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Es ist ein Jahrzehnt her, dass wir das letzte Mal von Marnie Stern gehört haben, aber wenn ihre Gitarre auf „The Comeback Kid“, dem Nachfolger von „The Chronicles of Marnia“ (2013), wie ein Sternenstaubregen hereinbricht, ist es, als wäre keine Zeit vergangen. Aber dies ist kein Nostalgietrip. „The Comeback Kid“ ist ein Statement der Absicht. "I can't keep on moving backwards", wiederholt Stern im hymnischen Eröffnungstrack "Plain Speak", während ihre Finger wütend auf das Griffbrett klopfen und der Song wie eine Rakete mit Warp-Geschwindigkeit vorwärts schießt. Stern verlässt auf „The Comeback Kid“ immer wieder ihre gewohnte Umgebung, ohne sich auf die Klopftechnik zu verlassen, die ihr eintausend Eddie Van Halen-Vergleiche einbrachte. "Til It's Over" ist ein so geradliniger "Alternative Rock"-Song, wie Stern ihn je gemacht hat, und es gibt eine Coverversion von Ennio Morricones "Il Girotondo Della Note". „Es war so toll, wieder ich selbst sein zu können, und wenn ich dachte: "Oh, ist das zu schräg? Dann erinnerte ich mich daran, dass ich tun darf, was ich will! Das ist meins. Das bin ich", sagt Stern über das Schreiben von Songs für „The Comeback Kid“. "Ich versuche, mich gegen diesen Schwachsinn zu wehren, der besagt, dass man, wenn man älter wird, seinen Sinn für guten Geschmack verliert. Ich möchte den Leuten Mut machen, nicht so homogen zu sein und ein bisschen gegen den Strom zu schwimmen. Die Freude an der eigenen Individualität ist die Botschaft von „The Comeback Kid“, ebenso wie die Erkenntnis, dass Musik zu machen, die wirklich widerspiegelt, wer man in all seiner Helligkeit und Schrägheit ist, möglicherweise der Schlüssel zum Glück ist. Bei dieser Platte geht es darum, sich selbst zu versichern, dass es beim Glück nicht darum geht, was für Dinge man hat oder wie viele Dinge man hat oder was man nicht hat - es geht um all die guten Dinge, die man tut", sagt Stern.

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

Nach dem gefeierten Debütalbum "Wie Du - Hommage an meinen Vater" (bisher 29 Wochen in den deutschen Albumcharts) verneigt sich Art Garfunkel jr. nun mit seinem zweiten Longplayer vor weiteren
internationalen Klassikern und Welthits. Der Albumtitel ist Programm, denn auf EVERGREEN lässt er die große musikalische Ära der 1960er Jahre wieder aufleben. Vier Songs singt Art jr. sogar im Duett mit seinem berühmten Vater, der mit Simon & Garfunkel und als Solokünstler Musikgeschichte geschrieben hat. "Mein neues Album ist eine Art Klassentreffen der Lieblingsmelodien meines Vaters, die er schon immer gehört hat und mit denen ich auch aufgewachsen bin.", verrät der in New York geborene Sänger seine Intention.

Place of longing Paris - with the cellist Gautier Capuçon "Gautier Capuçon is like a diamond in a ring and sparkles on its setting", with enthusiasm the New York Times resorted to figurative comparisons. With such effusive praise, it is no wonder that the famous cellist's albums are also absolute bestsellers.

Intuition, Emotions and Sensations are now followed by his next album with a ravishing program: Destination Paris is dedicated to atmospheric evergreens and ranges from popular film music to French chansons and classical works.

The Madlib Invazion Music Library Series . Entry #5: Dan Hastie and Terin Ector (Orgone) pick up where Piero Umiliani left off with Exotic Grooves and Lush Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

The Blowback is the new album by Emily Wolfe. Emily wrote or co-wrote most of the tracks with bassist Evan Nicholson. Produced by Emily Wolfe Engineered by Matt Gerhard (Spoon, Tennis, Future Islands) Mixed by Cian Riordan (St. Vincent, Sleater-Kinney, Paul McCartney, Lana Del Rey) Mastered by Chris Gehringer - Sterling Sound Emily Wolfe asserts her talent as a dynamic vocalist, sharp songwriter, and an accomplished guitarist and producer. She delivers a brand of rock ‘n’ roll that’s raw and relevant, anchored by emotionally charged lyrics and a powerhouse stage presence. This young and impassioned artist has amassed millions of streams and garnered widespread acclaim from The Wall Street Journal, MTV, Guitar Player, PASTE, American Songwriter as well as her hometown paper, the Austin-American Statesman and many others. Recognized as a force on the instrument, Emily has collaborated with Epiphone/Gibson Guitars on two signature Sheraton models which is a rarity for an artist that isn't yet selling out stadiums. After quietly emerging as a phenomenon, Emily projects her voice like never before on her third full-length album, which she produced

With a familiar 1, 2, 3…Elliott BROOD count in a new album cycle, Town & Country, that explores the people and places that shape our lives, wherever we call home. On part one, Town, Elliott BROOD rumble and rock over a map of the towns and cities that populate their experiences and imaginations. With their brand of nitty gritty city folk mixed with retro nods, be it classic country or 60s surf, Elliott BROOD take us on a highly entertaining trip. Who better to write an ode to Windsor, ON (“Rose City”) than the band that has become the city’s unofficial ambassadors. Over bridges and into barrooms, lose your way to find yourself in Elliott BROOD’s "Town".

Swiss vocal acrobat Andreas Schaerer and Finnish
guitarist Kalle Kalima have some things in common. As
artists, each is essentially in a category completely of his
own. Both are musicians who can always conjure
something special from their chosen instruments. Both are
known on the international jazz scene for the completely
distinctive and original ways their music constantly crosses
genres.
 Both have played together for several years in the quartet,
A Novel Of Anomaly. And now they have recorded a first
album together in which the focus is on the two of them.
However, for this ‘evolution’ (as the album title has it), they
have also involved - and drawn inspiration from - a
musician whom they both admire, Tim Lefebvre. The
American bassist has worked with many pop and jazz
stars, notably Sting, Elvis Costello, David Bowie, Mark
Guiliana, Wayne Krantz... Lefebvre’s involvement in the
Michael Wollny Trio’s breakthrough was, incidentally,
anything but tangential. In other words, his playing is at
home in practically every context.
 Listeners familiar with Schaerer’s and Kalima’s previous
work may find ‘Evolution’ somewhat surprising. “An album
is such a different platform from playing live on stage,”
explains Schaerer. “Over the course of our many
recordings, we have become increasingly aware quite how
differently one has to play.” That awareness has also
resulted in a particularly careful focus on the postproduction phase of ‘Evolution’.
 With ‘Evolution’, Schaerer, Kalima and Lefebvre have redrawn the roadmap for the production of a jazz album.
New avenues are constantly opening up in these complex
but also catchy songs which are just made for repeated
listening... and, of course, listening to the album is also a
reminder that it will all sound completely different again
when heard live.

Zwei der berühmtesten und einfallsreichsten Schlagzeuger der Post-Punk-Ära, Lol Tolhurst von The Cure und Budgie von Siouxsie & The Banshees und The Creatures, sowie der herausragende Produzent und Multiinstrumentalist Garret 'Jacknife' Lee, haben eine der unwahrscheinlichsten Alternative-Supergroups gegründet und die letzten vier Jahre damit verbracht, eines der außergewöhnlichsten Alben für das Jahr 2023 aufzunehmen.

Wenn man die Tracklist mit Gastauftritten von unter anderem James Murphy von LCD Soundsystem, Bobby Gillespie, IDLES Gitarrist Mark Bowen und The Edge von U2 durchstöbert, fragt man sich vielleicht zu Recht, was der 13-Track-Longplayer bereithält. Die Antwort: Eine knallharte und zwanghaft forschende 55-minütige elektronische Gehirnwäsche, die auf unvergleichlicher rhythmischer Kompetenz basiert, mit einem Arsenal an Synthesizern, Gitarren, oft überlagert von Streichern und Bläsern der Spitzenklasse, und dann von Lee universell verdreht, manipuliert und meisterhaft geformt.

Public Enemy's frontman swings for the fences with his tribute to Baseball Public Enemy's Chuck D proudly presents his ode to the great American pastime: baseball! A collection of songs that were originally written as MLB-TV promos, We Wreck Stadiums pays homage and salute to some of the baseball greats and the undeniable impact they've had on the game and the world. Featuring the title track which debuts the Hall of Famers: Chuck, DMC, and Rahiem & Kidd Creole of The Furious Five, all four of them members of the Rock & Roll Hall of Fame. Produced by C-Doc for The SpitSLAM Record Label Group. Vinyl mastered by the legendary Phil Nicolo for Studio 4 Vinyl & Ruffnation Entertainment. CHUCK D as MISTACHUCK!

Dr. Hook & the Medicine Show, shortened in 1975 to Dr. Hook, was an American rock band, formed around Union City, New Jersey. They enjoyed considerable commercial success in the 1970s with hit singles including "Sylvia's Mother", "The Cover of the Rolling Stone", "A Little Bit More" and "When You're in Love with a Beautiful Woman". In addition to their own material, Dr. Hook and the Medicine Show performed songs written by the poet Shel Silverstein. The band had eight years of regular chart hits, in both the U.S. and the UK, and great success with their later gentler material, as Dr. Hook.

Dr. Hook & the Medicine Show, shortened in 1975 to Dr. Hook, was an American rock band, formed around Union City, New Jersey. They enjoyed considerable commercial success in the 1970s with hit singles including "Sylvia's Mother", "The Cover of the Rolling Stone", "A Little Bit More" and "When You're in Love with a Beautiful Woman". In addition to their own material, Dr. Hook and the Medicine Show performed songs written by the poet Shel Silverstein. The band had eight years of regular chart hits, in both the U.S. and the UK, and great success with their later gentler material, as Dr. Hook.

Dreamers have dreamt for as long as domes have fallen, bobbing musical swells from Stephen Foster to the Everlys. Now here comes that beautiful dreamer JOSEPHINE FOSTER and, sugarpie, she's not the same. She has donned her magenta vestiments, dreaming back, with mossy verses that haunt like a name never called. It's not just Jo and her shadow, though, this time around-she's got a gaggle of Nashville cats on hand to coax spidery cathedrals from these campfire jams. Folks will want to call this her "Harvest" - with its harp and pedal steel, its double bass and cascading piano. And it's true, "I'm a Dreamer" beckons with a gentle hand, each note clear and crisp so that one feels each grain. Amid such delicate charms, however, lurk muses with rotting flesh, ugly ducklings and Djuna Barnes, wooden floors upon which no babies will be rocked. Wily is the heart that wanders filled with duende and desire, that rides the thigh like a parlor guitar when a strap just isn't handy. These are songs comfortably at home in salon or saloon, dreams deep enough to bury your dread - as sorrowful, as sexy, as stirring a set of songs as anybody's dreamt up in ages.

THE KORGIS’ latest album release ‘Orchestrations’ beautifully re-imagines in amazingly inventive and unexpected ways the greatest songs of this inspirational chart-topping band with a fully-orchestrated classical treatment.

Opening with the immortal line “Change your Heart, look around you, change your Heart, it will astound you” from international hit and one of the greatest love songs ever, “Everybody’s Got To Learn Sometime”, these brand new classical interpretations weave their way through the The Korgis’ rich tapestry of song-writing.

Featuring the1979 Andy Davis-penned debut hit “If I Had You”, The Beatles homage “Something About The Beatles”, enduring fan favourite “All The Love In The World”, original Trevor Horn production and South American hit “Don’t Look Back”, concluding with prophetically-entitled James Warren and Andy Davis collaboration “This World’s For Everyone”, ‘Orchestrations’ is a fitting tribute to over 40 years of class song-writing.

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.