Cerca:leto

Im achten Bandjahr sind sich LETO aus Hamburg mit ihrem dritten Studioalbum "LEben und TOt" der eigentlichen Bedeutung ihres Bandnamens bewusst. Nach den beiden Alben "Vor die Hunde" (VÖ 08/18), "Wider" (VÖ 10/20) und drei digitalen Singleveröffentlichungen in 2022 ("Meins/Deins u.a.) dehnen Leto die Genrevielfalt, die ihnen von einschlägigen Magazinen seit dem Debütalbum zugesprochen wird, erneut. Auf dem sicheren Post-Punk-Trampelpfad, den Bands wie Turbostaat, Love A oder Pascow über Jahre in die Musiklandschaft stapften, lässt es sich nach wie vor gemütlich gehen. Allerdings reißen Leto auf "Leben und tot" so stark wie noch nie aus und schreien sich in Emo-/Post-Hardcore-Manier die Seele aus dem Leib und drehen Gitarreneffekte wieder auf Anschlag. Textlich sind Leto auf "Leben und tot" klarer als zuvor und diskutieren und punktieren in Themenfeldern wie struktureller Ungleichheit oder Klimakrise - den Zeigefinger richten Leto dabei vornehmlich auf sich selbst. "Leben und tot" ist laut und verlangt ab. Insgesamt wurden für das Album über 30 Songs geschrieben, wovon 11 Lieder ausgewählt wurden. Das Album wurde von Kristian Kühl im Toolhouse (Rotenburg a.d. Fulda) aufgenommen und in Hamburg gemischt. Hauke Albrecht hat das Mastering der Platte übernommen. Julius Dettmer hat das Artwork erstellt.

Mit sperrig und kontrapunktisch kann man "Wider" untertiteln, ebenso mit eigenständig und -sinnig. Ja, Leto waren und sind deutschsprachiger Post-Punk mit Emo-, Hardcore-und Indie-Einflüssen. Obendrein passiert in wechselnden Melodien und eingängigen Rephrains viel Überraschendes und Abwechslungsreiches in den zehn Songs; so finden sich neuerdings auch rockige Momente, posenfrei und ohne Peinlichkeit, in Songs wie "Keine Reaktion", "Katzenwäsche" und "Blau". Leto treiben sich und die Hörer*innen in vielen Passagen regelrecht durch "Wider", häufige 200 BPM sprechen fürs Tempo und insbesondere Phills Gitarrenspiel unterstreicht die genre-untypischen Instrumentalteile. Die Hardcore-und Emo-Vergangenheit einzelner Bandmitglieder scheint in harten, schreienden Passagen immer wieder durch, bestes Beispiel ist mit "Kammerflimmern" der Song, den Jörkk Mechenbier (Love A, Schreng Schreng & La La, Trixsi) gemeinsam mit Jannes und Paul eingesungen beziehungsweise -geschrien hat. Der Entstehungsprozess lief bei "Wider" schneller und zielstrebiger als bei "Vor die Hunde", schrieb die Band die Songs diesmal am Stück, und das Album klingt entsprechend mehr aus einem Guss als das Debüt, dessen Titel in einem Zeitraum von zwei Jahren entstanden waren. Produzent Kristian Kühl, der Bands wie Leoniden und Schrottgrenze aufgenommen hat und selbst Gitarre bei Trixsiund Shatten spielt, hat "Wider" mit seinem dynamischen Mix maßgebliche Impulse gegeben. Eines scheint gleichzubleiben: Leto nehmen ihre Alben in Krisenzeiten auf: Entstand die Produktion von "Vor die Hunde" während des G20 Gipfels, ist "Wider" ein Kind der Pandemie. Gemastert wurde die Platte von Helge Hasselberg, das Artwork stammt wie bereits beim Debüt von Julius Dettmer.

Leto aus Hamburg bieten auf ihrem Debütalbum "Vor die Hunde" zwölf deutschsprachige Songs, die an Bands wie Captain Planet und Muff Potter erinnern und die "mit ihrem lockeren Vibe, der Punk-Schmiss an Indie-Tanzbarkeit schweißt und sich auch den ein oder anderen Ausreißer in komplexere Gefilde gönnt" (visions.de), massiv nach vorne gehen. Diese Musik überzeugt mit einer überraschenden instrumentalen Komplexität, die insbesondere Phills Gitarrenspiel zu verdanken ist. Während die beiden Sänger Jannes (Gitarre) und Paul (Bass) in wechselnden Farben und Stimmlagen von Emo-Elementen bis zu glasklarem Gesang scharfsinnige Texte ausführen, hält Drummer Pascal mit der Präzision eines Uhrwerks allen den Rücken frei. Mit anderen Worten: Irgendwo zwischen sperrigen Strophen und überraschend hymnischen Refrains loten Leto ihre Extreme aus. "Vor die Hunde" wurde zusammen mit Produzent Olman in den Hamburger NullZweiStudios (Hertzwerk) realisiert. Der Longplayer erscheint als LP und CD bei Rookie Records.

Russian producer Nocow returns to Rekids with an enthralling full-length album entitled 'Atoner' this November.

Real name Aleksei Nikitin, Nocow is known for his versatility, producing a large body of genre spanning work on labels like Clone Royal Oak, Figure, Fauxpas Musik, Gost Zvuk and Styrax. The St. Petersburg-based producer debuted on Rekids last year with his 'Samaya Dolgaya Noch' EP, a mellow release complete with vocal driven cuts as well as 2-step rhythms, and now returns with a myriad of productions in a fourteen track album entitled 'Atoner'.

'Atoner' opens with an eponymous track that gently unravels with soaring synths and subtle percussion before Nocow's voice emerges alongside twinkling atmospherics in 'Complie'. Throughout the long player are also intricately produced short tracks sitting between the two and three-minute mark such as looping vocal number 'Dancerecter', the melodic and rattling 'Leto' and ominous 'Delore'.

Ostanovitsa' is a murky offering featuring a meandering organ riff, leading into the pitter-patter drums and serene chords of 'Starveme (feat. Tayut Ogni)'. 'Come Along' is a crystalline and otherworldly experience from start to finish, whilst 'Melting Lights' is comprised of echoing, subterranean sounds, making way for reverberating snares and metallic stabs in 'Standalone'.

Husky murmurs and soothing notes then make up 'Neva', moving into the syncopated beat and idyllic chord sequences in 'Can't Get Enough' ahead of 'Stonecold' and its icy aesthetic. Finally, the album reaches a mesmerising conclusion with the spellbinding 'Footer'.

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

To coincide with its 20th anniversary, Clint Mansell's haunting score to Darren Aronofsky's 2000 film, Requiem for a Dream, performed by Kronos Quartet, returns to vinyl. This was Mansell’s second of several collaborations with Aronofsky, following 1997’s π, and features arrangements by David Lang of Bang on a Can. The film stars Academy Award-winner Ellen Burstyn, Jared Leto, Jennifer Connelly and Marlon Wayans, and was adapted from the 1978 novel by Hubert Selby, Jr. (Last Exit to Brooklyn), who also wrote the screenplay with Aronofsky. Set on the rusted mean streets of Coney Island, Brooklyn, Requiem for a Dream tells the parallel stories of four people pursuing their dreams of better lives. The reissue features the original soundtrack, plus two bonus tracks.

Clint Mansell, a musician, composer, and founding member of the band Pop Will Eat Itself, first worked with Darren Aronofsky on the score for his 1998 film π. Also released by Nonesuch are Mansell’s scores for Aronofsky's The Fountain (2006), nominated for a Golden Globe, and Noah (2014). His other scores include The Wrestler (2008), Moon (2009), Black Swan (2010), Filth (2013), Stoker (2013), High Rise (2016), for which he received an Ivor Novello nomination, and Loving Vincent (2017).

For more than 40 years, San Francisco’s Kronos Quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello) – has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 50 recordings, collaborating with many of the world’s most eclectic composers and performers, and commissioning over 850 works and arrangements for string quartet. A Grammy winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize. Most recently, in 2019, Nonesuch released Kronos’s ground-breaking collaboration with composer Terry Riley, Sun Rings, and, in 2017, Folk Songs, featuring Sam Amidon, Olivia Chaney, Rhiannon Giddens and Natalie Merchant.

Berlin artists CRYME and Christoph Faust get together under their new name C&CF to present their creative take on modern house music with classic touches with the release "No Fool Love"
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This one's for the summer, for the lovers - packed with vocals, good energy, lush sound design and a lot of chord stabs.

Nach einem aus dem Ärmel geschüttelten Debütalbum, einem charmant und chaotisch hingerotzten Zweitling und einem Album Nummer 3, das sich mehr oder weniger innerhalb weniger Tage von selbst geschrieben und aufgenommen hatte, erscheint nach 4 Jahren Pause ein neuer Longplayer des Duos Schreng Schreng & La La. So taten sich Jörkk Mechenbier (Love A) und Lasse Paulus kurzerhand mit Freund und Producer Kristian Kühl (Leoniden, Schrottgrenze, Leto) in Hamburg zusammen und nahmen in gewohnt kurzer Zeit einmal mehr ein unwahrscheinliches Album voller kleiner Skurrilitäten, großen Gesten, scharfen Beobachtungen und zauberhaften Nichtigkeiten auf.

Already supported by Don Letts on BBC Radio 6, NTS, KEXP, Radio 3 and featured on Mixmag and Les Yeux Orange. Celebrate marks the beginning of a new chapter in PIEK’s artistic evolution.

Eight years after his debut LP "Despertar" , he returns with a radiant, emotional, and dancefloor-ready album that explores the uplifting power of electronic music. Celebrate is liberating. It’s also spicy, at times irreverent, emotional, and brutally honest. Above all, it’s a celebration and a beautiful journey through decades of dance music, drawing inspiration from 70s Latin and tropical sounds, 80s Disco, 90s Dance and even 2000s R&B and Hip Hop

Black Museum by Bruno Letort & David Torn & David Krakauer, released 17 January 2025.

This version of Black Museum comes as a 1xLP.

The vinyl is pressed as a opaque disc.

Buffalo Tom (Bill Janovitz, Chris Colbourn und Tom Maginnis) gründeten sich 1984 an der University of Massachusetts in Amherst - einer Brutstätte von Post-Punk-Gitarrenbands wie Dinosaur Jr. und Pixies. Die drei langjährigen Bandmitglieder erkennen die Leistung ihrer Langlebigkeit als kreative Einheit an. Anfänglich boten sie einen rauen, treibenden Sound, der Janovitz" imposanten Gitarrensound hervorhob, doch der frühe Ansatz von Buffalo Tom wich einem melodischeren, aber nicht weniger unverwechselbaren Stil. Die Band hat zehn Studioalben veröffentlicht, das jüngste, Jump Rope, erschien Anfang dieses Jahres. "Big Red Letter Day" wurde 1993 veröffentlicht. Auf ihrem vierten Album machten sie das, was sie sehr gut können, aber mit mehr Glanz in der Produktion. Das Album wurde in LA von den Robb Brothers aufgenommen und enthält zahlreiche Publikumslieblinge, vor allem: "Sodajerk", 'I"m Allowed", 'Treehouse" und 'Late At Night". Die Band erlangte neue Berühmtheit, als "Late At Night" in einer Schlüsselszene der kurzlebigen TV-Kultserie "My So Called Life" mit Claire Danes und Jared Leto in den Hauptrollen zu hören war, die Mitte der 90er Jahre ausgestrahlt wurde. Der Song kam nicht nur in der Folge vor, sondern die Band wurde auch bei der Aufführung des Songs gezeigt. Der Rolling Stone bezeichnete den Song in einem Bericht über die Band als "inspirierte, geradlinige Power-Pop-Sammlung", und Spin schrieb: "Die Leidenschaft fühlt sich echt an und die Musik ist erhaben."

THE DAWLESS present BROKEN AUX LP, their own modern vision of true & old school electro, bass and ghetto-house, - we are super excited to share this first full length project on System 108 by Rami aka Goddeem and Serega aka GOL'D! Already a multi-million streaming project, now it is time for the vinyl release, all comes as superb 2 x LP with gatefold format.

BROKEN AUX is a collaboration heavy album produced in fine style, highlighting the duo's studio production skills, advanced drum machine programming and a perfect feel for that groovy street vibe that everyone loves. Like classic hip-hop and electro albums from the golden era of the genre, the LP is massive (4 sides, including bonus tracks) and unites the band's music friends under one roof, featuring KACCETA, Kristina Si, Kovyazin D, Errortica, Raw Takes and many many more!

This collection is reviving the most popular pieces from blockbuster movies by offering a fully fledged state-of-the-art orchestral sound. As the Original Soundtracks for many tracks are recorded in sound quality of the 50s/60s or even in mono – this recording brings a truly revolutionary listening experience to those pieces.

Damien Quintard, who took care of the mastering, co-founded with Brad Pitt “Miraval Studios” in 2021, a recording studio inside Chateau Miraval, bringing back to life the iconic “Studio Miraval”, considered in the 70s till the late 90s as one of the most prestigious studios in the world, recording acts such as Pink Floyd (The Wall), AC/DC, Rammstein, Sting, Muse among others.

Cotenius X is an exploratory improvisational project of the Ukrainian sound artist Daria Redkina and the Russian experimental vocalist Varya Pavlova aka Lisokot. Improvising together since 2017 they incorporate folk, electronic and musique concrète elements into their spontaneous compositions. “Plastic Bag” is a testament to collaboration - an archival reflection of the time the duo spent experimenting together. Their theatrical performances involve impersonation or adoption of different characters and are informed by social, political, historical, and site-specific narratives. The duo has been compared to The Residents and see themselves carrying the psychedelic absurdity of the US group forward by giving it a feminine twist.

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at SXSW, Transmusicales in France and Electric Picnic in Ireland. Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM SHATT weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

Opt Out by Oum Shatt, released 26 January 2024, includes the following tracks: "Love the Way She Stands", "Madame LeSoleil LeVant", "Over the World and Out", "Investors" and more.

This version of Opt Out comes as a 1xLP.

The vinyl is pressed as a blue disc.

Die preisgekrönte, mehrfach mit Platin ausgezeichnete Band Thirty Seconds To Mars, bestehend aus den Brüdern Jared und Shannon Leto, veröffentlichen am 15.09. das mit Spannung erwartete sechste Studioalbum ”It’s The End Of The World But It’s A Beautiful Day”.

Mit ihrem Album betritt die Band neues klangliches Terrain, mit straff arrangierten, prägnanten Songs, die sich auf gefühlvollen, direkt aus dem Herzen kommenden Gesang konzentrieren. Die 11 Songs des Albums erforschen ein neues Kapitel der Gefühle der Brüder, während sie Trost in den elementaren Dingen finden:
Liebe, das Ergreifen des Augenblicks, Herzschmerz und letztendlich Transzendenz. Besonders herausragend ist die 1.Radiosingle ”Stuck”, wie auch die zweite Radiosingle ”Seasons”.

Anfang des Monats war die Band Headliner bei zwei ausverkauften offziellen Lollapalooza Aftershows im Chicagoer House of Blues, wo sie den IG ”Seasons” erstmals vorstellten. Außerdem kehrte die Band zum ersten Mal seit 2006 auf die Hauptbühne des Festivals zurück, die mit Spannung erwartet wurde. Forbes bezeichnete ihren Auftritt als ”visuelles Spektakel” mit ”einem Auftritt, der schwer zu toppen sein wird”, in Anspielung auf Jareds Sprung vom Dach der Bühne zu Beginn des Sets.

Auch für Deutschland ist eine grosse Tour geplant für Anfang 2024, das announcment folgt am 08.09.!

Following the unpublished works of the Ukrainian/Estonian musician Valentina Goncharova, Volume 2 of Shukai’s archival project sits in direct contrast to the solo works of Vol. 1. Recordings 1987-1991 Vol. 2 completes Shukai’s dive into the sound world of an important yet overlooked artist working within Soviet era electroacoustics.

What would you do if a never before released jazz funk album from 70s Yugoslavia had dropped suddenly into your arms? An album which sounds like a crate diggers holy grail!? Album full of heavy drum breaks, repetitive bass grooves, superb sax solos and world class jazz arrangements finely intertwined with Yugoslavian folk music elements?! - “PRESS IT!” ~ That’s what we said always striving to present the future of unheard sound of Yugoslavia! With the help from Mr. Cosmic himself (Željko Kerleta), Jovan Maljoković and his wife Nevenka and, of course, Radio Belgrade who provided the recordings buried deep in their library, here we present Jovan’s first vinyl release since 1989 and his album nr. zero. If this LP was released in 1976, sounding this clear and impressive as it sounds today, it would be up on the pedestal with cult Yugo jazz-funk releases such as Sećanja by Miša Blam (also released on Everland) – and believe me – it would burn a whole through your wallet. Don’t allow me to get started on the Jovan’s ensemble personnel here, represening the crème de la crème of jazz and funk instrumentalists of Yugoslavian Jazz (Goce Dimitrovski, Miloš Krstić, Kire Mitrev, Miodrag Maljoković, Aleksandar Sanja Ilić, Miša Blam, Uroš Šećerov...). The raw execution, top recording and compositions resembling but not imitating the greatest contemporary western jazz-funk ides of the time, that sound like something that could have been easily released on Mainstream, Columbia, MPS or even be an authentic Kudu hit record if it had been released at the time by Creed Taylor. Just listen to the track A1 Ponor Naviše with a whirlwind of big band arrangement turnovers or track B1- Uspomena (hint: Sećanje...) where Jovan takes on the ‘Lame donkey’ in a strong downbeat rearrangement released just two years after Volker Kriegel published it on his album Lift! (MPS/BASF 1973.). You’ll be blown away by the instrumental prowess of the ensemble and Jovan’s ideas! ~ Dr. Smeđi Šećer

Repress of the RSD LP, this time on Black vinyl. Soundtrack to David Lynch’s 1984 cult film. Composed by TOTO and Brian Eno. Sourced from the original mastertapes. Audiophile Pressing at RTI.

Coco finally available on double vinyl for the first time. With his unmistakable sound-mix of Jazzand Swing samples and electronic music, Parov Stelar has secured his own unique position in the world of music.

The double vinyl starts off where his former successful LP's ended. On the other hand he is consequently developing his established jazzy sound, by adding new stylistic elements to his tunes. Also his dancefloor-productions, which

have been published only as singles, now find a debut to a greater extent on this album. They meet with Stelar's melancholic-melodious trademark-sound, which is well known from his earlier albums, but now also spiced up with Hip-

Hop beats and synthpads. An electrifying album to fall for. The two vinyls are originally thought of as one with tracks that can be danced to and one with tracks just for listening. Nevertheless the line between those two approaches becomes blurred in Parov Stelar's newer compositions. The

album makes your feet tap more and more with every track. The musician himself sees the LP as a 'book for musical readers' which is classically defined in introduction, middle part and end. Because of streaming hit singles the

consumer behaviour changed, people don't listen to albums the same way they used to. The whole experience that includes refelecting on less prominent tracks somehow got lost. Parov Stelar sets 'Coco' as a statement against this habit.