Cerca:leo vincent

Artist, painter, curator Leo Vincent, is fired up off the back of supporting Soulwax, on their recent Paris and Netherlands shows. Proudly presenting two debut songs “Hello it’s me again” and “Loving isn’t easy”, co-produced with the brothers, David & Stephen Dewaele, of Soulwax/2manydjs.

Seven years ago, Leo Vincent bluffed his way into a video editing job at DEEWEE. Despite being told to not touch or ruin their gear, he later resurfaced with demos that sounded like he had anyway.

"Don’t know much about history”
"Don’t know much about biographies"

But we do know that by the time Leo Vincent arrives in your town, he will probably have destroyed two more Tascam 8-tracks.

Brussels-based, failed goalkeeper-turned-painter-turned-cameraman-turned-musician Leo, doesn’t seem to be afraid to leave his faders in the red zone for an unorthodox period of time while repairing the pitch knob. Some say it’s disco for night janitors. Some say it’s glam-rock for ravers. Others haven’t found the time to listen yet because they have real jobs.

But to fully grasp Leo Vincent's essence, imagine yourself sitting in the home cinema of the late Marc Bolan while watching a documentary on Scatman John, directed by Jacques Tati and scored by Ween, using only the instruments of Cabaret Voltaire.

Hrishikesh Hirway, Musiker, Komponist und Podcast-Ersteller, bekannt für seinen preisgekrönten Podcast und die Netflix-Serie ,Song Exploder" sowie Kompositionen für Film und Fernsehen, darunter ,Companion", Save The Date, Our Nixon und Everything Sucks!, begann sein eigenes Musikprojekt unter dem Namen One AM Radio und änderte seinen Namen mit der Veröffentlichung von To Call My Own EP im Jahr 2022. Produziert vom Grammy-Gewinner Philip Weinrobe (Big Thief, Adrienne Lenker, Theo Katzman, Cass McCombs), In the Last Hour of Light ist eine Erinnerung daran, loszulassen - von Menschen, von Erinnerungen, vom Wunsch, die Zeit davon abzuhalten, zu schnell zu vergehen. Die Songs entstanden nach dem Tod von Hrishikeshs Mutter, als die Jahre sie immer weiter in die Vergangenheit drängten; in den Momenten, in denen er in seinem Krankenhauszimmer darauf wartete, dass sich sein Vater erholte; in dem Traum von einer Tochter, die er nie haben wird. Es gibt auch Liebeslieder - aber es ist die Art von Liebe, die die Patina eines langen gemeinsamen Lebens trägt, in dem man ebenso viel Zeit hinter sich hat wie vor sich. Die Band von Hrishikesh bestand aus Shahzad Ismaily (Feist, Arooj Aftab), Ken Pomeroy, Mike Haldeman (Moses Sumney, Dawn Richards) und Joshua Crumbly. Zur Besetzung von Hrishikeshs Band gehörten Shahzad Ismaily (Feist, Arooj Aftab), Ken Pomeroy, Mike Haldeman (Moses Sumney, Dawn Richards), Joshua Crumbly (Leon Bridges, Kamasi Washington), Oliver Hill (Kevin Morby, Broken Bells, Vagabon), Sean Mullins (Sam Evian) und Cole Kamen-Green (Beyoncé, Taylor Swift); mit Gastauftritten von Iron & Wine, Fenne Lily, Ken Pomeroy und Uwade Hart (St. Vincent), Zosha Warpeha (L'Rain) und Dustin O'Halloran.

A new artist on the Citizen Records / Clivage Music roster, Vhinz is a musician based in Brussels. After taking his time to break onto the electronic scene, he’s now ready to share Belvédère, his debut, dreamlike album, confidently intense, sweeping between cinematic songs and soaring, epic electronic sounds.

Vincent Honca is Belgian, with Armenian roots and a love of keyboards: the mini synth he used to play as a child, the classical piano of his years of training at the Académie de Musique, the Yamaha synth of his teenage years... During the noughties of his adolescence, electronic music was omnipresent in his life as he listened to and admired Daft Punk, Moby, Vitalic, Air and The Chemical Brothers. He also went out dancing, a lot, in the nightclubs and parties of Brussels and the vicinity, and soon his love of computers, technology and synthesisers led to him producing his own music. “I wanted to create beautiful textures with synths,” he says. “I wanted to have fun and discover the possibilities. As part of the internet generation, I taught myself everything I know through reading magazines and checking the forums.”

Vincent went on to become a computer programmer and decided to make music in as much of his spare time as possible. His first productions came out in 2015, including “Drastical”, one of three deep house dancefloor-orientated tracks recorded with none other than Kris Menace. “At the time I was really searching for my musical identity,” explains Vincent, and progressively his music started to lean towards another of his passions – films and film music. “I’ve listened to soundtracks a lot since I was a teenager, and they’ve been a big influence, in particular the music for Heat by Elliot Goldenthal, Gladiator (Hans Zimmer), Saving Private Ryan (John Williams), The Last Temptation of Christ (Peter Gabriel), The Virgin Suicides (Air) and Leon (Eric Serra).” Coincidentally, Vincent has already worked on two independent Belgian films by director Christophe Karabache, UltravoKal and Vortex, both collaborations with Michel Duprez.

Now Vincent has chosen the name Vhinz, bringing together his expertise with machines and computers, his passion and enthusiasm for the electronic sounds of his adolescence and his adoration of cinema’s powerful, impactful soundtracks. Vhinz’s first track is thus called “Aether”, a track brimming with character and confidence, with sung-spoken vocals that sweeps the listener up in bewitching synthetic themes and drums like an off- kilter heartbeat. The track perfectly encapsulates the Vhinz sound, and Citizen Records – the only label he sent it to – immediately loved it and were ready to release a 12” with more. “Then Covid and the lockdown happened, and everything came to a complete halt,” remembers Vhinz. During those long two years without anything being released, the project continued its gestation and has now grown in a mini-album of eight coherent, fascinating tracks. “I really wanted a strong concept for everything, and so was born this album that I’ve called Belvédère. I imagined myself on a belvedere with a panoramic view of the world, channelling all the emotions it elicited in me into music.”

Belvédère is a dreamlike debut album, confidently intense, sweeping between cinematic songs and soaring, epic electronic sounds. It’s a place for Vhinz to showcase his dreams, talk, sing and invite others too: Margot Ferro sings on “Le Passage” and “Envole-moi”, and Michael Meers lends his vocals to “Evolution”. “My album tells a story, with the tracks in chronological order. There are both times of hope and darker periods of my life, with sadness and love,” meaning that listeners are invited to experience a suite of different emotions and be swept along by the author’s musical daydreams. Musically, the album falls somewhere between Moby, Vitalic, Air and Serge Gainsbourg, with a density and atmosphere that are completely Vhinz. “With Belvédère I was looking for beauty, but also something darker, dirtier, more organic. The album is the culmination of that.”

Diese Show dürfen Sie nicht verpassen! Steffi Irmen, der Star des Theaters des Westens (Romeo & Julia / Ku'damm 59), schlüpft in ihre wohl kultigste Rolle: "Die Amme". Und diesmal erfahren wir die wahre Geschichte von Romeo und Julia - und das mit einer gehörigen Portion Humor. Steffi Irmen deckt auf, was Shakespeare uns verschwiegen hat, und sorgt dafür, dass kein Auge trocken bleibt.

Musikalische Highlights inklusive! Mit den größten Hits aus 35 Jahren der Erfolgs-Komponisten Peter Plate und Ulf Leo Sommer - von "Ich bin ich" bis "Vincent". Und natürlich dürfen auch brandneue Songs aus der Feder der beiden nicht fehlen.
Ein Highlight jagt das Nächste, und schon nach wenigen Minuten wird klar: Hier werden die Lachmuskeln trainiert!

Die Premiere steigt am 10.04.2025 - und dann heißt es jeden Freitag im Theater des Westens: "Lachen, weinen und staunen."

Und wenn Sie letztes Frühjahr keine Karten ergattern konnten: Achtung! Die Shows waren in 8 Minuten restlos ausverkauft! Also schnell sein, bevor wieder alles weg ist!

Lustigster Abend des Jahres garantiert - Seien Sie dabei!

Basias Palast ist kein Schloss, sondern ein Ort voller Liebe, Erinnerungen und schlechter Verkabelung. Seit sich wieder mit Co-Produzent Mark Lawson zusammentat, bewegt sie sich durch eine Traumwelt aus Geflüster, Synthesizern, frühen Chansons und Eurovision-Songs, Leonard Cohens "I'm Your Man", Airs "Moon Safari" und den hauchzarten Maryla Rodowicz-LPs ihres Grossonkels. Das Ergebnis klingt wie ein Album, das hinter den Hintergründen ihrer Kindheitsfotos verborgen war. "Basia's Palace" wurde vom legendären Toningenieur Tucker Martine (Beth Orton, Neko Case, The National) gemischt und mit dem schwebenden Streicherarrangement von Drew Jurecka (Dua Lipa, Alvvays) eingespielt.

Zur Künstlerin:
Basia Bulat ist eine Singer-Songwriterin aus Montreal, Kanada. Neben ihren Fähigkeiten als ausdrucksstarke Sängerin mit unverwechselbarer Stimme ist sie eine versierte Multiinstrumentalistin, die auf E-Gitarre, Klavier, Autoharp, Ukulele, Bass und Charango aufnimmt. Ihre Songs werden für Aufführungen mit Symphonieorchestern adaptiert, sie selber wird zu prestigeträchtigen Tributes an Leonard Cohen, Daniel Lanois, Nick Cave und The Band eingeladen. Seit der Veröffentlichung ihres Debüts 2007 teilte sich Bulat die Bühne mit Künstlern wie St Vincent, Sufjan Stevens, Nick Cave aAnd The Bad Seeds, The National, Michael Kiwanuka, Daniel Lanois, Beirut, Destroyer, US Girls, Jim James, u.a. Sie trat in der #LateShowMeMusic-Reihe mit Stephen Colbert und Jools Holland auf, ist dreimalige Finalistin des Polaris Music Prize und wurde für fünf JUNO Awards nominiert.

This band, and this album, function as critical missing links that takes one from The Fall to Yard Act, from Television and The Minutemen to Parquet Courts and Sleaford Mods, from punk as a sound to punk purely as an ethos. While any Van Pelt album is a stand alone album, the unique approach they take begs one to enter their world and dig deep in.

RELATED TO: The Lapse, Native Nod, St Vincent, Blonde Redhead, Enon, Jets to Brazil, Vague Angels, Ted Leo and the Pharmacists, American Football, Texas is the Reason.

‘The lines between post-hardcore, indie rock, and emo blurred on the two mid-’90s full-lengths from the Van Pelt.’ Pitchfork

‘New York City’s The Van Pelt are an influential, but too often overlooked indie rock band -- cult favorites for many an emo-inclined crate digger.’ Consequence of Sound

‘...should be mentioned a lot more than they are when you talk about the history of emo.’
Washed Up Emo

Back in the day there was this thing called an A&R guy. They would hang out at small venues looking to throw money at the next big thing. In the early 90s, everyone was looking for the next Nirvana of course. NYC's The Van Pelt had just released an album of anthems called "Stealing From Our Favorite Thieves" that seemed to be just that. The only thing is, they didn't want to sign. Legend has it $2 million was turned down over pierogies and coffee one Monday morning because The Van Pelt didn't want to risk crashing and burning. Instead, they were gunning for a long and stable stride even if that meant they would largely remain out of the public's eye forever.

Lack of willingness to play the game didn't mean people weren't waiting with baited breath for their follow up album though. In 1997 The Van Pelt released "Sultans of Sentiment", an album nearly devoid of the anthems and licks people were expecting. In fact, it's a complete bummer of an album that subjects the listener to the point on life's curve where the hubris of youth gives way to a cresting crashing defeat no kid with heart could ever have seen coming. Seeing as humanity are sick fuckers who revel in the misery of both themselves and others, the popularity of Sultans grew and grew and continues to win new loyal fans even today. It's for this classic album The Van Pelt has never fallen off the radar.

That being said, their swan song "The Speeding Train" was recorded while they were working on their third album. In any other age, in any other way, this song would have been a hit. The Van Pelt broke up mid-recording, released Speeding Train as a single, and the rest of the songs from that session didn't see the light of day until they were released in 2014 as the "Imaginary Third" lp.

Why are we here talking about them today in 2023? Because in preparation for the release of "Imaginary Third" The Van Pelt started playing some reunion shows. Soundchecks revealed to them that this band has a voice that was prematurely muted by their inability to see clearly in the thick of it. Returning to explore just what that is 25 years later has led to this first collection of 9 songs, "Artisans & Merchants". This is not a reunion album. This is vindication for that decision made over pierogies and coffee decades ago. The Van Pelt is a band in it for the long haul, free from whatever trappings the mayflies of trends and markets may bring.

For lovers of The Van Pelt, listening to "Artisans & Merchants" is like hearing the voice of a dear friend you haven't seen in years, a friend you used to share countless beers with over banter that went nowhere other than delivering a solid night. Your friend is older, they've changed. In some ways you're worried for them, looks like they might be teetering on the brink of something. In other ways it's the same old them, a nugget of a soul too unique to ever be altered. It's for those unfamiliar with The Van Pelt though for whom we should be truly jealous. This is a stand alone album, incredible vital song writing in and of itself regardless of the long history this band has. The climax of the single "Image of Health" perhaps describes the beautiful desperation best: "And you never felt more alive / Than when the priest came to read you your rites!"

Samosa Records dips its toes back into the Afrikano waters with Volume 3 of the Afro themed, genre-busting series and features four deadly tracks from some of Samosa’s most trusted lieutenants.

Breaking the ice as the first track of this exceptional EP is Vincent Galgo and ‘African Rebel’. Mr Galgo has clearly read the brief here – giving us a 125bpm marauder that’s a melting pot of unstoppable horns, furious rhythms and an Afro-pop style bass that is the beating heart of the track.

Track 2 is Samosa regular Frank Virgilio who introduces us to his ‘Mistress’. As a straight up jazz-infused, mid-tempo rhythmic chugger, ‘Mistress’ quickly gets down to the important business of racking up the beats and instrumentation. The generous spread of guitar riffs, assertive bass and organ stabs are expertly lifted by the layered and always rolling drums and bongos induce a trance-like state of mind, so be warned!

On the B-Side Samosa newcomer Casper Leo wears his Tribal heart on his sleeve with the enchanting and utterly captivating jangler - ‘Tom Tom’. You can never have too much Kora guitar and ‘Tom Tom’ has lashings of it, with delicious sprinkles of melodic Marimba – perfect for West African sunsets.

Closing the EP off in style is Afro beats grand master, Lego Edit and the filthy-sexy ‘El Safari’. No other producer can take the essence of the Afro beat structure and bend it to their will like Lego Edit can. Like a late night fist-fight in Club Coco Bongo, ‘El Safari’ punches its way out of the doors. A slinky, wily alley cat of a tune that digs deep with its claws and doesn’t let go and another masterpiece from Lego Edit.

Afrikano Vol.3 has done the impossible and set the bar even higher for this wonderfully diverse Samosa series. We want more. We want ‘4’. With this in your record box, you’ll come with a warning.

Liturgy transcends the traditional parameters of what constitutes a rock band. Founded by Ravenna Hunt-Hendrix, Liturgy is a part of a shared discipline of composition, art, and philosophy that thrives on exploring the spaces between. Liturgy"s signature use of rhythmic complexity and repetition are exponentially amplified to maximalist proportions on 93696. Along with guitarist Mario Miron, bassist Tia Vincent-Clark, and drummer Leo Didkovsky, Hunt-Hendrix utilizes Liturgy"s past ruminations on burst beats and circuitous phrases as colors to paint rich murals that overwhelm and invigorate the senses. 93696 is the purest synthesis of the diversity of Liturgy, a sprawling and monumental double album exploring religion, cosmic love, the feminine, and metamorphosis while manifesting the ecstatic with breathtaking grandeur. Liturgy is the project of Ravenna Hunt-Hendrix, whose yearning, energetic "transcendental black metal" exists in the space between metal, art music and sacred ritual. Its current lineup features Mario Miron (guitar), Tia Vincent-Clark (bass) and Leo Didkovsky (drums).

Liturgy transcends the traditional parameters of what constitutes a rock band. Founded by Ravenna Hunt-Hendrix, Liturgy is a part of a shared discipline of composition, art, and philosophy that thrives on exploring the spaces between. Liturgy"s signature use of rhythmic complexity and repetition are exponentially amplified to maximalist proportions on 93696. Along with guitarist Mario Miron, bassist Tia Vincent-Clark, and drummer Leo Didkovsky, Hunt-Hendrix utilizes Liturgy"s past ruminations on burst beats and circuitous phrases as colors to paint rich murals that overwhelm and invigorate the senses. 93696 is the purest synthesis of the diversity of Liturgy, a sprawling and monumental double album exploring religion, cosmic love, the feminine, and metamorphosis while manifesting the ecstatic with breathtaking grandeur. Liturgy is the project of Ravenna Hunt-Hendrix, whose yearning, energetic "transcendental black metal" exists in the space between metal, art music and sacred ritual. Its current lineup features Mario Miron (guitar), Tia Vincent-Clark (bass) and Leo Didkovsky (drums).

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

(feat. Joe Russo)

The 10-piece ensemble founded by saxophonist Stuart Bogie and drummer Joe Russo is comprised by musicians who hail from a long list of groups, including Antibalas, The Dap Kings, Red Barat, Arcade Fire, Joe Russo’s Almost Dead, David Byrne’s American Utopia, St. Vincent, The Budos Band and Superhuman Happiness. A collaboration between old friends, Bogie's horn arrangements meet Russo's propulsive drumming in an explosive combination of woodwind and brass instruments that reimagine wind music in bold and dynamic new ways.

‘The Struggle (45 Edit)’ is a battle song, musically contemplating the seemingly constant struggle between forces in society. It features solos by Michael Leonhart and Raymond Jay Mason, with the exclusive 45 remix of “Arrival” originally featured on The Prophets in the City LP. Do you remember your first time in the City?

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

Soundtrack from Academy Award-nominated actor Ethan Hawke’s 2001 film Songs written by Wilco’s Jeff Tweedy with the score performed by Tweedy and Glenn Kotche Featuring two previously unissued bonus tracks and available on CD and (for the first time) Vinyl. Includes performances by Wilco, Billy Bragg, Robert Sean Leonard, “Little” Jimmy Scott, and more Packaging features new liner notes from Ethan Hawke, Glenn Kotche, and a conversation between Jeff Tweedy and Grammy®-winning set producer Cheryl Pawelski “It was pivotal for me. There was a burst of creativity that continues to this day because I took the last remaining guardrails off of what I’d been willing to allow myself to do.” –Jeff Tweedy The same year of his Oscar®-nominated performance in Training Day, Ethan Hawke made his full-length film directorial debut with Chelsea Walls (starring Kris Kristofferson, Uma Thurman, Vincent D’Onofrio, Robert Sean Leonard, and more). A fan of Wilco, Hawke approached Jeff Tweedy about scoring the film, and Tweedy agreed. Around this time, Tweedy had collaborated with musician and producer Jim O’Rourke (Sonic Youth, Stereolab) for a special live performance. As fate would have it, O’Rourke had been working with Glenn Kotche, and O’Rourke introducing Tweedy to Kotche would lay the groundwork for the trio’s work together on the debut album by their band, Loose Fur. Tweedy also asked Kotche to work with him on an improvised soundtrack to the movie he had agreed to score.













[m] 13. Finale (Extended) [Bonus Track]
[n] 14. Promising [Bonus Track]

Debut solo album by the Red River Dialect songwriter. Recorded at the Hotel2Tango, Montreal, by Howard Bilerman. Featuring Thor Harris (Swans, Thor & Friends, Shearwater) on drums and Thierry Amar (GYBE!, ASMZ) on bass, with guest appearances from Tom Relleen (RIP) (Tomaga, Melos Kalpa), Catrin Vincent (Another Sky) and Coral Rose (The Silver Field, Red River Dialect).
David has written five critically acclaimed collections of songs under the Red River Dialect name. The last two albums (released by Paradise of Bachelors) achieved a glowing Pitchfork review and a Folk Album of the Month award from the Guardian. Selected press below.
“Folk Album of the Month. Alert, anti-colonialist folk. Songwriter David Morris brings alternate seduction and disquiet on this worldly album steeped in the British landscape... a wide-eyed, curious creature, willingly alert to the world.” – 4/5 The Guardian
“Animated with a new intensity, the Cornwall band’s fifth album may be its most ingenious and immersive mix of folk and rock yet. It’s also Morris’ most compelling set of songs. He invests small sensations with outsize power, finding joy in sensory pleasures as well as in the mystical inquests that music allows. Even as the record is steeped in the long history of British folk music, that balance of the tactile and the spiritual anchors these songs in the present moment.” – Pitchfork
“The most underrated folk-rock band in Britain. The idea of them as a Cornish-born, Buddhist-inclined Waterboys is more potent than ever. Their fifth album of elementally-battered, rueful and rousing folk-rock ... is as stirringly anthemic as they've managed thus far.” – MOJO
“A beguilingly atmospheric record… imagine Steve Gunn transplanted to Kernow.” – Clash
“Gorgeous and moving, anchored by the heft of the physical but reaching for more. The epic spareness, the way it manages to be both still and an enveloping swirl, reminds me most of Talk Talk. There’s a prayerful intensity to the quiet bits, a listening, wondering awe, that makes the rock payoffs more powerful. The album works as a restless, searching, gorgeous whole. Morris and his band have never been better.” – Dusted
“It’s not often that a band comes along and over the course of nine songs both plays to the tradition and stands it on its ear. RRD has taken the challenge of playing with reckless abandon to heart, generating an album that stands on the shoulder of giants showing no fear.” Folk Radio

Monastic Love Songs continues the tradition that David has established over the course of five albums with Red River Dialect: using a song cycle to articulate a relationship with inner and outer landscapes, inspired by the Taoist approach of observing the movement of the heavens in order to understand the cosmos within, and vice versa. The joyful closing track Inner Smile was initially written as a poem of thanks to his Tai Chi teacher Hollis and takes its name from a Taoist practice.
The songs were written during the final weeks of a nine-month retreat at Gampo Abbey, a Buddhist monastery in Nova Scotia where David took ordination as Buddhist monk. The album title is sincere, with a little tongue-in-cheek. The songs mostly explore human relationships within the community, with outliers: Gone Beyond shimmers with cosmic devotion, in Rhododendron a reverie grows from the shadow of a flower. Steadfast concerns the love to be found beyond the urge to like and be liked, when you can’t avoid that difficult person. Leonard Cohen, on his six years living in a monastery:
“You know, there’s a Zen saying: ‘Like pebbles in a bag, the monks polish one another.’
David considers this album to be a follow up to 2015’s Tender Gold and Gentle Blue. The cover of that lp featured an image of him on top of Skellig Michael, in the years before the island was made famous as the home of the Jedi. He considers the visit to that abandoned Celtic monastic site to be one of the influences that stirred up his motivation. Skeleton Key speaks of what was given up to go, and what he was giving up to leave, referencing the Tibetan concept of the ‘bardo of becoming’.
The album came about through a series of fortunate encounters. David’s friend Tom Relleen visited him at the Abbey in May 2019, mentioning a postponed plan to visit the Hotel2Tango. A spark was sown: this studio had long figured in David’s imagination. Many of the releases on Constellation Records, which he had become a die-hard fan of in his teens, were recorded there. Tom contributed some Buchla synthesizer to the opener New Safe, which concerns healing in emptiness and light.
In May David was given permission by the senior monastics to acquire a guitar, which was swiftly baptised as “Malibu Barbie”. Having let the identity of being a songwriter loosen up, not playing an instrument in six months, he was unsure what would happen. In the single hour he was permitted to practice each day, songs began to cascade. The first, Purple Gold, concerns a reacquaintance with first love. David wrote to the Hotel2Tango asking if they had any days available in mid-July?
Engineer and studio co-owner Howard Bilerman replied that they did, and a date was set. Did Howard know any local drummers or bass players who might do a session? He did, too many to choose from, what kind of style? David decided to ask for his ideal: did Thierry from Godspeed ever do sessions? Howard sent him the demos. Thierry was up for it. On the day he went deep into the cover of traditional song Rosemary Lane, his double bass singing on this and on Circus Wagon.
David asked if there were any local drummers he would recommend? Thierry said “many, what style?” David tried his luck again, “two of my favourite drummers are Thor Harris and Jim White.” Thierry said let’s invite them. Thor, having met David a decade earlier, flew from Austin to Montreal for that July day in the studio. Nine months of watching thoughts come and go in meditation helped David recognise this as an opportunity to practice enjoying the day without expectations.
He is, however, grateful that this album came out the way it did, channelling some of what it was like to live those nine months in a monastery overlooking the Gulf of St Lawrence, frozen and flowing.

Mixed by Jimmy Robertson at SNAFU, London, mastered by DenisBlackham.

ick Waterhouse takes the colour blue as his hue of choice on Promenade Blue. In Nick’s musical and lyrical world, blue is a refraction of his life and memories — evoking the endless tours, marathon recording sessions, and highs and lows of success he’s experienced in his decade-long career; conjuring romances that were doomed, loves that lingered, and hope for future days of parity and partnership; summoning spirits of people who have gone but permeate his mind forever. That’s the world of Promenade Blue — one that is vivid and magnetic, buoyed by both light and density due to Nick’s newfound collaboration with producer Paul Butler (Michael Kiwanuka, The Bees, St. Paul and the Broken Bones). It’s not Gatsby’s New York in the 1920s, it’s Waterhouse’s California in the 2020s... but as anyone who’s ever listened to a Waterhouse record knows: time, though clearly pegged to the dawn of this new decade, is a more malleable concept. In no uncertain terms, Promenade Blue represents Waterhouse’s finest hour as a writer and bandleader — leveraging the musical partnerships he has built over many years to put something forth that is so fully realized and felt that it sparkles beatifically, reverberating with energy, heart, creativity, and vibe from start to finish. For fans of: Phil Spector, Brian Wilson, Leon Bridges, Nathaniel Rateliff, Jon Batiste, Charles Bradley, Lee Fields, JD McPherson, Van Morrison, Ty Segall, Allah-Las, Michael Kiwanuka, St. Paul and the Broken Bones Full one-sheet:

LTD. BLUE SEAFOAM WAVE VINYL

Holy Hive ist ein Folk-Soul-Trio aus Brooklyn, bestehend aus Folksänger/Gitarrist Paul Spring, dem begehrten Soul-Schlagzeuger Homer Steinweiss und dem Bassisten Joe Harrison. Die Band hat sich durch fast schon legendäre Konzerte und ihre EP "Harping" einen Namen gemacht. Als Holy Hive erforschen sie die Beziehung zwischen den lyrischen Traditionen des Folk mit dem Rhythmus und der Ästhetik des Soul. Das Debütalbum "Float Back To You", aufgenommen in Queens im Studio Diamond Mine (von dem Steinweiss Mitbesitzer ist), besteht aus 10 eigenen Songs, einem Cover von "Be Thou By My Side" (ursprünglich von der britischen Gruppe Honeybus aus den Sechzigern) und einer Adaption des irischen Folksongs "Red Is The Rose". Steinweiss hat das Album produziert, als Gäste treten die Harfenistin Mary Lattimore, Leon Michels (El Michels Affair) am Saxofon und Keyboard, Shannon Wise (The Shacks) als Backgroundsängerin, Dave Guy (The Roots) an der Trompete, Nick Movshon am Bass und Paul Springs Ehefrau Sophia Heymans am Klavier auf. Homer Steinweiss arbeitet seit zwanzig Jahren als professioneller Schlagzeuger und hat in dieser Zeit den Beat zu Hits von Amy Winehouse, Bruno Mars, den Jonas Brothers, St. Vincent und Charles Bradley beigesteuert - um nur einige zu nennen. Als Gründungsmitglied von Sharon Jones & The Dap-Kings ist er mit der legendären Gruppe durch die ganze Welt getourt, bis er sich für eine Karriere im Studio entschieden hat. Paul Spring hat als Solokünstler sieben Alben mit eigenen Songs veröffentlicht, darunter, "Home of Song", eine von Kritikern sehr gelobte Platte mit Kinderliedern. Der Multiinstrumentalist Joe Harrison hat unter anderem mit Frank Dukes und Charles Bradley gespielt. Die symbiotische Beziehung zwischen Steinweiss und Spring ist wie die eines Spechts, der auf dem Rücken eines Nashorns sitzt. Springs zarter Gesang und seine flatternde Gitarre schweben in perfekter Harmonie über Homers bulligem Schlagzeug. Holy Hive sind eine vielschichtige Band: Manches an ihnen erschließt sich sofort, anderes erst später. Wie der Titelsong des Albums, der sich zuerst wie ein wunderschöner klassischer Liebessong anhört und sich dann als die Gefühle einer Frau entpuppt, die sich auf ihre Katze freut. Dafür steht Holy Hive: Die Musik geht verführerisch einfach ins Ohr und entfaltet sich dann sehr langsam - bis sie ganz aufblüht.

A Complex Web - The Story of THE SHINING PATH...began in 1982 when Peter Miller (aka Dr. William S Ray - vocals, tapes, guitar) met Andrew Millar (aka Maurice Spectograph the Nose-y Pieman - program execution) in Gold Coast, Australia. While sharing a similar taste in music, they decided to form a band, so DIVE POSITION was born. Equipped with a Korg synthesiser and Tascam 4-track recorder, they 'wanted to have the 'sound' of Kraftwerk, the groove of Can, and the 'menace' of Throbbing Gristle', ending up with 'a cross of Suicide and the Residents', as Peter recalls. In a local record shop they met Stig Andre Leonardson (aka Vincent Blackshadow), who joined the duo on percussion and drum machine programming. Their motto was 'Now is Then'. DIVE POSITION then became THE FATAL CHARM around 1984, and THE FATAL CHARM became THE SHINING PATH who eventually released their only album 'Basic Training Manual' in an edition of only 250 copies, most probably in 1986. The band then started to drift apart, and shortly after Andrew sadly passed away - this re-issue of 'Basic Training Manual' and the upcoming compilation 'Now is Then' comprised of previously unreleased DIVE POSITION and THE SHINING PATH material is dedicated to his memory.