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CLEARxCUT is out there to spread the message of total liberation. (Former) Members of HEAVEN SHALL BURN, IMPLORE, and KING APATHY/THRÄNENKIND started this collective, because they are dedicated to the vegan straight edge (XVX) and want to confront listeners with inconvenient thruths and todays harsh reality. The German band addresses their songs and convictions to all people who are prepared to stand up for a better, fairer future - but especially to all anarchists, anti-fascists, feminists, primitivists and indigenous peoples of the world. Or to put it brief: to all defenders of our earth. The stylistic choice of means falls on metallic hardcore, which is rooted in a strong DIY ethic. Having released their first two albums "For The Wild At Heart Kept In Cages" (2019) and "Songs of Desire Armed" (2022) for Catalyst X Records (Gather, Nueva Ethica, Abnegation, Birthright, Maroon, Point Of No Return, Forward To Eden), "Age Of Grief" now marks CLEARxCUTs debut for LIFEFORCE RECORDS. Started in the mid-1990ies as label with mainly vegan and straight edge bands, the German Label has an impressive history with XVX bands such as ARKANGEL, DAY OF SUFFERING, RANCOR, UNCONQUERED, UNBORN, FAULT, or DEADLOCK. Being a collective that is outspoken in its message and keeps the vegan straight edge banner high, CLEARxCUT continue this tradition. Also besides having switched their label, "Age Of Grief" marks a fresh start for CLEARxCUT. After a big shift in their ranks, before the global pandemic hit, the band moved from two (female) vocalists to one (male) frontman. This is accompanyed by a change of sound. On their third full lenght album, the German band is diving into the realms of metallic hardcore, leaving behind their early hardcore punk influences. Noone should be surprised by this move, as CLEARxCUT was conceived as a collective where members, names, or styles wouldn’t matter, but one and only the final goal of spreading a positive message in defense of animal rights and sober living. "Age Of Grief", in this respect, is extremely consistent.

2x7"
Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.

Career trajectories are rarely linear or make logical sense. Life is always unpredictable so all you can do is put in good work and keep at it. Joh Chase is a testament to this. Over the past two decades, the Seattle-raised, Los Angeles-based artist has persistently honed their songwriting and toured, opening for acts like Noah Gunderson and David Bazan. This dedication comes out entirely in their songs, which are so timeless, confident, and inviting they can only come from someone who’s devoted their whole life to their craft. Chase’s new album SOLO feels like a turning point for them: it’s the culmination of a lifetime of writing, losing, loving, and doing it all yourself. The LP adventurously toes the line between genres and sensibilities but it’s all filtered through Chase’s charming and fully-formed vision. SOLO is a testament to Chase’s do-it-yourself ethos throughout their entire career—they chipped away, self-funded tours, and crowdfunded this LP. But by finding their voice, they now no longer feel alone. “This is the most support I've ever had in my life,” says Chase. “I do not feel alone at all. There’s so much energy and generosity here around these songs.” Though it’s not their debut, SOLO feels like a reinvention for an artist: a daring reintroduction for a timeless talent. “I spent my life making music and trying to do it about 10 different ways,” says Chase. “Now this one feels like it. This album feels like a leveling-up of my music in general. When I look at it now, I realize this is the first record that's really me.” “Mesmerizing, infectious, joyful, and heartbreaking; this is the best new album I've heard in a decade. Joh Chase has arrived

EYE – the new band from Mammoth Weed Wizard Bastard (MWWB) singer-songwriter/musician Jessica
Ball – has announced the arrival of their eagerly awaited debut album, 'Dark Light’. "These songs have
been many years in the making... Some of these ideas were crafted before MWWB, this is something
I've always wanted to do. Over the last couple of years, I’ve spent some time on finishing and crafting
these ideas and pieces of music into songs. Some were snippets of lyrics from my early twenties which
reflect on what seems like a different person. I think it’s quite poetic how it’s all come together now.”

If blue is the color of sadness, or the best color to reach authenticity, R.Y.F. – the project of the Italian singer-songwriter and musician Francesca Morello, based in Ravenna – goes even further with the new album Deep Dark Blue. Deep Dark Blue is an underwater album, maybe it is even a deep-sea album. The sound is dark and muffled, as if we were in a sort of cradle, a blue bubble, a sea cocoon in which to wrap ourself ves to regenerate and achieve peace, but whose casing also conveys energy. Born following a dazzling baptism in the mesmerizing sea of Stromboli, in Sicily, Deep Dark Blue is an album of suffering and healing which confirms R.Y.F.‘s destabilizing power. According to her: ”Sometimes I experience moments of great suffering, in the last two years caused by my wife’s health problems. I was “broken inside” and I didn’t know if I would be able to go back to the way I was before. Deep Dark Blue tells how I felt and how I would like to rebuild myself. I still talk about the freedom to love, but I also felt the need to talk about suffering, and I tried to do all this with irony, in the most joyful way possible. And it worked. That’s why this is also a healing album”. In Deep Dark Blue there are also some important guests, underlining R.Y.F.’s rise in her international career. They are Moor Mother, Skin (Skunk Anansie) and Alos (aka Stefania Pedretti, formerly OvO and Allun), united by feminism, queerness and political activism, to get precious artistic affinities stronger in these hard times of new repression that we are experiencing. Deep Dark Blue arose from software and analog instruments and was then developed with Maurizio “Icio” Baggio (The Soft Moon, Boy Harsher), who also took care of recording, production, mixing and mastering at the music studio La Distilleria in Bassano del Grappa. Matteo Vallicelli (The Soft Moon, Death Index) participated in the production of some tracks. Although it flows with compact fluidity, the album highlights R.Y.F.‘s mastery in expressing herself through different stylistic genres. There is a dark electro-punk common thread, but there are also blackness (Run Run Run), alt-metal guitars on dance house structures (Can I Can U feat. Skin), industrial doom (Deep Dark feat. Alos) and other experiments (the instrumental interludes Droplets and Sirene). The variety of sounds corresponds to a spontaneous variety of topics. The theme of suffering opens and closes the tracklist with Blue and Deep Dark feat. Alos, almost as if to represent a first contact with the water and the culmination reaching the bottom of the abyss, and is approached both with a smile on the lips in the sexy Lies and from a more authorial perspective in the heartfelt Violent Hopes and December 25th, the first songs on the album to have been written. Deep Dark Blue by R.Y.F. is an immersion from which you emerge different from your old self, some kind of magical creature in a new form, but it is first of all an electric shock from which one is violently happy to be struck.

Christina Kubisch’s Stromsänger finds this legendary sound artist at the top of her game mixing electromagnetic wave recordings with a score for six voices, creating powerful results. Stromsänger is based on a collaboration with the Norwegian vocal ensemble Trondheim Voices and on a special experience while researching and recording electromagnetic waves in the city of Trondheim.

“The general theme of the composition is the idea of sounds which travel. During a tram ride from the city up to the hills with an old tram I discovered not only stunning views of the surrounding landscape but as well a special soundscape. Wearing a custom made induction headphones, I could hear the normally hidden electromagnetic fields of the tram, which were so impressive and musical to me that I immediately decided to base my piece for Trondheim Voices on this discovery.

As a start, a series of pure vocal recordings were produced by Trondheim Voices while listening to a choice of electromagnetic tram sounds and following score instructions. This material was mixed in my Berlin studio and afterward was played back through a multi-loudspeaker setup into the room of the Elisabeth Church in Berlin and was instantaneously recorded. The emerged recording was played back and recorded again. The process of playing back the previous recording was repeated numerous times, generating numerous “re-recordings”, until the voices sounded aethereal and abstract. The last one of these recordings became the very beginning of the Stromsänger piece.

Part A is based on the electromagnetic sounds of the waiting tram and previously recorded voices. The singers come on stage and start to sing together with their recorded part which slowly fades out while the live singing takes over: a kind of choral for electrical tram waves and voices.

Part B is based on the actual tram ride with strong and intense electromagnetic sounds. The single recordings were treated electronically and were divided into six channels. Each singer has chosen one of these files and improvises with the magnetic sounds as a soloist or in duos or trios.

Part C is based on the itinerary of the tram ride to Lian, where a pilgrim's path starts. The names of the single stops, which have very beautiful and poetic names, are performed together as a kind of "sound poetry". The singers walk around on stage and/or can choose special positions for their performance. The recording of the word "Lian", the final stop, was recorded beforehand and played back and re-recorded several times in the open Norwegian landscape near the final tram stop. The voices slowly disappear and fade out.”

Christina Kubisch, 2024

Belgian Johan van Roy has had one of the longest careers in electro-industrial music, rising from humble beginnings in the '80s EBM scene to become a figurehead of the genre.
Suicide Commando's music is characterised van Roy's nasty, ultra-nihilistic worldview and his unflinching exploration of the dark side of human nature, combined with the intense, dancefloor-focused sounds in which it was packaged.
Now, exactly 20 years after its original release in 2003, Suicide Commando’s legendary Axis of Evil album is re-released with lots of brand new goodies.

Disco Segreta breathes new life into two of the most elusive and coveted italo disco tracks of all time!

Originating from the paradisiac island of Sardinia, Italy, Susy Pintus embarked on her musical journey alongside her brother at Radio Cagliari Centrale, one of Sardinia’s very first “free radios,” which opened its doors in 1977. Her singing career took flight in 1978, and by 1979, she attained national acclaim with her single “C’Est Magnifique,” a disco reinterpretation of the renowned Cole Porter track.

However, Susy’s most sought-after single undoubtedly remains her 1986 italo-disco 45 featuring the tracks “Fragile” and “Live for Your Love”. These compositions, expertly arranged by Italian jazz piano virtuoso Danilo Rea and superstar musician Aldo Tamborrelli, weave a captivating tapestry of sound using instruments like Yamaha DX7 and CP80, Roland Juno 60 and JX 8P, as well as the omnipresent Linn 9000. The result is a distinctive blend of italo-disco, synth-pop, and a touch of the “balearic” vibe.

Originally released in a limited run of 1500 copies on a 45, these tracks have become exceedingly rare over time, finding their way into the wishlists and collections of discerning italo-disco enthusiasts.

Now, Disco Segreta proudly reissues these two exceptional italo disco gems, granting them the expanded 12” treatment they rightfully deserve.

This deluxe edition includes the original tracks, meticulously remastered to meet contemporary standards without destroying the feel of the originals, along with two remixes of “Fragile” and “Live For Your Love” by Italian wonder Cosimo Mandorino aka Cosmo Dance.

DISBELIEF’s new album’ Killing Karma’ once again underlines the band's singularity and their persistence to follow an unconventional way for more than 30 years against all resistance. DISBELIEF have grown into a very experienced band that has always kept an open minded spirit, yet remote from any mainstream connection, in order to further sharpen their Death Metal style with implacable conviction and dedication. A colossal, destroying, atmospheric, yet subtle wall of sound was conceived with this new album. The band invited two of the most unique singers in the German Metal scene on ‘Killing Karma' : Michelle Darkness (End of green) and Joschi Baschin (Undertow). They perform on some of the album songs : ’The Scream that slowly disappeared’ , ‘Flash of inspiration’ and the epic ‘Reborn’. DISBELIEF captivates the listener further with a special rendition of Killing Joke classic ‘Millenium’, shaping it into a very memorable remake which will surprise a lot of fans out there. Lyric wise, DISBELIEF vocalist Karsten ‘Jagger’ comments : "'Killing Karma' is a declaration of war to desperation, grief and helplessness, an unbelievable musical journey through the human soul threatening to break under the weight of life." DISBELIEF ’s new album ‘Killing Karma’ is a diversified, captivating , strength giving, crushing Death Metal monster !

FOR FANS OF: IRON MAIDEN, SAXON, THIN LIZZY Mighty Music sind stolz darauf, die Veröffentlichung eines Live-Albums der TYGERS OF PAN TANG mit dem Titel "Live Blood" anzukündigen. Die Veteranen der NWOBHM, die Tygers, feiern derzeit ihr achtjähriges Bestehen bei Mighty Music. In dieser Zeit haben sie drei gut aufgenommene neue Alben veröffentlicht, von denen das letzte, "Bloodlines", im Jahr 2023 von der Kritik durchweg positiv aufgenommen wurde. Die Band, mit Gitarrist Robb Weir an der Spitze, zusammen mit den langjährigen Mitgliedern Jack Meille (Gesang) und Craig Ellis (Schlagzeug), hat für "Bloodlines" zwei neue Mitglieder aufgenommen: Gitarrist Francesco Marras und Bassist Huw Holding. "Live Blood" enthält Material aus der gesamten Bandkarriere, darunter Songs aus den ersten vier Alben bei MCA Records sowie aus den letzten vier Alben mit neuem Material. Jack Meille kommentiert: "Nach all der Zeit mit den Tygers ein Live-Album aufzunehmen? Ich hätte nie gedacht, dass ich das erleben würde, aber mit den Tygers Of Pan Tang habe ich gelernt, dass das "Unmögliche" möglich ist. "Live Blood" fängt die ganze Energie ein, die wir liefern, wenn wir unsere Lieblingssongs live und roh spielen!".
Die Aufnahmen wurden im Sommer 2023 im The Patriot in Wales (UK) gemacht und werden als Einzel-CD und als Doppel-Vinyl mit zusätzlichen Tracks erscheinen. Vor dem Album werden zwei Singles veröffentlicht: der Live-Favorit "Gangland" von ihrem legendären "Spellbound"-Album und das versteckte Juwel "Keeping Me Alive" von "Ambush".

After a relocation to the Pacific Northwest,
Continental Drift's Conoley Ospovat turns in a laid-back EP befitting his verdant environs. Even the most energetic of the selections, Last Month in Lincoln from the B side, is anchored by an understated groove bopping along far below the floating chimes & rolling bass-line at its forefront. The pace across this record is often reminiscent of Melbourne's Analogue Attic showcases. Harwood Summer Nights dispenses with percussion altogether, while Dreamin' (Daydream Mix) reimagines the titular downtempo breakbeat tune as heard through a struggling FM radio receiver a little further up the beach.

Featuring vocals by the one Lindsey Flowers.

The Finnish-Swedish composer and pianist Iiris Viljanen, has through her honest and fine expression, achieved success with everything from her Grammy-winning album "Den lilla havsfrun" to a role, and composer, in the theatre production "Det vilda”. Recently, she was at everybody’s attention and gained success at the Peter LeMarc tribute concert in Tele2 Arena in front of a 16,000 mesmerised audience. Later this spring, she goes on a performance tour together with Stina Ekblad. A performance based on her new album "Själsligt upvakanden vid Slussen". An album that enchants with honest, dreamy but concrete songs performed by an almost groovy band. An album where the darkness is accompanied by hope. She has never really sounded like this before, not so directly, alive and embracing.

Released on 180-gram vinyl including sleeve notes and rare photos.Recorded Live at Basins Nightclub in February 1987, 12 songs including the hits that made Desmond Dekker an international reggae star. Desmond Dekker's contribution to Jamaican ska, rocksteady and reggae is unique with his amazing songwriting and wonderful vocal talent.His song "Israelites" reached the top of the UK Singles Chart in 1969 and was one of the first reggae songs to gain widespread popularity outside of Jamaica. The song's success helped bring reggae music to a global audience. Desmond Dekker's music often featured themes of everyday life, love, and social issues, and he played a significant role in popularizing Jamaican music genres.Desmond's other successful songs include "007 (Shanty Town)," "It Mek," and "You Can Get It If You Really Want".His contributions to the development of Jamaican music have left a lasting impact, and he is remembered as one of the pioneers of reggae and a key figure in the genre's international success.Recorded Live at Basins in 1987, here you have a live performance of 12 songs including the forementioned hits that made Desmond Dekker an international reggae star.

'Welcome to Hotel Heaven' is a fresh start for is George van den Broek, a young man with an old soul and the voice to match. His music as Yellow Days fittingly, feels both of his era and completely other: a woozy mixture of soul, blues, psych, and groove leaking through the walls of a jazz lounge that's come unstuck in time. A self-taught multi-instrumentalist, George has never fit into one style or space. Despite George being an old soul — he hates social media, loves vinyl, and collects old cameras — Yellow Days really is a project about youth and modernity: “Hotel Heaven represents fake comfort in all its forms, this whole bullshit idea of luxury where nothing is real,” explains George. “There are so many young people who are living that kind of life. Because of the cost of living crisis, people are spending all they’ve got on a bag of white powder just to make them feel nice. Their jaws are still swinging at four o’clock in the morning, but they’re not saying anything. I wanted to write about these people and everything that is happening right now. This TikTok age where everyone wants to be famous. It’s also a big 360 of my life and career to date. I wanted to get away from everything I’d done before, wash my face and start afresh.” - Yellow Days

Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Fat White Family sind zurück. Das lang erwartete vierte Album der Kultband aus dem Süden Londons, Forgiveness Is Yours, hat sie, wie alles, was sie bisher gemacht haben, noch mehr an die Grenzen ihres kreativen Talents, hrer Gesundheit, ihres Verstandes und ihrer eigenen Existenz gebracht. Die äußeren Feinde haben sich aufgelöst - vielleicht waren sie die ganze Zeit nur Halluzinationen. Nach der Veröffentlichung von "Serfs Up!" zementierten Fat White Family ihren Ruf als archetypische britische Post-Punk-Band des 21. Jahrhunderts - und brachten eine ganze Generation von Außenseiter-Punkrock-Gruppen hervor, von Shame und Black Country über New Road bis hin zu Black Midi und Fontaines DC, ganz zu schweigen von ihrer berüchtigten Live-Show, die es irgendwie schafft, Empörung und Chaos mit Gelassenheit und Schönheit zu verbinden. Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Fat White Family sind zurück. Das lang erwartete vierte Album der Kultband aus dem Süden Londons, Forgiveness Is Yours, hat sie, wie alles, was sie bisher gemacht haben, noch mehr an die Grenzen ihres kreativen Talents, hrer Gesundheit, ihres Verstandes und ihrer eigenen Existenz gebracht. Die äußeren Feinde haben sich aufgelöst - vielleicht waren sie die ganze Zeit nur Halluzinationen. Nach der Veröffentlichung von "Serfs Up!" zementierten Fat White Family ihren Ruf als archetypische britische Post-Punk-Band des 21. Jahrhunderts - und brachten eine ganze Generation von Außenseiter-Punkrock-Gruppen hervor, von Shame und Black Country über New Road bis hin zu Black Midi und Fontaines DC, ganz zu schweigen von ihrer berüchtigten Live-Show, die es irgendwie schafft, Empörung und Chaos mit Gelassenheit und Schönheit zu verbinden. Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Black Tusk kennen sich schon lange. Gitarrist Andrew Fidler und Schlagzeuger James May sind beide in den Sümpfen von Savannah, Georgia, aufgewachsen, wo sie seit 19 Jahren gemeinsam auf die Pauke hauen.
Obwohl sie oft in einem Atemzug mit Baroness und Kylesa genannt werden, sind Black Tusk ein ganz anderes Kaliber. Diese Sumpfmonster haben sich nie weit von ihren Wurzeln im Metal, Sludge und Punk entfernt, obwohl sie auf ihrem letzten Album nach dem Tod von Bassist Jonathan Athon darum kämpfen mussten, weiter zu bestehen.
The Way Forward ist das Ergebnis des gewonnenen Kampfes. Das Album stürmt mit neuer Besetzung (zu der auch die ehemaligen Mitstreiter Chris "Scary" Adams und Bassist Derek Lynch gehören) direkt nach vorne. Gemeinsam bahnt sich die Band einen Weg in die Zukunft, indem sie sich auf das verlassen, was Black Tusk am besten kann. Die Leadsingle "Brushfire" kommt mit einem fiesen, hässlichen, mit den Füßen stampfenden Riff daher. Der raue und ruppige Gesang lässt die Boxen durch "Dance on Your Grave" trampeln, während "Breath of Life" mit erhobener Faust lostrommelt, als ob ein Gewitter rollt und kracht.

Black Tusk kennen sich schon lange. Gitarrist Andrew Fidler und Schlagzeuger James May sind beide in den Sümpfen von Savannah, Georgia, aufgewachsen, wo sie seit 19 Jahren gemeinsam auf die Pauke hauen.
Obwohl sie oft in einem Atemzug mit Baroness und Kylesa genannt werden, sind Black Tusk ein ganz anderes Kaliber. Diese Sumpfmonster haben sich nie weit von ihren Wurzeln im Metal, Sludge und Punk entfernt, obwohl sie auf ihrem letzten Album nach dem Tod von Bassist Jonathan Athon darum kämpfen mussten, weiter zu bestehen.
The Way Forward ist das Ergebnis des gewonnenen Kampfes. Das Album stürmt mit neuer Besetzung (zu der auch die ehemaligen Mitstreiter Chris "Scary" Adams und Bassist Derek Lynch gehören) direkt nach vorne. Gemeinsam bahnt sich die Band einen Weg in die Zukunft, indem sie sich auf das verlassen, was Black Tusk am besten kann. Die Leadsingle "Brushfire" kommt mit einem fiesen, hässlichen, mit den Füßen stampfenden Riff daher. Der raue und ruppige Gesang lässt die Boxen durch "Dance on Your Grave" trampeln, während "Breath of Life" mit erhobener Faust lostrommelt, als ob ein Gewitter rollt und kracht.

Pigeons Playing Ping Pong, a veritable tour de force known for turning heads coast-to-coast with their high-octane live concerts, not only grabs life by the horns, but they harness its energy within their hypnotic hybrid of funk, rock and psychedelic groove.With a devout fanbase and trail of sold-out tours behind them, the Maryland quartet takes a major step forward on their seventh full-length offering, Day In Time.Guitarist Jeremy Schon says, "This album is the most cohesive group of songs we've ever had in the studio"."This record is a snapshot of our band as a group and as individuals at this exact moment." says Greg Ormont (vocals, guitar). "The title serves as a reminder that life moves fast, so we better make the most of each day, make each second count."

Limitierte LP-Neuauflage: rot-goldfarbenes Vinyl, inklusive eines neu gestalteten Posters zum Ausklappen. Unser Album zum 1.Mai. Zum Tag der Arbeit und für den Kater danach. Die Arbeit verändert sich. Roboter ersetzen uns. Der Kapitalismus zerbröselt. Wir brauchen einen neuen Soundtrack - aber wie klingen work songs in einer Zukunft, in der die Natur der Arbeit selbst so unsicher ist? Mit ihrem zweiten Duo-Album Never Work suchen Ariel Sharratt und Mathias Kom (von der kanadischen Garagen-Folk-Band The Burning Hell) nach Antworten. Einige Songs sind Lieder über Arbeiter, andere sind Lieder für Arbeiter, aber die meisten sind beides zugleich. Musikalisch nutzt Never Work die akustischen Elemente eines Old-School-Folk-Revivals (...Guthrie, Seeger, Dylan..) die, tongue-in-cheek, mit Billig Electronica der 80er versponnen werden. Textlich greifen sie Anregungen von Gewerkschaftsaktivisten und situationistischen Witzbolden auf. Alles in allem die richtigen Instrumente, um die sogenannte Gig-Economy, technologischen Feudalismus, Klassenkämpfe, rebellische self-service Geräte und vollautomatisierten Luxuskommunismus zu erkunden. Sharratt und Kom sind vor allem als Teil der kanadischen Garagen-Folk-Band The Burning Hell bekannt. Seit fast einem Jahrzehnt haben sie sich mit ihren smarten, von dunklem Humor geprägten Songs und ihren dynamischen Live-Shows eine solide Fangemeinde erspielt, teilweise mit Freunden im Geiste, wie Jeffrey Lewis oder The Wave Pictures 2016 legten Sharratt und Kom eine erste Pause vom Bandformat ein, um ihre erste Duo-Platte "Don't Believe The Hyperreal" aufzunehmen. Das Album belebte die Atmosphäre klassischer Pop-Folk-Duette der 60er neu und bot eine intimere Seite ihres Songwritings, darunter den Underground-Hit "Fuck The Government, I Love You". Never Work nun gibt ihrem zweifellos charmanten Duett einen neuen Dreh: weg von der Romantik hin zu selbstreflexiven, zuweilen bissigen Betrachtungen von Arbeit in unserer Gesellschaft. Das beinhaltet ihre eigene Position als Musiker, unser Selbstverständnis in einem bröckelnden System von Arbeit, sowie die Rolle des Kapitals, das uns alle weiterhin prägt, auch wenn wir selbst keins besitzen. Never Work ist eine Protest-Playlist für unsere kollektive Reise ins Vergessen oder an den Strand, ernsthaft und ironisch zugleich.