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Julia Fehenberger, Oliver da Coll Wrage, Manuel da Coll - und schon wird FEH draus - und der TripHop der 1990er wird unangestrengt und elegant in die 2020er Jahre katapultiert. Die Drei, die schon seit Jahren befreundet sind, starten im Dezember 2021 ihr Projekt FEH. Sehr schnell ist klar, dass es da neben der Liebe zum TripHop auch das Bedürfnis gibt, den Wahnsinn der letzten zwei Jahre wenigstens musikalisch zu verarbeiten und ihm damit ein Stück weit auf die Schliche zu kommen. Erste Songskizzen entstehen und werden als Memo direkt ins Telefon gesungen und in die Runde geschickt. Man glaubt es kaum, aber genau so war es. Diese Arbeitsweise führt, auch für die Drei vollkommen überraschend, ziemlich schnell zu homogenen und einzigartigen Resultaten. Man taucht ein in die TripHopSzene der 90er, schemenhaft tauchen Portishead, Massive Attacke, Tricky oder auch Moloko auf. Was man aber eindeutig hört, ist diese Band FEH, die all diese Einflüsse zu ihrem eigenen Sound macht. Es könnte eine Bandreise und eine Reflektion der eigenen Jugend sein, eine Reminiszenz an diese Zeiten aber auch ein erwachsener Aufbruch in einen neuen Sound. Ganz ehrlich, ist total egal, klingt einfach supergut.

Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)

Warpathis the second studio album by American death metal band Six Feet Under.Tracks on this album include "Death or Glory", which is a cover of a song originally done by Holocaust, and "4:20", a song four minutes and twenty seconds in length which,according to theliner notes, was recorded at 4:20 PM on April 20, 1997.The last album to feature founding guitarist Allen West.

The "Great Escape Artist" is back! No, not THAT one - dude"s dead! We"re talking about Papa M. And HE"s talking "bout Harry Houdini - in the album title, anyway, not sure about anywhere else. So, six years since his last LP, the all-acoustic A Broke Moon Rises, Papa M rolls into the shred zone, buns glazing, with his fifth full length in 25 years of Papa M-itude! Six fat-assed songs - a couple ballads, yeah, but mostly real all-out groovers here.

COMET GAIN hatte sich 1997 eigentlich aufgelöst, aber David Christian wollte den Traum nicht sterben lassen und machte weiter. Alter Name, neue Band. Und ein neues Album! "Tigertown Pictures" wurde erstmals 1999 von Fortuna Pop in UK/EU und Kill Rock Stars in den USA veröffentlicht und wird nun von Tapete Records weltweit neu aufgelegt. "Tigertown Pictures" ist ein wilder Ritt durch alles, was mit Post-Punk, DIY, Indie-POP, internationalem Pop-Underground, Lo-Fi, Garagebeat und Folk & Rock zu tun hat., Boy-/Girl-Gesang, kratzige Gitarren, süßer Lärm und raue Melodien, Enthusiasmus und Schmerz, sogar einige undefinierbare elektronische Klänge. Es ist alles da. "Tigertown Pictures" ist eine dieser Platten, die man auflegt und sich endlich wieder lebendig fühlt.

MC5 (Motor City Five), the legendary Detroit band. Their first single (included here) was released in 1967. In 1968 they played the infamous Democratic Convention that turned into a police riot, and they went on to be the "Official White Panther Party Band". Their manager John Sinclair became a hippie martyr, after being jailed for 10 years for 2 joints, inspiring John Lennon"s "10 For 2" song. Thrown off their first label Electra, they signed to Atlantic for 2 more albums but only achieved underground success. Now greatly revered as one of the seminal rock"n"roll bands and a huge inspiration for punk. Thunder Express documents their last and first studio works: - six tracks recorded in France at Studio Castle Herouville for a TV show in 1972; plus four tracks from their debut singles from "67 & "68. The title track is not available elsewhere. In 2024 MC5"s guitarist Wayne Kramer, drummer Dennis Thompson and manager John Sinclair all passed away, marking the end of the MC5 era.

The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.

We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.

As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.

'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.

You didn't expect something straight-forward, did you?

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

A1 Dharma
Opening the LP in lively fashion, JLM liberally flecks a detailed composition with exquisite breaks cymbals playing a key role in the evolving patterns as the track progresses while heavy layers of synth work forms a substantial atmosphere. Musical and resonant with micro melodies and sprinkles of FX, Dharma encapsulates JLMs everimpressive attention to detail throughout its seven minutes.

A2 Artha
Where to start with Artha Setting the scene immediately with an epic synth intro that whooshes through your mind to prepare you for what is to come, its immediately obvious JLM has crafted a modern day classic here. Crisp Hot Pants breaks drop before we are treated to inspiring, continually developing and rousing melodies with a tuneful 808 bassline playfully dancing below. One to drop any chance you get Artha deserves to be heard.

B1 Moksha
Delightfully clear, characterful percussion introduces Moksha, a dancefloor friendly piece which rolls along beautifully thanks to old school breakbeats seizing the initiative while fluid keys, filtered synths and waves of serene effects punctuate the production. The
kick-light breaks will stay long in the memory as perfect for both the headphones and the discerning dance floor, just as weve come to expect from JLM.

B2 Kama
Taking you back to the early Progression Sessions era with a modern scifi twist reminiscent of your favourite space operatics, Kama will sit effortlessly alongside tracks from those days and now with its simple yet memorable core wind melody, sprawled
across energetic breakbeats and wide layers of synths & pads to a typically appropriate bassline. Another fine example of the evolving diversity in JLMs production with Spatial.

C1 Boundary
Switching things up, JLM treats us to a notably laid back vibe as Boundary is introduced by understated, filtered synth work and explorative kicks before a mellow yet chunky break pattern provides energy to the track. Detailed as ever, a myriad of effects and
samples are introduced and dance around the mix with a wistful complexity, in a track destined to be in your playlist for some time to come.

C2 Hexis
Kicking things off with a filtered DJ friendly beat intro, Hexis soon drops with constant old school jungle synth work and periodical strings alongside rasping, striking breakbeats that drive the track forward with impressive energy. The breaks reverberate in and out of the mix at intervals as JLM toys with the listener at will, creating a tonally unique and vibrant composition very much worthy of our attention.

D1 Ideal Forms
Low pass breaks echo and jostle for position with FX free counterparts early doors in the finely crafted intro to Ideal Forms, slowly developing with a triumphant assortment of keys and synths before a third layer of breaks are added which underpin a detailed, yet never busy, breakbeat landscape. Occasional breakdowns offer respite in a glistening wilderness of comforting melodies and light ambience.

D2 Physis
JLM rounds the album off very much on form with Physis a suitably climactic piece that opens with a detailed array of percussion, synths and effects before superbly programmed breaks take over the mix. An occasional, all encompassing sci fi synth rush
permeates the atmosphere to almost cinematic levels, while a melodic bassline nestles below leaving you with a track (and an album) you will not forget.

Words by Chris Hayes (Spatial / Red Mist)

"In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further. Meanwhile the Queen's family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war. All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night's Watch, is all that stands between the realms of men and icy horrors beyond. Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy, atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time. Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert."

"Incubus carved their own musical niche and earned a huge following by tireless touring and releasing ever-improving quality albums. A Crow Left Of The Murder came out in 2004, and hit the album charts at number two. The album was produced by Brendan O'Brien, who's known for his Pearl Jam production work. O'Brien shaped an album that Incubus needed in this stage of their development: crisp and clean, but still heavy enough to allow for an effective variation between heavy riffing and fine acoustics. A Crow Left Of The Murder is available as a limited edition of 2000 numbered copies on transparent red coloured vinyl. "

After a fifteen-year hiatus from the studio, the beloved singer is returning with his first new album in over a decade! Clay returns in fine form, on the 20th anniversary of his record-breaking, 2004 Christmas album, with an all-new celebration of the holiday season. Christmas Bells Are Ringing harkens back to the musical favorites of Christmases past including your holiday favorites and a few free surprises. Produced by legendary Grammy Award-winning producer Ron Fair, Christmas Bells Are Ringing promises to be a holiday album for the ages delivered with vocal magic like only Clay Aiken can.

After two highly acclaimed EPs and a number of collaborations, singer, songwriter and melodist Enchantée Julia opens a new chapter in her career with ONZE, a debut album with a carefully matured groove on which she blazes a trail in France, between neo-soul intentions and R&B inflections. Or the art of grooving a French language that's not always all-terrain, of marrying a certain lyricism inherited from chanson with the rhythmic and melodic codes of contemporary soul with Anglo-Saxon roots.

Such is the promise kept by Enchantée Julia on this album, recorded between south-east France and the Noble studio in Paris - where sound engineer Clément Caritg (Luidji, Lala &ce, Lossapardo...) helped meticulously shape the sonic identity of the 11 tracks, 8 of which are produced (or co-produced) by the young and highly visible multi-instrumentalist LaBlue. With her pure, celestial voice, set against sophisticated arrangements, she recounts her most intimate emotional torments in an unvarnished yet poetic way.

As a key representative of French neo-soul with ambitious intentions, the singer, songwriter, and composer Enchantée Julia has truly made her mark on the French scene with her second EP LONGO MAÏ, released in 2022 and available on vinyl for the first time. On this cathartic yet hedonistic project, whose title is a nod to her southern origins, she collaborates with the Saint-Etienne duo Terrenoire and rapper Benjamin Epps.

Julia places even more emphasis on vocal harmonies and sophisticated arrangements, whether on upbeat, sunny tracks or delicate, intimate ballads like "MOUSSA" (produced by The Hop), a personal and sensitive ode to the one she shares her life with—a mix of cathartic song and a message of hope, referencing the tough challenges they’ve faced together. The fear of happiness and love slipping through her fingers is also present in "VÉNUS," composed and arranged by Bastien Cabezon and Oscar Emch. As the opening track of the EP, it showcases Julia’s mastery in blending the French language with neo-soul influences from across the Atlantic, laying the foundation for a unique universe that unfolds throughout the project. The second single, "PLUS FORT QUE MOI," breaks down genre barriers: Julia’s enchanting voice is wrapped in a pop-driven production with electronic hints, crafted by Terrenoire. She continues this pop momentum with "QUESTIONS," where she releases her torments—both trivial and profound—over a groove-laden production with sharp percussion, courtesy of the much sought-after Parisian producer Crayon. Julia's bewitching voice shines on the bittersweet "SOS," which bears the scars of a past relationship. On "LONGO MAÏ," a dreamy ballad with trap-inspired rhythms, Enchantée Julia invites rapper Benjamin Epps for an anthem about brighter days ahead, reminding us of the importance of familial love. To close this second EP, Julia reunites with long-time friends, brothers Théo and Raphaël Herrerias, who form the duo Terrenoire. "TOUCHER TOI" forms a diptych with the track "MOUSSA" and reveals Julia's full potential, as she shines here in a French chanson style that she has previously explored less.

Gavin Vanaelst runs the space Aboli Bibelot in Antwerp where exhibitions and musical performances can happen side to side with dealings in centuries-old furniture and unique pieces of folk art or volkskunst. Gavin makes music under the aliases DJ Charme, Kassett and So Sorry. This is the first album under his birth name. Takeaway Loops cycles back to the days when Gavin was working as a courier for .

is a food delivery company. Their couriers - ehm, brand ambassadors, as the company prefers to call them - dressed in bright orange, they race their bikes around the city. They deliver meals and groceries for all sorts. Thanks to them, the privileged can stay tucked in their private spaces. Interaction between the two groups - the privileged and the brand ambassadors - is mostly kept to the bare minimum. And sparse communications are often driven by annoyances - “my Coke is warm because you kept it too close to the French Fries.” And on the streets the general public dis-approaches the brand ambassadors with pity. We tell our peers: “That’s not a good job,” and “stay away from the Sharing Economy.” Because, you know, in our capitalistic dollhouse we all stand our grounds and play our parts wholeheartedly.

During his shifts for , Gavin recorded location sounds on his phone at fast food restaurants while waiting on the orders he had to pick up and deliver. Later in his home studio Gavin added piano and electronics to this source material. The result: a gloomy soundtrack for a shadow world. Seven songs in evening blue with a bright orange glare.

A few years ago, our favorite Belgian publishing house Het Balanseer released Seizoenarbeid by Heike Geissler (available in English trough Semiotext(e)). Geissler writes about her job at Amazon in Leipzig. Because her writing and freelance work did not pay the bills any longer, she was forced towards this underprivileged shadow-world of unwanted jobs. Seizoenarbeid shed a light on freedom in an unfree world. A monument of ‘we are all in this, but not together’. Takeaway Loops gives us a similar peak in a world that is at the same time so visible, but then also very veiled for many. A world that we prefer to use, yet that most of us prefer not to see - a world that we don’t like to enter.

Last year at Harbourland subway station in Kobe i was mesmerized by its sound design, created by Hiroshi Yoshimura. For each part of the subway station he composed a short phrase. While walking trough the station, a full composition grows in your head. The looping melodies guide you trough a microworld. Trough a blue world of commuters, of the homeless, of the lonely, of the fast paced, of the tourist. Gavin creates a similar effect with Takeaway Loops. The tonality somehow corresponds to Yoshimura’s work. Yet instead of being guided trough a building, we are now taken to the after dark. You feel the concrete evening heat of the city. You hear the rain. Stiff fingers during cold winters’ nights. You are alone on the bike, cruising. Your maps app telling you where to go. You just left the fake leather bench of the well-lit pastiche interior of a fast food restaurant.

Next order, number ECN44! Please wait outside, sir?

PRESSED ON BLACK & WHITE SPLASH COLORED VINYL

Limited to 1000 copies

Benny The Butcher and 38 Spesh helped put Upstate New York rap on the map when they released Stabbed and Shot, their now classic collaborative album. Since then each rapper has reached new levels of commercial and critical success while cementing their legendary status in the rap game. However, throughout their rise, fans of Benny & Spesh have never stopped asking for the duo to reunite for a full-length album. More than six years after the initial release of Stabbed & Shot, the wait is finally over as Benny & Spesh are drop Stabbed & Shot 2, their long-awaited, full-length collaborative album, and follow up to Stabbed & Shot. The new 16-track project was worth every bit of the wait, as the duo trade bars with each other alongside featured guests Ransom, ElCamino, Klass Murda, OT The Real & Busta Rhymes over production by Daringer, Harry Fraud, V Don, StreetRunner & Chup the Producer and more

PRESSED ON CLEAR WITH RED & BLACK SWIRL COLORED VINYL
Limited to 1000 copies

Benny The Butcher and 38 Spesh helped put Upstate New York rap on the map when they released Stabbed and Shot, their now classic collaborative album. Since then each rapper has reached new levels of commercial and critical success while cementing their legendary status in the rap game. However, throughout their rise, fans of Benny & Spesh have never stopped asking for the duo to reunite for a full-length album. More than six years after the initial release of Stabbed & Shot, the wait is finally over as Benny & Spesh are drop Stabbed & Shot 2, their long-awaited, full-length collaborative album, and follow up to Stabbed & Shot. The new 16-track project was worth every bit of the wait, as the duo trade bars with each other alongside featured guests Ransom, ElCamino, Klass Murda, OT The Real & Busta Rhymes over production by Daringer, Harry Fraud, V Don, StreetRunner & Chup the Producer and more

Incubus carved their own musical niche and earned a huge following by tireless touring and releasing ever-improving quality albums.
A Crow Left Of The Murder came out in 2004, and hit the album charts at number two. The album was produced by Brendan O’Brien, who’s known for his Pearl Jam production work. O’Brien shaped an album that Incubus needed in this stage of their development: crisp and clean, but still heavy enough to allow for an effective variation between heavy riffing and fine acoustics.

A Crow Left Of The Murder is available as a limited edition of 2000 numbered copies on transparent red coloured vinyl.

Black Stone Cherry is the debut album by the American rock band Black Stone Cherry. Originally released in 2006, the self-titled album contained three singles - “Lonely Train”, “Hell And High Water” and “Rain Wizard”. Ever since the founding of the band back in 2001, the band has been receiving nothing but positive critics. Their powerful sound can be described as traditional southern rock combined with the likes of Led Zeppelin and Soundgarden.

Zufällig habe ich am Ende des letzten Jahres für einen Film einige Klavierstücke eingespielt und hatte noch etwas Zeit. Und dann fand ich
ein paar Gäste, die Spaß daran hatten, mitzumachen: Joey Kelly, Doro Pesch, Stumpen von Knorkator, Tausend Tonnen Obst, Andrea HüberRhone, Micha von In Extremo, Jenny Rosemeyer, Käptn Peng, Icke & Er und Farin Urlaub. Den brauche ich jetzt auch, aber vielleicht kommen noch mehr Leute, dann machen wir einen zweiten Teil. Weihnachten kommt ja immer wieder, kann man nichts machen.
Danke und liebe Grüße Flake
— Weihnachtsalbum des RammsteinɞMusikers "Flake"
— Mit prominenten Gästen (Joey Kelly Doro Pesch Stumpen von Knorkator Tausend Tonnen Obst Andrea HüberɞRhone Micha von In Extremo Jenny Rosemeyer Käptn Peng Icke & Er und Farin Urlaub)

Introduction: Janeff the Poet is a dynamic artist whose spoken word performances transcend boundaries, blending socially conscious poetry with the soulful rhythms of jazz and R&B. As an attorney and college professor hailing from Southside Chicago, and an alumnus of a Historically Black College and University (HBCU), Janeff brings a unique perspective rooted in community, intellect, and cultural heritage to his craft. Concept: "Love & Liberation," Janeff's latest EP, features six new tracks that explore themes of love, empowerment, and the pursuit of social justice. Each song is a testament to Janeff's lyrical prowess and his commitment to storytelling that challenges, inspires, and provokes thought. Artistic Vision: Janeff's spoken word pieces, set against the backdrop of jazz and R&B beats, create a captivating fusion of poetry and music. His lyrics, crafted from personal experiences and academic insights, resonate deeply with audiences, offering introspective narratives that celebrate resilience and advocate for change. Release Date: Experience "Love & Liberation" as it is set to release on Date. Prepare for a transformative musical journey that celebrates the power of words and the liberation found in self-expression. Conclusion: Janeff the Poet invites you to join him on a journey through "Love & Liberation," where every word and melody serves as a testament to the beauty of love, the quest for justice, and the enduring spirit of community. Through his artistry, Janeff continues to inspire and empower, leaving an indelible mark on the cultural landscape and hearts of listeners worldwide.

In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further.

Meanwhile the Queen’s family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war.

All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night’s Watch, is all that stands between the realms of men and icy horrors beyond.

Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy,
atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time.

Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert.

Heavy Moss wurden 2022 aus einer spontanen Wiedervereinigung zwischen Lucas Harwood (King Gizzard)
und seinem Freund Sam Ingles gegründet und verbinden auf ihrem Debütalbum ”Dead Slow” hypnotisierenden Psych-Rock mit üppigem Dreampop. Mit hypnotischen Grooves, fuzzigen Gitarren und satten Melodien erkundet das Album klangliches Neuland und verweist dabei auf Ikonen wie Elton John & King Krule.

”Dead Slow” ist eine immersive Reise durch modernen Psych-Pop und erscheint am 22. November2024
auf limitierter, gestanzter Vinyl-Auflage über King Gizzards p(doom)records.

Opeth are one of the biggest acts in the Prog Metal genre with numerous top 10 albums worldwide, ”The Last Will and Testament” is their new album set for release November 22. Guest vocals by Joey Tempest (Europe), and guest flute by Ian Anderson (Jethro Tull). “A restless musical journey in a way mirroring my own relationship with music as a consumer of it," narrates band leader Mikael Åkerfeldt. "I pick up something here, dismiss something there. I worship and I hate music at the same time. This ambivalence leads me down some type of creative path of my own and then, all of a sudden, a collection of songs has been written. Best case scenario, these songs are good enough to impress the band. Good enough for the ”powers that be” in terms of the industry. Good enough for ”you”?! I love this record. I have to say it (write it). Maybe I’m proud even? There are some familiar ingredients in there I suppose. Most of our music has sprung from the same source, so I guess it’s not much of a shocker if it’s going to sound like ”us”. I’m a bit in awe of what we did with ”The Last Will and Testament”. It feels like a dream. There is some ”coherence" and ” songwriting skills” I hope, but what do I know? I tend to favour the ”strange” over the ”obvious”, but I feel like I’m in the minority, and that’s fine. So…fair warning! Don’t expect an instant rush (as per usual), but if you do ”get it” (have you got it yet?) right away, that’s ok too!"

Das 12-Track-Set ist die jüngste Erweiterung eines Katalogs, der 1972 mit Whatever’s For Us begann.
Diese LP begründete die herausragende Karriere, die zu MBE- und CBE-Auszeichnungen, Ivor Novello und
BASCA Gold Badge Awards für Songwriting, BRIT- und Grammy-Nominierungen, zahllosen Ehrentiteln
und vielem mehr geführt hat. Wie üblich in ihrer jüngeren Geschichte ist das neue Album ein Triumph der
Selbstständigkeit, das Joan komplett selbst geschrieben, produziert, programmiert und aufgenommen hat.
How Did This Happen... wird von Armatradings Legionen von Anhängern und neuen Fans gleichermaßen
schnell als Meisterklasse im Songwriting und bei den Aufnahmen anerkannt werden. Auf einem Bett
aus Melodien und Arrangements, die abwechselnd unmittelbar und subtil sind, webt sie einen lyrischen
Wandteppich, der sowohl individuelle als auch universelle Themen mit ihrer charakteristischen Gewandtheit
und ihrem leichten Charme berührt, ganz zu schweigen von zwei aufsehenerregenden Instrumentalstücken.

Seven Hours After Violet ist das bahnbrechende neue Projekt von Shavo Odadjian, Bassist der legendären
Multi-Platin-Band System of A Down; mit Taylor Barber (Left To Suffer), Morgoth (Platin-Produzent
und Gitarrist von Winds of Plague), AlejandroAranda (Scarypoolparty, American Idol) und Josh Johnson
(Winds of Plague).
”Dieses Album ist der Höhepunkt jahrelanger kreativer Erkundungen. Mit Seven Hours After Violet
wollte ich zu meinen Wurzeln in der harten Musik zurückkehren, aber auch etwas völlig Neues auf den
Tisch bringen. Es ist ein bisschen von SYSTEM OF A DOWN’s ’Toxicity’ auf dem ganzen Album – diese
Art von Scheiße. Du willst dir den Kopf einschlagen, du willst in die Grube rennen, du willst verrückt
werden, aber du willst lächeln, während du es tust, und nicht wütend sein.” - Shavo Odadjian

Wenige Künstler sind so eng mit der Aufführungsgeschichte von Giacomo Puccinis Oper „La Bohème“
verbunden wie Luciano Pavarotti. Der große italienische Tenor gab sein Operndebüt als Rodolfo und
machte sich diese Partie in der Folge weltweit zu eigen – eine Rolle, die ihm wie auf den Leib geschrieben
war und in der er seine ganze künstlerische Ausdruckskraft entfalten konnte. Die Decca-Aufnahme von
„La Bohème“ aus dem Jahr 1972 zeigt ihn in stimmlicher Höchstform an der Seite seiner wichtigsten
Bühnenpartnerin, der Sopranistin Mirella Freni, und unter der Leitung von Herbert von Karajan, einem der
bedeutendsten Operndirigenten des 20. Jahrhunderts. Das Ergebnis ist eine Referenzaufnahme, die den
poetischen Geist dieser Oper wie keine andere Einspielung zum Ausdruck bringt.
Zum 100. Todestag des Komponisten erscheinen nun gleich zwei hochwertige Deluxe-Editionen in neuen
High-Definition-Transfers von den Original-Masterbändern: zum einen eine Ausgabe auf 2 Hybrid-SACDs
in 24 Bit/192 kHz, zum anderen eine Edition auf 2 LPs (die erste seit den 70er Jahren), geschnitten in den
berühmten Abbey Road Studios und gepresst auf 180 Gramm Vinyl. Das Hardcover-Buch enthält neben
dem vollständigen italienischen Libretto (mit deutscher und englischer Übersetzung) einen aktuellen Essay
des renommierten Opernautors Roger Pines, individuelle Beiträge zu den Künstlern, Faksimiles aus dem
Original-Booklet von 1973, Fotos von den Aufnahmesitzungen sowie weitere, erst kürzlich entdeckte Bilder.

In den 1970er Jahren wurde Romy Schneider durch ihre französischen Filme mit Regisseur Claude Sautet
ein internationaler Star. Besonders diese Meisterwerke bewegen und begeistern bis heute ihre Fans.
Die wunderbar sentimentale Musik zu den Filmen stammt vom berühmten Oscar-Gewinner Philippe Sarde.
Die Compilation „Romy Schneider, un portrait musical“ versammelt jetzt das erste Mal die Musik aus den
vier Filmklassikern „Die Dinge des Lebens“, „Das Mädchen und der Kommissar“, „César und Rosalie“ und
„Eine einfache Geschichte“. Ebenfalls zu hören ist Romy Schneider als Sängerin des „Chanson d’Hélène”
zusammen mit Michel Piccoli (französische und italienische Version) und “La Lettre de Rosalie”.

DÄMMERLAND ist ein episches Audio-Abenteuer auf der Schnittstelle zwischen Fantasy und Musik.
Konzipiert von den #1-Hitmakern Malte Hoyer (Versengold) und Hannes Braun (Kissin‘ Dynamite), ist
DÄMMERLAND ein vielschichtiges Fantasy-Highlight für die ganze Familie: Buch-Debüt, inspirierendes
Hörbuch-Highlight mit musikalischer Starbesetzung – und obendrein ein komplettes Musikalbum mit epischen Songs, aufgenommen mit etlichen weiteren #1-Hitmachern auf der Schnittstelle zwischen Folk und
Pop, Mittelalter-Rock und Metal.
Gemeinsam mit rund 30 musikalischen Gästen aus 15 Bands vertonen die Köpfe von Versengold und Kissin’
Dynamite eine tiefgründige Fantasy-Geschichte, flankiert von 16 brandneuen Originalsongs. Ein Muss für
Fans von „Alice im Wunderland“, „Narnia“ oder „Die unendliche Geschichte“, thematisiert die inspirierende
Abenteuer-Story auch aktuelle Fragen und Probleme. Als erste Single erscheint zeitgleich zum Pre-OrderStart der Song „Verlorene Träume“, den sie zusammen mit der #1-Band Saltatio Mortis aufgenommen
haben. Weitere Albumgäste werden in der Zeit bis zum Release (22. November) bekannt gegeben.
Das Hörspiel, auf dem die vielen Gäste auch Sprechrollen übernehmen, wird von physischen Editionen
flankiert, denn DÄMMERLAND wird sowohl als CD und Vinyl erhältlich sein. Obendrein gibt es nicht nur
die Deluxe Edition, die CD + Hörspiel vereint, sondern auch die massiv erweiterte Super Deluxe Edition,
bestehend aus Buch + CD + Hörspiel sowie einem sign. Lesezeichen

„aboutJAZZ – Christmas“: Dieses Album vereint die schönsten Jazz-Versionen beliebter Weihnachtsklassiker und liefert damit eine stilvolle Musikbegleitung für die schönste Zeit des Jahres. Ob stimmgewaltige Titel wie Nat King Coles „The Christmas Song (Merry Christmas To You)”, sanfte Melodien wie in Norah Jones‘ „Christmas Calling (Jolly Jones)“, verspielte Töne mit Jamie Cullums „It’s Christmas“ oder eine märchenhafte Atmosphäre wie in Peggy Lees „The Christmas Waltz“ – dieses Album vereint die beliebtesten Weihnachtstitel mit dem vielseitigen Genre der Jazzmusik. Echte Klassiker und neue Interpretationen von Künstlern wie Gregory Porter, Laufey, Diana Krall, Frank Sinatra, Mel Tormé, Tony Bennett, Melody Gardot, Dean Martin, Ella Fitzgerald und vielen weiteren sorgen für ein rundum stimmungsvolles Musikerlebnis. „aboutJAZZ Christmas“ ist ab dem 22. November als 2LP, 2CD und Download erhältlich.

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

Not at all dangerous, but no less powerful and devoted to one another, the Coppola family have loomed large in film and the arts for decades.
The head of this particular family was not a Don lurking in the shadows, but a brilliant composer arranger and conductor: Carmine Coppola.
On the face of it, this album is a bit of a curiosity, though it was surely the first recording to bring together music from both Godfather films in this way.
Its original release coincided with a high-profile television event called The Godfather: A Novel for Television (also known as The Godfather Saga).

The extended cut necessarily featured additional music and arrangements, which were overseen by Carmine Coppola.
We can safely assume that at least some of that forms part of what is included in The Godfather Suite. For it, Coppola selected and re-arranged musical highlights from the two films,
including all of Rota’s main themes and his own source music pieces, creating what is essentially a 14-part symphonic suite.

It’s all rather beautifully executed, with great romantic flourishes, and it’s a fitting tribute to Carmine Coppola’s talent, not to mention his contribution to two legendary films.
Carmine Coppola himself passed away just months after the release of The Godfather Part III. A highlight of that final score is the ‘Love Theme’,
which was the basis of Carmine Coppola and lyricist John Bettis’s Oscar-nominated original song ‘Promise Me You’ll Remember’. The instrumental arrangement is included here in addition to the Suite.

Nosferatu (1922) is still one of the most highly regarded horror films of all time, F.W. Murnau’s unauthorised adaptation of Bram Stoker’s Dracula, it remains an Expressionist masterpiece of the silent era.

Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997. The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.

Ohne es zu ahnen, gelang Keimzeit 1990 gleich mit dem Titelsong ihres ersten Albums "Irrenhaus" ein Wendehit. Die Textzeile "...Irre ins Irrenhaus, die Schlauen ins Parlament. Selber schuld daran, wer die Zeichen der Zeit nicht erkennt..." sprach vielen jungen Menschen damals aus dem Herzen. Norbert Leisegang erinnert sich noch gut an die Aufnahmen: "Wir hatten den Luxus aus 30 Songs 12 der besten Titel auswählen zu können. Da hat uns auch keiner reingeredet, das haben wir allein entscheiden können. Dann haben wir diese Songs quasi live eingespielt. Wir wussten erst gar nicht, dass wir zu dem Zeitpunkt schon im Radio gespielt wurden. Doch dadurch, dass das eine Rundfunk-Produktion war, haben sich die Redakteure von 'DT64"gleich nach Fertigstellung schon Songs wie 'Flugzeuge ohne Räder" und 'Mama" rausgepickt." Die Hörer waren begeistert und die Resonanz durchweg positiv. Der Startschuss für das erste Keimzeit Album war gefallen. Die Songs auf "Irrenhaus" haben auch heute nichts von ihrer Aktualität verloren. Der Hofnarr zeigt uns mehr denn je, die lange Nase. Solange neue und alte Strömungen wieder zum Angriff auf humanistische Werte blasen und die eigene Kultur in Haft nehmen wollen, sind Songs wie "Irrenhaus", "Hofnarr", "Flugzeuge ohne Räder" und "Mama" mehr als klingende Zeitbilder, Mahner dafür, dass man die Freiheit nicht geschenkt bekommt. Keimzeit gab zu Beginn der Neunziger Jahre mehr als 100 Konzerte jährlich. So verwundert es nicht, dass das zweite Album "Kapitel Elf" nicht lange auf sich warten ließ. Die damaligen Manager der Westberliner Plattenfirma Hansa baten die Band nach Veröffentlichung des 1990-er Albums recht zügig wieder ins Studio. "Kapitel Elf" auf Grundlage von Titeln, die die Band damals auch schon auf der Tour spielte. So darf man "Irrenhaus" und "Kapitel Elf" durchaus als sehr verwandt betrachten. Musikalisch ist "Kapitel Elf" breiter als das Vorgänger Album aufgestellt. So werden die beiden Alben nun erstmals als ein auf 1.000 Exemplare limitiertes Doppel-Vinyl veröffentlicht. Ob auf einem Segelschiff nach "Singapur", in einem Zug mit dem "Eisenbahner" oder für einen Städte-Trip nach "Amsterdam", mehr Keimzeit aus den frühen 90-er Jahren geht nicht.

THE SMELL OF DEATH CRAWLS OUT OF THE TOMBS... ...hailing from Turkey let's welcome the classic Death Metal squad ABOLISH to the FDA Records roster. Without any demo or EP release let's start with the debut full length album '...From The Depths". Rotten and morbid female fronted Death Metal for fans of CEREBRAL ROT, GRAVE MIASMA or DISMA. '...From The Depths' was recorded, mixed and mastered by Ozan Y?ld?r?m-Atakan Güçlü at Deadhouse studio, coverartwork by Ozan Y?ld?r?m.

Das Trio aus Zaragoza liefert auf 'Fear The Apparation' 8 klassische, nach Gruft stinkende, mächtige Death Metal Songs mit leichter Thrash Metal Note. Wenn Du Bands magst wie wie Skeletal Remains, Sadistic Intent, Morgoth oder Pestilence, dann wirst Du beim Hören von 'Fear The Apparition' Freudentränen vergiessen. Das Artwork wurde gezeichnet von Markus Vesper (Denial Of God, Attic, Manilla Road..etc.). Die meisten Teile des Albums wurden von der Band selbst aufgenommen, nur für das Drumrecording begab man sich in die Moontower Studios. Dort wurde letztendlich auch durch Javi Felez komplett gemixt und gemastert.

Hailing from Italy, after their selftitled debut mini album 2022 we're happy to announce the first full length namend 'Sublimis Ignotum Omni'. The new songs are a bit faster without losing that morbid feeling known from the debut. This piece of an morbid female fronted Death Metal album is highly recommended for fans of MALIGNANT ALTAR, UNDERGANG or CORPSESSED.

5 Jahre seit Veröffentlichung ihres 7. Albums "Where The Light Ends" sind nun vergangen und das Warten hat endlich ein Ende. KEITZER sind zurück mit neuem Album, unter dem schmissigen Namen "Pandemonium Humanitas". Die Band nutzte die Zeit und komponierte 9 neue Songs, die den bisherigen Höhepunkt ihres musikalischen Schaffens darstellen. Keitzer präsentieren, einzigartige, ultrafette, rasende Gitarrenriffs, pure wütende Energie - simply eigenständiger und eingängiger Death Metal versetzt mit Elementen aus dem Black Metal. "Pandemonium Humanitas" ein musikalischer Wutausbruch par excellence. "Pandemonium Humanitas" wurde, wie auch schon das Vorgängeralbum, im Soundlodge Studio unter der Leitung von Jörg Uken, aufgenommen, gemixt und gemastert. Das Albumartwork stammt vom italienischen Maler Paolo Girardi.

Drei brandneue Slaughterday Songs und eine Coversion des Acheron Klassikers "Ave Satanas" sind ready auf Plastik, sprich CD und Vinyl gepresst zu werden. 20 Minuten kriechender, schmerzerfüllter Death Metal, die den Weg des Debüt Albums "Nightmare Vortex" fortsetzen und ebenfalls im Soundlodge Studio unter der Leitung von Jörg Uken aufgenommen, gemixt und gemastert wurden. Für das Artwork zeichnet sich diesesmal der Schwede Jan Pysander Whitney verantwortlich.