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Bob wundert sich über eine befremdliche Begegnung mit einem 'Blinden' - oder ist es etwa ein 'Blender', dieses Narbengesicht? Und schon haben die drei ??? wieder eine ganze Menge Puzzleteile zusammenzusetzen. Richtig gefährlich scheint die Sache aber zu werden, als plötzlich 'Wanzen' auftauchen und von illegalem Handel die Rede ist, als das 'Motel Seeblick' mitsamt dem Berg ins Rutschen kommt und die 'Maria II' ihre letze Fahrt antritt, die so dramatisch enden wird ...

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

Schwerpunkt Süden und Austria! Anna Buchegger bringt
frischen Wind in die österreichische Volksmusik - kühn und
selbstbestimmt. In ihrer Musik verbindet sie ausgewählte
traditionelle Elemente mit zeitgenössischen Strömungen und
erschafft einen Dialog, der die Werte von gestern und die
Dringlichkeiten von heute miteinander verknüpft. Kein Blatt
vor den Mund nehmen! – Ihre Texte spiegeln die raue Realität
wider, verpackt im dialektalen Sprachklang der Salzburger
Mundart und eingebettet im zeitlosen Bandsound der 70erJahre. Kurz gesagt: musikalisches Brückenbauen zwischen
Tradition und Innovation.

Features Unreleased Studio Sessions, Alternate Versions, Live Recordings, Rarities, And 36-Page Book With New Photos & An Extensive Conversation Between Joni & Cameron Crowe

Sourced From Original Stereo Reels, Nagra Film Recordings, Multi-track Tapes, Radio Airchecks & Cassette Tapes

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified HEJIRA 1976, the gold-certified double-LP DON JUAN’S RECKLESS DAUGHTER [1977], her collaboration with Charles Mingus entitled MINGUS [1979], and live album SHADOWS AND LIGHT [1980]. Channeling the thrill and excitement of these records, she delves even further into this season on JONI MITCHELL ARCHIVES, VOL. 4: THE ASYLUM YEARS (1976-1980), due October 4th.

Available as a 6CD, 4LP (featuring Joni's personal favorites from the 6CD set), and digitally, this comprehensive and essential set spans one of the most prolific periods of her storied career. It boasts powerful live tracks from her time in Bob Dylan’s Rolling Thunder Revue during 1975 and 1976 Tour of the United States. It pulls back the curtain on the music by showcasing early recordings and alternate takes from the respective sessions for HEJIRA, DON JUAN’S RECKLESS DAUGHTER, and MINGUS. It covers the Bread & Roses Festival as well as the Anti-Nuclear Rally. Finally, VOL. 4 chronicles her 1979 tour, even showcasing two tracks from that year’s Tour Rehearsals. Not to mention, it showcases her versatility and adaptability, housing collaborations with everyone from Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.

Vol. 4 culls the previously-unissued material from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Newly mixed tracks came from multi-track tapes, while a handful of hi-res digital tracks have been sourced from the Bob Dylan Archives.

Each version includes a book with never-before-seen photos and liner notes comprising a deep dive discussion between Mitchell and longtime friend Cameron Crowe. As part of their candid conversation, she shares intimate anecdotes, memories, and stories from that five-year creative run.

Four years after their Discrepant debut - 'OOOO' -, Lisbon-based travellers Jibóia return to the fold with another offering of globetrotting psychedelia with 'Salar'. With the core trio of Óscar Silva, Ricardo Martins and Mestre André augmented by a stellar parade of collaborators on various roles, 'Salar' further expands on the transglobal visions by now pretty trademarked by the band. Intersped among shorter vignettes for drums, saxophone and bass, each of the more fully fleshed tracks casts a guest to elevate Jibóia's music to uncharted realms - both in a mystical and geographical sense.

Opener 'Selar' summons the cello of songstress Joana Guerra for a skewed dialogue with Silva's guitar, propelled by Martins' drums and percussion and André's electronic textures into 4 minutes and 20 seconds that feel epic - if there was any psychedelic numerological symbolism needed. On 'Solar', Silva's non-western plucking rides on for Yaw Tembe's trumpet to veer in a multitude in directions, while the mysterious 'Sitar' conjures the voice of moroccan musician Ayoub El Ayadi for a contemplative nighttime prayer. Elsewhere, guitarist Rui Carvalho aka Filho da Mãe injects dissonant guitar lines unto 'Sarar's pummelling dance and Pedro Augusto's electronics hover below the shapeshifting dynamics of 'Sonar', among mesmerising keyboard lines. 'Salir' featuring Daiyen Jone enchanted flute brings the album to a close at its most reflective, all crepuscular synth lines and reverbed handclaps.

Der Saxofonist Phillip Dornbusch hat sich mit seiner Band Projektor vorgenommen, die Aufmerksamkeit des Publikums auf Musik zu lenken, die in Momenten entstand, in denen sich Menschen in Vergangenheit und Gegenwart nicht in einer Demokratie, nicht in Freiheit befanden. Die meisten Stücke auf dem dritten Projektor-Album, das den Titel Revolt trägt, speisen sich aus Liedern, die in Iran und Estland entstanden sind und während der Aufstände gegen das sowjetische Regime beziehungsweise die Islamische Republik gesungen wurden. Das Zusammenspiel der fünf Musiker:innen hatte schon auf den beiden Alben "Reflex" (2021), sowie auf "Re|Construct" (2023) etwas traumwandlerisch-sicheres. Johanna Summer, Johannes Mann, Roger Kintopf und Philip Adrian Dornbusch organisieren sich um meist vom Saxophon Dornbuschs getragene Melodien und Themen, weichen ab und kehren wieder zurück, um ein anderes Instrument, eine andere Idee, eine andere Klangfarbe in den Vordergrund treten zu lassen. Dieses Zusammenspiel hat auf Revolt das nächste Level erreicht.

Modern progressive rock band DILEMMA presents its third full length album, ‘The Purpose Paradox’. This concept album, spanning over 60 minutes, is released on CD, double LP and via all streaming platforms, and distributed internationally by Butler Records, a division of V2 Records.

It features 9 brand new tracks ranging in length from 4 to nearly 16 minutes. The sound showcases a broader side of DILEMMA — louder, faster, more technical, more progressive. With new frontman Jermain van der Bogt (Wudstik), the vocals have become rawer and more varied. Almost six years after the previous record ‘Random Acts of Liberation’ the band sounds reborn.

Like its predecessor, ‘The Purpose Paradox’ was produced by drummer Collin Leijenaar, who, together with the famed music wizard Rich Mouser (The Mouse House, LA), was also responsible for the mix and mastering. Thanks to their unmatched ears, the result is an audio experience that DILEMMA has worked on with great pride over the past years.

As said, ‘The Purpose Paradox’ was written and produced like a concept album. Because let’s face it, you’re either a progressive rock band or you’re not. But seriously: the story of ‘The Purpose Paradox’ revolves around a man named Neon. Someone like us in the here and now. During his quest for connection and fulfilment, he finds support from an unconventional guide named Electra. She points out to him that sometimes the things we look for are the things that found us first. Will Neon’s heart glow again when he discovers the outer light? Or does the greed of the corporate machine known as The Hand succeed in extinguishing his inner fire? Can Neon’s secrets be deleted? And will he, in the end, arrive in the comfort zone of allies in the raw, rainy city he once left behind?

Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus. (Limitiertes) Pink farbenes Vinyl mit DLC sowie Digisleeve-CD!

Her tracks have been played and recommended by Iggy Pop, Mary Anne Hobbs and Nine Inch Nails. ZAMILSKA, one of the most original artists on the European electronic scene, announces a new album, "United Kingdom Of Anxiety" – out October 4.
Combining the rawness of techno and the trance-like nature of world music, industrial sound and a fine blend of trip-hop, the Polish producer created a dystopian, post-apocalyptic,
fascinating vision of a collapsing world. "United Kingdom Of Anxiety" begins with a sonic assault. The breaks and powerful bass in "Phantom" awaken from hypnotic slumber, numbness caused by the daily hustle, serve as a reminder that to survive in an unfriendly world, concentration, willpower and perseverance are essential. This is the beginning of a journey through "United Kingdom Of Anxiety" - the new album by Zamilska, a sensitive outsider.

"I’m here to ruin you again," announces a voice in "Mummy," while the crescendo of beats and noise in "Better Off" further amplifies the tension. It's hard to find peace when hell lurks just around the corner. Is it the horror of civilization or perhaps cosmic dread? The answer depends on the listener's sensitivity.
The much-needed balance and coolness are brought by huskie vocals - that is Ola Myszor - an incredibly talented young artist who appears in several tracks on the album. Besides huskie, there are other guests on "UKOA": Natalia Przybysz, who, with a robotic voice, delivers a manifesto of indomitable, proud solitude in "Persist" and Lukasz Pach, the charismatic frontman of the grindcore band Hostia. His growling is heard in the intense, uncompromising "No Gods," which was presented by Iggy Pop on his BBC6 Music radioshow.

The sonic spectrum is also filled with anonymous voices: echoes of quarrels, media messages, sounds of war clamor, monologues - looped, accelerated, manic, psychotic, but also a wistful singing coming from the depths, from afar. The metaphysical horror of Lovecraft on one hand, and the sober, no less gloomy diagnosis of George Orwell on the other, constantly correspond here.
This entire album is a story about society as a whole and the contemporary, dystopian world, which is inevitably heading towards war. The track "1984" clearly defines the inspiration for the artist's post-apocalyptic vision. A distorted radio signal, alarm siren and gabba/techno beats driving into the head like nails serve as an expression of the fear and anger born in a world of impending totalitarianism.

Doppel LP, limitiert auf 500 Exemplare. Handnummeriert! Inkl. Downloadcode! Draggo wird nachts im Hauptquartier überfallen. Doch nicht nur die Platten seiner Lieblingsband sind verschwunden, schnell wird klar: Es geht um mehr. Viel mehr. Eine ägyptische Gottheit, eine historische Rede, ein archäologischer Geheimbund und der ewige Erzfeind Klöten Klaus. Das neue Abenteur von L.B. Steel und seiner Brigade Steelforce. Metal, Alter... METAL! mit: Reiner Schöne, Bernd Egger, Steffen Lehmann, Björn Jung, Patrick Winczewski, Josephine Hochbruck Special Guest: Andreas "Gerre" Geremia & Tommi Piper

In 2023, all sources of life across the multiverse jumped and twisted to the irresistible sound of COSMIC QUEST, the second full-length record of Swiss septet extraordinaire COSMIC SHUFFLING. Today, the Geneva based combo returns with the second half of the quest: a FULL INSTRUMENTAL long play.

This new record carries on the band’s journey to a realm where the stars dance to the beat of your heart. Travelling across galaxies, passing through nebulas, black holes and asteroid fields, the handsome lads disseminate the classic sound of SKA and ROCKSTEADY with burning hot-like-plasma scorchers. Temperature rises,
bodies warm up, sway, embrace and go wild. This is the effect produced by the explorers of unconditional cosmic love: the LOVONAUTS.

Welcome to the LOVONAUTS’ ODYSSEY – the ultimate soundtrack of the septet astral adventures. Let yourself be carried away by these ten love letters to Jamaica’s iconic sound of the 60’s and its greatest musical stars

Wie war das noch gleich? Die dritte Scheibe einer Band ist das ,Make-It or Break-It"-Album? Kontrolle aus Solingen und Düsseldorf könnte das nicht egaler sein. Ihr kalter, 80er- beeinflusster Wave-/Post-Punk-Sound wurde schon beim 2017er-Debüt ,Egal" begeistert aufgenommen und mit ,Zwei" (2021) verfeinert. Und so gab es für das Trio nie einen Anlass für eine grundlegende Sound-Änderung, eine Umstellung der Herangehensweise oder ein Schielen auf Trends. Das genau beweist ,Grau", Kontrolle-Album #3. Denn wenn das dritte Album von KONTROLLE etwas unterstreicht, dann, dass die Band noch kompromissloser zu Werke geht. Ihre Hardcore- und Punkwurzeln sind hier deutlicher denn je zu erkennen. Die breite Soundwand, die das Trio um Gitarrist und Sample-Meister Carsten Wagner, Sänger und Bassist Daniel Brangs und Drummer Andrew Collar kreiert und erneut in der Tonmeisterei bei Role Wiegner in Oldenburg auf Band gebannt hat, bestätigt diese Vermutung. Aber da sind ja auch noch die prägenden, markanten dunklen Elemente, die als Gegenpol eine sphärische Dynamik schaffen, die zwischen hypnotisch und eruptiv pendelt. Und das funktioniert nicht nur vor der Bühne, sondern auch auf der Tanzfläche. Die deutschen Texte von Sänger Daniel behandeln aktuelle Themen und Sorgen in gewohnt KONTROLLE-typischen Passagen, die oft mit einem Augenzwinkern auch politisch Stellung beziehen. Bisweilen spielen sogar Alltags- und Haushaltsgegenstände nicht zu unterschätzende Rollen in der ,kontrollierten" Beschreibung der deutschen Realität. Die Covergestaltung lag erneut in der Hand von Schlagzeuger Andrew, der diesmal neue Wege beschritt: Hunderte selbst geschossene Fotos bildeten den Grundstock für eine Collage von original ca. 1,5 m x 2 m. Alle Bilder wurden in mühevoller Kleinarbeit ausgeschnitten und zusammengestellt. Das Gatefoldcover ist somit ein Kunstwerk für sich und eröffnet mit jedem Blick neue Details. Erscheinen wird die LP am 27.09.2024, wieder auf dem für handgemachte Releases geschätzten Kölner Label Holy Goat Records. Zwei digitale Single-Releases und eine limitierte 7"- Auskopplung kommen im Vorfeld. Und natürlich sind KONTROLLE dann auch wieder live im Einsatz.

Wie war das noch gleich? Die dritte Scheibe einer Band ist das ,Make-It or Break-It"-Album? Kontrolle aus Solingen und Düsseldorf könnte das nicht egaler sein. Ihr kalter, 80er- beeinflusster Wave-/Post-Punk-Sound wurde schon beim 2017er-Debüt ,Egal" begeistert aufgenommen und mit ,Zwei" (2021) verfeinert. Und so gab es für das Trio nie einen Anlass für eine grundlegende Sound-Änderung, eine Umstellung der Herangehensweise oder ein Schielen auf Trends. Das genau beweist ,Grau", Kontrolle-Album #3. Denn wenn das dritte Album von KONTROLLE etwas unterstreicht, dann, dass die Band noch kompromissloser zu Werke geht. Ihre Hardcore- und Punkwurzeln sind hier deutlicher denn je zu erkennen. Die breite Soundwand, die das Trio um Gitarrist und Sample-Meister Carsten Wagner, Sänger und Bassist Daniel Brangs und Drummer Andrew Collar kreiert und erneut in der Tonmeisterei bei Role Wiegner in Oldenburg auf Band gebannt hat, bestätigt diese Vermutung. Aber da sind ja auch noch die prägenden, markanten dunklen Elemente, die als Gegenpol eine sphärische Dynamik schaffen, die zwischen hypnotisch und eruptiv pendelt. Und das funktioniert nicht nur vor der Bühne, sondern auch auf der Tanzfläche. Die deutschen Texte von Sänger Daniel behandeln aktuelle Themen und Sorgen in gewohnt KONTROLLE-typischen Passagen, die oft mit einem Augenzwinkern auch politisch Stellung beziehen. Bisweilen spielen sogar Alltags- und Haushaltsgegenstände nicht zu unterschätzende Rollen in der ,kontrollierten" Beschreibung der deutschen Realität. Die Covergestaltung lag erneut in der Hand von Schlagzeuger Andrew, der diesmal neue Wege beschritt: Hunderte selbst geschossene Fotos bildeten den Grundstock für eine Collage von original ca. 1,5 m x 2 m. Alle Bilder wurden in mühevoller Kleinarbeit ausgeschnitten und zusammengestellt. Das Gatefoldcover ist somit ein Kunstwerk für sich und eröffnet mit jedem Blick neue Details. Erscheinen wird die LP am 27.09.2024, wieder auf dem für handgemachte Releases geschätzten Kölner Label Holy Goat Records. Zwei digitale Single-Releases und eine limitierte 7"- Auskopplung kommen im Vorfeld. Und natürlich sind KONTROLLE dann auch wieder live im Einsatz.

Earlier this year we were excited to announce the return of one of our most beloved bands of recent years: New Street Adventure. To mark the 10th Anniversary of their debut album ‘No Hard Feelings’, on 4 October we are releasing a special, limited edition olive green colour vinyl reissue. The release will coincide with an extensive UK tour.

‘About eighteen months ago, someone asked if I had a spare vinyl copy of ‘No Hard Feelings’. I checked the shelves, and found my own copy and no more. I checked Discogs and saw that it was changing hands for far more than an 8-year-old album should be. Released in the pre-vinyl-revival years, its limited original pressing means that demand is now out-stripping supply – a measure of just how good this record is. With that in mind Nick Corbin and I hatched a plot for a 10th Anniversary reissue, and here it is!

I loved New Street Adventure. They were smart, looked great on stage, and in Nick was one of the best front-men and songwriters I have ever worked with. With their own ecosystem of self promoted gigs, they created their own audience, and for a while it looked like a major label deal was in the offing. Eddie Piller had wanted to sign them from the first time he met Nick, and when the big deal didn’t happen, he was still there for the band as they became an Acid Jazz act in 2013.

There were endless back-and-forths on how the album should sound (and some despair that it wasn’t quite sounding as good as it should have). Then Mitch Ayling came on board to produce the final mix. He brought out the songs, lifted the playing, delivering the shiny finished recording that took its place as one of the finest moments in the Acid Jazz catalogue. Nick’s songs now sparkled. As his love of soul shone through, his politically and socially aware lyrics showed a rare, wry observational gaze that was turned on 21st Century life. From the warnings against populist hatred of ‘On Our Front Doorstep’, to the hopeless ennui of ‘Foot In The Door’, and the day-to-day pursuits of being in your twenties in a big city. Through it all shines a passion – sometimes coming out as anger – that drives the music. It is of course encapsulated in ‘The Big A.C.’, written about the night that Nick’s dad took him to the 6Ts Allnighter at the 100 Club, which brought him into the world of Northern Soul. It’s a classic that nails the feeling of excitement as well as anything written.

The album was released late in 2014 and for those who want a vinyl copy – even the CDs cost a fair penny now – we have prepared this special 10th Anniversary Edition on transparent olive-green coloured vinyl. The inner sleeve is illustrated with never-before seen photos from the archive, both candid and by early band supporter Dean Chalkley, and has sleeve notes by Nick and myself. Nick is taking New Street back on tour this Autumn, and it you would be foolish (once more) to miss either the tour or the record.’

"Once more with attitude: April Art have set out to do nothing less than change the world. That may seem bold, true, but you know what: They have the songs to back this attitude. It’s a modern metal sensation like no other, emerging from the underground and led by sparkling frontwoman Lisa-Marie Watz. In, fact, April Art have risen so rapidly in recent years that it could make you feel dizzy just by watching them. Now, however, the time has come for the big leap, for their breakthrough: their third album “Rodeo” unapologetically changes into the fast lane, speeding away from everyone else with huge hits, a brutal bite and peerless power.

Trigger warning: a German band hasn’t sounded this explosive, this hungry, this insatiable for a very long time. “Our music stands for hope,” says the German band. “We want to give strength and courage to believe in yourself and in life. The more people realise that they can take their lives into their own hands, the less room there is for hatred and envy.”


April Art deliver this important message in the best possible way – with uplifting, electrifying, euphoric music somewhere between modern metal and alternative rock. The band are just as averse to blinkers as they are to racism, homophobia or division, spicing up their energising brew with flavours ranging from pop to rap and electro. “Rodeo” gives us all wings. Let’s soar together. In 2022 and 2023 alone, April Art earned two million streams on Spotify, appeared on WDR Rockpalast and will be on stage at the legendary Wacken Open Air this year. "

The trio of Japanese Saxophone legend Akira Sakata with the scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music - drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria.

Electric Lady Studios: A Jimi Hendrix Vision is the latest in-depth project from Experience Hendrix, encompassing 5 LP / 1 Blu-Ray of previously unreleased music Jimi Hendrix recorded at his newly created recording facility in 1970. The deluxe box set offers 39 tracks (38 previously unreleased) that were recorded by the new-look Experience (Billy Cox on bass, Mitch Mitchell on drums) at Electric Lady Studios between June and August of 1970, just before the legendary musician’s untimely death the following month.

The project also includes 20 newly created 5.1 surround sound mixes of the entire First Rays Of The New Rising Sun album plus three bonus tracks “Valleys Of Neptune,” “Pali Gap,” and “Lover Man”. The Blu-ray includes the critically acclaimed, full-length documentary Electric Lady Studios: A Jimi Hendrix Vision. The film chronicles the creation of the studio, rising from the rubble of a bankrupt Manhattan nightclub to state-of-the-art recording facility inspired by Hendrix’s desire for a permanent studio. Directed by John McDermott and Produced by Janie Hendrix, George Scott and McDermott, the film features exclusive interviews with Steve Winwood who joined Hendrix on the first night of recording at the new studio, Experience bassist Billy Cox, and original Electric Lady staff members who helped Hendrix realize his dream. The documentary includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel” and “Dolly Dagger” by recording engineer Eddie Kramer. The 5LP’s were pressed on audiophile grade vinyl by Quality Record Pressings and the box set includes an extensive booklet filled with unpublished photos, Hendrix’s handwritten song drafts, and comprehensive liner notes.

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.