Oscar Jerome hibernated to make what became The Spoon, his second album. The pandemic had halted his concerts, and he found himself alone in Berlin playing guitar and writing poetry. You can feel that interiority on The Spoon, a laconic piece of work of melodic melancholy. He’ll move from a whisper to a scream throughout the album, and he’s as ready to talk about his feelings of depression as he is to rage about the injustices of his home country.
Am 27. Januar 2023 veröffentlichen die Mercury Studios ”Greatest Hits Live in ’76”, eine Live-Performance
von Marvin Gaye, aufgenommen aus der Edenhalle in Amsterdam während seiner Europatournee 1976. Mit
23 Songs (die LP enthält aus Platzgründen nur 22 Songs) präsentiert dieses fantastische Set eine Fülle an
Material aus dem Verlauf seiner legendären Karriere, darunter ”I Heard It Through The Grapevine”, ”Let’s
Get It On”, ”Inner City Blues (Make Me Wanna Holler)” (alle 3 US #1 Hits), ”Ain’t No Mountain High
Enough” & viele mehr.
Marvin Gaye gilt als eine der ikonischsten Stimmen in der Musik. Er wurde 12-mal für den Grammy
nominiert, erhielt den Grammy Lifetime Achievement Award und wurde in die Rock and Roll Hall of Fame
und die Songwriters Hall of Fame aufgenommen, um nur einige der vielen Auszeichnungen zu nennen, die
seine Karriere kennzeichnen.
Diese Show wurde ursprünglich 2007 auf DVD veröffentlicht und ist nun zum ersten Mal auf CD und
LP erhältlich.
• To celebrate Kent’s 40th birthday (admittedly a month late, due to pressing times), we are releasing our first ever box set of singles. This is due to getting access to the Loma vaults and finding some previously unheard soul gems to augment the best of the soul dance tracks from the esteemed imprint.
• Starting with THE discovery of the soulful ‘20s we present LA soul group the Marvellos, whose ‘It’s Your Love That I Need’ – written by the great Willie Hutch – is a Motownesque dancer whose arrangements and melodies are so stunning we also issued the backing track as its instrumental B-side.
• The Invincibles were another fabulous Los Angeles outfit whose four Loma releases were ballads but two great dance tracks, the sublime ‘Heartstrings’ and the manic ‘Got A Thing Goin’’ showed they could really turn it up when needed.
• Ben Aiken’s ‘Satisfied’ is a stone classic Northern Soul dancer - finding the more subtle ‘If You Should See Her’ and ‘That’s All You Gotta Do’ in the vaults makes the Philly singer the best represented artist of the set.
• New York-based Carl Hall is another singer with a released classic - ‘Mean It Baby’ and a great unissued tape vault find – ‘Like I Told You’. The pair sit well together on their new 45 pressing.
• The Enchanters cut several tracks after they left Garnett Mimms; ‘Just A Little Longer’ is a great Drifters-sounding number which we’ve coupled with the beautiful ‘I’ll Find A Way’ by Bobby Reed.
• ‘See The Silver Moon’ by west coast girl group the Apollas would have wowed them at Wigan. The poptastic number has the perfect stomping dance beat, beloved of the Casino’s patrons. Alas it was not heard until 2012 when researcher and co-compiler Alec Palao unearthed the master tape. We paired it with Larry Laster’s terrific ‘Go For Yourself’ which shares the backing track of fellow Northern monsters ‘Lighten Up Baby’ and ‘Somebody Somewhere (Needs You)’, more than holding its own.
Vinyl version of Regina Spektor’s eighth sudio album ‘Home, before and after’ which was released on CD and digital earlier this year and features the single ‘Up The Mountain’.
‘Home, before and after’ is Spektor at her most inspired and opens with the recently released ‘Becoming All Alone’, a surrealist ballad with a majestically swelling arrangement that comes alive. The album possesses her most palpable New York atmosphere in years, which is fitting as it was recorded in upstate New York, where it was produced by John Congleton and co-produced by Spektor.
The Russian-Jewish-American singer, songwriter and pianist first achieved commercial success with the RIAA Gold-certified breakthrough ‘Begin To Hope’, which included the singles ‘Fidelity’, ‘On The Radio’, ‘Better’ and ‘Samson’. Spektor’s fifth and sixth albums ‘Far’ (2009) and ‘What We Saw From The Cheap Seats’ (2012) both debuted at #3 on the Billboard album chart. She has performed at The White House as well as on Broadway and Saturday Night Live, and has contributed to many projects spanning film, television, and music including ‘The Hamilton Mixtape’.
Spektor’s previous album, 2016’s ‘Remember Us To Life’, received extensive critical praise from the likes of NPR, Entertainment Weekly, New York Magazine, People and many more. Her subsequent UK tour included a London show at the Eventim Apollo, which prompted The Guardian to state, “All hail a songwriter of substance… she’s a cult artist, but it’s a cult big enough to fill the Apollo.”
During the summer of 2019, Spektor completed a successful five-night Broadway residency at the Lunt-Fontanne Theatre. Next comes a run of solo shows, including a special night at Carnegie Hall, plus tour dates with Norah Jones.
The Wrocław band Ślina returns with their third studio album, this time recorded with Mikołaj Trzaska.
This is not the album of Trzaska + Ślina or Ślina + Trzaska. This is Ślina Trzaska (a kind of wordplay in polish, means: The saliva cracks). A kind of full, new band that was created in the outstanding Sudeten studio Monochrom and is sometimes continued live.
Free improvisations and Krautrock motility are still the hallmark of Ślina, but the organic, radical sound of Mikołaj Trzaska's saxophone and clarinet gives this music a completely new character. From silence and delicacy of ambient to hurricane and violence, full of nuances, interfering motifs associated with Jewish music, it sounds as if the musicians already knew each other from the sandbox, even if they lived in other cities.
There are 4 tracks on the album, traditionally titled as their lengths.
This vinyl version is a 20-inch (!) Hybrid: a 180-gram black 12-inch, traditionally pressed, and an equally black 8-inch cut by Uncle Gusstaff in Studio im. Witolda Gombrowicza in Zielona Góra.
Mikołaj Trzaska - alto sax / bass clarinet
Matylda Gerber - alto/tenor/baritone sax
Filip Zakrzewski - electric guitar / SFX
Mikołaj Nowicki - double bass / synth / percussion
Stanisław Olek - drums/percussion
The Finnish heavy metal band Lordi formed in 1992 by the band’s lead singer Mr. Lordi. They’re best known for wearing monster masks and using horror elements with pyrotechnics during live shows and music videos. In 2006, Lordi won the Eurovision Song Contest with their song “Hard Rock Hallelujah”.
Their debut album Get Heavy was originally released in
2002 and includes the popular tracks “Devil Is A Loser” and “Would You Love A Monsterman”. The album is available as a limited edition of 666 individually numbered copies on silver
& dark green marbled vinyl, housed in a gatefold sleeve and includes an 8-page booklet. This edition includes 2 bonus tracks, “Don’t Let My Mother Know” and the previously CD- only track “Hulking Dynamo”.
1000 black vinyl LPs. London-based ‘indie-supergroup’ SUEP announce their long-awaited debut mini-album Shop, a collection of 6 oddball, car-boot-sale pop songs with a sprinkling of theatrical storytelling. Led by Georgie Stott (of Porridge Radio, Garden Centre) and Josh Harvey, SUEP was born out of a near-decade of playing in sheds and barns with like minded personnel, holding a mutual love for Paul McCartney, Jona Lewie, the B-52s, Devo and other performative freaks enjoying themselves. Following a move to London from Brighton, the pair added George Nicholls (The GN Band, Joanna Gruesome, The Tubs), Will William Deacon (PC World, Garden Centre), and Ollie Chapman (Boil King) to the line-up. The 5 piece take turns writing songs and taking the lead vocal duties in a wonderfully playful but coherent collaboration, with their debut being a kaleidoscopic off kilter pop ride, taking the listener through haunted castles, deprived encounters, days lost to the imagination in bed, and through the integral friendships that give SUEP the energy to keep dancing to their own beat. The album was arranged and recorded in the Red Lion Boys Club, an ex-youth centre in which Georgie and Josh both lived. Using equipment collected by Josh in his travels as a bootsale and market trader, the sports hall was transformed into a makeshift studio for a few days, with sessions conducted by producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) Mark Riley (BBC 6 Music) described SUEP’s debut single and album opener, ‘Domesticated Dream’ (2021) as “perfect pop music.” The joyfully kitsch track brims with a 70s Yamaha disco beat, deep bass, nostalgic drum machines, and hooky melodies. Possibly the most psychedelic and infectious track born out of lockdown, it tackles homelife, drinking too much, and making big plans that never come to fruition, but with a big technicoloured positivity for the future of the human-race, with the chorus’ refrain, “the psychedelic 4000s,” predicting the return of the psychedelic Age of Aquarius in a couple of millennia time. The following single ‘Misery’ (2021) is pure cosmic swing-pop wizardry in part inspired by spy music and The Supremes. Ollie, The track’s baritone vocalist, describes it as “A love song disguised as a song about loss. It's about cherishing the things that matter but it’s also about having the courage to say goodbye,” with each line of the song a small story about a different character. Whilst latest Shop taster ‘In Good Health’ is darkly euphoric like a pleasantly strange meeting of Siouxsie Sioux and Jona Lewie. It’s a playfully discombobulating mix of 80s jangly guitar, chirpy keyboard and moody post-punk tackling mental health, drug addiction, and the power of friendship, written after the song’s vocalist Georgie came out of hospital following a mental health crisis. “I wanted to write a song that encapsulated how important my relationships with my friends and boyfriend were at that time” she explains “…and one that also felt dark like I did at the time. I couldn’t go outside due to anxiety surrounding my health so I stayed inside for weeks. People would visit and watch films with me or let me tattoo them or make music with me. My community helped me recover.” Elsewhere on Shop is ‘Just The Job’ fronted by Harvey and described by him as “About the relief of accepting a menial existence, and allowing life to be boring - but (within that) how the small things are the important ones, how pulling a sicky or extra long lunch break are important things to do for yourself. It’s an anthem for working people who’ve had enough - and a crowd favourite at SUEP gigs. The darker undertones and post-punk angles of the Georgie-fronted ‘Onions’ is inspired by the crapness of cliques, with the band calling the song “A cry of welcome to all;” and finally the hooky ‘Friend of Mine,’ described as “A love letter to all the people that come and go throughout your life no matter how long you know them”. SUEP have received coverage in Independent & Clash, (among many others), with big support from Mark Riley and Steve Lamacq (BBC 6 Music) for early singles.
BLUE MOON PHASE VINYL
After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.
After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.
Orange Vinyl
After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.
Black Vinyl[24,79 €]
Blue Curacao Vinyl[24,33 €]
Black Vinyl[23,95 €]
Red Vinyl[23,95 €]
Pumpkin Orange Vinyl[26,85 €]
After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.
When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.
As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date
Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.
The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones
Black Vinyl[24,79 €]
Blue Curacao Vinyl[24,33 €]
Black Vinyl[23,95 €]
Red Vinyl[23,95 €]
Black Vinyl[26,85 €]
After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.
When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.
As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date
Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.
The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones
PUMPKIN ORANGE VINYL
Fan favorite dark dance outfit Boy Harsher have contributed a sumptuously eerie track for the David Gordon Green directed finale to the iconic Halloween franchise. Sacred Bones and Nude Club (Boy Harsher's imprint) are joining forces and releasing a proper 12" maxi single containing four versions of the track "Burn it Down," to be released in tandem with the original score provided by John Carpenter, Cody Carpenter, and Daniel Davies. Boy Harsher said of the experience: "During an extremely brief period of rest between tours, we got this call from the music supervisor of Halloween. The director, David Gordon Green, had listened to our music and wanted to use something for the final installment in the trilogy - Halloween Ends. We flew to New York the next day to meet the team and discuss the possibilities. It was totally surreal. Obviously we're huge fans of Carpenter and the franchise is a fav, but to work with Gordon Green was also so special, his early films (George Washington, Undertow, Snow Angels) were heavy influences on our work. The real kicker is that Halloween Ends was shot in Savannah, GA - the birthplace of Boy Harsher and where we met. Unbelievable. It all felt too synchronous, and we knew we had to make something work although we were about to leave for a multi-month tour that week. We flew home to Massachusetts, dug through old demos, and found "Burn It Down". In the end it was the perfect energy for the bittersweet love affair between Allyson and Corey, so during a couple days off - we cleaned it up and made it come alive."
Espen Friberg’s solo album debut. Sun Soon is Espen Friberg´s solo album debut, consisting of eleven compositions made up of synthesizer and field recordings. The album is formed as a collage, with compositions patched on a Serge modular synth and field recordings. The patches portray the mood and wandering in mountains and forests – while at the same time meditating on the area of the Norwegian valley Hallingdal´s local history. The collage technique is something Friberg uses in both his musical and visual art. The album is meditative and exploratory, and at the same time playful and immediate. Trucks, trash cans, flowing streams, lemon soda, horses and wandering mountains, find its place between slow melodies, scratching, sinus tones and bass lines. Dissonances and harmonies come together in gliding transitions and abrupt stops, while an electronic willow flute sings and the sun is rising. The recording is done at Leveld Kunstnartun in Ål in Hallingdal, later mixed and produced in collaboration with Jenny Berger Myhre. The project captures the ambiance in the valley around Leveld, through Espen´s experiences in nature, but also from the paintings of Marianne Røthe Arnesen and Gøsta Munsterhjelm. Espen Friberg is known as an artist, designer, illustrator, cartoon creator and musician, and has received numerous awards and stipends for his work. In the beginning of 2000 he was a part of establishing the design studio Yokoland, but later started his own studio. In addition to his visual practice he has built a sound studio consisting of complex synthesizer systems and a variety of obscure electronical instruments and effect processors. He has been a central person in experimental and electronic music in Norway. He started and runs the record company Take It Easy Policy in collaboration with Emil Høgset, and has been a curator for the concert series Rett Ned. Since 2005 he has participated in a long line of sample albums under different artist names, before releasing his first EP under his own name in 2015. After this he has released six different albums with Øivind Olsen, André Borgen and Marianne Røthe Arnesen. Friberg has been active on the concert stage, both as a solo artist and in different collaborations. 1.Lazy cobweb 2.Wandering mountain 3.Gøsta Munsterhjelm 4.Foggy glow 5.Pasture patch 6.Motor sunup 7.Thirteen paintings 8.Marianne Røthe Arnesen 9.Sinuous river (part one) 10.Sinuous river (part two) 11.Orange moss bridge
2023 re-issue, 140g vinyl, reproduction of the classic Tele Music sleeve, full colour insert with liner notes and archive photographs
Wow! Tonio Rubio's Rhythms is a stone-cold killer, a heavyweight library breaks LP and the inaugural release in Be With's new partnership with legendary French library label Tele Music. Yes, you lucky people, there's lots to come. For this extremely special 50 year anniversary re-issue, we've reproduced the classic Tele Music sleeve with a full colour insert featuring rare photographs, fresh liner notes and personal memories of Tonio from the likes of Jean-Claude Vannier, Jean-Claude Petit and Janko Nilovic.
Sumptuous opener “Latin Leitmotiv” is all funky phasing effects and a killer montuno, with what sounds like piano and bass in tandem, stoking straight up Latin fire. The gritty hard funk of blaxploitation groove "Red Medium" is dripping in wah-wah attitude and head-nod oddness. The atmospheric, exotica-tinged "Dead Slow" emulates the languid, sensual afro groove of Quincy Jones’ wild masterpiece “Gula Matari” whilst the proggy, electric jazz fusion epic "Rock 73" is 9+ minutes of moody, rolling menace.
But the *real* highlight of this cult classic - and why it has long been *so* desirable - is the devastating, deep, hypnotic minimalist groove of "Bass In Action N°1". Very much in conversation with Quincy's rendition of "Hummin'", the loping, rumbling bassline and sweet electric piano over clean, crisp drums making it one of those tracks that sounds like a hip-hop beat 20 years ahead of time. Sensational. “Bass In Action N°2“ features Tonio's own vocal scat performance. Remarkable.
Antonio "Tonio" Rubio Garcia got his start playing the double bass in jazz clubs. In 1962, Tonio joined the Golden Stars, the first backing band of France’s teenage idol Johnny Hallyday. A genius musician with a unique guitar sound, he played on standards of French chanson including Serge Gainsbourg and Brigitte Bardot’s "Bonnie and Clyde", Françoise Hardy’s "Tous les Garçons et les Filles", Gainsbourg and Jane Birkin’s "Je T’aime, Moi Non Plus" and Serge and Charlotte Gainsbourg’s infamous "Lemon Incest". Tonio also lent his brilliance to such legendary figures as Janko Nilovic, Jean-Claude Petit, Hervé Roy, and Jean-Claude Vannier. The latter remembers Tonio as “a secretive, mysterious man, with an endearing personality, albeit difficult to reach out to. His virtuosity as a bass player allowed me to write very innovative basslines, because he was able to play any of my eccentricities!”
The audio for Rhythms has been remastered by Be With regular Simon Francis whilst Christopher Stevenson has brought the original and iconic Tele Music sleeve back to life in all its striking glory as the finishing touch to this long overdue re-issue.
ATROCITY sind mit aller Macht zurück: "OKKULT III" markiert das furiose Finale der "OKKULT" Album-Trilogie und ist gespickt mit brutalen Death Metal-Granaten! Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst! Freut euch auf ein Album mit gnadenlosen Nackenbrechern und grandiosen Death Metal Krachern!
Schon der Chart-Breaker "OKKULT II" begeisterte die ATROCITY Fangemeinde und die Metal-Presse gleichermaßen mit packenden Death Metal Songs, die unter die Haut gehen.
Mit "OKKULT III" werden ATROCITY ihre Fanschar endgültig zur Ekstase bringen: Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst!
Als Gastsänger sind Elina Siirala (Leaves' Eyes), Zoë Marie Federoff (Catalyst Crime, Cradle Of Filth) und Robse Dahn (Equilibrium) auf dem Album vertreten.
"OKKULT III" ist der krönende Abschluss der "OKKULT"-Trilogie und ein Meisterwerk deutschen Todesmetalls!
- Produziert, gemischt und gemastert von Alexander Krull im Mastersound Studio (Leaves' Eyes, Doro, End Of Green, Belphegor etc.)
- Coverartwork von Stefan Heilemann / HEILEMANIA.
- Soundeffekte von der mit dem Emmy Award ausgezeichneten Sounddesignerin Katie Halliday ("SAW", "Stranger Things", "The Strain", "Star Trek: Discovery" etc.)
ATROCITY sind mit aller Macht zurück: "OKKULT III" markiert das furiose Finale der "OKKULT" Album-Trilogie und ist gespickt mit brutalen Death Metal-Granaten! Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst! Freut euch auf ein Album mit gnadenlosen Nackenbrechern und grandiosen Death Metal Krachern!
Schon der Chart-Breaker "OKKULT II" begeisterte die ATROCITY Fangemeinde und die Metal-Presse gleichermaßen mit packenden Death Metal Songs, die unter die Haut gehen.
Mit "OKKULT III" werden ATROCITY ihre Fanschar endgültig zur Ekstase bringen: Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst!
Als Gastsänger sind Elina Siirala (Leaves' Eyes), Zoë Marie Federoff (Catalyst Crime, Cradle Of Filth) und Robse Dahn (Equilibrium) auf dem Album vertreten.
"OKKULT III" ist der krönende Abschluss der "OKKULT"-Trilogie und ein Meisterwerk deutschen Todesmetalls!
- Produziert, gemischt und gemastert von Alexander Krull im Mastersound Studio (Leaves' Eyes, Doro, End Of Green, Belphegor etc.)
- Coverartwork von Stefan Heilemann / HEILEMANIA.
- Soundeffekte von der mit dem Emmy Award ausgezeichneten Sounddesignerin Katie Halliday ("SAW", "Stranger Things", "The Strain", "Star Trek: Discovery" etc.)
ATROCITY sind mit aller Macht zurück: "OKKULT III" markiert das furiose Finale der "OKKULT" Album-Trilogie und ist gespickt mit brutalen Death Metal-Granaten! Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst! Freut euch auf ein Album mit gnadenlosen Nackenbrechern und grandiosen Death Metal Krachern!
Schon der Chart-Breaker "OKKULT II" begeisterte die ATROCITY Fangemeinde und die Metal-Presse gleichermaßen mit packenden Death Metal Songs, die unter die Haut gehen.
Mit "OKKULT III" werden ATROCITY ihre Fanschar endgültig zur Ekstase bringen: Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst!
Als Gastsänger sind Elina Siirala (Leaves' Eyes), Zoë Marie Federoff (Catalyst Crime, Cradle Of Filth) und Robse Dahn (Equilibrium) auf dem Album vertreten.
"OKKULT III" ist der krönende Abschluss der "OKKULT"-Trilogie und ein Meisterwerk deutschen Todesmetalls!
- Produziert, gemischt und gemastert von Alexander Krull im Mastersound Studio (Leaves' Eyes, Doro, End Of Green, Belphegor etc.)
- Coverartwork von Stefan Heilemann / HEILEMANIA.
- Soundeffekte von der mit dem Emmy Award ausgezeichneten Sounddesignerin Katie Halliday ("SAW", "Stranger Things", "The Strain", "Star Trek: Discovery" etc.)
Oan Kim, the revelation that transcends jazz. Oan Kim is a French Korean awarded saxophonist, filmmaker and photographer.
As a film director, he recently won awards for his documentary about his father: the famous Korean painter Kim Tschang-Yeul (Silver Horn prize in Poland and the Emerging Documentary Filmmaker Award at the DMZ International Festival in Korea).
As a musician, experienced with numerous bands (Film Noir, Chinese Army), it was during lockdown that he composed and recorded his first solo album, ‘Oan Kim & The Dirty Jazz’.
This project immediately got the attention of JeanPhilippe Allard through Artwork Records, a new label created with PIAS.
Oan Kim is a multi-faceted contemporary artist, as comfortable in galleries as in concert halls, who plays a unique music beyond the boundaries of jazz.
Oan Kim has been described in the French media as “The missing link between Portishead and Che Baker.”
Black Vinyl[41,98 €]
Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE
