of six tracks in mini LP format, where the producer shows us his darker side.
All his tracks converge in styles with a very marked influence of EBM and the most hypnotic Techno, along with the treatment of his vocals with distortion and delay effects, as well as lyrics with a very devastating message,
His new Mlp “Steel Field”, will make you travel from the beginning to the end, will take you to the darkest and murkiest worlds of electronica, will make you can not stop dancing, playing, thinking and moving between the sensations and the most recondite desires of your mind.
Dan Lacksman is a Belgian electronic music pioneer who co-founded the Electro Pop Dance formation Telex and is credited for their classic 'Moskow Diskow.' He also worked under the Transvolta name but put out only one single, 1978's impossibly hard-to-find classic 'Disco Computer.' Dan himself has carefully remastered the original for this special 12" reissue. It's still a retro-future sound all these years later with the signature talk box vocals and sleek drum machines under cosmic synths. On the flip is a long version of 'You Are Disco' which is a similar vibe but with a slightly more lively groove and vocal. Two serene dancefloor gems by any standards.
Singer-songwriter Dora Morelenbaum is one of the stunning voices at the forefront of Brazil’s exciting new musical wave. Her sublime 'Vento De Beirada' EP takes you on a trip into the sensuous sounds of Dora's world. On first hearing her music, we were reminded of the transformational moment when we first discovered the Brazilian singer-songwriter, Joyce. The music is completely new to you, yet instantly familiar, like rediscovering a past love.
Dora is a member of the Brazilian Latin-Grammy-winning superstar quartet Bala Desejo; a trailblazing light opening up Brazilian music to a whole new audience outside of the country. 'Vento De Beirada' EP showcases a different sound to the riotous, joyful, avant-garde Tropicália sound of Bala Desejo. This solo set takes a more dream-like, downbeat, MPB stance. It is firmly contemporary, yet you can also trace the lines of influence back to idols such as Gal Costa and Maria Bethânia.
The EP is comprised of four tracks that have already garnered critical acclaim following their digital release. It starts with the tender and gentle 'Japão', which was inspired by the melodies of the legendary Japanese composer, Ryuichi Sakamoto. Sakamoto once collaborated with Dora's musician parents, Paula and Jaques Morelenbaum, when she was young. 'Dó a Dó' is drenched in lush, sweeping strings that were arranged by her father himself, and is co-written by Dora and Tom Veloso of the band, Dônica. There’s further collaboration on the EP, including production from one of the lynchpins and stars of the current Rio scene, Ana Frango Elétrico. Fellow Bala Desejo band member, Lucas Nunes, contributes towards the production, writing, and guitar with Guilherme Lírio also on production, guitar, and bass. Whilst Bala Desejo’s Zé Ibarra penned the song 'Vento De Beirada' with Lucas and Victor Vasconcellos.
The four-track EP has been cut to 12" and mastered for vinyl by Joker (Liam McLean). With crystalline beauty and a breezy sense of ease and serenity, sounding classic yet contemporary. This release serves as the perfect introduction to an extraordinary talent.
Now this 45 release is a real treat, featuring both the original and Kenny Dope remix of Tyrone Washington’s timeless gem, ‘Submission’.
A mysterious artist who seemingly disappeared from the scene after his last release in the mid 70’s, Washington created forward-thinking Jazz magic which has been loved ever since its original release - and sampled multiple times by the likes of A Tribe Called Quest and Pete Rock.
On the Kenny Dope remix, we are served some heavy hip-hop breaks which pump underneath the inimitable brass of the original, chopped up to add some extra
- A1: Savage - Italodisco (Flemming Dalum Remix)
- A2: Bunny X - Words Feat Fred Ventura (Original 12“ Version)
- A3: Moderno - Waves Of Light (Night Mix)
- A4: D White - One Wish (Zyx Extended Version)
- B1: P Lion - Happy Children (Flemming Dalum Remix)
- B2: Tam Harrow - Your Love Is So Nice (1St Extended Mix)
- B3: Brian Ice - On The Moon (Vocal Version)
- B4: Mode One - Man On The Moon (Extended Mix)
The Athenian producer Aggelos Baltas alias Anatolian Weapons captures on the album Earth the feeling of an optimistic future that grows on the soil of the sweet bitterness of the present and the past.
Under his pseudonym Anatolian Weapons, Baltas combines polyrhythmic percussion and wailing tones of Greek folk music with a thrilling and open Krautrock attitude. The album Earth takes us on a mystical journey through the northern Greek highlands, backed by Baltas’ unique machine-assisted folk, infused with psychedelic drones and exuding an aura that is neither then nor now, neither there nor here. Instead, it exists in a small pocket of its own cosmos. A crossroads of dimensions. A mystical offering to nature and the divinities.
Baltas has explored and reframed various Greek scenes of yesteryear in the past, such as with his Fantastikoi Hxoi project, which created Krautrock mutations from 60s and 70s pop, but Earth is an even more far-reaching expedition. It is a folk reckoning with ancient Greek musical traditions with a modern upgrade. The album reconstructs a sonic narrative of ancient traditions, enhanced with psychedelic and space-rock elements. In the reverb cycle, one hears a certain agrarian reinterpretation of the world, filled with harvest rituals and celestial incantations.
It is with great pleasure to welcome Anatolian Weapons to the label. During a longer stay in Athens, a friendship developed that led to a variety of musical projects and ideas. One of them is the release of the album Earth.
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!
Mike Salta & Mortale release their debut album ‘Moloko Island’ on Music For Dreams label. Moloko Island is a getaway where good vibes can float freely. An island where only fantasy set the limits.
It is a collection of tracks, some of which have already been buzzing around the balearic / downtempo scene for a while now. The Album includes the infectious ‘Hey Moloko’ which was picked up by Hot Chip for their splendid Late Night Tales compilation, and the gamers amongst you may have noticed it in the most recent Playstation – Gran Turismo 7 soundtrack. Outro track ‘Bye Moloko’ is a brand new Re-edit of this classic.
The music of Mike Salta aka Gert Nygaard flaunts an eclectic palette, collecting strands from New Orleans funk, 80’s italo disco or Brazilian tropicalia and transforming them into rich and sun-drenched dance music.
The album is produced in collaboration with long-time studio partner Mortale, and is a sumptuous piece of chillout to call on the summer. A full-bodied groove of an album to transport you and soundtrack those sunny days & balmy evenings. Moloko Island concludes a voyage and reconcile an era where electronics and acoustics have been explored and united in the unique sound and vibe Mike Salta and Mortale has strived to unfold
- A1: Remnant
- A2: Waiting Feat Teezo Touchdown
- A3: Rain Crush
- A4: Days Go By Feat Toro Y Moi
- A5: Lfo Feat Sampha & Geoge Riley
- A6: Creepin' (Interlude)
- B1: Limitless Feat Leilah & Sampha
- B2: Go To Ground
- B3: Wasted Feat Anna Of The North
- B4: Coppa Feat Kai-Isaiah Jamal
- B5: You, Love
- B6: Don't Let
- C1: No Intention Feat Leilah
- C2: Forward Feat Leilah
- C3: D Double E (Interlude)
- C4: You Broke My Heart But Imma Fix It
- C5: Palm Reader
- C6: Drift Feat Leilah
- D1: Demons Feat Toro Y Moi
- D2: Saya Feat Saya Gray - Interlude
- D3: The Rat Road Feat Teezo Touchdown
- D4: I See A Stair Feat Little Dragon
Tape[11,35 €]
Emerging from 6 years of sonic exploration, SBTRKT (pronounced 'subtract'), is an electronic music artist based in London, UK known for his synaesthesiac production and early collaborations with, and championing of, Sampha and Jessie Ware, alongside Little Dragon, The Dream, A$AP Ferg, Ezra Koenig and Drake.
Largely anonymous, SBTRKT (real name Aaron Jerome) has established a reputation for iconic visuals and creative, an incredible live show and a sound that effectively defined electronic music in the early 2010s'The Rat Road' sees SBTRKT redefine UK electronic music (again)' according to GQ, bringing together his iconic, synaesthesiac production with an incredible lineup of collaborators including Toro Y Moi, Teezo Touchdown, D Double E, Anna Of The North, Kai Isaiah Jamal, Sampha, Little Dragon and others.
Lorenzo De Blanck breaks new ground and makes his Hot Creations debut with ‘Feel My Desire’. With an impressive year under his belt, earning recognition as one of the ANTS’ ‘Next Gen Top 10’ plus success on labels such as Hottrax, Moon Harbour, Repopulate Mars, Italian DJ/producer Lorenzo De Blanck now makes an electrifying debut on Hot Creations with ‘Feel My Desire’. The release showcases three thumping tracks already garnering support from leading figures, including label boss Jamie Jones and Joseph Capriati, embodying the label’s reputation for propelling pioneering artists to the forefront.
The title track ‘Feel My Desire’ combines speaker-rattling basslines with an unwavering sonic landscape, meticulously crafted to ignite a dance floor frenzy, while ‘Energy’ locks in a slick groove with percussive rhythms and eerie vocal snippets for a hypnotic trip. Closing out the release, Show Me The Way’ lightens the mood combining bouncing drums beneath a slick sample of Dave Lee's 2003 hit ‘The Way’, before blending escalating synths for a rolling workout.
Repress.
If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.
A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.
Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'
Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.
After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did.
A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.
- A1: De Staat - Let It Snow
- A2: Dotan - 2000 Miles
- A3: Miss Montreal - Being Alone At Christmas
- A4: S Flying V Formation - Be My Baby
- A5: Moke - White Christmas
- A6: Tim Akkerman - Santa Claus Is Coming To Town
- A7: Marike Jager - Frosty The Snowman
- B1: Anneke Van Giersbergen - The Power Of Love
- B2: Elske De Wall - Last Christmas, One Last Time
- B3: Pete Philly - Have Yourself A Merry Little Christmas
- B4: Lisa Lois - It Should Be Christmas Everyday
- B5: Maan - Another Lonely Christmas
- B6: Shary An - We Wish You A Merry Christmas
So This Is Christmas is a compilation of Coloured Vinyl, Limited Edition 13 christmas tracks released as LP on 26 Nov 2021. So This Is Christmas includes a.o. the following tracks: “De Staat - Let It Snow”, “Miss Montreal - Being Alone At Christmas”, “Elske De Wall - Last Christmas, One Last Time”, “Pete Philly - Have Yourself A Merry Little Christmas” and more.
Slave To Society pays homage to the legendary cultural theorist and philosopher, Mark Fisher. Diving into some of the conceptual ideas of Fisher’s literature and philosophy, you'll feel like you're wandering through a post-apocalyptic landscape in the future with this hard hitting, haunting and atmospheric piece.
‘The Future That Never Arrived’ experience the paranoia and anxiety of the digital age with this gritty and dissonant track. Fisher's ideas about technology's impact on society come to life in a sonic onslaught.
‘Cyberspace’ exploration of desire and its endless repetition. The frenetic energy of this track mirrors the insatiable hunger of consumer culture.
’Is There No Alternative’ the title track offers a sense of reflection and departure. It echoes Fisher's thoughts on escaping the boundaries of the present moment.
‘Ghosts Of My Life’ this track encapsulates Fisher's critique of our modern capitalist society. The heavy beats mirror the relentless grind of capitalism, while the haunting melodies reflect the loss of authentic experiences.
German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.
German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.
Hole released their second album ‘Live Through This’ in 1994, with Courtney Love revamping the original group members from their debut album. The title is taken from ‘Gone With the Wind‘ and has been met with critical acclaim, featuring in Rolling Stone’s ‘500 Greatest Albums of All Time’. This release comes as a a limited edition 140-gram Light Rosé vinyl.
The 11th and final studio album from Siouxsie and the Banshees - The Rapture was also as fresh and innovative as the first.
How the Banshees are able to remain vital and celebrated after almost two decades is down to their ever evolving and metamorphic spirit.
Only ever released on gatefold 2xLP vinyl outside of the UK, The Rapture's artwork has been reimagined and designed to rightly reflect this final Banshees offering.
Remastered from the original ¼' tapes and cut at half speed at Abbey Road studios, London.
Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.
- 1: Ache Adani Ya Ma (What Got Into Me)
- 2: Mahlali Noum (Insomnia)
- 3: Gouli Ache Ka Tabrini (Tell Me Why You Love Me)
- 4: Ha Hbibi Ha Mimouni (My Love My Fate)
- 5: Adi Wella Khali (Take It Or Leave It)
- 6: Rabi Ikhalesse (God Will Bless You)
- 7: Ana Walah Nachak Fik (I Swear I Love You)
- 8: Lajabni Achkak (Your Love Brought Me Back)
- 9: Wa Alache Ana Nachek (Why Do I Love You)
- 10: Dabazte Omri (Lover’s Quarrel)
Fadela is an internationally renowned artist from Oran (Algeria) who began her musical career in the 1980s alongside Boutaiba S'ghir, Khaled and avant-garde producer Rachid Baba Ahmed. With her powerful, haunting voice, Fadela has brought a new dimension to raï music, skilfully blending traditional sounds with modern influences. Her songs are infused with emotion and passion, telling stories of love, pain and resilience. Over the years, she has released several successful albums, reaching millions of people around the world and making her an icon of raï music. Today, Fadéla continues to perform, enchanting audiences with her unique voice and infectious energy. Her exceptional career and musical heritage make her one of the greatest raï artists of all time. Elmir is delighted to present the first vinyl edition of the album Mahlali Noum, originally released in 2006.
- Summertime
- Seed Of Wonder
- Enemy
- Silverscreen
- Money
- Dreams In The Hollow
- Love Is All We Have
- Intelligentactile
- Havoc In Heaven
- Out The Back Door
- Silverscreen (Acoustic)
- Summertime (Acoustic)
- Out The Back Door (Acoustic)
- Seed Of Wonder (Acoustic)
- Enemy (Acoustic)
- Love Is All We Have (Acoustic)
- Intelligentactile
- Havoc In Heaven (Acoustic)
- Reves Dans Le Creux
- Money (Acoustic)
- Love And Love Again (Acoustic)
- Paradise (Acoustic)
Jesca Hoop"s debut album Kismet (2007) stands out as one of those rare examples of a newcomer getting it right on the first try and winding up with one hell of a tough act to follow. September 2023 sees Kismet"s 16-year anniversary and to celebrate, Hoop is reissuing Kismet on vinyl paired with The Complete Kismet Acoustic, a live stripped back version of the album. While Kismet brims with studio wonders and the absolute joy of diving into the medium with musical giants that include Stewart Copeland, Matt Chamberlin, Blake Mills, Shawn Everett and Tony Berg, The Complete Kismet Acoustic brings us to the heart of Hoop"s character with just two acoustic guitars and three voices. Listening back-to-back is a striking experience. This double gem is the first ever vinyl pressing of both titles and is not only a must have for the collectors of Hoop"s work but an essential for those new to the realm.
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.
If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.
Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.
He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.
While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.
"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.
Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos
Includes an alternate take of 'Looking Good tonight ' appearing for the first time ever on vinyl.
"Blues for a Reason stands out from much of the work of the period." - The Penguin Guide to Jazz
"It's strange to think that two of the greatest stars of "cool jazz," Chet Baker and Warne Mash, would never record together, given that they were nearly the same age, and that they both rose to fame in Los Angeles around the same period.
However, that would have been the case if Gerry Teekens, founder of the Criss Cross label, had never had the bright idea of bringing them together in 1984.
Surprisingly, they would end up cutting their only collaborative album, Blues for a Reason, in Monster, The Netherlands!" - **** AllMusic
FIRST E.P FROM THE VOODOO MAN / INCLUDING INSERT WITH PIC / INCLUDING TIM CURRY cover: Ain’t No Love On The Street. Eric McFadden is back with his first 4-track vinyl, ahead of his new album in autumn/winter 2023 and has taken advantage of this release to complete a frenzied summer tour of France (Avignon, Cavalaire, Saint Cyr Sur Mer…) that he has a secret for. His recent acoustic tributes to AC/DC and Alice Cooper have introduced him to a much rockier audience, and his performance at Patrimonio (Corsica) in July 2019 and 2023 with Pat McManus did not go unnoticed. On the menu for this new opus: blues and rock and a cover of a Tim Curry song (No Love On The Street), all wrapped up in a dark, Tom Waits-style voice and a unique guitar style with high flights of fancy. Thrills guaranteed!
Jaheim H. Hoagland, known professionally just as Jaheim, is best described as an R&B singer, but as all his releases are post millennium, the term has a different usage now to the style of the 50s/60s/70s that once used the genre. A resident of Hillsborough Township, New Jersey, and the grandson of 1960s soul singer Hoagy Lands which gives him Cuban, African and Native American blood, plus a fine musical heritage.
His recording career started with Divine Mill Records (a division of Warner Bros. Records) and his debut album “Ghetto Love” was released in 2001 to great acclaim. His follow-up album “Still Ghetto” (2002) spawned two hit singles, “Put That Woman First” and “Fabulous”, that both went platinum, and his third album “Ghetto Classics” (2006) topped the US Billboard chart selling over 153,000 copies in its first week. He then was signed to Atlantic Records in 2007 and his success continued with another three albums, and his final album to date, “Struggle Love” (2016) was released through BMG on his own label Julie’s Dream. To date he has received three Grammy nominations and sold over 5 million records worldwide.
The tracks selected for their 7” debuts are “Just In Case”, which was from the 20-track album “Ghetto Love” and did actually get released on a 12” being a massive favourite at the more progressive soul events, and “Diamond In Da Ruff” from “Still Ghetto”, which was also released on 12” vinyl.
A live recording from 1977! First time on vinyl! Previously only available on CD as part of the Past & Future Landslide 3CD box set! LIVE AT THE QUEENS HOTEL MARGATE 1977 It was 1977 and things were progressing extremely well. We had signed to Beggars Banquet and our first single ‘Shadow’ b/w ‘Love Story’ had been released. John Peel had been playing both sides of the single most nights on his radio show, so we were getting heard by a lot of people. But we didn’t yet have a "proper" tour bus, so we all piled into a transit for the trip down to Margate with our tour manager Mike Stone in the driving seat. The Queens Hotel turned out to be a pretty good venue. There was a nice high stage which we much preferred over the low-slung platforms of some of the places we played. It meant that the crowd wasn’t totally swamping us the whole time, although there would still be a constant stream of people jumping on and off stage, bumping us, knocking equipment over and so forth. We weren’t sure if many people would turn up on a cold and windy night so close to Christmas, but it was a good turnout, and they were out for a good time too. There was none of the aggro stuff which would become a problem later on at our shows. The actual gig was typical of a Lurkers show at that time, being fairly chaotic with a lot of crowd "interaction". There is a recklessly fast version of ‘Pills’ on the recording, and I think we were playing ‘It’s Quiet Here’ for the first time live. Howard was on good form too; it would be his birthday on Christmas Day. My favourite quip from him is towards the end of the show when he says "eat your heart out Hank Marvin" after one of my more eccentric Shadows guitar intros. PETE STRIDE 2022
Since forming in 1999, Suishou No Fune (A Ship Of Crystal), the vehicle for long-term musical collaborators Pirako Kurenai (guitar, voice) and Kageo (guitar), have been one of the most compelling groups in the Japanese underground. Their long, languorous songs are devastating in their simplicity, as though the gently sung ballads of the Velvet Underground’s third album were re-scored by the legendary Japanese free-rock gang, Les Rallizes Denudes. Their new album, 風は春、空は虹、愛は波間に隠れている (The wind is spring -. There is a rainbow in the sky - Love is hiding in the waves.), documents a live performance from May 2021, at Silver Elephant, where the duo are joined by Matsuedo Hideo on bass, and Mark Anderson (Greymouth, Mysteries Of Love) on drums.
The duo of Pirako Kurenai and Kageo have come a long way since their early performances and self-released CD-Rs – in the intervening decades, they’ve released albums on P.S.F., Holy Mountain, Important, Archive, 8mm and Essence, amongst others, each album another manifestation of the duo’s ever-changing same. You can hear them patiently toiling over these beauteous songs, with their choral melodies and lush waves of tonology, Kageo’s guitar radiating bejewelled chimes and dense passages of texture, pulling the songs into a black hole of quietude and sadness. And as Kurenai once told journalist Phil Kaberry, “Suishou No Fune’s songs, sounds and words are often born from heartrending feelings like sadness and pain”.
The wind is spring. There is a rainbow in the sky. Love is hiding in the waves begins with the deep blues of “Cherry”, a drawn-out drift-song that pivots on a most elegant two-chord mantra, as Kurenai sings, siren-like, amidst the sheets of noise Kageo peels from six strings. There’s something painterly about the duo’s playing here, and indeed, Kageo was a painter and Kurenai was a doll maker and watercolour painter when they met in the late ‘90s. On the flip side, a spare, spaced-out improvisation, “A Rainbow Is Floating”, acts as a prelude to “Endless Descent”, one of Suishou No Fune’s most remarkable songs, where a mesmeric guitar line endlessly coils and twines around the flicker and toll of Kurenai’s hypnotic one-chord strum. It’s a bruised, quietly desperate ending to an album that has an achroamatic air, as though the songs were transmitting to a cabal of lost spirits.
Black vinyl, in 3 colour variations of silkscreened jacket with obi in black or kraft, with inserts and a postcard Liner notes by Jon Dale Printed by Alan Sherry
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.
To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!
- 1: Pesticide
- 2: Vultures
- 3: Enforcer
- 4: Deflowered Soul
- 5: Dismemberment Of Sanity
- 6: Realms Of Darkness
- 7: Die Drunk
- 8: Few Lines And Tones About Dr Mengele
- 9: No Future, No Past 10. Legal Security Act
- 11: Brainwash
- 12: Sons Of Mother Earth
- 13: This Man
- 14: Satan's Back
- 15: Why?
- 16: For The Jackals Sake
- 17: No Return
- 18: Sick Standard Of Living
No Future, No Past – Svart Records set to release a compilation of the lost treasures of Finnish speed and thrash metal in October The roots of speeding thrash metal stretch out to the early and mid 80’s. It did not take long for the waves arising from the shores of California, central Europe and the United Kingdom hit Finland hard as well. The guiding light of Finnish thrash metal from that era was Stone from Kerava, but the entire scene that was bubbling beneath the surface was surprisingly vivid for such a small country. As the old saying goes, in the late 80’s there was not a single town in Finland without a speed metal band. These dozens – or hundreds, to be more precise – of vivacious bands formed by the long-haired youth didn’t just stay in the basements of their parents’ houses. Soon the youth centres of every county and open-minded venues such as the legendary Lepakko in Helsinki would arrange wild speed and thrash metal gigs. Studios run by more experienced musicians such as Timo Tolkki from Stratovarius were fully booked by hungry young bands eager to record their future metal classics. Many bands released 7” singles and demo tapes by themselves or with support from a record company, yet most of them permanently stayed at the demo stage through the golden era of the eighties. Svart Records is set to release a compilation of the absolute top tunes culled from these sought-after, long-lost demo tapes and singles on vinyl and CD in October. No Future, No Past – Finnish Speed & Thrash Metal Explosion combines the strongest, rarest, and most obscure Finnish metal tracks from the years 1986-1992. Backgrounds of the bands presented on the compilation differ a lot from one another. Vendetta and Damage were born from the ashes of the members’ previous hardcore and punk bands. A.R.G. and Catalepsy got their feet in the door fast of record companies such as Poko Records and Megamania, while other metal acts from that time simply faded away. After a few decades passed, some bands saw it fit to restart their careers, Sacred Crucifix and The Hirvi being examples of such comeback artists. No Future, No Past – Finnish Speed & Thrash Metal Explosion 1986–1992 will be released on October 13th on a limited 2LP vinyl edition and CD version. The compilation is packed with 18 remastered tracks of pure Finnish metal mayhem and accompanied by a booklet that contains band histories, photos, and song details. The compilation’s predecessor Real Delusions: Finnish Speed & Thrash Metal Explosion 1987-1991 was released in 2018 and its limited vinyl edition was sold out in a heartbeat, so get this rare gem now before it’s too late!
- A1: It's Beginning To Look A Lot Like Christmas
- A2: Sleigh Ride
- A3: Let It Snow! Let It Snow! Let It Snow!
- A4: White Christmas (Featuring Pentatonix)
- A5: I'll Be Home For Christmas
- A6: Jingle Bells (With The Andrew Sisters) Featuring The Puppini Sisters
- A7: Have Yourself A Merry Little Christmas
- B1: Do You Hear What I Hear
- B2: The Christmas Song
- B3: Peace On Earth / Little Drummer Boy (With David Bowie)
- B4: The Twelve Days Of Christmas (With The Andrew Sisters) Featuring The Puppini Sisters
- B5: Winter Wonderland
- B6: The Christmas Song (Featuring The Tenors)
- B7: White Christmas
To commemorate the untimely death of the first ‘multimedia’ star of all time, Bing Crosby, the 14th October sees his lifelong record label, Decca, together with his widow and daughter, Kathryn and Mary Crosby, announce the release of the brand new album ‘Bing at Christmas’, to be released on 22nd November. The voice that is completely synonymous with Christmas, here Bing’s utterly distinctive original vocals are set to newly-recorded orchestral arrangements, performed by the London Symphony Orchestra, breathing new life into the best Christmas songs in existence. 'Fourteen classic Bing Crosby Christmas songs including: White Christmas, Little Drummer Boy (feat. David Bowie), Winter Wonderland, Have Yourself A Merry Little Christmas. New orchestration by the London Symphony Orchestra. White Christmas by Bing Crosby is still the top selling Christmas single of all time. Over 50 million copies sold worldwide. White Christmas is the most-recorded song of all time!! Big TV spend over the Xmas period!
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.
The band who has become Sweden's most addictive rock'n'roll export is now rereleasing its fourth album Club Majesty in a special neon pink vinyl edition, on the occasion of its four year anniversary.
Plenty of people have tried to label the band. Garage rock, pop rock, kung-fu rock and even Chuck Norris rock are all tags that have been devised for Royal Republic's punchy, propulsive brand of rock'n'roll.
With their fourth album Club Majesty, 'disco rock' has been added to the mix. "I love the word 'disco'," singer Adam Grahn says. "But some people will say 'but you're a rock band!' We're a band. I never knew what to call us."
If you like Royal Republic, you'll love Club Majesty. And for the uninitiated - rock fan, pop lover, metal-head or otherwise - you've arrived at an excellent time. All are welcome here, so step inside...
- A1: Where Do We Go From Here?
- A2: Back On Your Radio
- A3: I Should've Followed You Home (Feat. Gary Barlow)
- A4: Dance Your Pain Away
- A5: I Was A Flower
- A6: Perfume In The Breeze
- B1: Past Forever
- B2: The One Who Loves You Now
- B3: Bubble
- B4: When You Really Loved Someone?
- B5: I Keep Them On The Floor Beside My Bed
- C1: The One Who Loves You Now
- C2: When You Really Loved Someone
- C3: Perfume In The Breeze
- C4: I Was A Flower
- C5: I Should've Followed You Home (Feat. Gary Barlow)
- D1: Past Forever
- D2: Dance Your Pain Away
- D3: Bubble
- D4: Back On Your Radio
- D5: I Keep Them On The Floor Beside My Bed
White Vinyl[27,69 €]
Agnetha Fältskog, weltbekannte Sängerin, Songschreiberin, Mitglied der Kultgruppe ABBA und eine der bekanntesten Stimmen der Musikgeschichte, hat 'A+' angekündigt, eine neu aufgenommene Version ihres gefeierten Solo-Albums "A" aus dem Jahr 2013, das am 13. Oktober 2023 über BMG veröffentlicht wird.
Das Originalalbum erschien vor 10 Jahren und wurde nun für das Jahr 2023 komplett neu aufgelegt. Neben der Albumankündigung hat Agnetha auch die atemberaubende Single 'Where Do We Go From Here?" in diesem Jahr neu aufgenommen; einen brandneuen Song, der dem Album hinzugefügt wurde und damit die erste neue Musik seit 10 Jahren von Agnetha als Solokünstlerin darstellt.
Das Album wurde speziell für sie von dem gefeierten Songwriter und Produzenten Jörgen Elofsson geschrieben.
Im Vorfeld des 10-jährigen Jubiläums des Albums diskutierten Agnetha und Jörgen darüber, wie das wie das Album klingen würde, wenn es im Jahr 2023 entstanden wäre, und beschlossen, diese Idee gemeinsam zu verfolgen. Sie arbeiteten mit ihrem Produzenten Anton 'Hybrid' Mårtensson zusammen und überarbeiteten das Album, jeden einzelnen Song, wobei sie den Originalgesang von 2013 beibehielten, die alte Musik wegwarfen und für 2023 völlig neue Produktionen und damit auch eine neue Tracklist schufen.
Das 2013 erschienene "A" war Agnethas erstes Album seit ihrem 2004 erschienenen Coveralbum "My Colouring Book" und das erste Originalmaterial seit "Stand Alone" von 1987.
††† (Crosses) —Chino Moreno (Deftones) and producer/multi-instrumentalist Shaun Lopez — release their anticipated new album Goodnight, God Bless, I Love U, Delete. on October 13th with notable features from EL-P and Robert Smith.
The arrival of Goodnight, God Bless, I Love U, Delete. will follow the band's critically acclaimed EP PERMANENT.RADIANT, which recently received a new spin on the duo's PERMANENT.RADIANT.REMIXED. The reimagined release contained remixes from a noteworthy list of electronic innovators including Hudson Mohawke, suicideyear, AWAY, and Machinedrum.
With new single “Invisible Hand,” Moreno and Lopez embark upon a new chapter filled with merciless creations as they continue making music without compromise.
Marco Bailey teases his upcoming full-length studio album via a limited-edition vinyl sampler out on Materia this fall.
Icon. Living legend. Both definitions apply to Marco Bailey, a self-taught DJ and producer whose career started to develop in the late 80s after attending a local club in his native Belgium and being completely seduced by the rhythmic power of dance music. That was when all changed. A first approach that triggered the decision to be behind decks instead of the dancefloor. And since then, he has committed his life to music.
Music has always been at the forefront for the Belgian-based producer as he unveils his latest studio album entitled "NOCTURNO" in form of an exclusive vinyl-only album sampler. The sampler features 4 signature techno grooves from Bailey that will appease vinyl enthusiasts and techno fans alike.
The sampler's A side features "Royal Wolf", a track that channels peak hour banger and a more dark, moody groove "Infinite Bunker". "Smooth Drive" and "Point Of Life" take over the album's B-side with relentless energy and balances out the sampler to give listeners a diverse taste of what the full album has in store.
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
Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.
It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.
The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.
On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.
Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.
It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.
The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.
On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.
Red Vinyl[26,47 €]
South London ne-er-do-wells Meatraffle make huge strides forward with this third album of funky trumpet-laced street pop combining a caustic wit with a tender heart. “The best band in the country bar none!” Fat White Family // “A collective of individuals who refuse to be pigeonholed…..they conjure a rich, imaginative and often simply funny world” The Quietus // “Humorous alt-punk…potent…surreal” CLASH // “Their direct and confrontational attitude has not been seen since punk really grabbed England by the balls” FAR OUT // “Your mind will be liberated” Louder Than War // Meatraffle are thrilled to announce they will be releasing 'Base and Superstructure', their third studio album on Blang Records on 29.09.2023. Recorded during lockdown, produced & mixed by Meatraffle keyboardist Chris OC, Dante Traynor (SWEAT, Fat White Family 'Feet'), additional mixing by Angelica Björnsson (Hi - Texas feat. Wu Tang Clan) and mastered by Dean Honer (Eccentronic Research Council, I Monster, The Moonlandingz), ‘Base and Superstructure’ marks a new sonic departure for the band rightly acknowledged as godfathers of the now infamous South London scene, centred around the Windmill in Brixton. The band will be touring in support of the new album later in the year. Founded in 2014, Meatraffle have toured extensively across the UK and Europe as both a headline act and support to the likes of Fat White Family, Sleaford Mods and Warmduscher. Festival appearances include SXSW, Green Man and Liverpool Psych Fest. In addition to their previous two LPs ('Hi Fi Classics' and 'Bastard Music'), the band have released singles on Dan Carey's Speedy Wunderground and Moshi Moshi, plus numerous remixes including 'Meatraffle on the Moon' by the one and only Andrew Weatherall. The band have also played sessions for Marc Riley (BBC 6Music) plus regular plays from other 6Music DJs including Iggy Pop, Gideon Coe and Amy Lamé. “We were looking for labels for a while, sending out demos to small ‘indie’ labels to which we often had the response, “we really like it but we’re not signing anyone at the moment”, which feels like the new “don’t call us we’ll call you!”... We knew we had a good record so didn’t get knocked back and knew it would be a climb as many of these small and large ‘indie’ or ‘alternative’ labels can be even more conservative than the mainstream, I guess having less money and therefore having to ‘play it safe’. We bumped into Blang one night at The George Tavern and instantly had a good feeling about them…and guess what? They loved the music!” - Meatraffle frontman, Zsa Zsa Sapien. Genre-bending independent label Blang Records is a wildly non-commercial label firmly rooted in the DIY/anything goes attitude of punk and antifolk, and has remained consistent in its commitment to releasing outsider music by the likes of David Cronenberg's Wife, Jack Medley's Secure Men, Brix & The Extricated, Milk Kan, Thomas Truax and many more. Live Dates: 13th July 2023 - Peckham Audio, London w/SLEAZE, Brian Destiny, Neuro Placid (headline show).
Black Vinyl[23,11 €]
South London ne-er-do-wells Meatraffle make huge strides forward with this third album of funky trumpet-laced street pop combining a caustic wit with a tender heart. “The best band in the country bar none!” Fat White Family // “A collective of individuals who refuse to be pigeonholed…..they conjure a rich, imaginative and often simply funny world” The Quietus // “Humorous alt-punk…potent…surreal” CLASH // “Their direct and confrontational attitude has not been seen since punk really grabbed England by the balls” FAR OUT // “Your mind will be liberated” Louder Than War // Meatraffle are thrilled to announce they will be releasing 'Base and Superstructure', their third studio album on Blang Records on 29.09.2023. Recorded during lockdown, produced & mixed by Meatraffle keyboardist Chris OC, Dante Traynor (SWEAT, Fat White Family 'Feet'), additional mixing by Angelica Björnsson (Hi - Texas feat. Wu Tang Clan) and mastered by Dean Honer (Eccentronic Research Council, I Monster, The Moonlandingz), ‘Base and Superstructure’ marks a new sonic departure for the band rightly acknowledged as godfathers of the now infamous South London scene, centred around the Windmill in Brixton. The band will be touring in support of the new album later in the year. Founded in 2014, Meatraffle have toured extensively across the UK and Europe as both a headline act and support to the likes of Fat White Family, Sleaford Mods and Warmduscher. Festival appearances include SXSW, Green Man and Liverpool Psych Fest. In addition to their previous two LPs ('Hi Fi Classics' and 'Bastard Music'), the band have released singles on Dan Carey's Speedy Wunderground and Moshi Moshi, plus numerous remixes including 'Meatraffle on the Moon' by the one and only Andrew Weatherall. The band have also played sessions for Marc Riley (BBC 6Music) plus regular plays from other 6Music DJs including Iggy Pop, Gideon Coe and Amy Lamé. “We were looking for labels for a while, sending out demos to small ‘indie’ labels to which we often had the response, “we really like it but we’re not signing anyone at the moment”, which feels like the new “don’t call us we’ll call you!”... We knew we had a good record so didn’t get knocked back and knew it would be a climb as many of these small and large ‘indie’ or ‘alternative’ labels can be even more conservative than the mainstream, I guess having less money and therefore having to ‘play it safe’. We bumped into Blang one night at The George Tavern and instantly had a good feeling about them…and guess what? They loved the music!” - Meatraffle frontman, Zsa Zsa Sapien. Genre-bending independent label Blang Records is a wildly non-commercial label firmly rooted in the DIY/anything goes attitude of punk and antifolk, and has remained consistent in its commitment to releasing outsider music by the likes of David Cronenberg's Wife, Jack Medley's Secure Men, Brix & The Extricated, Milk Kan, Thomas Truax and many more. Live Dates: 13th July 2023 - Peckham Audio, London w/SLEAZE, Brian Destiny, Neuro Placid (headline show).
Simon Goff ist Komponist, Ingenieur und Produzent und lebt in Berlin, DE. Er hat mit einigen der weltweit bekanntesten Musiker als Kollaborateur und Tontechniker zusammengearbeitet, darunter mit der oscarprämierte Komponistin Hildur Gudnadóttir für die Filme "Joker" und "Chernobyl", die ihm beide einen Grammy Award einbrachten, sowie Jóhann Jóhhansson und Apparat. Außerdem arbeitete er mit Katie Melua als Co-Autor und Produzent an ihrem 2022 erschienenen Album "Aerial Objects" zusammen. "Spark Like Living Mothers", der Nachfolger des von der Kritik gefeierten Albums "Vale" aus dem Jahr 2021, ist ein Projekt, das aus der Frage geboren wurde: Was passiert eigentlich in dem Moment, in dem alles aufhört und wieder neu beginnt? Zu diesem Zweck hat das gesamte Album seine Wurzeln in einem Arrangement, welches Goff für das extravagante Chorstück "If ye love me" von Thomas Talis erstellt hat. Das Album ist eine Sammlung von sechs Titeln mit eindringlicher, strukturierter und intuitiver Electronica und zeugt von Goffs vielseitiger Praxis. Zur Unterstützung der Veröffentlichung wird Simon Goff eine Reihe von Galerieshows in Deutschland spielen, darunter am 5. Oktober in der nüüd.berlin gallery und am 9. September in der Van Der Grinten Galerie in Köln.
"Destroyer" sees the core trio fostering their sound by continuing to migrate towards the sonic realms that capture the fine equilibrium allying the somber, austere, the vigorous, and vibrant. A striking singular vision of abyssal maritime desolation expressed by carving sonic territory that seamlessly blends elements of French coldwave, European post-punk, and first wave shoegaze.
Ever since their debut EP "A Life Of None" (2017), followed by their widely celebrated "Black Sand" EP (2018), FEARING have been procuring a constant flow of commendable releases.Through vigorous touring and live endeavors (having toured alongside the likes of Gatecreeper, She Wants Revenge, Soft Kill, 200 Stab Wounds, Choir Boy, Narrow Head, and Death Bells, along with playing notable festivals as Substance, Home Sick, and Out From The Shadows), ever since the release of "Shadow", FEARING have fastened themselves as one of the apex artists in today's post-punk current.
Anticipated follow- up to the band's debut LP "Shadow" which was one of the most acclaimed post-punk/darkwave albums of 2020. "Destroyer" likewise will be recognized as one of the most important albums within said genre of this year.
Prior to the release of "Destroyer", FEARING's touring/ live experiences include tours with bands such as Gatecreeper, She Wants Revenge, Soft Kill, 200 Stab Wounds, Choir Boy, Narrow Head and Death Bells. They have also played such festivals as Substance, Home Sick, and Out From The Shadows. Expect more notable touring in support of "Destroyer".
"Destroyer" sees the core trio fostering their sound by continuing to migrate towards the sonic realms that capture the fine equilibrium allying the somber, austere, the vigorous, and vibrant. A striking singular vision of abyssal maritime desolation expressed by carving sonic territory that seamlessly blends elements of French coldwave, European post-punk, and first wave shoegaze.
Ever since their debut EP "A Life Of None" (2017), followed by their widely celebrated "Black Sand" EP (2018), FEARING have been procuring a constant flow of commendable releases.Through vigorous touring and live endeavors (having toured alongside the likes of Gatecreeper, She Wants Revenge, Soft Kill, 200 Stab Wounds, Choir Boy, Narrow Head, and Death Bells, along with playing notable festivals as Substance, Home Sick, and Out From The Shadows), ever since the release of "Shadow", FEARING have fastened themselves as one of the apex artists in today's post-punk current.
Anticipated follow- up to the band's debut LP "Shadow" which was one of the most acclaimed post-punk/darkwave albums of 2020. "Destroyer" likewise will be recognized as one of the most important albums within said genre of this year.
Prior to the release of "Destroyer", FEARING's touring/ live experiences include tours with bands such as Gatecreeper, She Wants Revenge, Soft Kill, 200 Stab Wounds, Choir Boy, Narrow Head and Death Bells. They have also played such festivals as Substance, Home Sick, and Out From The Shadows. Expect more notable touring in support of "Destroyer".
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.
- A1: Captain Kronos Vampire Hunter (Laurie Johnson)
- A2: Twins Of Evil (Harry Robinson)
- A3: The Kiss Of The Vampire (James Bernard)
- A4: The Mummy (Franz Reizenstein)
- A4: Dracula (James Bernard)
- A6: Quatermass And The Pit (Tristram Cary)
- A7: The Legend Of The 7 Golden Vampires (James Bernard)
- A8: The Lost Continent (Roy Phillips)
- A9: Dracula Ad 1972 (Mike Vickers)
- B1: The Devil Rides Out (James Bernard)
- B2: Countess Dracula (Harry Robinson)
- B3: The Gorgon (James Bernard)
- B4: Hands Of The Ripper (Christopher Gunning)
- B5: Dr Jekyll & Sister Hyde (David Whitaker)
- B6: She (James Bernard)
- B7: Taste The Blood Of Dracula (James Bernard)
- B8: Frankenstein And The Monster From Hell (James Bernard)
This album brings some of Hammer’s greatest music to vinyl for the first time. It’s an evocative and diverse collection of themes that are just as memorable as the remarkable films they accompanied. The release showcases a selection of classic themes from the film company's varied soundtrack catalogue from composers that range from the great James Bernard to David Whitaker and spans Hammer's golden years between 1958 and 1974.
- A1: Real B*Tches Don't Die!
- A2: H-Town
- A3: Me First
- A4: Gemini+
- A5: Turnin' Heads (Ft Big K.r.i.t.)
- A6: Money Angels (Ft Jazz Cartier)
- A7: Dog (Ft Devin The Dude)
- B1: White Caprice (Ft Gangsta Boo)
- B2: Make A Wish
- B3: Thank You!
- B4: Past Life (Ft Phoelix & Themind)
- B5: Drunk Words, Sober Thoughts
- B6: Borrowed Time
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.
SULPHUR AEONs neuestes Werk ist gesegnet mit Kontrasten, klanglicher Ebbe und Flut. Ein Taifun kantiger Riffs und wilder Blastbeats, raffinierte Melodieschichten, dichte Atmosphäre und triumphal gesungene Refrains reißen dich mit. Ätherische Akustikgitarren, subtile Synthesizer, einen Hauch von Gothic ('The Yearning Abyss Devours Us'), satte Leads, E-Bow-Parts, heftige Aggression ('Arcane Cambrian Sorcery'), monumentale Schwere, die in hypnotische Gesangsmuster übergeht ('Seven Crowns And Seven Seals'), und ein großes Finale ('Beneath The Ziqqurrats') - "Seven Crowns And Seven Seals" überschreitet Genres; es wütet und zerstört, lullt dich im nächsten Moment in gefährlich täuschende Ruhe, nur um dich unwiderbringlich in den dunklen Strudel des Ozeans zu reißen. SULPHUR AEON meistern ihren durchdringenden Cinematic Death Metal der Extraklasse, gehen über sich hinaus und klingen dabei doch unverkennbar kohärent - perfekt eingefangen und verfeinert von den langjährigen Mitarbeitern Simon Werner und Michael Zech (Secrets Of The Moon, Bølzer etc.), während das Mastering von V. Santura (Triptykon, Dark Fortress) übernommen wurde. Was das Artwork betrifft, so haben SULPHUR AEON diesmal mit der Tradition gebrochen, wieder mit Ola Larsson zu arbeiten, und sich mit dem Italiener Paolo Girardi zusammengetan, um eine Lovecraft'sche Apokalypse darzustellen, die der Opulenz und Dynamik des Albums einen raueren Stil entgegensetzt.
SULPHUR AEONs "Seven Crowns And Seven Seals" ist der offensichtliche und - zumindest im Moment - möglicherweise auch der Höhepunkt einer Band, die besessen von ihrer Kreativität ist und sich leidenschaftlich und bereitwillig der Herausforderung stellt, Musik zu produzieren, die so zeitlos und originell ist wie das literarische Vermächtnis von H.P. Lovecraft. Stürzen Sie sich in die dunklen Gewässer und lassen Sie sich von der Flut des Ozeans verschlingen...
- A1: Marrakesh Express
- A2: Just A Child
- A3: I'll Never Fall In Love Again
- A4: Both Sides Now
- A5: Without Her
- A6: Cecilia
- B1: Love Theme From "Romeo And Juliet
- B2: Because
- B2: Do You Know The Way To San Jose
- B3: Raindrops Keep Falling On My Head
- B4: The April Fools
This 1970 album see master saxophonist Stan Getz cover hits of the day, with Beatles producer George Martin at the controls. Getz tries his hand at songs by Paul Simon, Bacharach-David, a heartfelt take on Joni Mitchell’s “Both Sides Now” and Graham’s Nash title track. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.
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.
I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset
The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.
The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.
The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.
Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.
- 1: Gypsy
- 2: Bird Of Prey
- 3: Lady In Black
- 4: Look At Yourself
- 5: July Morning (7” Single Edit)
- 6: Easy Livin’
- 7: The Wizard
- 8: Sunrise
- 9: Sweet Lorraine
- 10: Stealin’
- 11: Sweet Freedom
- 12: Suicidal Man
- 13: Return To Fantasy
- 14: Devil’s Daughter
- 15: Sympathy
- 16: Firefly
- 17: Free ‘N’ Easy
- 18: Free Me
- 19: Woman Of The Night
- 20: Come Back To Me
- 21: It Ain’t Easy
- 22: Too Scared To Run
- 23: The Other Side Of Midnight
- 24: Rockarama (Album Version)
- 25: Voice On My Tv
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.
For more than a decade, Bert Dockx has been one of the most prolific and versatile musicians in Belgium. A masterful guitarist, gifted songwriter, and innovative composer, crossing boundaries between avant-garde rock, customized blues, and instrumental jazz, with bands such as Flying Horseman, Dans Dans, and Ottla, singing in his native Dutch as Strand, or solo under his birth name, and now as the Bert Dockx Band. Ghosts is his fifteenth (!) album on the Ghent-based label Unday Records.
Two years after the crash, Bert Dockx presents his new Bert Dockx Band and Ghosts, an album of rebirth and transgression, one of many firsts. Dockx never dedicated this much time to meticulously crafting each song. For the first time, he entrusts a finished record to a complete outsider. Never before has he reached out so far into the outside world.
The relaxed and positive atmosphere during the recordings is magnified in what Dockx calls 'my best guitar playing ever', and the deep, powerful use of his voice in its natural range. 'I had fun making this album,' says Dockx, 'and I really hope it shows'.
'There's no escape now/ I'm inside of the storm', Bert Dockx sings on his new album, the first with the Bert Dockx Band. 'I smile, I cry/ I die, I'm born/ I'm in love'. Ghosts is the culmination of a two-year odyssey, from hitting rock bottom to flourishing into new heights. An album of rebirth and transgression, a record of milestones and many firsts. Never before has Dockx turned so deep inside in order to reach out to a world beyond himself.
The album is mastered by US producer Philip Weinrobe. Weinrobe previously worked with Arianne Lenker, Indigo Sparke, and Kings of Convenience, and is praised by Dockx for his 'infallible intuition and great inventiveness'. This occasion marks the first time he hands over a finished record, permitting an outsider's perspective during the final mix.
Morcheeba has sold over 10 million albums and toured the world the last two decades. They mix trip hop, rock, folk rock and downtempo, and have produced nine studio albums since 1995. Two of which reached the UK top ten.
Morcheeba's The Antidote is a special one. It is the album which features Daisy Martey on vocals, who replaced Skye Edwards. Martey´s psychedelic influences were added to Morcheeba´s standard mix of soul, hip hop, country, and electronics. In addition, The Antidote was recorded live altogether and features furthermore “Wonders Never Cease” and “Everybody Loves A Loser”.
The Antidote is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl and includes an insert with lyrics.
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."
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!
Die US Blues-Gitarren-Sensation uns Blues Music Award Winner for Contemporary Blues Male Artist Of The Year 2023, der mit seinem Debüt-Album "Kingfish" 2019 sofort Platz 1 der US-Billboard Blues Charts belegte - veröffentlicht nun sein erstes Live-Album. Es ist
die mit Spannung erwartete Fortsetzung seines Grammy-prämierten Albums "662" von 2021 (Best Traditional Blues Album). Seit Kingfish 2019 auf der Bühne auftauchte, haben Fans sich nach einem Album gesehnt, das die schwindelerregenden Höhen zeigt, die Kingfish erreicht, wenn er auf der Bühne richtig loslegen kann. "Live In London" ist genau
dieses Album.
IF you follow the smoke from the industrial work sites, wander through the empty streets of a small
town and listen after the tube amp blasting out dreams from the edge of town, you will find the spark
that started Saturday's Heroes over a decade ago. When friends get together to carry out something, it
does not matter where you are born or what type of cards you have been dealt. When the two brothers
Alex and Mikael Lachan grew up in the small town of Finspång, music was the highway and the world
was the destination. Playing together in the basement every day since they were kids, they formed a
bond that would translate into an explosive live show years later. The rejuvenated band hammers out
a sound that is energetic enough to sustain a live show revolution, talented enough to keep your
attention and welcoming enough to let your voice sing the anthemic choruses like there was no
tomorrow. Over the span of their career they have released three full length albums (soon to be four),
two EPs and multiple digital singles. They have toured Europe many times and played with bands
such as Millencolin, Street Dogs, Asta Kask and received praise from bands such as Dropkick
Murphys for their heart-and-soul-packed melodic punk rock. Now in 2023 they are back with a brand
new full length album called Wanderlust & Hardships. Recorded with the acclaimed producer Niels
Nielsen, known for his work with In Flames, Dead Soul, Ghost, and MCC, the album showcases the
band's signature sound that blends hard-hitting instrumentals with anthemic lyrics. Fans can expect a
celebratory and energetic tone that is sure to get them involved.
- 1: Gypsy
- 2: Bird Of Prey
- 3: Lady In Black
- 4: Look At Yourself
- 5: July Morning (7? Single Edit)
- 6: Easy Livin
- 7: The Wizard
- 8: Sunrise
- 9: Sweet Lorraine
- 10: Stealin
- 11: Sweet Freedom
- 12: Suicidal Man
- 13: Return To Fantasy
- 14: Devil's Daughter
- 15: Sympathy
- 16: Firefly
- 17: Free ?N' Easy
- 18: Free Me
- 19: Woman Of The Night
- 20: Come Back To Me
- 21: It Ain't Easy
- 22: Too Scared To Run
- 23: The Other Side Of Midnight
- 24: Rockarama (Album Version)
- 25: Voice On My Tv
BMG freut sich, die Veröffentlichung der Doppel-LP von Uriah Heep's Your Turn To Remember: The Definitive Anthology 1970-1990 auf gelbem Vinyl in limitierter Auflage zu veröffentlichen. Die Songs erinnern an eine Ära, in der Prog, Hard Rock und Heavy Metal nebeneinander existierten, und zeigen die Entwicklung von Heep von unerfahrenen Studiomusikern, die noch alles zu beweisen hatten, bis hin zu echten, in Limousinen lebenden Rockstars. Die Anthology enthält eine Auswahl von Titeln aus einigen der berühmtesten Alben von Heep, darunter Demons and Wizards, Look At Yourself, Return To Fantasy, Equator, Conquest und The Magician's Birthday.
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.
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.
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.
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.
Green Vinyl[16,39 €]
We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.
Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.
The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.
The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.
In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.
Black Vinyl[14,24 €]
We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.
Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.
The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.
The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.
In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.
Nouveau Départ is the eighth album from Bordeaux-based composer Franck Zaragoza and his electronically focused Ocoeur eponym.
Zaragoza's recent Ocoeur collections have focused on personal introspection as a solid thematic basis, and Nouveau Départ continues an arch that began with 2021's Connection. In recent years, Zaragoza began practicing attentive mindfulness, consciously focusing on his connection with the world, believing that happiness is attainable in the moment and not something that is only fleetingly tangible in the future. Zaragoza comments, "We can all transform our emotions from anger and sadness to happiness and compassion. Such a transformation in thought can profoundly affect the people around us. Nouveau Départ was composed in the spirit of love, empathy, and deep understanding."
Nouveau Départ is an aural representation of this kind of mindfulness and could be viewed as a soundtrack to foster feelings of humanity and thoughtfulness for those around us. Beginning such consideration is the start of a journey, and Nouveau Départ is a great companion for such passage.
- A1: Yum.me
- A2: Udontwannafallinthelava
- A3: Makeu
- A4: Finallyalone
- A5: Hoursafter Interlude Ft. Devin Morrison
- A6: Particular Flowr Ft. Anna Wise
- A7: Fillsmeup
- A8: Living Colours
- B1: Midnitesnaq
- B2: Luv Mirage
- B3: Dah's Baker
- B4: Papercrane
- B5: (My)Pleasure Ft. Liv.e
- B6: Playinthesegames Ft. Liv.e
- B7: Walkawn Interlude
- B8: Snt
Der erfolgreiche Musiker und Produzent Mndsgn aus Los Angeles meldet sich mit dem dritten Teil seiner "Snax"-Reihe zurück - Snaxxx.
Die "Snax"-Reihe ist lockerer und freier als Mndsgns LPs und hat alle Merkmale des Stils des Künstlers und Produzenten - rhythmisches Flair, ohrwurmverdächtige Melodien und einen skurrilen Sinn für Humor - und das alles in einem mundgerechten, knabberbaren Format.
Snaxxx folgt auf drei Mndsgn- und zwei Snax-Alben auf Stones Throw.
Mit dabei sind u.a. Liv.e, Kendrick Lamar-Kollaborateurin Anna Wise, Devin Morrison und viele mehr.
Mndsgn hat die Welt bereist und wird im November solo und im Vorprogramm von Flying Lotus durch Großbritannien und Europa touren.
The new release and 5th full length album from Columbus Ohio’s Beartooth, titled “The Surface” will be available worldwide on October 13th. The album has 11 tracks, including US radio hits “Might Love Myself” & “Riptide” and singles “Sunshine” and “The Better Me (Featuring Hardy)”. There are 2 versions of the vinyl available: The general market version is pressed on 180gram Ultraclear w/Pink Cloudy Effect Vinyl, while the Indie Retail exclusive is pressed on 180gram Clear Vinyl with Red/White/Blue Splatter. The CD is packaged in a gatefold wallet which mimics the LP packaging.
- 1: Mimosa
- 2: After My First Murder
- 3: Someone Is Here
- 4: What Have I Done
- 5: Funeral Wedding
- 6: Disgraced Girl
- 7: How The Black Art Was Revealed
- 8: Disco Death
- Disc: 2
- 1: Inauguration Of The Pleasure Dome
- 2: The Thelemite
- 3: My Portrait In Sadness And Glory
- 4: The Stone Orchids
- 5: In The Morning
- 6: Bethrothal And The Rites Of Rape
- 7: She Travels The Fastest Who Travels Alone
- 8: Jubileum In Hell
- 9: The Terrible Secret
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.
French Psych-JAZZ-Soul-FUNK original soundtrack for initial soft erotic drama from 1973, later re-edited into "Sex Revolution" hardcore! "Jeu de Dames, la libération des femmes" (1973), a film by director Christian Lara, is a vaguely subversive charm flick that won't be remembered for a long time. An amusing detail, however, is that Georges de Caunes, father of Antoine de Caunes, the famous French TV personality, plays the lead role alongside Danielle Palmero. It's just one of a number of naïve films that, without being erotic, is sufficiently olé-olé that it failed to find a place in theaters on the traditional circuit. Faced with this commercial failure, the unscrupulous producer at the time, anxious to save his investments, decided to re-edit the film so that it could be screened in the X-rated circuit. He rechristened the film "Sex Revolution" in a more racy style, inserting more hardcore scenes to appeal to fans of the genre. Although Georges de Caunes is no longer credited on the poster or in the credits of "Sex Revolution", he finds himself, in spite of himself, promoted to lead actor in a porn movie, much to the delight of his son Antoine de Caunes, who is still dreaming 50 years later of finally being able to watch this forgotten masterpiece of the 7th art. The film seems to be a dud (pn: the author haven't seen it), but as for the music, Jean Claudric is particularly inspired and offers us one of the best French jazz funk soundtracks, which would not blush at the comparison with the best of the genre, such as Michel Legrand's "Un homme est mort", or Jean-Pierre Mirouze's "Le mariage collectif", previously released by Born Bad. Four short tracks, one with pyschedelic touches, the secomd more funky, the third a bit soul-jazzy, the fourth a French typical melancholic-melodic one makes a hot 7"-EP.
The first half follows all of the paths that lead in circles, the tangled yarn that never finds the end. But it holds on. It's stronger than you think.
The second half is how we untangle and get put together again. The final song features a recording I took at the end of last summer, a warm night with a campfire, some crickets, and the people we love. Because even when we unravel, there are ways to be put back together.
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.
Released in November 1987, Sinead's striking debut album The Lion and the Cobra was met with critical and commercial success. The album synthesises several of Sinead's influences into a diverse array of sounds and styles, from the hushed, atmospheric 'Troy' and 'Jackie' to the pop-rock hit single 'Mandinka', and the hip-hop inspired 'I Want Your (Hands on Me)'. The album also includes 'Drink Before The War', a song written by Sinead about her experiences at the Catholic reform school she attended, and was recently featured in the HBO series Euphoria.
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?'.
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
Nach dem überwältigenden Erfolg von 'Roller Coaster' nahm die musikalische Karriere
von Danny Vera enorm Fahrt auf. Der Song brach alle Rekorde, führte sämtliche Charts an
und wurde mittlerweile auf Spotify fast 100 Millionen Mal gestreamt. Zwanzig Jahre harte
Arbeit und geduldiges Touren zahlten sich schließlich in Platin-Auszeichnungen und
einem ausverkauften Ziggo Dome aus. Und das alles nach seinen eigenen Bedingungen,
ohne Zugeständnisse zu machen. Doch wer denkt, dass Danny Vera sich jetzt auf seinen
Lorbeeren ausruhen wird, der irrt. Die Musik liegt ihm im Blut, und dieses Blut fließt
dorthin, wo es nicht hingehört. Amerikanische Country-, Blues- und Rock 'n' Roll-Musik
gehört dazu.
Sein neues Album 'DNA' wurde von Vera auf eine andere Weise geschaffen als üblich.
„Normalerweise dauert es zwei bis drei Jahre, um zwanzig Songs zu schreiben, aber
diesmal habe ich sie in zwei Monaten geschrieben“, sagt er. „Alles kam einfach spontan
heraus.“ Die Stimmung auf dem Album unterscheidet sich erheblich von der auf seinem
vorherigen Album. „Ich habe schnell gemerkt, dass in den Songs im Vergleich zu meinem
vorherigen Album 'The New Now' eine andere Atmosphäre herrschte. Es war etwas
authentischer, mehr Rock 'n' Roll und Blues – und so sollten die Songs klingen, so
authentisch wie möglich.“ In einer Zeit, in der ChatGPT Ihnen innerhalb von Sekunden
komplette Texte ausspuckt und alle Unvollkommenheiten im Studio ausgebügelt werden
können, war es für Danny Vera sehr erfrischend, alles auf einmal aufzunehmen. „So hat
man es früher gemacht, und deshalb hat es so gut geklungen, voller Spaß. Die
Unvollkommenheiten sind Teil davon, die Unvollkommenheiten machen es perfekt.“
Letztendlich landeten sechzehn Songs auf dem neuen Album. 'DNA' ist ein Album, auf
dem Danny Vera zu seinen Wurzeln zurückkehrt, mit Songs, die ihre Wurzeln in der
amerikanischen Roots-Musik vergangener Zeiten haben. Ohne Klickspuren, Autotune
oder die Beteiligung eines Autorencamps. Solide Songs, die von klassischen Danny
Vera-Balladen bis hin zu frischem, uptempo Rock 'n' Roll reichen. Eine Platte mit Ecken
und Kanten, aber vor allem mit starker Musik.
MONSTER HOUSE Original Motion Picture Soundtrack by Douglas Pipes! Monster House is a 2006 animated Horror film directed by Gil Kenan (Scream, Ghostbusters: Afterlife). The plot tells the story of
a neighborhood that is terrorized by a haunted house during Halloween. The movie features the voices of Steve Buscemi (Reservoir Dogs), Maggie Gyllenhaal (Donnie Darko, The Secretary), Mitchell Musso (Hannah Montana), Sam Lerner, Spencer Locke, Kevin James (The King of Queens), Nick Cannon, Jason Lee, Fred Willard (Spinal Tap), Jon Heder (Napoleon Dynamite), Catherine O-Hara
(Beetlejuice), and Kathleen Turner (Jessica Rabbit in Who Framed Roger Rabbit).
Monster House marks Sony's first computer animated film produed by Sony Pictures Imageworks. Produced by Roger Zemeckis (Back to the Future Trilogy) and Steven Spielberg's Amblin Entertainment, the film was released in 2006 and was met with praise from fans and critics for its blending of horror and accessibility to a broad audience as a feature animated film.
Roger Ebert gave the film his highest ranking of four stars calling it "one of the most original and exciting animated movies I've seen in a long time" and compared it to the work of Tim Burton. Douglas Pipes is an award winning American film score composer whose feature films include the Academy Award nominated Monster House, the Halloween horror anthology classic TRICK 'r TREAT, and the Christmas comedy-horror film Krampus.
- A1: Where Do We Go From Here?
- A2: Back On Your Radio
- A3: I Should've Followed You Home (Feat. Gary Barlow)
- A4: Dance Your Pain Away
- A5: I Was A Flower
- A6: Perfume In The Breeze
- B1: Past Forever
- B2: The One Who Loves You Now
- B3: Bubble
- B4: When You Really Loved Someone?
- B5: I Keep Them On The Floor Beside My Bed
Deluxe Clear Vinyl[34,66 €]
Agnetha Fältskog, weltbekannte Sängerin, Songschreiberin, Mitglied der Kultgruppe ABBA und eine der bekanntesten Stimmen der Musikgeschichte, hat 'A+' angekündigt, eine neu aufgenommene Version ihres gefeierten Solo-Albums "A" aus dem Jahr 2013, das am 13. Oktober 2023 über BMG veröffentlicht wird.
Das Originalalbum erschien vor 10 Jahren und wurde nun für das Jahr 2023 komplett neu aufgelegt. Neben der Albumankündigung hat Agnetha auch die atemberaubende Single 'Where Do We Go From Here?" in diesem Jahr neu aufgenommen; einen brandneuen Song, der dem Album hinzugefügt wurde und damit die erste neue Musik seit 10 Jahren von Agnetha als Solokünstlerin darstellt.
Das Album wurde speziell für sie von dem gefeierten Songwriter und Produzenten Jörgen Elofsson geschrieben.
Im Vorfeld des 10-jährigen Jubiläums des Albums diskutierten Agnetha und Jörgen darüber, wie das wie das Album klingen würde, wenn es im Jahr 2023 entstanden wäre, und beschlossen, diese Idee gemeinsam zu verfolgen. Sie arbeiteten mit ihrem Produzenten Anton 'Hybrid' Mårtensson zusammen und überarbeiteten das Album, jeden einzelnen Song, wobei sie den Originalgesang von 2013 beibehielten, die alte Musik wegwarfen und für 2023 völlig neue Produktionen und damit auch eine neue Tracklist schufen.
Das 2013 erschienene "A" war Agnethas erstes Album seit ihrem 2004 erschienenen Coveralbum "My Colouring Book" und das erste Originalmaterial seit "Stand Alone" von 1987.
Französisches und spanisches Gefühl für Nostalgie mit dem Pianisten Alexandre Tharaud "Ravels Konzert in G-Dur ist frisch und mozartisch in seinen Farben, während sein Konzert für die linke Hand von dunklen Schatten und unterdrückten Ängsten heimgesucht wird", erzählt Alexandre Tharaud. Ravels Musik liegt dem Pianisten besonders am Herzen. In Zusammenarbeit mit dem Orchestre National de France und dem Dirigenten Louis Langrée spielte er nun die beiden Klavierkonzerte des Komponisten ein.
Er kombiniert sie mit Noches en los jardines de España (Nächte in spanischen Gärten), Manuel de Fallas schwelgerischem Werk für Klavier und Orchester.
- A1: Shaktar Donetsk
- A2: Bhindee Bhagee
- A3: Rudie Can't Fail
- B1: Tony Adams
- B2: (White Man) In Hammersmith Palais
- B3: Mega Bottle Ride
- B4: Get Down Moses
- C1: Police & Thieves
- C2: Cool ?N' Out
- C3: Police On My Back
- C4: Johnny Appleseed
- D1: Coma Girl
- D2: I Fought The Law
- D3: Bankrobber (Feat. Mick Jones)
- D4: White Riot (Feat. Mick Jones)
- D5: London's Burning (Feat. Mick Jones
Dark Horse Records veröffentlicht das legendäre Live-Konzert von Joe Strummer & the Mescaleros in Acton Town Hall, neu gemastert vom Grammy-Preisträger Paul Hicks (The Beatles, The Rolling Stones, George Harrison) erhältlich auf 2LP-Vinyl und CD.
Das am 15. November 2002 aufgezeichnete Konzert war ein Benefizkonzert für streikende Feuerwehrleute und war einer von Joes letzten Auftritten (er verstarb einen Monat später). Teil des Auftritts eine Reunion mit Mick Jones, Strummers ehemaligem Bandkollegen von The Clash, der zum ersten Mal seit fast zwanzig Jahren für drei Songs wieder mit Strummer auf der Bühne zusammenkam. Es war auch das letzte Mal, dass sie gemeinsam auf der Bühne standen.
Die Vinyl ist in einer Gatefold-Hülle verpackt, inklusive bisher ungesehenen Fotos von der Show sowie neue Linernotes vom ehemaligen Feuerwehrsekretär Andy Gilchrist, der die Band bei der Show vorstellte und die Streiks anführte, die Joe unterstützte. Dies ist das erste Mal, dass das Konzert mit einer umfassenden Verpackung auf Vinyl veröffentlicht wird. Die extrem limitierte vorherige Version, die 2012 exklusiv zum Record Store Day erschien, hatte nur eine DIY-inspirierte Klarsichthülle und war das erste Mal, dass es auf CD
veröffentlicht wurde.
Nach dem überwältigenden Erfolg von 'Roller Coaster' nahm die musikalische Karriere
von Danny Vera enorm Fahrt auf. Der Song brach alle Rekorde, führte sämtliche Charts an
und wurde mittlerweile auf Spotify fast 100 Millionen Mal gestreamt. Zwanzig Jahre harte
Arbeit und geduldiges Touren zahlten sich schließlich in Platin-Auszeichnungen und
einem ausverkauften Ziggo Dome aus. Und das alles nach seinen eigenen Bedingungen,
ohne Zugeständnisse zu machen. Doch wer denkt, dass Danny Vera sich jetzt auf seinen
Lorbeeren ausruhen wird, der irrt. Die Musik liegt ihm im Blut, und dieses Blut fließt
dorthin, wo es nicht hingehört. Amerikanische Country-, Blues- und Rock 'n' Roll-Musik
gehört dazu.
Sein neues Album 'DNA' wurde von Vera auf eine andere Weise geschaffen als üblich.
„Normalerweise dauert es zwei bis drei Jahre, um zwanzig Songs zu schreiben, aber
diesmal habe ich sie in zwei Monaten geschrieben“, sagt er. „Alles kam einfach spontan
heraus.“ Die Stimmung auf dem Album unterscheidet sich erheblich von der auf seinem
vorherigen Album. „Ich habe schnell gemerkt, dass in den Songs im Vergleich zu meinem
vorherigen Album 'The New Now' eine andere Atmosphäre herrschte. Es war etwas
authentischer, mehr Rock 'n' Roll und Blues – und so sollten die Songs klingen, so
authentisch wie möglich.“ In einer Zeit, in der ChatGPT Ihnen innerhalb von Sekunden
komplette Texte ausspuckt und alle Unvollkommenheiten im Studio ausgebügelt werden
können, war es für Danny Vera sehr erfrischend, alles auf einmal aufzunehmen. „So hat
man es früher gemacht, und deshalb hat es so gut geklungen, voller Spaß. Die
Unvollkommenheiten sind Teil davon, die Unvollkommenheiten machen es perfekt.“
Letztendlich landeten sechzehn Songs auf dem neuen Album. 'DNA' ist ein Album, auf
dem Danny Vera zu seinen Wurzeln zurückkehrt, mit Songs, die ihre Wurzeln in der
amerikanischen Roots-Musik vergangener Zeiten haben. Ohne Klickspuren, Autotune
oder die Beteiligung eines Autorencamps. Solide Songs, die von klassischen Danny
Vera-Balladen bis hin zu frischem, uptempo Rock 'n' Roll reichen. Eine Platte mit Ecken
und Kanten, aber vor allem mit starker Musik.
- A1: Nosferatu Overture
- A2: Hutter And Ellen
- A3: Ellen's Disquiet
- A4: Journey To Orlok's Castle
- B1: In The Castle
- B2: Ellen Sleep-Walks
- B3: Hutter's Discovery
- C1: Loading The Coffins
- C2: Ellen By The Seashore
- C3: The Ship Of Doom
- C4: Orlok's Lair
- D1: The Plague
- D2: The Pursuit Of Knock
- D3: The Power Of Orlok/The Death Of Ellen
Still one of the most highly regarded horror films of all time, F.W. Murnau's unauthorised adaptation of Bram Stoker's Dracula, Nosferatu (1922), is an Expressionist masterpiece of the silent era. Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997.
The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.
- A1: Bobby Helms - Jingle Bells Rock
- A2: Brenda Lee - Rockin' Around The Christmas Tree
- A3: Paul Anka - I Saw Mommy Kissing Santa Claus
- A4: Connie Francis - Winter Wonderland
- A5: Billy Fury - My Christmas Prayer
- A6: Bobby Vee - Blue Christmas
- B1: Dean Martin - Let It Snow! Let It Snow! Let It Snow!
- B2: Frank Sinatra - Christmas Waltz
- B3: Ella Fitzgerald - Baby It's Cold Outside
- B4: Pat Boone - Santa Claus Is Comin' To Town
- B5: Nat 'King' Cole Trio - The Christmas Song (Merry Christmas To You)
- B6: Judy Garland - Have Yourself A Merry Little Christmas
- B7: Bing Crosby - White Christmas
- C1: Bobby Day - Rockin' Robin
- C2: Chuck Berry - Run Rudolph Run
- C3: Connie Francis - I'm Gonna Be Warm This Winter
- C4: Brenda Lee - I'm Gonna Lasso Santa Claus
- C5: Pat Bonne - Here Comes Santa Claus
- C6: Bobbe Vee - I'll Be Home For Christmas
- D1: Ella Fitzgerald - Sleigh Ride
- D2: Nat 'King' Cole - Deck The Hall
- D3: Louis Amstrong - Zat You Santa Claus
- D4: Dean Martin - Rudolph The Red Nosed Reindeer
- D5: Frank Sinatra - Jingle Bells
- D6: Bing Crosby & The Andrews Sisters - Mele Kalikimaka
- D7: Jimmy Durante - Frosty The Snowman
❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅❅
❅ Winter Wonderland 26 Classic Christmas Songs across 4 Sides of Vinyl.
❅ Festive Favourites including: White Christmas (Bing Crosby) Winter Wonderland (Connie Francis) Rockin'
Around The Christmas Tree (Brenda Lee) Jingle Bell Rock (Bobby Helms) Jingle Bells (Frank Sinatra)
❅ Winter Wonderland is available Exclusively On Vinyl.
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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.
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.
Producer, DJ, and composer Seb Wildblood returns tothe fold with third album "separation anxiety." Set for release via his own "all my thoughts" label, the prolific producer"s blissful electronics are on full display across the album"s 10 tracks, his most ambitious and fully realised offering yet. "The record largely explores coming to terms with abandonment, and what that looks like when starting to build a future of your own," explains Wildblood.
gold LP[39,92 €]
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.
black LP[38,61 €]
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.
TufStuf Records is a Jungle, Hardcore & Jungle Techno vinyl and digital record label from London UK. Run by head honcho Arkyn. The sounds of the label are heavily influenced by the authentic 1992 - 1994 rave vibes. But have a modern and cutting edge take on the original energy of the early 90's. Expect raw and hard hitting drum breaks, low pressing sub bass and ravey and emotive synths.
Ríoghnach Connolly und Stuart McCallum sind das kreative Herz von The Breath, und bei ihnen dreht sich alles um den Song.
Connolly schreibt auf die einzige Art und Weise, die sie kennt: ein poetischer Bewusstseinsstrom, aus dem ehrliche, persönliche und zu Herzen gehende Songs entstehen, die von Sommern in der Kindheit und der ersten Liebe ebenso handeln wie von kultureller Entwurzelung, postkolonialen Ungerechtigkeiten und Trauer. Aber es ist ihre zutiefst gefühlvolle, äußerst einnehmende Stimme - ob zart und leise oder kraftvoll und ausdrucksstark - gepaart mit Stuarts unaufdringlicher ...
- A1: Kent
- A2: Heaven Can Wait
- A3: Diminished Clothes
- A4: Clear My Name
- A5: The King Of Love
- A6: Mistress
- B1: Clear My Name
- B2: Come Back Tomorrow
- B3: On A Leash
- B4: What Do You Say About That
- B5: Planet In The Ocean
- B6: Problematique
First Vinyl Release for 1994 Britpop outfit Salad, fronted by Dutch vocalist and former MTV VJ Marijne Van Der Vugt (vocals and keyboards). Originally released on Island records as a compilation made up of their early singles , b-sides and EP material.
Comes with an exclusive hand-signed insert from Marijne.
Paul Kennedy (Guitar, Vocals), Pete Brown (Bass) and Rob Wakeman (Drums).
Supported Blur back in 1993 where they rose to prominence after a couple of EP releases. This compilation takes the best of their early years material. A must have for fans of Brit-Pop, British Alternative Rock and 90’s Indie.
140g Black Vinyl with exclusive signed print.
Features the tracks ‘Diminished Clothes’, ‘Kent’ and ‘On A Leash’.
HAVEN is proud to present another new catalogue number with the first full EP on the label from London-based Greek producer of hard-edged speedy techno MarcelDune, following on from their contribution to the Sardonic Tonality Vol. 4 VA compilation.
The A1 kicks off with 'I Am Looking For Date Ideas' - a hectic 4-4 dance-floor assault with chugging synths, hardcore kicks, overdriven percussion and cheeky vocals loops. This is followed by 'Final Loose' with its addictive vocal hooks, charging drum patterns and playful melodies. The A-side is closed with 'The Scene' with rolling bass-lines, bubbling synth sounds and distorted vocal breaks.
On the B-side 'Independence Creating Distance' hits us with hypnotic vocal loops and ear-worm synth patterns amongst its speedy drum patterns sure to get feet moving. HAVEN main-stays New Frames close out the record with their remix of the B1, with their usual heavy drum programming interplaying with dubbed out synth work creating another club killer to end another dance-floor focused record from the imprint.
Part Two of the Album "Let Me Dance"
Oliver Marquardt aka Dj Jauche, one of the avant-gardists and pioneers of the Berlin techno and house scene, releases his new album "Let Me Dance".
During the last 3 years, he has incorporated influences and experiences from over 35 years - as a DJ, event organiser and clubber - into his album.
The idea to produce this album was born in the lock-down and with it the desire to make people dance again - house music, in all its facets.
- Hero
- Ugly
- Pieces
- Silence
- This Life
- Failure
- See And Believe
- The Last Song
- Desertion
- Never
- Shadows In Red
- Deathstar
- Clueless
- Driven
- Feed
- Suffer
- Beg To Differ
- Under
- Story Of Your Life
- Confessions Of Hatred
- Aggression
- Burn
- Alpha
- Inside
- Fear The Past – Feat. Chris Daughtry
- Prodigal Son
- Lifeless Sorrow – Feat. Myles Kennedy
- Contradiction
- Walk Away
- Splinter
- Forever
- Unraveling
- Last Breath
- Karma
- Ride Insane
- Confessions (Without Faith)
- Nowhere
- Here And Now
- The End Is Coming
- Better Place
- Strong Arm Broken
- Memory
- Faithless
- Till Death
- Mountain
- Cold As War
- Black Out The Sun
- Nobody Wants It
- Dead Roses
- Decay
- Enough Hope – Feat. Mark Tremonti
- Dark Am
- Picture Perfect
- Got A Feeling
- Murder Bar
- Come Down
- Under It All
- The Wait
- Upbeat Sugar
- One Life
- Bonfire Gone
- Denial
- Trust
- Crucified
- Karma
- Black
- Thank You
- Death Dance
- Forget
- Letters
- Cease And Desist
- Not Today
- Chop
- Kill The Flaw
- Silly Beast
- Peace And Destruction
- Torched
- Scapegoat
SEVENDUST is an American rock band from Atlanta, Georgia, formed in 1994 consisting of members Lajon Witherspoon (lead vocals), Clint Lowrey (lead guitarist), Vince Hornsby (bassist), Morgan Rose (drummer), and John Connolly (rhythm guitar). Since formation, SEVENDUST have attained success with three consecutive RIAA gold-certified albums, a Grammy nomination, and have sold millions of records worldwide. The group has released a total of thirteen studio albums, and this compilation features 7 incredible records from their catalog
- 1: Don't Let It Bother You
- 2: Don't Dare
- 3: Indian Wedding
- 4: You're My Angel
- 5: I Need Your Lovin
- 6: I Won't Be Around
- 7: Do Lord
- 8: I Shouldn't Have Did What I Done
- 9: The Sun Is Shining
- 10: Ebony Eyes
- 11: Just A Closer Walk With Thee
- 12: Cutie From The Beauty Shop
- 13: You Don't Need Me Anymore
- 14: Don't You Leave Me Behind
Color Vinyl[26,26 €]
Billed as "Canada's All Indian Band," the Tsimshian Nation garage band The Chieftones stormed the U.S. in the mid-'60s with their own brand of native rock n' roll. More Buddy Holly than Link Wray, The New Smooth and Different Sound compiles their debut single for Wisconsin's lauded Cuca label and adds a dozen previously unissued demos from their brief time in the Driftless region.
- 1: Don't Let It Bother You
- 2: Don't Dare
- 3: Indian Wedding
- 4: You're My Angel
- 5: I Need Your Lovin
- 6: I Won't Be Around
- 7: Do Lord
- 8: I Shouldn't Have Did What I Done
- 9: The Sun Is Shining
- 10: Ebony Eyes
- 11: Just A Closer Walk With Thee
- 12: Cutie From The Beauty Shop
- 13: You Don't Need Me Anymore
- 14: Don't You Leave Me Behind
Black Vinyl[25,00 €]
Billed as "Canada's All Indian Band," the Tsimshian Nation garage band The Chieftones stormed the U.S. in the mid-'60s with their own brand of native rock n' roll. More Buddy Holly than Link Wray, The New Smooth and Different Sound compiles their debut single for Wisconsin's lauded Cuca label and adds a dozen previously unissued demos from their brief time in the Driftless region.
**AVAILABLE ON BLACK VINYL AND INDIE EXCLUSIVE OPAQUE PINK** Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.
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).
Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.
While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.
Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.
Beograd (Belgrade in Serbian) is a four-piece Serbian electronic band, formed in the capital of the former Yugoslavia in 1980. Influenced by bands such as Kraftwerk, Depeche Mode, Ultravox and Human League, it played a role pioneer on the Yugoslav synth-pop scene. Their first studio album, Remek Depo, was released in late 1982 on cassette and early 1983 on vinyl by public label PGP RTB. It was a huge media success, released at the time of the effervescence of Belgrade's alternative scene, a vibrant underground movement of avant-garde artists and musicians that included leading bands such as Sarlo Akrobata, Ekatarina Velika, Idoli, Electricni Orgazam, etc. Unfortunately, the band disbanded shortly after the album's release. The album contains politically provocative lyrics for the time. Produced by Saša Habić, it stands out for the quality of its guest musicians - timpanist Borislav "Bora Longa" Pavićević, avant-garde saxophonist Paul Pignon and veteran jazz trumpeter Stjepko Gut - who contributed to its soulful side. , creating a unique combination of hot and cold.
Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".
By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.
Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.
Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.
Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.
Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst
Gegründet 1980 in München, spielt die Band noch immer in Original-Besetzung: Justin Hoffman, Thomas Meinecke, Michaela Melián und Wilfried Petzi. Seit 1990 gibt es als fünftes festes Mitglied den Schlagzeuger Carl Oesterhelt. Von Anfang an verstand sich die Band in der Tradition von Art School Bands: nicht Virtuosität, sondern Haltung spielt die zentrale Rolle. F.S.K. machen Musik über Musik, was sowohl ihre eigenen Stücke als auch zahlreiche Cover-Versionen betrifft, die besonders seit dem häufigen Auftreten und Aufnehmen in U.K. (für John Peel) und U.S.A. (mit David Lowery) in den 1980ern und 1990ern ins Programm genommen wurden. Das neue Studio Album, TOPSY-TURVY, greift in mancherlei Hinsicht auf Arbeitsweisen aus vergangenen Band-Perioden zurück. So gibt es, wie auf den ersten Alben, Streicher- und Bläser-Overdubs, die mitunter ins spätromantisch Orchestrale lappen, aber auch improvisatorischer Natur sind (Cello, vierhändiges Klavier, Trompete). Die acht Stücke wurden in dem von der befreundeten Band The Notwist zur Verfügung gestellten Alien Research Center in Live Takes produziert und von Mario Thaler gemischt.
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.
Minimal Wave presents the first vinyl reissue of French legends Martin Dupont’s seminal album from 1987, ‘Hot Paradox’. Martin Dupont was originally founded by Alain Seghir in Marseille in 1980. He enlisted numerous collaborators throughout the years, including Beverley Jane Crew, Brigitte Balian, and Catherine Loy. Martin Dupont was immensely talented with a rare dynamic between its varying members that was likely inspired by a combination of their magnetic personalities, creative vision, and the home studio where they recorded. Their music was colorful, enthusiastic, delicate, melancholy, and mysterious. A mixture of hot and cold, light and dark. They created electronic music that incorporated guitars, clarinets, and saxophones and is described by many as New Wave yet truly transcended genres.
Aside from having been released as part of ‘The Complete Collection: 1980-1988’ 5-LP box set, the ‘Hot Paradox’ album hasn’t been available on vinyl since 1987. It is one of Martin Dupont’s most exquisite albums, illustrating the band’s mastery of synthesizer work, drum programming, and vocal duets. The album is vibrant and emotive, simultaneously somber and bright, theatrical and danceable. It is an essential album in the French cold wave, new wave, and minimal synth scenes, and in recent years, has finally received the recognition it deserves beyond any musical categorization.
The Hot Paradox album reissue is pressed on 180-gram black vinyl, is accompanied by the original insert/lyrics sheet, and is housed in a heavy-weight sleeve featuring art by Yves Cheynet. After remaining under the radar for 35 years, Martin Dupont reformed in 2022 and returned to the stage in 2023 with a US tour and the Kintsugi album. The band continues to tour Europe and record new material in their new studio in France.
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.
- A1: Overcome (Abbey Road Remaster)
- A2: Ponderosa (Abbey Road Remaster)
- A3: Black Steel (Abbey Road Remaster)
- A4: Hell Is Round The Corner (Abbey Road Remaster)
- A5: Pumpkin (Abbey Road Remaster)
- A6: Aftermath (Abbey Road Remaster)
- B1: Abbaon Fat Tracks (Abbey Road Remaster)
- B2: Brand New You're Retro (Abbey Road Remaster)
- B3: Suffocated Love (Abbey Road Remaster)
- B4: You Don't (Abbey Road Remaster)
- B5: Strugglin' (Abbey Road Remaster)
- B6: Feed Me (Abbey Road Remaster)
Celebrating Maxinquaye as it approaches its 30th Anniversary (2024) the Reincarnated 1LP package is a welcome reappraisal of this seminal album containing the original album remastered at Abbey Road Studios.
The album has brand new artwork featuring the only known photograph of Tricky with his late mother, of whom this album is named after. The image was recently discovered by his cousin.
2023 repress as double heavy weight black vinyl , with original artwork & gatefold sleeve. Originally released in 2006,even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released in 1986 when she was 15), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoit Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's 'Wonder Milky Bitch') wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Charlotte Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery.



















































































































































