Produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead), "Modern Nature" is the band's 12th studio album. Released in 2015, the album features a plethora of contributors, from drummers Pete Salisbury (The Verve), Stephen Morris (New Order) and Gabriel Gurnsey (Factory Floor) to Kate Bush's backup singers Melanie Marshall and Sandra Marvin to Sean O'Hagan's strings and Jim Paterson's horns. The album, described by Q as "one of the best of her career," debuted in the Top 10 of the UK Albums Chart. Pressed on clear yellow vinyl.
If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.
The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.
Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.
Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.
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Self recorded in 1984 to 4 track tape. Rhythmical patterns meet well balanced distortion, shaping the music into a mirror of his character, creating a unique blend of lo fi blue eyed soul jazz. TIP!!
Ronald was part of several Dutch Latin and Jazz bands, including Cascada and Ritmo Natural. With the latter he performed at Holland’s North Sea Jazz Festival. At this point Ronald is 78 years old, playing music every day.
Instruments: Acoustic Piano, Fender Rhodes Piano, Farfisa Organ, String Ensemble, Tenor Sax, Alt Sax, Soprano Sax, Clarinet, Alt Clarinet, Organ Bass, Micro Moog, Drums, Longa & Voices.
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Audiophiles 180g Vinyl // Inkl. 4-seitigem Booklet mit Band-Fotos und Song-Texten // Das legendäre Kultalbum aus dem Jahr 1983 mit den Hit-Singles Balls To The Wall, Love Child und London Leatherboys // BLACK Vinyl Edition //
Balls To The Wall ist einer der signifikanten Songs der deutschen Metal-Band Accept. Wahnsinnige Akkordfolgen und stilvolle Soli kennzeichnen die Musik des gesamten Albums. Die 1 0 Tracks sind einzigartig und jeder für sich in einem individuellen Stil gehalten. Balls To TheWall erschien im goldenen Zeitalter des Metals und machte die Band zu einer Ikone ihrer Zeit. Das Album schaffte sogar in die Billboard 200 und hielt sich dort 26 Wochen. Accept ist eine deutsche Heavy-Metal-Band aus Solingen, die von Sänger Udo Dirkschneider, Gitarristen Wolf Hoffmann und Bassisten Peter Baltes gegründet wurde. Ihre Anfänge lassen sich bis in die späten 60er Jahre zurückverfolgen. Die Band spielte eine wichtige Rolle bei der Entwicklung von Speed und Thrash Metal und war Teil der deutschen Heavy Metal-Szene, die Anfang bis Mitte der 80er Jahre entstand.
The Allman Brothers Band was one of America’s greatest Southern rock bands. Both their massive hits as the hidden gems are now all available on the exclusive 2LP Collected release. It covers the music from their late ‘60s to the ‘90s, including hits like "Ramblin' Man", "Jessica" and "Melissa". Besides tracks from the band The Allman Brothers Band Collected also includes songs by the related projects The Allman Joys, The Hour Glass and solo work from Duane & Gregg Allman.
After the famous 1971 live release At Fillmore East, The Allman Brothers Band represented an artistic and commercial breakthrough. With their extended live jam improvisations they became famous all over the world. As one of the pioneering bands in the Southern rock they recorded several successful albums and singles. The group largely infused hints of the blues, jazz, and country into their music.
The 2007's Blackbird marked the creative launch of Alter Bridge, the follow-up project to Rock radio's favorite Creed. After Creed's demise Mark Tremonti, Scott Phillips and Brian Marshall teamed up with singer Myles Kennedy, and formed Alter Bridge as an outlet for their creative energy.
Kennedy contributed a considerable amount to the overall songwriting process of Blackbird, which resulted in a heavy, groovy and aggressive album. Alternating acoustic interludes and hard-hitting choruses, the band's new found songwriting freedom resulted in a fresh start for this Florida based Rock band.
The D-side contains a beautiful etched artwork - must be seen to believe!
This 10th Anniversary Edition is limited to 1.000 numbered copies on red vinyl.
Slaughter Beach, Dog’s new album ‘Crying, Laughing, Waving, Smiling’ finds Jacob Ewald hitting his songwriting stride. A decade into steadily releasing records through Slaughter Beach, Dog and Modern Baseball, Ewald spent hundreds of hours over the past few years to listen purposefully, diving deep into the worlds of Randy Newman, Tom Waits, Neil Young and many other “classic guys” that he hadn’t spent ample time with. Ewald also spent a similar amount of hours meticulously assembling a band fit for these new songs, and I am very happy to report that he found what he was looking for.
The result is ‘Crying, Laughing, Waving, Smiling’ - a timeless record, and Slaughter Beach, Dog’s finest - self produced and capturing Ewald and the band at the height of their powers. Ewald’s eye for detail is on display, ‘Crying, Laughing, Waving, Smiling’ is filled with gorgeous imagery and vivid worlds are built within each song. Out on longtime label home Lame-O Records, this album will bring
longtime Ewald fans, his newfound TikTok audience, and more discerning adult contemporary listeners deeper into the world of Slaughter Beach, Dog.
Staying true to who they are this dozen strong band have created an ensemble body of work ranging from relentless heavy Grime to Latin House to Jazz….that might sound like it shouldn’t work…it weirdly does…and does very well!
This album is almost nothing but singles, each track standing strong on its own making for a force of musical nature.
: Written and recorded in a series of bedroom studiosin England and France, London-based Gareth Donkin’s extraordinary debut, Welcome Home, showcases the 23-year-old’s stunning mix of instrumental virtuosity and emotional intuition, blending highly sophisticated melodic and harmonic craftsmanship with deeply moving lyrical explorations of longing, desire, and determination. The songs here draw on soul, funk, pop, yacht rock,hip-hop, jazz, and even bossa nova, hinting at times to everything from Michael Jackson and Bill Evans to George Benson and Jamiroquai, and Donkin’s performances are nothing short of mesmerizing, layering up instrument after instrument in the best one-man-band tradition of Prince or Stevie Wonder. The result is a moving work that’s equal parts brain and brawn, a masterful coming-of-age self-portrait from a young artist discovering himself—and his sound—one song at a time. Born with perfect pitch, Donkin was already fanatically obsessed with both jazz piano and drums before he turned twelve. In high school, he began DJing and teaching himself to record and sample, and by the time he headed to the Leeds College of Music to pursue a degree in production, he was already writing and recording his own material at home. His first single, “Catharsis,” would go on to rack up more than a million streams on Spotify, and a series of subsequent tracks would find similarly organic success and help land him a deal with the burgeoning drink sum wtr label.
Instrument-swapping London/Margate trio Wicketkeeper create a loose, breezy jangle-rock that’s been likened to Ultimate Painting and Teenage Fanclub. A laid back, fuzzy racket comprised of fizzing guitars interweaving with buoyant basslines and layered harmonised vocals.
They followed a split 12” with Car Seat Headrest with their debut album ‘Shonk’ in 2020. ‘Zambroni’ was self-recorded at home, rather than in a live-room, which enabled the band to play with dynamics and broader arrangements, layering multiple guitar and vocal tracks for the first time, resulting in a more melodic, considered and playful record.
Written during a year of hedonistic isolation whilst exiled to a forgotten mining village, 'Alecs in Wonderland’ is the debut self-produced rap album by rap enigma and ‘one man band’ Alecs DeLarge.
Alecs navigates ‘Wonderland’ with a bulging backpack of references to 90’s Toonami imports, king skins and rap nerdology, multi-syllable boxing through beats in a smoked out stream-of-consciousness drawl. From the cartoonish braggadocio on ‘Scooby Snax’ and ‘AM To AM’, to proclaiming his love for his anthropomorphic MPC 2000 on ‘Girl Joint’, Alecs emphatically proving that he’s much more than just the man behind the boards.
Merging classic New York rap sensibilities with sarcastic British humour, 110’s and Berghaus coats taking the place of Timb boots and Lo sweaters.
Wonderland is Alecs’ custom built version of The Matrix, a perfect world created to escape the one outside his council flat window, idyllic living in Lynchian reality. A therapeutic outpouring of the lonely man’s psyche, or maybe just a slow descent into madness, polished and delivered to your ears in Long Play form.
After re-signing to Nuclear Blast in early 2021, the Finnish heavy metal sextet BATTLE BEAST are once again getting ready to unleash their force upon the world in the shape of their brand new masterpiece »Circus Of Doom«. The album is set to be released on January 21st 2022 via Nuclear Blast and in true BATTLE BEAST fashion, the 10 tracks blend true heavy metal with pop and rock-vibes, paired with Noora Louhimo’s unique voice. »Circus Of Doom« was once again recorded at JKB Studios in Helsinki, Finland and produced and mixed by keyboardist Janne Björkroth, while the stunning artwork was created by Jan Yrlund (KORPIKLAANI, MANOWAR etc.), who already took care of BATTLE BEAST’s previous two album designs.
Having only formed in 2008, BATTLE BEAST first signed a record deal with the renowned German metal label Nuclear Blast in 2011. The release of their acclaimed debut »Steel« (2012), won the band a support slot for their labelmates NIGHTWISH. Frontwoman Noora Louhimo finally joined the band in 2012 and the band’s self-titled record (2013) was released shortly afterwards. BATTLE BEAST then got the opportunity to open for bands such as SONATA ARCTICA and POWERWOLF on extensive runs. Their ascent up the metal ladder was quick and the band’s 3rd studio album »Unholy Savior«, achieved remarkable chart positions all over Europe (#1 Finland, #23 UK Rock, #39 Germany etc.). This release was accompanied by another big European tour, but this time with Swedish heavy metal heroes SABATON and DELAIN. BATTLE BEAST’s very first headline run throughout the Continent rounded off their »Unholy Savior« touring cycle.
Their 4th studio album, »Bringer Of Pain« in 2017 reached even higher chart positions (a.o. #1 in Finland, #14 in Germany) and was also BATTLE BEAST’s first output without their original songwriter Anton Kabanen. In 2019, alongside the huge #1 success in the album charts of their home country, Finland, their last album »No More Hollywood Endings« reached a remarkable #11 in German album charts and proved to be their most successful piece yet.
Their latest masterpiece, »Circus Of Doom«, is overall heavier, but still as catchy as ever with bangers like “Masters Of Illusion”, “Freedom”, or the title track “Circus Of Doom”. Once again, the band stay true to their formula of “100% heavy metal - 0% bullshit!”
With fresh energy and bright intuition, Abby Johnson's confident selftitled debut (due in late 2021) offers timeless folk songwriting teeming
with a classic Nashville golden-era sheen
Johnson draws upon genre-spanning influences and wrangles them effortlessly
into her own expression: "I want my songs to sound familiar, but tell you
something new," she says. The duality of Laurel Canyon nostalgia and indie rock
blend effortlessly in her songs, polished further by the airtight backing band of
fellow Nashvillians, Ornament (and produced by the band's drummer, Ryan
Donoho).
Raised in North Carolina on the earnest mythos of Taylor Swift, she describes her
first songs as "diary entries -- playing guitar alone in my bedroom until I was
twenty three." Moving to Nashville for college introduced her to an immersive
musical community, where she steeped in the influence of folk- and- country
stalwarts like Emmylou Harris and Bonnie Raitt in equal proportion to more
contemporary indie songwriters like Phoebe Bridgers.
In addition to music, Johnson is known and admired for her film and photography
work. Capturing the mood of a scene in a single snapshot is an ability she
translates to her vivid songwriting: bringing the subtlest details into sharp focus --
vignettes in a soft- grained atmosphere. Intimacy and longing push and pull
thematically, as well as a sense of motion: driving through the desert; penning
love letters in the mountains; and pulling up a chair to a grandmother's kitchen
table. These songs are rooted but travelling, moseying through American folk-pop
traditions and toward something altogether fresh and dreamlike
The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The group's debut album for Fontana, also confusingly entitled The House Of
Love, was released in February 1990. Known often as 'The Butterfly Album' after
Trevor Key's distinctive artwork, much was made at the time of its protracted
birth and the weight of expectation, and the fact it was produced by five different
people. Years later, it sounds assured and confident commercial indie, bursting
with invention and melody. The re-recording of their Creation calling card, Shine
On, gave them a UK Top 20 hit and Beatles And The Stones points the way to the
gentler side of Oasis some years later.
This re-issue replicates the original 1990 Fontana UK release with printed inner
sleeve and lyric sheet and is pressed onto high quality 180g vinyl.
The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The touring and promotion for The House Of Love took its toll on the group with
lead guitarist Terry Bickers leaving the group to be replaced with Simon Walker.
Taking its name from a Peter Blake painting, Babe Rainbow was released in July
1992. Overseen by The The and Julian Cope producer Warne Livesey, it has a
tremendous urgency and greater unity than their previous album. Trailed by the
single The Girl With The Loneliest Eyes, Babe Rainbow also contains live favourite
Crush Me, the brooding High In Your Face and Top 50 hits Feel and You Don't
Understand. Simon Walker left the group and was replaced with Simon Mawby,
who himself was to depart by the end of 1992.
This re-issue replicates the original 1992 Fontana UK release with printed inner
sleeve and is pressed onto high quality 180g vinyl.
The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
Released in July 1993 Audience Of The Mind makes a claim for being the great
lost House Of Love album, slipping into the UK charts for a solitary week, and
having no singles taken from it. Self-produced and recorded as a three-piece in
under two weeks, Audience Of The Mind feels as fragmentary as 'The Butterfly
Album' feels fulsome. There are some great moments – the moody-yet-melodic
Haloes, Shining On (featuring a guest appearance from guitarist Sean O'Hagen),
the eight- minute Into The Tunnel and the acoustic title track with Chadwick
sounding something like an aggrieved indie Nick Drake. It is a work ripe for
rediscovery.
This re-issue replicates the original 1993 Fontana UK release with printed inner
sleeve and is pressed onto high quality 180g vinyl.
Miss Tiny is a brand-new musical project featuring acclaimed record producer and Speedy Wunderground label founder Dan Carey (Wet Leg, Slowthai, Fontaines D.C.) alongside Ben Romans-Hopcraft of Warmduscher / Insecure Men / Childhood fame.
A spiritually, and methodically united front, Miss Tiny’s universe is a thoroughly explored romance between heritage, rebellion, and years old friendship; a triptych of variables all gravitating towards one signalled output, with no real sense of time, or external pressures. Having spent the best part of a decade orchestrating haphazard jam-sessions, Carey and Romans-Hopcraft would eventually go on to discover a fundamental principle of their own. One which would come to define Miss Tiny, throughout her various forms and guises.
“We called it anti-recording,” continues Carey. “Only doing it for the pleasure of doing it”. When fully committing to this practice, the music meticulously follows two courses; refine, or degrade. Perfect the moment, or let it go; never to be heard, or re-lived ever again for fear that the action of pressing record, would inevitably take ownership of the occasion and lead the experimentation into a downward spiral towards something all-together tangible.
The irony of a seminal producer and critically revered musician banding together out of mutual distaste for recording, is not one that’s gone amiss. In fact, they’ll be the first to proudly call it into question- and yet still, Miss Tiny holds her own despite all peripheral associations, and would eventually go on to be documented. These aren’t ‘sit-down-and-write-a-song’ kinda songs. These spurts of spontaneity which would, in time, ultimately form the duo's debut EP ‘DEN7’, are years’ worth of trial and error. Trial and elation. A process in which strong technique and melodic-manipulation are the sole foundations required to reinvent the meaning of memory; be it guitar and drums, or flesh and blood.
Produced and recorded at Carey’s ‘Speedy Wunderground’ studio in Streatham, ‘DEN7’ is a masterful introduction to a group whose members need none. Through chopping, editing, and re-defining their improvised segments into songs which they could eventually go on to learn, Carey and Romans-Hopcraft by chance, stumbled upon gold-dust. Like Alice and her looking glass, our two protagonists effortlessly pass through all notions of engineered logic in order to see beyond the expected. The bigger picture perhaps. Or the magic in the small things that matter most.
As wonky as Weezer, as poignant as Pulp, Confidence heralds the long-awaited
return of The Hoosiers, the band whose debut album, The Trick To Life, sold well
over a million copies, and spawned four singles including Top 5 hits, Worried
About Ray, and Goodbye Mr A. Enter Confidence, a sonic shot of optimism,
effervescence and joie de vivre, and an album so hook-laden, you'll think you've
had it knocking around your house for years.
For fans of Triumph, Rik Emmett, and Classic Rock! Rik Emmett is best known as the guitarist/vocalist for the legendary Canadian hard rock band Triumph. Between its 16 albums and DVDs, they have received 18 gold and nine platinum awards in Canada and the United States. They were nominated for multiple Juno Awards, including the 'Group of the Year Award' in 1979, 1985, 1986, and 1987. It was inducted into the Canadian Music Industry Hall of Fame in 2007, into the Canadian Music Hall of Fame in 2008, and into Canada's Walk of Fame in 2019. Their classic Allied Forces sold over a million copies in the US, while attaining the highest chart positions any Triumph album would attain; No. 23 in the US and No. 13 in Canada. It included the songs "Fight the Good Fight" and "Magic Power". "Magic Power" reached #8 on the Billboard Mainstream Top Rock Tracks chart and #51 on the Hot 100, while "Fight the Good Fight" went to #18 on the Top Rock Tracks chart. Emmett is now releasing worldwide Then Again…, as he states, “There seems little point in simply trying to repeat history, so we came at it from a different place: the place where Dave Dunlop and I deal with these songs now, on smaller nightclub & intimate listening room stages. Honouring the endurance of these songs, but giving them a fresh, stripped-down and 21st century D.I.Y. perspective” Enjoy reimagined versions of classics like, “Lay It On the Line”, “Magic Power”, and “Fight The Good Fight”.
The mystery continues to deepen, as you hear whispers beckoning you out to the sea...
After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.
Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.
A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.
Blues Lawyer is back on Dark Entries with a new 7” EP of summery alt-pop. Fresh off the heels of their critically acclaimed Dark Entries debut, Sight Gags On The Radio expands the Blues Lawyer universe, one where lovelorn millennials struggle to find their place. The four songs were recorded one afternoon by Rob I. Miller, Blues Lawyer co-founder and chief songwriter, in the band’s Oakland rehearsal space. It was recorded just days before Elyse Schrock (singer, songwriter, drummer, and music video creator) would be leaving the Bay Area – her home for the past decade – due to the soaring cost of living. The first single, “Have Nots,” shows the band moving away from the rapid chord changes that characterized their earlier work towards hazy guitar textures. It is accompanied by a tender music video portrait of the band reuniting in Portland, where Schrock now resides. The video documents the band’s touring life: playing pizza parlors and billiard clubs, sleeping on floors, and killing time between gigs. These touching images are elevated by Schrock’s trademark animations and editing style. Blues Lawyer also experiment with new songwriting configurations on this EP. “True Love’s Only Name,” was musically developed by Blues Lawyer guitarist, Ellen Matthews, lyrically by Miller, and sung by Schrock. Sight Gags On The Radio captures the essence of the band's sound but also reflects their development as songwriters. The outcome is Blues Lawyer’s most compelling artistic proclamation to date. Each 7” is housed in a warm orange toned jacket designed by Eloise Leigh featuring lyrics on the back. Blues Lawyer - Sight Gags On The Radio 7” EP releases Friday, September 29th via Dark Entries days before the band embarks on their first tour of Europe and the United Kingdom.
Toy Tonics going New Wave Disco with Baby’s Berserk’s self-titled debut album (to be released on 29 September).
There are many shades of funk in dance music. Berlin’s Toy Tonics label brings up artists that reflect many of these different aspects in dance music. Now the label comes up with a band! A band that is inspired by 1980ies New Wave as well as the Y2K Indie dance scene. Two guys and 2 girls from Amsterdam and Montreal called Baby’s Berserk.
Baby’s Berserk is about taking the freedom to be who you want to be, about being comfortable. Having played in all-girl punk bands since the age of 14, the bands singer Lieselot is an expert on female empowerment. “Dress like a girl and act like a boy,” is a catchphrase she lives up to every day and it clearly is a message that resonates with the band’s wild fans.
In the great tradition of Roxy Music, Throbbing Gristle and Malcolm McLaren, Baby’s Berserk is not just about the edgy music, but also about a very strong own visual style. They readily blend their sounds with underground fashion. What you see is what you get and seeing Baby’s Berserk is feeling right at home. Lieselot is a visionary when it comes to stage presence. Have you always wanted to see an electronic band with a punk attitude perform wearing a mix of haute couture and Flintstone-style rags? Look no further, it’s Baby’s Berserk.
Following on the critically acclaimed singles ‘What I Mean’ (2020) and ‘Toxic Kisses’ (2022), Baby Berserk’s highly anticipated self-titled full-length is now finally about to see the light on Berlin’s Toy Tonics records. Sonically designed for gritty rock venues as well as up-to-date edgy dance clubs, Mano’s lush compositions smoothly intertwine with the highly associative lyrics written by Puggy and Lieselot. Poets and literary addicts may think they’ve just discovered the rock & roll equivalents of Sylvia Plath, Kurt Vonnegut and Allen Ginsberg. To tell you the truth: their wild guess is pretty accurate as the works by these greats lie scattered around the Baby’s Berserk studio for inspiration.
The band was born in a laboratory back in 2019. Tired of being in bands with unruly and unpredictable humans, Mano Hollestelle set out to create a group of high precision robots to create the post-punk sound he had in mind. His outdated technology of floppy disks and cassette tapes worked well to program the androids, until one day a 90s rave mixtape was mistakenly entered into his computer. House music is a feeling and the punk bots instantly got hooked on it upon hearing it for the first time. They could never be reset to factory settings again. Mano worked tirelessly with his androids, currently known by their humanoid names of Lieselot Elzinga, Puggy Beales and Eva Wijnbergen, to fulfil his evil plan to make the rockers dance and the dancers rock. Baby’s Berserk is the fiendish extension of this plot. Beware, the band’s bass driven grooves and computerized beats have been known to cast a spell upon all within earshot.
So what do the songs on ‘Baby’s Berserk’ tell you? That it’s totally fine to have lots of fun in life! To have a boyfriend as an accessory (‘Accessories’), to get inspired by Sponge Bob (‘Dancing with the Fish’) and to blend your spirits with mixers whenever the hell you feel like it (‘Rum ‘n’ Kola’).
Baby’s Berserk member Puggy Beales on ‘Limousine’: “Decant the wine from my tip jar to yours. Soon we'll be on easy street, chauffeured home from the rat race each evening. Is it everything you'd hoped it would be?”
Check not only the debut album but also the forthcoming Remix EP with remixes by Each Other, Niklas Wandt, Sam Ruffillo, Kris Baha and Nicolini.
out of Stock
Last delivered 2 years ago available to reorder, subject to availability
Das Debütalbum der Punk-Superstars RISE AGAINST von 2001. THE UNRAVELING in der Neuauflage (Remix, Remaster, Bonustracks) von 2018. Die aus Chicago stammende Band thematisiert Ungerechtigkeit und Ungleichheit, bricht weiterhin Rekorde, füllt Arenen und macht ihr riesiges globales Publikum auf wichtige progressive Themen aufmerksam. Alles begann im Jahr 2001, als ein Demo von zwei ehemaligen Mitgliedern von 88 Fingers Louie zu Fat Wreck gelangte. Es war ihre neue Band, Rise Against. FAT nahm sie sofort unter Vertrag, holten sie ins Studio und veröffentlichten ihr Debütalbum "The Unraveling". Nach der eiligen Veröffentlichung ging die Band auf Tour. Jahr für Jahr, Tour für Tour baute Rise Against langsam eine treue Fangemeinde in den USA und Europa auf. Rückblickend waren sowohl die Band als auch FAT der Meinung, dass die Produktion von "The Unraveling" aufgrund der Eile, mit der das Album veröffentlicht wurde, zu wünschen übrigließ. Nun, da die Band gewachsen ist und ihren spezifischen Sound besser gefunden hat, wurde beschlossen, das Album neu abzumischen, zu remastern und erneut zu veröffentlichen. FAT hat es dabei nicht belassen: Das Album enthält außerdem zwei Bonustracks aus derselben Zeit. "The Unraveling" ist ein Muss für die immer noch ständig wachsende Fangemeinde von Rise Against! "Rise Against sind melodischer Hardcore. Die Band zeigt, dass sie ihren Wurzeln bei 88 Fingers Louie nicht allzu fern ist, denn die Punk-Energie ist hier pur und unverfälscht. Wenn es jemals ein Album gab, dass dazu beitragen könnte, das Fingerzeigen und die Circle Pits zurückzubringen, dann wäre "The Unraveling" eine gute Wahl."
Das Debütalbum der Punk-Superstars RISE AGAINST von 2001. THE UNRAVELING in der Neuauflage (Remix, Remaster, Bonustracks) von 2018. Die aus Chicago stammende Band thematisiert Ungerechtigkeit und Ungleichheit, bricht weiterhin Rekorde, füllt Arenen und macht ihr riesiges globales Publikum auf wichtige progressive Themen aufmerksam. Alles begann im Jahr 2001, als ein Demo von zwei ehemaligen Mitgliedern von 88 Fingers Louie zu Fat Wreck gelangte. Es war ihre neue Band, Rise Against. FAT nahm sie sofort unter Vertrag, holten sie ins Studio und veröffentlichten ihr Debütalbum "The Unraveling". Nach der eiligen Veröffentlichung ging die Band auf Tour. Jahr für Jahr, Tour für Tour baute Rise Against langsam eine treue Fangemeinde in den USA und Europa auf. Rückblickend waren sowohl die Band als auch FAT der Meinung, dass die Produktion von "The Unraveling" aufgrund der Eile, mit der das Album veröffentlicht wurde, zu wünschen übrigließ. Nun, da die Band gewachsen ist und ihren spezifischen Sound besser gefunden hat, wurde beschlossen, das Album neu abzumischen, zu remastern und erneut zu veröffentlichen. FAT hat es dabei nicht belassen: Das Album enthält außerdem zwei Bonustracks aus derselben Zeit. "The Unraveling" ist ein Muss für die immer noch ständig wachsende Fangemeinde von Rise Against! "Rise Against sind melodischer Hardcore. Die Band zeigt, dass sie ihren Wurzeln bei 88 Fingers Louie nicht allzu fern ist, denn die Punk-Energie ist hier pur und unverfälscht. Wenn es jemals ein Album gab, dass dazu beitragen könnte, das Fingerzeigen und die Circle Pits zurückzubringen, dann wäre "The Unraveling" eine gute Wahl."
Die Musikerinnen der Discodelic-Soul-Band Say She She, die ihren Namen als stille Anspielung auf Nile Rodgers ("C'est chi-chi!: It's Chic!") gewählt hat, veröffentlicht ihr zweites Album "Silver" auf den Spuren eines epischen Durchbruchsjahres, das von Tag zu Tag heller wird. Die drei starken Stimmen von Piya Malik (Stammgast bei El Michels Affair und ehemalige Backgroundsängerin von Chicano Batman), Sabrina Mileo Cunningham und Nya GazelleBrown sind die Frontfrauen der Band. Das harmonierende Trio entstand in einer klassischen New Yorker Geschichte von Freunden, die sich auf dem Weg zur Musik kennenlernten: auf den Tanzflächen der Innenstadt, auf den Dielen der Lower East Side und auf den Dächern von Harlem. "Silver" wurde Anfang des Jahres im Killion Sound Studio in North Hollywood geschrieben und live auf Band aufgenommen und von Sergio Rios (von Orgone) produziert. Während diese analogen Aufnahmetechniken dazu beitragen, Say She She's Sound in einem Fundament aus klanglicher Wärme zu verankern, das nur mit Tonband erreicht werden kann, ist es auch ihr Prozess, den Track im Moment zu produzieren und die Magie der gemeinschaftlichen Kreativität einzufangen, die dazu geführt hat, dass ihr Sound als "eine glorreiche Überladung aus freudigem Enthusiasmus und spiritueller Erhebung" (MOJO) und "durchdrungen vom schrägen Post-Disco-Geist der frühen 80er Jahre in NYC" (The Guardian) beschrieben wurde. Silver, das Element, ist bekannt als das Metall des Selbstbewusstseins und der Spiegel der Seele. Die 16-Song-Doppel-LP zeigt nicht nur, dass die Band an Selbstvertrauen gewonnen hat, sondern spiegelt auch eine tiefere Erkundung ihrer punkig-schicken, weiblich-vorwärts gerichteten Sensibilität wider.
out of Stock
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Die Musikerinnen der Discodelic-Soul-Band Say She She, die ihren Namen als stille Anspielung auf Nile Rodgers ("C'est chi-chi!: It's Chic!") gewählt hat, veröffentlicht ihr zweites Album "Silver" auf den Spuren eines epischen Durchbruchsjahres, das von Tag zu Tag heller wird. Die drei starken Stimmen von Piya Malik (Stammgast bei El Michels Affair und ehemalige Backgroundsängerin von Chicano Batman), Sabrina Mileo Cunningham und Nya GazelleBrown sind die Frontfrauen der Band. Das harmonierende Trio entstand in einer klassischen New Yorker Geschichte von Freunden, die sich auf dem Weg zur Musik kennenlernten: auf den Tanzflächen der Innenstadt, auf den Dielen der Lower East Side und auf den Dächern von Harlem. "Silver" wurde Anfang des Jahres im Killion Sound Studio in North Hollywood geschrieben und live auf Band aufgenommen und von Sergio Rios (von Orgone) produziert. Während diese analogen Aufnahmetechniken dazu beitragen, Say She She's Sound in einem Fundament aus klanglicher Wärme zu verankern, das nur mit Tonband erreicht werden kann, ist es auch ihr Prozess, den Track im Moment zu produzieren und die Magie der gemeinschaftlichen Kreativität einzufangen, die dazu geführt hat, dass ihr Sound als "eine glorreiche Überladung aus freudigem Enthusiasmus und spiritueller Erhebung" (MOJO) und "durchdrungen vom schrägen Post-Disco-Geist der frühen 80er Jahre in NYC" (The Guardian) beschrieben wurde. Silver, das Element, ist bekannt als das Metall des Selbstbewusstseins und der Spiegel der Seele. Die 16-Song-Doppel-LP zeigt nicht nur, dass die Band an Selbstvertrauen gewonnen hat, sondern spiegelt auch eine tiefere Erkundung ihrer punkig-schicken, weiblich-vorwärts gerichteten Sensibilität wider.
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
Die Musikerinnen der Discodelic-Soul-Band Say She She, die ihren Namen als stille Anspielung auf Nile Rodgers ("C'est chi-chi!: It's Chic!") gewählt hat, veröffentlicht ihr zweites Album "Silver" auf den Spuren eines epischen Durchbruchsjahres, das von Tag zu Tag heller wird. Die drei starken Stimmen von Piya Malik (Stammgast bei El Michels Affair und ehemalige Backgroundsängerin von Chicano Batman), Sabrina Mileo Cunningham und Nya GazelleBrown sind die Frontfrauen der Band. Das harmonierende Trio entstand in einer klassischen New Yorker Geschichte von Freunden, die sich auf dem Weg zur Musik kennenlernten: auf den Tanzflächen der Innenstadt, auf den Dielen der Lower East Side und auf den Dächern von Harlem. "Silver" wurde Anfang des Jahres im Killion Sound Studio in North Hollywood geschrieben und live auf Band aufgenommen und von Sergio Rios (von Orgone) produziert. Während diese analogen Aufnahmetechniken dazu beitragen, Say She She's Sound in einem Fundament aus klanglicher Wärme zu verankern, das nur mit Tonband erreicht werden kann, ist es auch ihr Prozess, den Track im Moment zu produzieren und die Magie der gemeinschaftlichen Kreativität einzufangen, die dazu geführt hat, dass ihr Sound als "eine glorreiche Überladung aus freudigem Enthusiasmus und spiritueller Erhebung" (MOJO) und "durchdrungen vom schrägen Post-Disco-Geist der frühen 80er Jahre in NYC" (The Guardian) beschrieben wurde. Silver, das Element, ist bekannt als das Metall des Selbstbewusstseins und der Spiegel der Seele. Die 16-Song-Doppel-LP zeigt nicht nur, dass die Band an Selbstvertrauen gewonnen hat, sondern spiegelt auch eine tiefere Erkundung ihrer punkig-schicken, weiblich-vorwärts gerichteten Sensibilität wider.
It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.
Emperor's Return is the second release by the Swiss extreme metal band Celtic Frost. It was released in 1985 as an extended play and was their first record featuring American drummer Reid Cruickshank (a.k.a. "Reed St. Mark"). The band's bleak publicity photographs from this period had an influence on the fashion and style of the developing black metal genre. This EP has been out of print and available on its own since 1985.
It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.
Emperor's Return is the second release by the Swiss extreme metal band Celtic Frost. It was released in 1985 as an extended play and was their first record featuring American drummer Reid Cruickshank (a.k.a. "Reed St. Mark"). The band's bleak publicity photographs from this period had an influence on the fashion and style of the developing black metal genre. This EP has been out of print and available on its own since 1985.
Ahora, die neue Platte von Melenas, ist das genaue Gegenteil von "dem schwierigen dritten Album". Während andere Bands unter einem Mangel an Inspiration leiden, der typisch für diesen heiklen kreativen Moment ist, erscheint unser spanisches Quartett unbesiegbarer denn je, mit einer Sammlung umwerfender Songs und revitalisiert mit einer herrlichen neuen Klangpalette, die folgende Frage aufwirft: Kann man Jangle Pop und Garage Rock mit Synthesizern machen? Wenn man sich Songs wie 'K2' oder 'Bang' anhört, ist die Antwort ein klares Ja, denn das herrliche Pochen der analogen Keyboards, die Ahora dominieren, verrät nicht den Sound von Melenas, diese brodelnde Vibration, die bisher die Gitarren lieferten und ihre Songs in den Pop-Himmel trieben.
Die neuen Texturen, die Vintage-Synthesizer wie der Korg Delta oder der Yamaha PSR-36 liefern, bewahren diese Unmittelbarkeit und prägen faszinierende neue Farbschattierungen, indem sie die klangliche Identität der Band ausdehnen und mit neuen Nuancen versehen, vom kristallinen Pop von '1986' bis zu den düsteren, aber bewegenden Untertönen von 'Flor de la Frontera'. Dieser neue Reichtum an Klangfarben steht im Übrigen im Einklang mit einem Album, auf dem Melenas viel zu sagen haben: Sein Titel (übersetzt "Now") will, so die Band, "die Bedeutung der Zeit rechtfertigen, um darüber nachzudenken, wie wir unseren Alltag leben, mit wem wir unsere Momente teilen und wie wir es tun (oder nicht tun) wollen". Eine Erkundung ihrer eigenen Identität, ihrer Beziehungen zu anderen und der Bedeutung von "Zusammengehörigkeit, geteilten Gefühlen und gemeinsamen Aktionen". Gleichzeitig vertiefen die neuen Klänge symbolisch diese Themen: Das Konzept der Zusammengehörigkeit wird in den Gesangsharmonien vermittelt, die reichhaltiger und ausgefeilter sind.
Das Konzept der Zeit wird mit Hilfe einiger verblüffender Sequenzer, Arpeggiatoren und mechanischer Rhythmen vermittelt. Kombiniert mit Melenas' Gespür für Pop machen diese Elemente viele dieser Songs zu einer aufregenden Mischung aus dunkleren, maschinenartigen Tönen (die Cold-Wave-Echos von 'Flor de la Frontera', der Kraut-Rhythmus von 'Bang') und himmlischen Melodien. All dies wird mit einer Fülle von schillernden elektronischen Arrangements verwoben, die handwerklich perfekt gemacht sind, aber mit der Energie einer Live-Band gespielt werden, in einer sehr post-punkigen Verbindung von Synthesizern mit echtem Bass und Schlagzeug.
Das Ergebnis sind solche Wunder wie "Dos pasajeros", "Tú y yo", "1986" oder das wunderschöne "Promesas", letzteres ein wahrer Neo-Synth-Pop-Klassiker. Melenas sind mehr denn je im Besitz ihrer kreativen Kräfte. Nicht so sehr, um ihrer Musik - die im Wesentlichen immer noch in der Liebe zum Pop verwurzelt ist - eine neue Wendung zu geben, sondern um ihre Songs mit einer neuen elektronischen Energie und einem neuen Vibe zu versehen.
Ahora, die neue Platte von Melenas, ist das genaue Gegenteil von "dem schwierigen dritten Album". Während andere Bands unter einem Mangel an Inspiration leiden, der typisch für diesen heiklen kreativen Moment ist, erscheint unser spanisches Quartett unbesiegbarer denn je, mit einer Sammlung umwerfender Songs und revitalisiert mit einer herrlichen neuen Klangpalette, die folgende Frage aufwirft: Kann man Jangle Pop und Garage Rock mit Synthesizern machen? Wenn man sich Songs wie 'K2' oder 'Bang' anhört, ist die Antwort ein klares Ja, denn das herrliche Pochen der analogen Keyboards, die Ahora dominieren, verrät nicht den Sound von Melenas, diese brodelnde Vibration, die bisher die Gitarren lieferten und ihre Songs in den Pop-Himmel trieben.
Die neuen Texturen, die Vintage-Synthesizer wie der Korg Delta oder der Yamaha PSR-36 liefern, bewahren diese Unmittelbarkeit und prägen faszinierende neue Farbschattierungen, indem sie die klangliche Identität der Band ausdehnen und mit neuen Nuancen versehen, vom kristallinen Pop von '1986' bis zu den düsteren, aber bewegenden Untertönen von 'Flor de la Frontera'. Dieser neue Reichtum an Klangfarben steht im Übrigen im Einklang mit einem Album, auf dem Melenas viel zu sagen haben: Sein Titel (übersetzt "Now") will, so die Band, "die Bedeutung der Zeit rechtfertigen, um darüber nachzudenken, wie wir unseren Alltag leben, mit wem wir unsere Momente teilen und wie wir es tun (oder nicht tun) wollen". Eine Erkundung ihrer eigenen Identität, ihrer Beziehungen zu anderen und der Bedeutung von "Zusammengehörigkeit, geteilten Gefühlen und gemeinsamen Aktionen". Gleichzeitig vertiefen die neuen Klänge symbolisch diese Themen: Das Konzept der Zusammengehörigkeit wird in den Gesangsharmonien vermittelt, die reichhaltiger und ausgefeilter sind.
Das Konzept der Zeit wird mit Hilfe einiger verblüffender Sequenzer, Arpeggiatoren und mechanischer Rhythmen vermittelt. Kombiniert mit Melenas' Gespür für Pop machen diese Elemente viele dieser Songs zu einer aufregenden Mischung aus dunkleren, maschinenartigen Tönen (die Cold-Wave-Echos von 'Flor de la Frontera', der Kraut-Rhythmus von 'Bang') und himmlischen Melodien. All dies wird mit einer Fülle von schillernden elektronischen Arrangements verwoben, die handwerklich perfekt gemacht sind, aber mit der Energie einer Live-Band gespielt werden, in einer sehr post-punkigen Verbindung von Synthesizern mit echtem Bass und Schlagzeug.
Das Ergebnis sind solche Wunder wie "Dos pasajeros", "Tú y yo", "1986" oder das wunderschöne "Promesas", letzteres ein wahrer Neo-Synth-Pop-Klassiker. Melenas sind mehr denn je im Besitz ihrer kreativen Kräfte. Nicht so sehr, um ihrer Musik - die im Wesentlichen immer noch in der Liebe zum Pop verwurzelt ist - eine neue Wendung zu geben, sondern um ihre Songs mit einer neuen elektronischen Energie und einem neuen Vibe zu versehen.
GER JUNG IN WIEN - NEUE JANGLE-POP GRUPPE MIT 80ER INDIE WAVY VIBE. IHRE ERSTEN BEIDEN MINI-ALBEN "TROUBLE" & "LIGHTNING TRAILS" JETZT AUF EINER LP. "Der gerade erst volljährig gewordene Tobias Hammermüller steht für weichgespülten Bedroom-Wave und formte für sein Debütalbum auf Siluh Records die Band Laundromat Chicks." (THE GAP) - Hinter dem Namen LAUNDROMAT CHICKS verbirgt sich das Musikprojekt von TOBIAS HAMMERMÜLLER, der gerade 19 Jahre alt geworden ist. Nach dem selbstproduzierten Debüt "Trouble" haben die LAUNDROMAT CHICKS ein neues Album vorgelegt, das deutlich ruhigere Töne anschlägt. "Lightning Trails", das Band-Mastermind Tobias Hammermüller zusammen mit Martin Rupp (Jansky) produziert hat, ist ein folkiges Manifest für die leisen Töne geworden, die wir dringend brauchen. Beide Alben sind jetzt auf einer LP verewigt. Seite A mit dem eher ruppigeren "TROUBLE", auf der B-Seite das folk-inspirierte Kleinod "LIGHNTING TRAILS" "Lightning Trails" ist ein Meisterwerk an Musikalität und Zurückhaltung zugleich, eine Ode an die Verträumtheit und Nachdenklichkeit in Zeiten des Aufruhrs und der aufeinanderprallenden Ideologien. Es ist eine Einladung, aus dem Fenster zu klettern und eine aus den Fugen geratene Welt von einem versteckten Sims aus zu betrachten. Wie das Nachglühen eines Blitzes auf der Netzhaut, in der nahen Ferne." (Paul Buschnegg) Für Freunde von PASTELS, THE RADIO FIELD, THROW THAT BEAT, COMET GAIN, UK-Indie, Teen Angst, Twee-Pop...
[ENG] BEING YOUNG IN VIENNA - NEW JANGLE-POP GROUP WITH SOME 80S INDIE WAVY VIBE. THEIR FIRST TWO ALBUMS "TROUBLE" & "LIGHTNING TRAILS" ON ONE LP "Conversational lyrics depict a night on the phone amid claustrophobic misgivings and obsessive mental wanderings. Energetic, bittersweet sentiments ignite wandering clusters of shimmering strumming riffs and jangly wistful guitar melodies to weave swaying paths of vibrant nostalgia through low pulsing bass lines, skipping drumbeats, and pinpoint synth stabs to accompany heartfelt yet angsty vocal harmonies, haloed in distant echoes of doubt, through a sad discomforting timeline of uncertainty and dread." (WHITE LIGHT / WHITE HEAT) Behind the name LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 19. After their selfproducued debut "Trouble", LAUNDROMAT CHICKS has presented a new album that touches on much quieter tones. "Lightning Trails", which band mastermind Tobias Hammermüller produced with Martin Rupp (Jansky), has become a folky manifesto for the quiet nuances that we desperately need. Both albums are now immortalised on one LP. Side A with the rather rough "TROUBLE", on the B-side the folk-inspired gem "LIGHNTING TRAILS". "Lightning Trails is a masterpiece of musicality and restraint at the same time, an ode to dreaminess and thoughtfulness in times of turmoil and clashing ideologies. It is somehow an invitation to climb out the window to view an unhinged world from a hidden ledge. Similar to the afterglow of a flash on the retina, in the near distance." (Paul Buschnegg) RIYL Pastels, The Radio Field, Throw That Beat, Comet Gain, UK-Indie, Teen Angst, Twee-Pop...
In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.
The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.
In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'
The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.
The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.
Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.
In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.
The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.
In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'
The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.
The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.
Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.
Die Pagan-Metaller PRIMORDIAL aus Dublin, Irland, werden am 29. September ihr zehntes Album "How It Ends" über Metal Blade Records veröffentlichen. PRIMORDIAL haben nichts zu beweisen. Nach zweiunddreißig Jahren kehrt die irische Band mit ihrem gewaltigen neuen Studiowerk zurück und macht deutlich, dass sie eine Urgewalt ist, die konsequent alles auf eine Karte setzt. Auf "How It Ends", dem Nachfolger von "Exile Amongst The Ruins" (2018), das von der Kritik hochgelobt wurde, liefert die Band noch mehr von ihrer bahnbrechenden Mischung aus keltischem und schwarzem Metal, mit einer zusätzlichen Dringlichkeit und dem Blick auf die Apokalypse.
Die Pagan-Metaller PRIMORDIAL aus Dublin, Irland, werden am 29. September ihr zehntes Album "How It Ends" über Metal Blade Records veröffentlichen. PRIMORDIAL haben nichts zu beweisen. Nach zweiunddreißig Jahren kehrt die irische Band mit ihrem gewaltigen neuen Studiowerk zurück und macht deutlich, dass sie eine Urgewalt ist, die konsequent alles auf eine Karte setzt. Auf "How It Ends", dem Nachfolger von "Exile Amongst The Ruins" (2018), das von der Kritik hochgelobt wurde, liefert die Band noch mehr von ihrer bahnbrechenden Mischung aus keltischem und schwarzem Metal, mit einer zusätzlichen Dringlichkeit und dem Blick auf die Apokalypse.
POP TRASH war das 10. Studioalbum der englischen New-Wave-Band DURAN DURAN. Es wurde ursprünglich am 19. Juni 2000 veröffentlicht und ist seit der Erstveröffentlichung auf CD nicht mehr zu erhalten. POP TRASH war das letzte Album der Band, auf dem das Trio Simon Le Bon, Nick Rhodes und Warren Cuccurullo. Das Album Artwork, das von Andrew Day entworfen wurde, zeigt einen mit Strasssteinen verziertes Auto, das Liberace gehörte.
Die amerikanischen Black-Metal-Herrscher WOLVES IN THE THRONE ROOM kehren mit einer neuen EP zurück, Crypt of Ancestral Knowledge. Sie enthält vier neue Tracks, die die Bandbreite von WOLVES INTHE THRONE ROOMs cineastischem Black Metal und düsterem Akustik-Folk abbildet und den Hörer mit auf eine Reise durch atmosphärische Industrial-Tracks und dunklere klangliche Territorien nimmt. Eröffnet wird die EP mit "Beholden to Clan", einem flammenden Stück Symphonic Black Metal. GitarristKody Keyworth kommentiert: "Hoch oben auf einem heiligen Berg erinnert der Song an die Bedeutung des Zyklus der Wiedergeburt des geopferten Königs durch die halluzinogenen Rechte der Vorfahren. Es ist ein wilder Trip. Hail Othila!" An anderer Stelle folgt "Twin Mouthed Spring".
Dieser neue Track enthält Gesang und Akustikgitarre des WOLVES IN THE THRONE ROOM-Gründungsschlagzeugers Cedar Serpent, der vor kurzem nach einer jahrelangen Live-Pause auf die Bühne zurückgekehrt ist. Er kommentiert:
"Dieser Song ist eine Reise zu einer tiefen Quelle von Leidenschaft und Kreativität. Themen aus der keltischen Mythologie werden auseinandergenommen und neu interpretiert." Seite B der EP zeigt eine andere Seite der rätselhaften Band: "Initiates of the White Hart", eine atmosphärische Industrial-Interpretation von "Spirit of Lightning", führt die Band in tiefere, dunkle, psychedelische Gewässer.
Darkwave artist Harsh Symmetry returns with sophomore album "Imitation" via Fabrika Records. Los Angeles-based musician Julian Sharwarko has swiftly carved out a commanding presence with his darkwave project. Sharwarko's adeptness at bridging the gap between the past and present is palpable, as he seamlessly blends influences from genre titans such as Depeche Mode, The Cure, New Order, Echo and the Bunnymen, The Teardrop Explodes, and Human League, while also incorporating elements from contemporary acts like Twin Tribes and Boy Harsher. Harsh Symmetry's second album, "Imitation," spans the chasm of darkwave and synthpop, a world-weary modern album, warmed by the solid embrace of nostalgia. Astonishingly, the entire album was entirely recorded and performed by Shawarko, in a remarkably quick turnaround from his last year's critically acclaimed debut album, 2022's "Display Model." Releasing a new album every year during the 1980s was par for the course with bands like The Cure and Siouxsie and the Banshees, as well as other highly prolific bands such as his labelmates Lebanon Hanover, but this level of artistic output is rarely matched today. "A lot of the material was informed by isolation and struggling with the paradox of wanting to be original yet feeling like your entire identity is built on mimicry," he admits. "The album was recorded as I was preparing to move out of the city I grew up in, I guess that kind of nudged me to think about what I'm doing more, and the place my work might have in the world." That mindset led to a pleasant surprise during his recent tour, which he describes as a 'really interesting and exciting experience.' This year, Harsh Symmetry graced the stages of Wave Gotik Treffen and the Grey Scale Festival in Munich, to much audience acclaim, cementing the project's status as an essential artist in the international darkwave scene. Genre: Alternative / Post-punk / Darkwave
Numen ist das dritte Album von ALKALOID, und es enthält einige der kompliziertesten, nachdenklichsten, aber auch komplett verrückten Ideen der Band. Das Album wird aus der gottähnlichen Perspektive eines uralten Außerirdischen erzählt, der mit seinem dämonischen Grunzen die gesamte Galaxie umgestalten kann.
ALKALOID sind immer noch durch ihre Liebe zum Death Metal verbunden. Schließlich handelt es sich um eine Supergroup, die aus Gründungsmitgliedern von OBSCURA, DARK FORTRESS und SPAWN OF POSESSION besteht. Das feurige, mit den Fingern getippte Solo, das sich nach der Hälfte von "Clusterfuck" herauskristallisiert, wird wie eine Ameise unter einem Drop-D-Hammersturm zerquetscht.
Aber auf "Numen" spielt die bayerische Band auch mit allen möglichen Genre-Experimenten. "The Cambrian Explosion" stellt den Tech-Death mit verführerischen Anflügen von Jazz und Flamenco auf den Kopf.
ALKALOID sind die verrückten Wissenschaftler des Metal. Mit "Numen" haben sie eine weitere explosive Mischung aus progressivem Death Metal geschaffen!
