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Auf R o n i a s zweitem Album 'string along' fordert sie uns auf, ihr in ihr minimalistisches Pop-Universum zu folgen
Nach dem Vorgänger 'waltz' in (hereinspaziert!) ist 'string along' eine erneute Aufforderung von R o n i a an ihre Hörer: Folgt mir! Melancholische Melodien beschreiben darauf filigrane Emotionen in einem reduzierten Klangbild, häufiger Überlagerung mehrerer Stimmen oder auch Melodien mit vielfältigen Tasten-, Saiten- und Blasinstrumenten, die alle von der One-Woman-Band R o n i a selbst gesiet werden.

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.



A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture—and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."



Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonome- try," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."






[f] Kyanite Toothpick [feat. Hanni El Khatib]




[k] Bermuda [feat. Lealani Teano]


[n] Forward Compatibility Engine [feat. Rob Sonic]



[r] Black Snow [feat. Nikki Jean]

Clear vinyl, limited to 700 copies. Upon hitting play on the opening prologue track of BATS, it's safe to assume that we're about to embark on quite the journey - with GAMA BOMB as our intrepid tour guides. From the tombs of Egypt to the faded glamour of old Hollywood, Philly, Domo, John, Joe and James lead us through new sonic landscapes and all manner of novel adventures on what they themselves call their "weirdest" album yet. Sonically, GAMA BOMB manage to stay true to their distinctive thrash sound, honed to perfection over two decades at the frontline of headbanging and fist-pumping. There are nods to heavy metal titans such as Judas Priest and Iron Maiden, there's even a sliver of Bad Brains-esque punk attitude, and more familiar influences such as Tankard and Sodom are still evident. But if you think GAMA BOMB are serving up something run of the mill then you've clearly not accounted for a blazing saxophone solo (courtesy of Irish sax man Gavin Kerins) or a star-turn from hip hop pioneer The Egyptian Lover who raps on - naturally - Egyptron. BATS is an album that could only be borne from GAMA BOMB; on this, their eighth studio album, they have embraced their inner absurdities, they've taken a trust fall into each other's arms, relying on the idiosyncratic glue that has bound them together over the last 21 years to propel them forwards.

Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look."Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.There are only eight songs on this rangy debut.Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs. The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.

Recital presents the first full-length vinyl LP by sound artist Asha Sheshadri. Whiplash combines elements of sound poetry, diary-like narrations, and delicate incidental music. Sheshadri has crafted a unique and marvelous album.

Asha Sheshadri is a visual artist and musician, who “meditates on meaning, context, and impermanence” (Joshua Kim). Moves freely between video, writing, sound, and photography. Her forms flow together to create unpredictable observations of the overlooked, while documenting personal and political networks within our collective, imperfect memory.

“This record is an alternate approach to the autobiographical ‘confessional’ – I wanted to stitch together some pivotal sketches in self-understanding and forgiveness. While their designs may seem affectively disparate, they are in fact quite interrelated. My intention (as with past recordings) is to task the listener with tracing the contours of the narrative (or lack thereof). Each track contains sound from video work, excerpts from writers I admire, ethnographic methods, recovered and recycled voice/text memos, photographs from personal and public archives, and research-driven fictions. These sources expand and collapse into each other, only to reveal the eponymous "whiplash". To me, the feeling of "whiplash" is the collision of: a refracted ambivalence towards what was once real, the endless cycle of reckoning with wherever "home" has taken place, the fraught process of anchoring one’s self in the wake of slow-release trauma, and how (if even possible) to translate all of this into artwork.” –Asha Sheshadri, 2023

“Place is security, space is freedom: we are attached to the one and long for the other. There is no place like home.” –Yi Fu Tuan, Space and Place: The Perspective of Experience.

All tracks arranged & recorded by Asha Sheshadri; in bedrooms, living rooms, libraries, bars, airplanes, backyards and parks across North America.
Mastered by Sean McCann.

Transverse is the second studio album release from Colorado based metal band Messiahvore. It draws its sound from the vibes of 90's iconic bands like Helmet and Prong whilst peppering in the essence of stoner metal, death metal and a little bit of doom. The album has gained positive reviews from those amongst the metal scene, both critics and fans alike, being described as the sophomore record that "shatters expectations"

Worthy re-issue of Robert Cotter's second late 70's soul album! Comprising five songs, with four of them being quite lengthy and well-structured for the dance floor, was entirely recorded in the United States by top-notch American musicians. "Timeless", a fresh and lively expression of late 70s soul music, was recorded at the Sundragon Studio in New York. This studio was home to legendary bands such as Talking Heads and Ramones, as well as a few 'disco studio groups' like Andrea True Connection, Tony Valor Sound Orchestra, and Camouflage, who recorded songs that later became considerable hits. For this reason, it's believed that the positive outcome of the album can be partially attributed to Ned Liben, an eclectic New York musician and co-founder of the studio in the Flatiron district of Manhattan, served as an exhaustive interlocutor for any artistic and technical needs. He was also the arranger of "Rock Me With Your Love", the most significant song on the album. Ned's successful mission was to capture the maximum timbral fidelity of Robert Cotter's voice using appropriate recording techniques, assisted by Michael George Ewing, a talented engineer who had previously worked on similar projects with well-known artists like Carol Williams, Maryann Farra & Satin Soul, Touch and Tony Valor. In fact, the piece features original and melodious lines, coupled with an excellent steady rhythm, spanning approximately 8 minutes and 30 seconds - in short, "a delightful sound for every beat." This ensured that the performance of the young singer-songwriter from New Jersey was faithfully reproduced without neglecting the overall musical landscape. The other four songs, arranged by Ben Lazzaroni with the same musicians as the first piece, are no exception. Best Record also delivered on the promise to Robert's older brother, Karl Potter, a powerful percussionist transplanted to Rome, for whom the roman label produced "Sweet & Salty Cha-Cha-Cha" (12", 1986). Robert Cotter, an artist about whom almost nothing has been written, is poised to gain recognition once word spreads about his album, which has been entirely remastered by Dom Scuteri and features a more congenial tracklist. This album is destined to be truly 'timeless', ready to captivate audiences around the world. Even the new cover artwork, created by Nerina Fernandez, pays homage to an artist who, despite expressing himself with elegance and simplicity, radiates energy and exudes love. "Timeless" is an inevitable revelation for anyone who missed it at the time, and for the next 40-plus years, it will remain an absolute must-listen for Robert Cotter's many fans, leaving them all in awe. In addition to the reissue on the classic glossy black vinyl, a strictly limited edition on red vinyl will be released exclusively by Clone Distribution.

Worthy re-issue of Robert Cotter's second late 70's soul album! Comprising five songs, with four of them being quite lengthy and well-structured for the dance floor, was entirely recorded in the United States by top-notch American musicians. "Timeless", a fresh and lively expression of late 70s soul music, was recorded at the Sundragon Studio in New York. This studio was home to legendary bands such as Talking Heads and Ramones, as well as a few 'disco studio groups' like Andrea True Connection, Tony Valor Sound Orchestra, and Camouflage, who recorded songs that later became considerable hits. For this reason, it's believed that the positive outcome of the album can be partially attributed to Ned Liben, an eclectic New York musician and co-founder of the studio in the Flatiron district of Manhattan, served as an exhaustive interlocutor for any artistic and technical needs. He was also the arranger of "Rock Me With Your Love", the most significant song on the album. Ned's successful mission was to capture the maximum timbral fidelity of Robert Cotter's voice using appropriate recording techniques, assisted by Michael George Ewing, a talented engineer who had previously worked on similar projects with well-known artists like Carol Williams, Maryann Farra & Satin Soul, Touch and Tony Valor. In fact, the piece features original and melodious lines, coupled with an excellent steady rhythm, spanning approximately 8 minutes and 30 seconds - in short, "a delightful sound for every beat." This ensured that the performance of the young singer-songwriter from New Jersey was faithfully reproduced without neglecting the overall musical landscape. The other four songs, arranged by Ben Lazzaroni with the same musicians as the first piece, are no exception. Best Record also delivered on the promise to Robert's older brother, Karl Potter, a powerful percussionist transplanted to Rome, for whom the roman label produced "Sweet & Salty Cha-Cha-Cha" (12", 1986). Robert Cotter, an artist about whom almost nothing has been written, is poised to gain recognition once word spreads about his album, which has been entirely remastered by Dom Scuteri and features a more congenial tracklist. This album is destined to be truly 'timeless', ready to captivate audiences around the world. Even the new cover artwork, created by Nerina Fernandez, pays homage to an artist who, despite expressing himself with elegance and simplicity, radiates energy and exudes love. "Timeless" is an inevitable revelation for anyone who missed it at the time, and for the next 40-plus years, it will remain an absolute must-listen for Robert Cotter's many fans, leaving them all in awe.

Weighing in with more of the deadly payloads that make systems weep, Alan Johnson return to Sneaker Social Club to finish what they started on 2022’s The Stillness EP.
Gareth and Tom’s sharp instinct for the fundamentals of crushing half-step pressure remain undiminished on this latest EP. Their sound palette reaches across contrasting strands of music culture, and every bar is teeming with micro details of sound design which give the tracks a living, breathing quality.

Ten Year Tonnage splits the EP open in whipcrack snares, DMZ flutes and a thick bed of sub, constantly shifting and teasing roots drops before opening up the mids and letting the low end snarl.

The chord hook on ‘Shapeshifter’ nudges towards some bold rave shapes, but there’s restraint and poise in the way the sounds get deployed. The Johnson way is one of suffocating space and uneasy tension, which obviously creates the best kind of dancefloor drama. As ‘Muay Size’ ably demonstrates, the likely lads are happy to pare a tune back to a skeletal framework and keep dancers waiting. When the pay-off comes, it’s not what you might expect, and that’s precisely why their sound is fresher than yours.

‘People Of The World’ goes even further out as it staggers and stumbles through skewed jazz samples and snatches of drums being thrown across the room. For all the splaying angles, there’s still a rock solid weight to the tune which proves Alan Johnson are more than comfortable taking things out to a weird fringe without losing their swagger.

Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents is third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.

This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming together, making it through together. Written as private ritual magic, manifesting community during a time of isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop, Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal performance.

On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the eternal now.

Willie Nelson - Greatest Hits jetzt auf CD und Vinyl erhältlich, anlässlich des 90. Geburtstags von Willie Nelson und seiner Aufnahme in die Rock & Roll Hall of Fame am 3. November. Diese Greatest Hits Compilation enthält Titel aus allen Epochen seiner Karriere, von den frühen 60er Jahren bis zu seinen letzten, mit einem Grammy ausgezeichneten Alben.

“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on discommunications and the thrill of the other. It’s also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful to that propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time.

There was one irrepressible Chicago club act that refused to be replaced by any DJ's sound system. Maxx Traxx (and Third Rail before them) were a scene unto themselves in the early 80s, happening live on-stage five-plus nights a week somewhere in the 312. Their two LPs, both recorded in 1982, are a sheer energy ride almost too explosive to be captured by studio tape. And yet these two stone classics would remain unanswered by a city as it moved determinedly toward the motorik sound of house. Hop the turnstile and move with this complete document of Chicago's last great club band told in detailed text, newly revealed photos, and complete studio recordings painstakingly remastered. AVAILABLE IN LIMITED EDITION LAKE MICHIGAN TEAL VINYL!

Die Alternative-Rock-Band The Neighbourhood präsentiert uns zum ersten Mal auf Vinyl: 'Hard to Imagine The Neighbourhood Ever Changing' ein Album, das ihre drei 2018 erschienenen EPs 'To Imagine', 'The Neighbourhood' und 'Ever Changing' vereint. Der Einfluss der Band wächst inzwischen weiter auf der internationalen Bühne und in den sozialen Netzwerken mit den viralen Erfolgen von «Softcore» und «Sweater Weather»

Zum ersten Mal auf Vinyl. Richie ist einer der meistverehrten Gitarristen der Rockgeschichte, der Rock, Blues, Hardrock, Funk, R&B, Jazz und Soul auf berüchtigte Weise miteinander verschmolzen hat und noch immer auf den renommiertesten Live-Bühnen der Welt unterwegs ist. Richie hat sich sowohl in Bands wie Poison, Mr. Big und The Winery Dogs als auch als Solokünstler einen Namen gemacht.

Sein Songwriting und seine Gitarrenarbeit zeigen oft brillante instrumentale Virtuosität gepaart mit unwiderstehlichem Groove. Die Veröffentlichung seines bahnbrechenden Studioalbums Mother Head’s Family Reunion aus dem Jahr 1994 gilt als herausragender Beweis für Richie Kotzens einzigartigen Ansatz in der Rockmusik.

Die bayerische Provinz ist geplagt von Monotonie und Stammtischparolen_ Die ganze bayerische Provinz? Nein! Drei Typen leisten mit ihrer Mischung aus Punk Rock, Hardcore und Rock'n'Roll Widerstand gegen schlechte Unterhaltung, trockene Kehlen und Intoleranz. Dreistimmiger Gesang, knackige Gitarren, saftiger Bass und ein Drumgewitter, das Nasenbeine zerbersten lässt - Garniert mit einer Prise Wortwitz und Humor." Seit Beginn der Bandgeschichte ist genau das, der Pressetext, der die Band SENDESCHLUSS aus Neunburg vorm Wald beschreibt. Warum sollte man auch verändern, was seit nunmehr 9 Jahren den metaphorischen Nagel auf den Kopf trifft? Und so bleibt die Band, bestehend aus Tom, Kiki und Tim, diesen Worten auch auf ihrer vierten Veröffentlichung mehr als treu. Die sechs Tracks der neuen EP ,Bavarian Wasted Youth" decken vom melodischen Punkrocksong bis zum Hardcoreknaller mit Metalkante wieder alle Sparten ab, die den geneigten Rockfan zum kollektiven Kopfnicken bewegen und vor allem die Band selbst nach wie vor begeistern. Diesmal jedoch mit einem Unterschied. Alle enthaltenen Texte sind in bairischem Dialekt verfasst. Natürlich ist Mundartmusik, vor allem im Bairischen, mittlerweile nichts Neues mehr, da Künstler wie Hannes Ringlstetter, Karin Rabhansl, Claudia Koreck, Dicht & Ergreifend, Bbou, Liquid oder auch die Spider Murphy Gang längst auch überregional erfolgreich sind. Aber da der Punk- und Hardcoresektor bis auf ein paar Ausnahmen hier noch echten Nachholbedarf zu vermelden hat, hat sich das Neunburger Trio einen echten Herzenswunsch erfüllt, und ,Bavarian Wasted Youth" Leben eingehaucht. Und wie könnte man echte Emotionen besser überliefern als in der Sprache, die man seit Kindertagen spricht? Doch was hat es mit diesem Titel eigentlich auf sich? Wörtlich übersetzt geht es ja um die "Bayerische verschwendete Jugend", was im ersten Moment vielleicht unpassend wirken mag, da es keineswegs darum geht, irgendwelche Jugendsünden zu bereuen, oder die Sinnlosigkeit des Lebens als junger Mensch im bairischen Raum zu beklagen. Eher soll sich von den konservativen Wertevorstellungen "der Alten" abgegrenzt und eine tolerantere Weltanschauung und ein alternativer Lebensstil zum Ausdruck gebracht werden, wobei aber auf ein gewisses Maß an "Bavarian Living" nicht verzichtet werden muss. Frischer Wind für alte Gepflogenheiten sozusagen. Wo also so mancher Stammtischbruder um die Betonpfeiler seiner heilen Welt Tränen vergießen wird und "den Jungen" mangels fehlenden Verständnisses verschwendete Lebenszeit vorwirft, da wird umso deutlicher, dass "Bavarian Wasted Youth" etwas freier übersetzt doch passt, wie die metaphorische Faust aufs Auge. "Bavarian Wasted Youth" wagt gekonnt den Schuhplattler auf dem Vulkan! Bayerisch, subkulturell, rebellisch, echt! 6 Track 12inch , 180 gr. blau-weiss marmoriert mit 16-seitigem Booklet

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Nondi_ is the alias of Tatiana Triplin, a US producer based in Johnstown, Pennsylvania, who also runs the net label HRR, releasing the music of friends and herself under various aliases. Her brother is the up and coming MC, Eem Triplin. The music Nondi_ makes is informed by footwork, breakcore and Detroit techno. However, as she's only experienced them via the internet, she has has filled the gaps with her imagination and consequently the music is rendered from a dreamlike solitude that feels adjacent to other internet genres such as vaporwave. Her tracks are gauzy and abstract, smeared with gentle melody, rusty tones and occasional shafts of sunlight, sometimes set to a distant pulse, sometimes collapsing as if the music itself is falling apart. Of the album she says: "Flood City Trax is music that captures the mood of living in a town like Johnstown, and more broadly the isolation of poverty. That's the environment these tracks came out of, after all. Johnstown is a very poor isolated small factory town in Western Pennsylvania which has a dark history of deadly floods, the most well known being the 1889 flood which was like something out of a horror story and the 1977 flood which the Triplin family survived. Johnstown has never moved past its floods, hence the nickname "Flood City". There's very little to do and every year the town shrinks more, and more buildings are knocked down or condemned. Everything is old but simultaneously the past seems like it has just disappeared." LP A: 1/FCD (Floaty Cloud Dream) 2/Orchid Juke 3/Sun Juke 4/Nondi Shadow 5/Euphonic Daydream 6/01-25-2022 B:1/Healing Rain 2/Dusty 3/Nostalgic Vision 4/Long Ago 5/Sentimental Juke 6/Harmoyear

Sure Thing presents Well of Sand, its second compilation. Six tracks from label friends and favorites, each new to the roster and offering bold, untempered explorations of tempo and weight, a concise yet expansive collection recalling the deliberate cadence of rippling sand and the sheen of shimmering oases.

Gegründet im Jahr 1994, The Living End sind eine dreiköpfige Band aus Melbourne, Australien. Ihre bahnbrechende Single "Prisoner of Society" wurde 1997 veröffentlicht und wurde zum Soundtrack einer ganzen Generation in Australien und auf der ganzen Welt. Die Band hat bis heute acht Studioalben veröffentlicht, und mit dieser Veröffentlichung ihr allererstes Jubiläumsalbum.

"The Living End" wurde ursprünglich im Oktober 1998 veröffentlicht, debütierte auf Platz 1 in Australien und hielt sich 27 Wochen in den AUS Top 10 und 83 Wochen in den AUS Top 100. Seitdem hat sich das Album weltweit über 500.000 Mal verkauft. Aus dem Album wurden sechs Singles veröffentlicht. Dem gleichnamigen Originalalbum liegt eine Live-Aufnahme des australischen Musiksenders triple j bei. Aufgenommen vor einem Live-Publikum kurz nach der Veröffentlichung des Durchbruchsalbums, zeigt sie eine Band an der Schwelle zur Größe, deren Energie und ungekünstelte Emotionen von der ersten Note an zu spüren sind. Die Aufnahme war seit ihrer einmaligen Ausstrahlung im Radio in den späten 90er Jahren nicht mehr zu hören. Sie galt als verschollen, bis sie 2022 auf einer Fanseite entdeckt wurde. Sie wurde 2023 neu gemastert und verkörpert perfekt den Geist einer der größten australischen Live-Bands.

Gegründet im Jahr 1994, The Living End sind eine dreiköpfige Band aus Melbourne, Australien. Ihre bahnbrechende Single "Prisoner of Society" wurde 1997 veröffentlicht und wurde zum Soundtrack einer ganzen Generation in Australien und auf der ganzen Welt. Die Band hat bis heute acht Studioalben veröffentlicht, und mit dieser Veröffentlichung ihr allererstes Jubiläumsalbum.

"The Living End" wurde ursprünglich im Oktober 1998 veröffentlicht, debütierte auf Platz 1 in Australien und hielt sich 27 Wochen in den AUS Top 10 und 83 Wochen in den AUS Top 100. Seitdem hat sich das Album weltweit über 500.000 Mal verkauft. Aus dem Album wurden sechs Singles veröffentlicht. Dem gleichnamigen Originalalbum liegt eine Live-Aufnahme des australischen Musiksenders triple j bei. Aufgenommen vor einem Live-Publikum kurz nach der Veröffentlichung des Durchbruchsalbums, zeigt sie eine Band an der Schwelle zur Größe, deren Energie und ungekünstelte Emotionen von der ersten Note an zu spüren sind. Die Aufnahme war seit ihrer einmaligen Ausstrahlung im Radio in den späten 90er Jahren nicht mehr zu hören. Sie galt als verschollen, bis sie 2022 auf einer Fanseite entdeckt wurde. Sie wurde 2023 neu gemastert und verkörpert perfekt den Geist einer der größten australischen Live-Bands.

Unnion takes off with its first EP featuring a compilation of four spanish artists with different styles and a unique common thread, living up to the platform's name.
The album kicks off with Tadeo's offering, titled "The Second Part", where we can immediately hear the artist's personal touch: a lot of funk, solid sounds, and attention-grabbing elements that go straight to the dance floor.
The second track comes from Unkle Fon, titled "Eltzegor." It's a soaring journey towards a climax filled with synthetic sounds and hypnotic developments that create a unique sense of motion.
Moving on to the third track, we have the contribution of Not A Headliner, titled "Cricket Circus." It features an atonal sensation accompanied by a groovy rhythm in which the interplay of sounds transcends the norm.
Closing the album is Irazu's proposal, titled "Quietly," which presents itself as a singular, monolithic, and raw option, overwhelming like a locomotive and ready to crush any obstacle that dares to stand in its way."

Sometimes, space is the perfect catalyst for intense creativity. Following the release of their fourth LP, 2019's Your Church On My Bonfire, PAWS - the Scottish DIY indie rock songwriting partnership of Phillip Jon Taylor and Joshua Swinney, toured briefly, and as the world began to shut down, they slipped out of sight. Phillip retreated north to the Highlands where he focused on his painting, solo work and the rewarding demands of fatherhood. Josh headed south to London, pursuing his other passion as a chef at the highly acclaimed Plimsoll. It would have been easy for both to settle into their new lives, but PAWS never died…and neither did the tie connecting the two friends. Having missed playing together for too long, a plan was set and in October 2022 Josh travelled to Phillip's home studio in his crofters cottage where work began on the band's fifth self-titled LP. Relying on a set of phone demos and chemistry honed after years on the road the songs came together surprisingly fast. Having recorded previously with both Blink 182’s Mark Hoppus and Frightened Rabbit’s Andy Monaghan, the band once again seized control of production duties as they had on their sophomore release Youth Culture Forever. Utilizing all they had learned and adding their own DIY ethos into the mix, the music was done in a week. Josh headed home and Phillip set to work on lyrics. The resulting record finds the band as grounded and assured as they ever have been. Marrying the deafening assault of youthful abandon with the whispered reasoning that comes with getting older; swaying from anger and exasperation to wide eyed optimism. PAWS is a succinct, razor wire encased documentary chronicling the pains of modern living. Delving into the dark underbelly of 90s alternative rock, painting with evocative instrumentals and reveling in celebratory indie punk, the band also embrace sordid pop and ambient electronics. And while it pays homage to where they have come from, it also signals a clean slate for the pair. Two friends united over distance. After some time apart, all they needed was a spark.

Year of The Knife have announced their new album, No Love Lost, due out October 27th from Pure Noise Records. The album finds Year of The Knife at their most sonically honed with nine lean and vicious songs that clock in at a blistering 20 minutes. Recorded by Kurt Ballou (Nails, The Armed, Code Orange), No Love Lost sounds truly massive, a crushing amalgam of hardcore and death metal influences that demands your attention and stays with you long after its concise runtime. To mark the album's announcement, Year of The Knife have shared two new singles, the 86 second "Wish" and 48 second "Last Laugh," highlighting both the economy of songwriting and the level aggression found on No Love Lost. Both tracks also include guest vocals from some of heavy music's greatest, with the former featuring Devin Swank of Sanguisugabogg and the latter featuring Dylan Walker of Full of Hell. In late June, Year of The Knife were involved in a car accident while on tour. All four members endured serious injuries, especially vocalist Madison Watkins, who suffered many broken bones and a traumatic brain injury. No Love Lost sounds even more urgent and defiant in light of the band's recent circumstances, and profits from the album's sales will be going directly to the members' ongoing recovery efforts.

Death metal is the great undead of subgenres: rising, again and again, to take revenge on the living with maximum violence. Servants of the zombie code and masters of old school brutality, Germany’s ENDSEEKER have made their intent to kill again more than apparent over the last nine years. Formed in Hamburg in 2014, the quintet have swiftly built a reputation as one of European death metal’s most dynamic wrecking crews. From the aspirational evisceration of first full-length Flesh Hammer Prophecy, to Metal Blade debut The Harvest in 2019, and the widely acclaimed Mount Carcass two years later, Endseeker have cooked up such a formidable formula that their rise to glory seems almost inevitable. But like everyone else, they were stopped in their tracks by the Covid pandemic and its aftermath. As that global horrorshow fades in the rear-view, Endseeker are poised to return with their most crushing and charismatic album to date: Global Worming Death metal is a serious business and Global Worming is Endseeker’s most focused and sophisticated offering to date. Nonetheless, there is always room in the underground sewers for a brain-eating monster or two, and fans of zombie-centric death metal will be more than satisfied with the new album’s brilliant, bloody contents. Consumed in its belligerent entirety, Global Worming soon emits the acrid stench of a future classic. Endseeker have stayed true to their deathly roots, while also writing some of the most imaginative songs in their history. Supremely catchy but as brutal and ugly as the arcane gods demand, Global Worming promises to burrow under the world’s skin with maximum force.

Breaking Teeth (3rd Single / Will have a music video & Reddit AMA) Breaking Teeth is the 3rd of 4 singles from their new album The Fear Of Letting Go. Tyler Tate (vox) describes this track as the heaviest song on the record and sounds simply - "pissed off". "When I wrote the lyrics I was so fed up with the world & my life in general. Set back after set back, problems around every corner. Living should be simpler but the society we live in prevents that. We should all be pissed about it.” Band will do Reddit AMA & MV Visualizer We're All Left Suffereing (2nd Single / With Album announce) 'We're All Left Suffering' is the second of four singles from Michigan based metalcore band Hollow Front's upcoming album 'The Fear Of Letting Go'. The release follows their 2022 album ‘The Price Of Dreaming’ (#9 Current Hard Music Albums, #35 Current Digital Albums, #42 Independent, # 48 Current Rock Albums) which received praise from New Noise “a blistering and bruising experience, evoking myriad emotions and conveying a heady and moving blend of euphoria and despair.” and RockNLoad “Hollow Front has dropped nothing short of a phenomenal album with The Price of Dreaming. While the release doesn’t do anything new, it takes an already established formula and polishes it into a perfect shine. If you’re a fan of any of the modern Metalcore titans, you’ll love this release, hopefully as much as I do. Utterly brilliant.” 'We're All Left Suffering' is the first song the band has released since the announce of Dakota Alvarez's departure (former guitarist/singer) and marks the next chapter in the bands journey. The song will be accompanied by a music video and lined up with the announce of their forthcoming record "The Fear Of Letting Go" (Out October 27th). Lead vocalist states “This track is an anthem for the broken spirited. We live in a world riddled with heartache and constant struggle. Whether mentally, physically, or financially; we area collective of human beings doing our best to survive. I think with everything that’s happened in the world over these last three years, things might seem hopeless. It feels like the whole world has gone mad, and we’re all just here suffering along for the ride. It can be incredibly discouraging being a human in today’s social and economic climate. So I think this song is for those people who are sick of dealing with the bullshit life is throwing at them, and just want to truly breathe for once.”

Living on such a chaotic planet, tossing and turning is inevitable. It’s hard to sleep in the midst of uncertainty. That’s why Sundressed was born. Lead vocalist and songwriter Trevor Hedges began his project in 2012, with the initial purpose of maintaining his sobriety. Now, 10 years later, Hedges has refocused the project’s mission, writing songs that tackle mental health issues for others to take solace in. His confessional lyrics and punk-infused melodies inspire hope in listeners to continue moving forward, determined to make a positive impact, one lyric at a time.

In 2005, Chiodos came onto the scene with their odd, theatrical and weirdly catchy debut, All’s Well That Ends Well. Now a cult-classic of 2000s post-hardcore, Craig Owens and Co. expressed a unique blend of zany metalcore and heart-on-sleeve emo that drew from Thursday, Glassjaw, At the Drive-In and AFI without sounding like any one of those bands in particular. With unreadably long song titles and scrappy production, this LP is both a product of its time and a lasting vessel of post-hardcore vision. This exclsuive Ultra Clear vinyl variant is printed with Greenyl, eco-friendly, PVC-free, 100% recyclable record. Limited to 300 copies worldwide. This exclsuive Ultra Clear vinyl variant is printed with Greenyl, eco-friendly, PVC-free, 100% recyclable record. Limited to 300 copies worldwide.

Mit einer neuen, klaren Vision, die sich während der 2-jährigen, durch die Pandemie erzwungenen Pause herausgebildet hat, stellt das Album ”A Living Commodity” einen dynamischen künstlerischen Wandel von Egyptian Blue dar und zeigt die ganze Bandbreite und Ambition ihres Songwritings.

Der erste Vorgeschmack auf die neue Musik kam in Form von ”Geisha”; eine von Psychedelik geprägte Punk-Offensive, angetrieben von Luke Phelps treibendem Bass in Kombination mit Isaac Ide’s kraftvollem Schlagzeug, untermauert von den beiden Frontmännern Andy Buss & Leith Ambrose, die mit ihrem zackigen Gitarrenspiel den beklemmenden und düsteren Text mit Buss’ Bekenntnis ”I live for only you” zu einer anziehenden Klangcollage ergänzen.

Die jüngste Veröffentlichung ”Matador” und die aktuelle Single ”Skin” zeigen die von EB gewohnte hochintensive Gitarrenband-Dynamik, aber mit einer neuen Klangdimension, die an Kid A-era Radiohead, die Anfänge von Interpol und Gang Of Four erinnert.

Jetzt, nachdem sie ihre gesamte kreative Energie in die Erschaffung ihres Debütalbums ”A Living Commodity” gesteckt haben, das einen unbestreitbaren neuen Ehrgeiz und Hunger zeigt, sind Egyptian Blue bereit, ihren Status als eine der besten neuen Gitarrenbands aus Großbritannien zu behaupten.

The Living Mountain is the second solo album from songwriter Jenny Sturgeon (singer and multi- instrumentalist in Salt House and Northern Flyway), recorded and produced by Andy Bell at Clashnettie Arts Centre in the Cairngorms National Park.

The Living Mountain is inspired by Nan Shepherd's book The Living Mountain and Jenny's experience growing up near, and walking in, the Cairngorms. In the album Jenny explores her own connection to this highland area as well as delving into Nans philosophy of being in the mountains and peoples connection to the wild.

The twelve songs take inspiration from the chapter titles of Nans book; the lyrics tell of exploration, love, loss and wonder at the natural world from small scale mosses and moths to the wider landscape and ecosystem.

The album features Mairi Campbell on viola and vocals, Su-a Lee on cello, Grant Anderson on bass and vocals, and sound recordings from Jez Riley-French and Magnus Robb.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

- Ltd. BOX incl. 2CD Digibook /colored 2LP Splatter + 5 Bonustracks (nur in der Box auf Vinyl!)

Details:
2CD Digibook mit 36 Seiten und 5 Bonustracks, LP1 blau mit schwarzem Splatter, LP2 rot mit schwarzem Splatter mit 5 Bonustracks, im Gatefold mit zwei Lyricsheets, Poster, Patch, Edelstahl Kette mit Altfinish-Effekt & Plectrum

“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

"The Thrill of It All" ist das vierte Studioalbum (1996) der britischen Hardrockband Thunder und erreichte Platz 14 der britischen Albumcharts.

Diese erweiterte Ausgabe, zum ersten Mal seit über 25 Jahren auf limitiertem rosa und klarem Doppelvinyl, enthält die Schlüsseltitel "Living for Today", "Love Worth Dying For" und "Pilot Of My Dreams" sowie bisher unveröffentlichte Bonus-Live-Versionen ausgewählter Hits des Albums.

“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

Limited 2LP Edition Purple Vinyl!
“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

“Conqueress – Forever Strong And Proud“ ist ein großes, kühnes Heavy-Metal-Album. Und es ist längst gute Tradition, dass DORO legendäre Helden des Rock für sich und ihre Werke gewinnen kann. Von Lemmy Kilmister, über Pete Steele von Type O Negative und Johan Hegg von Amon Amarth bis Slash von Guns N' Roses – sie alle (und noch viele mehr) rockten bereits auf Doro-Alben. Und nun - zum Jubiläumsalbum der Metal Queen - erwies Metal God Rob Halford von Judas Priest DORO höchstpersönlich die Ehre, mit ihr den unsterblichen Judas-Priest-Klassiker 'Living After Midnight' als Duett aufzunehmen!

“Conqueress – Forever Strong And Proud“ überrascht zudem mit dem ultra-eingängigen, absolut hitverdächtigen Radio-Rocker 'Bond Unending', einem Duett mit Sammy Amara von den deutschen Rock-Schwergewichten Broilers. Das abwechslungsreiche Album macht jede Menge Spaß, wie bei dem cool rockenden 'Lean Mean Rock Machine', bietet aber auch düstere, dramatische Songs wie das bittersüße 'Love Breaks Chains' und als weiteres Highlight 'Heavenly Creatures', das aus der bekanntermaßen großen Tierliebe der Künstlerin entstanden ist.

“Conqueress – Forever Strong And Proud“ ist das Ergebnis intensiver, harter Studioarbeit, die die unvergleichliche Sängerin u.a. wieder in die Studios von Miami, New York und Hamburg führte. Das Album bestätigt eindrucksvoll, dass DORO auch nach 40 Jahren mehr denn je auf dem Höhepunkt ihrer Schaffenskraft ist. Kein Zweifel: “Conqueress – Forever Strong And Proud“ wird die Herzen der Fans erobern und ist jetzt schon ein weiterer Meilenstein in der langen und erfolgreichen Karriere von DORO.

In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Having been a frequent touring member of bands like Hand Habits and Fruit Bats, and often being called into the studio to lend her harmonies and multi-instrumental talents to records, Johansing’s phone no longer rang. Living in Los Angeles she feared her musical community was vanishing, as friends and collaborators continually announced they were leaving the city. It was in returning to her piano nightly that she found the greatest solace, feverishly writing the songs that would be collected on her next album. Resulting from this new sense of time and focus was a deepening of her songwriting. As Johansing recalls, “I felt like a metamorphosis happened during that time. There was a lot of personal growth and healing.”

Throughout Year Away Johansing traverses uncharted emotional landscapes brought upon by the changes occurring all around her. The forced self-reflection of the moment is aptly captured by “Old Friend”, featuring an aching melody and swooning production that recalls the best of Harry Nilsson. The epic piano and saxophone-driven “Smile with My Eyes” addresses the loss of community as friends became distant and political divides between family grew. On “Smile” Johansing pushes her vocals further than ever, expanding her range and using her peerless voice as the singular instrument it is. Facing the loss of a family home due to environmental destruction, “Shifting Sands” is marked by soaring Hlutes, Hield recordings and glassy synthesizers that nod to Japanese New Age.

“Daffodils”, the stunning album centerpiece, is built from a pastiche of looping samples, swirling Mellotron and dazzling vibraphone. “Keep your heart open wide, you never know your time / Keep your heart wild, true Hlower child”, Johansing sings as she says goodbye to an elder, while the band reaches a grief-stricken crescendo of woodwinds and chiming bells. On the title track, Johansing takes listeners on an eerily meditative journey of collective experiences. “I wanted to keep the progression simple and repetitive so that musically we could add new elements little by little, while the emotional tone of the lyrics becomes increasingly more strained and expressive”. The song grows to a fever pitch as Johansing sings higher than she thought possible; the tension of the repeating chords Hinally resolving into a hopeful coda as multiple soloists weave around each other.

Amidst heavier themes, Johansing still leaves room for her love of irresistible pop melodies and lush production. The driving “Last Drop” and mid-tempo “Valley Green” are two of her catchiest songs to date. On the former Johansing sings the anthemic chorus, “As if it were the last drop, and nothing ever lasts forever / As if it were the last stop, too far out to come back ever”, longing for a love that she’ll never take for granted, while also admitting that she doesn’t always know how good she has it. “Valley Green” features shimmering layers of 12- string guitars, stacked horns and an impeccable solo by co-producer and multi- instrumentalist Tim Ramsey (Vetiver, Fruit Bats), hinting at a love for bands like NRBQ.

Having been eager to capture the initial spark of songwriting, Johansing booked time at Highland Park’s 64 Sound Studio the week that it reopened. Over the course of three days, she and her band gathered basic tracks for 10 songs, before returning home to Hinish the record with Ramsey. Setting forth to make an album that paid homage to the music that kept them company during the months spent alone together, the duo pulled inspiration from a wide net including Burt Bacharach, John Carroll Kirby & Haruomi Hosono. Ramsey’s newfound love of early digital synthesizers dovetailed effortlessly with Johansing’s fondness for classic 70’s horn and string arrangements, creating a sound that is distinctly modern yet warm and familiar.

Once again Johansing called upon some of the Hinest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (HAIM, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (MGMT, Alvvays).

Though born of turbulent times, Year Away is ultimately interested in moving forward. The album ends with “Endless Sound,” where Johansing laments seismic global changes, (“The water is hotter, the mighty thaw / The current’s reversing, the last are lost”) but vows to keep going (“No storm can take me down / Endless light, endless sound”). It’s Year Away’s resilience that shines through despite the darkness. It’s a sound all her own and Johansing’s most cohesive set of songs yet.