Search:m tri

Der OST der Superhelden-Verfilmung BLACK ADAM von 2022 in der Regie von Jaume Collet-Serra. Der musikalische und philosophische Ansatz des Filmkomponisten Lorne Balfe zu bestand darin, 'dem Publikum die Emotion und Dunkelheit der Hintergrundgeschichte der Hauptfiguren zu vermitteln und gleichzeitig die alten Themen und Vertrautheiten der DC-Comic-Welt zu verknüpfen und eine neue Klasse der Superhelden einzuführen.' Schwarzes 180g Triple-Vinyl.

Chicago legend DJ Skull shines on the fourth Shift Imprint release with a brilliant 4 tracker that will make your mind travel far!
From western movie sound samples to boxing ring bells, the 004 is unpredictable, fearless and surprising, a feature set that could only have come from the man himself Ron Maney.

Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart — a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four No. 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive No. 1 singles — an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground — especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.


Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180g 33RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.

In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano — an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations — benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.

Issued just two years after Houston's breakthrough debut, Whitney immediately signalled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston — captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello — whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners — and which set the standard for the wave after wave of divas that followed in her footsteps.

It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)." Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems — a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing — a task made challenging only because of the impossible-to-ignore hooks and grooves — showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.

That she replicates those feats for the entirety of the nearly 53-minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.

Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harbouring four No. 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day." The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic: "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11."


That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper – and one of the key reasons Houston is the most-awarded female artist of all time.

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.


The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

A historic collaboration by two of jazz music's greatest artists on 180g Double LP Set! Impex Records' deluxe production captures the amazing outdoor acoustics with fine detail and wide dynamic range. The beautiful gatefold jacket is coated in a vintage high-gloss lacquer.

The White House Sessions, Live 1962 contains inspired performances of classic tunes "Take Five", "Castilian Blues", "Lullaby of Birdland", and "I Left My Heart In San Francisco".

"Bennett's vocals are particularly natural and present-sounding... Brubeck's group in its prime, with Paul Desmond on Alto, Eugene Wright on bass and Joe Morello on drums... Bennett/Brubeck is nonetheless a record I found myself playing more times than I expected to before sitting down to write this. There's something about a live performance from a time when life was so much simpler, even if more jittery and dangerous because of the cold war, that makes you want to go back in time and enjoy it all again."

This two LP set is beautifully re-mastered and the original artwork has been carefully replicated.

Two remarkable visionaries at the peak of their powers, Dave Brubeck and his quartet and Tony Bennett (both with his group and with Bennett with trio) give hot performances of some of their biggest hits: Brubeck's revved up "Take Five," and Tony Bennett's soulful "I Left My Heart in San Francisco."

Playing the popular White House Sessions concert on the Washington Mall for President John F. Kennedy, these titans of popular jazz have a great time informing, joking and playing the lights out. You'll want to play the grooves out of Impex's impeccably produced issue of this lost treasure. Quiet surfaces, incredible dynamics, full frequency responses and deluxe packaging will provide years of listening and viewing pleasure.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.

In Japanese, the word “Guru-Guru” refers to the state of spinning, whirling.?
This state is captured in the work of Japanese artist Hoshina Anniversary, who makes his third appearance on MUSAR with his EP Guru Guru and marks the return of the label after an extended break.

Hoshina’s self-titled brand of ‘Watechno’ has appeared on well-loved dance music labels like ESP Institute, Volvox’s Jack Dept and Young Marco’s Safe Trip, alongside MUSAR where he also appeared as Shifting Gears back in 2022; an electronic-jazz-centered moniker.

His Guru Guru EP captures the latest snapshot of Hoshina’s sound and sees him draw from Japanese language as a through-line.
The title track is the clearest representation of his ‘Watechno’, where he uses Japanese instrumentation on top of a menacing EBM-style march. The track's slowly whirling momentum is the “Guru-Guru”.

On tracks like “Banri”, which means far away in Japanese, we see new shades to Hoshina’s work as he mixes a Japanese Wadaiko drum groove with acidic elements and piano melodies to make a track of contradictions which pairs roughness with elegance. Whereas on “Usagi”, Japanese for rabbit, Hoshina fires up the BPM.
Piano melodies remain here but their effect is more drifting and emotive than on “Banri”.
“Kaga” is named after a place in the southernmost part of Ishikawa Prefecture, between Kanazawa City and Fukui City.
On this track, Hoshina’s love for jazz comes through and even mirrors the work we heard from him under Shifting Gears.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

TEMPLE OF DREAD bleiben dem Old School Death Metal grundsätzlich auch auf ihrem vierten Albumhammer "Beyond Acheron" treu. Dazu haben die Ostfriesen den Fokus auf eine dunkle und schwere Atmosphäre gelegt und mit einigen schönen Prisen Melancholie sowie schwarzen Momenten abgerundet. Das stählerne Sahnehäubchen liefern Gastbeiträge des ehemaligen MORGOTH und INSIDIOUS DISEASE Sängers Marc Grewe sowie GOD DETHRONED Frontmann Henri Sattler ab. Die Texte stammen aus der blutigen Feder von Bandfreund und Wortschmied Frank Albers. Die Zeilen des Psychologen drehen sich um antike Mythen und Historie mit Protagonisten wie Ikarus, Vulkan, Hades, Kleopatra und Marcus Antonius. Auch das Cover Artwork von "Beyond Acheron", das vom gefeierten italienischen Künstler Paolo Girardi gestaltet wurde, bleibt beim antiken Thema und zeigt Charon, den Fährmann der griechischen Unterwelt Hades. Die massive Produktion von "Beyond Acheron" stammt von TEMPLE OF DREADs Schlagzeuger Jörg Uken, der in seinem weit bekannten Soundlodge Tonstudio unter anderem bereits Alben von DEW-SCENTED, GOD DETHRONED, OBSCENITY, SUICIDAL ANGELS und WARPATH aufgenommen hat. TEMPLE OF DREAD wurden auf Spiekeroog im Jahr 2017 von Gitarrist Markus Bünnemeyer als Ventil für seine Old School Death Metal Ambitionen gegründet. Im Jahr 2018 stießen Sänger Jens Finger und Schlagzeuger Jörg Uken dazu, mit denen Bünnemeyer auch bei Slaughterday aktiv war. Schon im nächsten Jahr erschien das Debütalbum "Blood Craving Mantras" (2019). Das Trio erwies sich als äußerst kreativ und zwei weitere Alben folgten binnen kurzer Zeit: "World Sacrifice" (2020) und das von der Kritik hochgelobte "Hades Unleashed" im Jahr 2021. Mit "Beyond Acheron" setzen TEMPLE OF DREAD neue Maßstäbe für intelligente Death Metal Brutalität!

The Arockalypse is the third studio album by Finnish rock band Lordi. It includes the hit single “Hard Rock Hallelujah”, which won the Eurovision Song Contest 2006 for Finland. The album was certified with a triple Platinum status in Finland, Gold in Germany, and Sweden. It reached the number one chart position in Finland, Sweden, and Greece.

The Arockalypse has several guest appearances: Dee Snider and Jay Jay French from Twisted Sister, Udo Dirkschneider from Accept/U.D.O. and Bruce Kulick from Kiss.

The Arockalypse is available as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes an insert.

No shortage of colorful characters emerged from Cameroon’s bikutsi scene in the 1980’s and early 90’s. Gibraltar Drakus is one of the most enduring and enigmatic of the artists who helped transform bikutsi into a beautifully endless fabric of triplet rhythms that eventually reached ears around the world.

Following the advent of Cameroon Radio Television in 1987, bikutsi began to supplant makossa and soukous for domination of the local airwaves and the attention of cosmopolitan, thrill-seeking residents of Cameroon’s capital Yaoundé and beyond. Biktusi perfectly fused Beti traditional music and increasingly electronic, highly rhythmic guitarbased bikutsi. Mimicking the sound of village-based xylophone music by rigging a mute to electric guitar strings, bikutsi artists provided a relentlessly energetic dance format for those with a taste for music steeped in their hometown sensibility (countering the popular makossa that many felt sounded less indigenous).

By the early 1990’s, Les Tetes Brûlées were indisputably the most famous and influential artists in bikutsi, due in part to the innovations of their incendiary guitarist Théodore Zanzibar Epeme. Following their first European tour in 1987, the band blew up internationally but Zanzibar tragically, and mysteriously, passed away, which nearly brought an end to the band completely. In hindsight, the consensus among most Cameroonians is Zanzibar’s contributions to biktusi were transformational and immeasurable.

“Zanzibar is the one who taught me how to compose a song, and I learned a lot from Zanzibar musically. We spent whole nights working on methods and other approaches to compose beautiful songs. I owe half of everything I have today to Zanzibar!”

Swept up in all this was Gibraltar Drakus, who was the youngest member of Les Têtes Brûlées and was also the protégé of his biggest supporter, Zanzibar. So it was fitting that he dedicate his 1989 debut to their groundbreaking late guitarist who had meant so much to him. Drakus literally exploded from his first album Hommage A Zanzibar (1989), which sold over 100,000 copies despite rampant piracy. For the recording, Drakus made sure he engaged prolific producer Mystic Jim to record and mix the album. The innovation musically rests both within the guitar interplay and the discipline in the orchestration, which result in a mind-bending clockwork of cross-rhythmic harmony.

Baxck in stock! PRESSED ON RED & GREEN OPAQUE VINYL! De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full length “Straight Out the Jungle” opened up many doors that are walked through by today’s artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was one of the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from ‘88 until ‘92. The opening track “Straight Out the Jungle” samples the classic Bill Withers drum break as the JB’s tell you where they are coming from. “Black Is Black” (featuring a young Q-Tip) and “Sounds Of The Safari” introduces the pro-black edge, while the sexually subtle classics “Jimbrowski” and “I’m Gonna Do You” are funny, clever and timely. Hard, smart, fun, clever and brilliant, Mike G., Africa Baby Bam and Sammy G may not have realized it but they crafted a classic rap album that stands the test of time. Available here on high grade, loud pressed, double vinyl for the first time ever!

Zwei Generationen von Rock-Ikonen vereinen ihre Kräfte auf Face To Face, der spannenden kreativen Zusammenarbeit zwischen KT Tunstall und Suzi Quatro. Ein Album mit Original-Duetten, die von KT und Suzi geschrieben wurden. Das Duo behandelt Themen wie Liebe und Verlust, Angst und Triumph - alles wesentliche Aspekte ihrer Erfahrungen als bahnbrechende Frauen im Rock. Titel wie ”Shine a Light” und ”Truth Is My Weapon” zeigen den dynamischen Fluss, den Suzi und KT bei den gemeinsamen Aufnahmen in England entwickelt haben.

First new recordings from GODFLESH since 2017's critically acclaimed full length 'POST SELF'.

'PURGE' musically, amongst the many layers of dirt, revisits and updates the concepts explored on the 'PURE' album from 1992; 90's hip hop grooves mangled and put through the GODFLESH filter to create something that is still unique and futuristic in style.

Both minimal and maximal, with layer upon layer of filth and heaviness, Godflesh deliver alien grooves that swing whilst also retaining the psychedelic / bad trip edge that Godflesh has always obsessed over. This is, and always has been, feel bad music; the title alone 'PURGE' references directly how songwriter / creator Justin K Broadrick utilises this music as temporary relief from his diagnosed autism and PTSD, a journey he has been on since he began creating music and feeling alone and as an outsider in any 'scene' or 'group' from childhood and throughout his adulthood.

Godflesh gives him the means to express a lifetime of feeling misunderstood and overwhelmed by hyper sensitivity, the band being the vehicle to give him some sense of catharsis and transcendence; a way of communicating overload and constant disenchantment at the human condition, and man's abuse of power and the systems that chain us.

The album references the cycle of horror that man has always and will always put us through; those in positions of power revel in the infliction of pain and horror upon individuals, in the name of their religion, their power, their money, their flags....

8 songs, delivered in a concise fashion for fellow outsiders.

Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.

Limited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and includes the bonus track "Allison's Uncle." Offering reference-calibre sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior.

The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.

The vibrant potency reveals itself openly on an analogue set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there – there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.

For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is without question a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, "The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer." Such inimitable feeling, or emotion, courses throughout every passage, and no where more obviously than on "Autumn Leaves" and "Love for Sale."

Without question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on Somethin' Else have long been considered part of jazz's alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on "Autumn Leaves," with the latter's muted trumpet and the headliner's lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of "Love for Sale" – join in on the conversation with sharp economy and float-on-air roundedness.

Not to undersell the other three numbers, all deserving five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley's brother, Nat, the 12-bar "One for Daddy-O" transmits funk flavors. The closing "Dancing in the Dark" pops with lushness and temptation, its stream of bold colours and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin' else, indeed.

Japanese producer boys be kko returns to Labyrinth Records for his latest EP 'Pico'. Elegantly dance-centric, Pico and Kanari focus on textured drum work and richly layered melodies, underpinning these elements with club-ready energy and dynamics.

With its tribal beats, Japanese-inspired instrumentation and infectious energy, every element of the track 'Pico' has been crafted for summer festivals & parties through its euphoric blending of different styles - creating something unique and unforgettable.

The title track ‘Pico’ blends organic drum work with effortlessly unique and compelling synths to create a detailed sonic landscape, presenting new discoveries upon every re-listen.

‘Kanari’ adopts a darker edge with growling bass, haunting melodies and pulsating FX. A true heads-down roller likely to transport dancers to new realms.

3 Elements was a trio of UK producers who self-released 'Somewhere Else' in 1996. Their small discography shines amongst peers such as B12, Stasis and Nuron in '90s electronica. One of the members, Andy Jaggers, has continued to release on Touchin' Bass (Andrea Parker), For Those That Knoe (Derek Car, Carl Finlow) and his own label Pyramid Transmissions. Tevatron released 'Nu-Tronik' in 1998 on legendary Belgian label Re-load Records (Acid Kirk, Cold/Isar Logi Arnarsson) and has continued to release on Metrohm. Eternal electronics selected by A Colourful Storm. Edition of 250 with hand-stamped reverse-card sleeve.

Dallas diamond Zack Witness drops a bumper package of peak time ‘Hood House’ club cuts ready made to rock any dancefloor they’re put before. Gospel flavours mix with booty business, disco house heaters sit side by side with RnB flexin ghetto gold - all with that Zach Witness magic woven deep in their grooves.

‘Over And Over’ is simply the greatest ever 7-inch disco edit, a nine-minute anthem which retains (or maybe even enhances) its appeal in the smaller format.

The tripped-out soul of ‘I Need Somebody To Love Tonight’ also has a great shorter version. Neither have been reissued since their original release.

GOLD, the follow-up to Alabaster DePlume's widely-acclaimed, 2020-released cinematic instrumental LP To Cy & Lee: Instrumentals Vol. 1, introduces the world to the artist’s truest self.

Multiple GRAMMY® Award winners Bruno Mars and Anderson .Paak are releasing their award-winning album An Evening With Silk Sonic on vinyl for the first time on 12th August 2022. The track list includes the hits “Skate”, “Leave The Door Open” and “Smokin Out The Window”. Silk Sonic won International Group of the Year at the 2022 BRIT Awards and are set to open the 2022 GRAMMY Awards. The album entered the UK Album Chart at #9 and remained in the chart for 16 weeks. The focus track on album launch “Smokin Out The Window” peaked at #12 on the UK Singles Chart.

Their debut single “Leave the Door Open,” earned them Best Group at the 2021 BET Awards, entered the UK singles chart at #20 and is now certified Gold in the UK. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

ABOUT SILK SONIC:

The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 2 billion streams with over 510 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Rebellion ist aktuell in aller Munde, aber DYMNA LOTVA haben dafür gewichtige persönliche Gründe: Das Duo musste aus seinem Heimatland Belarus aufgrund politischer Verfolgung fliehen. Die Kunst der Metal-Band wird von der Lukaschenka-Diktatur aktuell zensiert und unterdrückt. Doch auch auf ihrem dritten Album, "The Land under the Black Wings: Blood" singen DYMNA LOTVA weiterhin von Trauer und Schmerz. Dabei haben die Belarussen hörbar ihren markanten Stil dynamisch weiterentwickelt. Über einem soliden Black Metal Fundament, das auch Bausteine aus dem Doom und traditioneller Musik enthält, baut das Duo mit Hilfe von melancholischen, eindringlichen Melodien emotionalere und gewaltigere musikalische Strukturen auf. Die Texte von DYMNA LOTVA basieren auf wahren Geschichten aus ihrer Heimat. Diese stammen aus Berichten voller Leid, die das Duo in historischen Archiven und in der Folklore findet - während in ihrem Land an jedem Tag neue Schreckenstaten hinzukommen. Komponist und Multiinstrumentalist Jauhien Charkasau sowie Sängerin Katsiaryna "Nokt Aeon" Mankevich datieren die Gründung von DYMNA LOTVA präzise auf den 8. November 2015. Am diesen Tag entzündete die Nachricht, dass die belarussische Schriftstellerin Swetlana Alexandrowna Alexijewitsch den Literaturnobelpreis erhalten hat, das musikalische Feuer der Band. Noch am gleichen Tag schuf das Duo seinen ersten Song, der von der Nuklearkatastrophe von Tschernobyl inspiriert wurde. Dieser erschien im Jahr 2016 als Single unter dem Titel ("A Solitary Human Voice"). DYMNA LOTVAs erstes Album "The Land under the Black Wings: Swamp" kam noch im gleichen Jahr heraus. Das Debüt stellt auch den ersten Teil einer konzeptionellen Trilogie über Belarus dar. Mit dem Nachfolger, "Wormwood" der nicht zur geplanten Album-Trilogie zählt, kehren DYMNA LOTVA im Jahr 2017 zum Thema Tschernobyl zurück. Nach den gefälschten Wahlen im Jahr 2020 unterstützte DYMNA LOTVA offen die Proteste gegen den Diktator Lukaschenka. Nach einem politisch motivierten Prozess gegen den Metal-Sänger Lesley Knife, der auch als Gast auf der Single 'To Freedom' zu hören ist, werden alle geplanten Konzerte von DYMNA LOTVA offiziell verboten und die Live-Besetzung der Band ist zur Auflösung gezwungen. Sängerin Nokt Aeon kann ihrer politisch motivierten Verhaftung nur durch Flucht außer Landes entgehen. Das Duo will sich in der Ukraine treffen, als der russische Überfall den Plan zunichte macht. Nach zwei Wochen schweren Bombardements durch Russland und harten Kämpfen um Irpin gelingt Nokt Aeon die Flucht aus der Stadt. Beide Musiker finden schließlich Aufnahme in Polen. Für DYMNA LOTVA ist die Veröffentlichung von "The Land under the Black Wings: Blood" daher auch ein Akt des Widerstands. Ihre Musik kann auf mehr als eine Weise gehört werden: Es handelt sich zunächst, nur für sich genommen, um ein wundervoll melancholisches, zeitgenössisches Metal-Album auf der dunklen Seite des Genres; mit einem hörbar belarussischen Einschlag. Doch aus einer erweiterten künstlerischen Perspektive betrachtet, ist DYMNA LOTVAs "The Land under the Black Wings": Blood" ein klagender, wütender Schrei nach Freiheit und Gerechtigkeit!

Renowned Danish trumpeter Kasper Tranberg reforms his delicate chord-less trio with Nils Davidsen (bass & cello) and Frands Rifbjerg (drums) for the release of "Nobody"s Heart". Active on the jazz and improv scenes since the early 90s, Tranberg has been described as a player of great heart and purpose. Inspired by the iconic improvisers of our time, the album explores the connection between their instrument, their body and their soul. A collection of eight songs that Tranberg has deemed his favorites of the past few decades, the repertoire ranges from tin pan alley legends Rodgers and Hart, to visionaries like Ornette Coleman, to contemporary Danish singer/songwriter C.V. Jorgensen. On selecting the repertoire, Tranberg says "it was not about surface flash, technique or speed, but I followed my heart, my own footsteps and encounters in the previous 2 or 3 decades". Tranberg, Davidsen & Rifbjerg have been performin together since the early 1990"s, united by their passion for an exploratory and unpredictable playing style. With emphasis on stillness, melody, and texture, the record"s tone is melancholy, peaceful, and restorative. Tranberg"s intimate, warm trumpet sound soars above a bed of fluid bass and drum texture, slowly evolving from miniscule and sparse to dense and chaotic. Egoless, mature, and without flash, it is apparent the ensemble holds listening in high regard The trio seems to breathe as one, with each member aiming to make every note and sound mean something. Capturing the essence of each of the songs and making them undeniably their own, "Nobody"s Heart" is deeply personal, meditative and intricate. "Sometimes something else sings through the room and music - not often, but it"s a great feeling when it happens." - Kasper Tranberg

Rebellion ist aktuell in aller Munde, aber DYMNA LOTVA haben dafür gewichtige persönliche Gründe: Das Duo musste aus seinem Heimatland Belarus aufgrund politischer Verfolgung fliehen. Die Kunst der Metal-Band wird von der Lukaschenka-Diktatur aktuell zensiert und unterdrückt. Doch auch auf ihrem dritten Album, "The Land under the Black Wings: Blood" singen DYMNA LOTVA weiterhin von Trauer und Schmerz. Dabei haben die Belarussen hörbar ihren markanten Stil dynamisch weiterentwickelt. Über einem soliden Black Metal Fundament, das auch Bausteine aus dem Doom und traditioneller Musik enthält, baut das Duo mit Hilfe von melancholischen, eindringlichen Melodien emotionalere und gewaltigere musikalische Strukturen auf. Die Texte von DYMNA LOTVA basieren auf wahren Geschichten aus ihrer Heimat. Diese stammen aus Berichten voller Leid, die das Duo in historischen Archiven und in der Folklore findet - während in ihrem Land an jedem Tag neue Schreckenstaten hinzukommen. Komponist und Multiinstrumentalist Jauhien Charkasau sowie Sängerin Katsiaryna "Nokt Aeon" Mankevich datieren die Gründung von DYMNA LOTVA präzise auf den 8. November 2015. Am diesen Tag entzündete die Nachricht, dass die belarussische Schriftstellerin Swetlana Alexandrowna Alexijewitsch den Literaturnobelpreis erhalten hat, das musikalische Feuer der Band. Noch am gleichen Tag schuf das Duo seinen ersten Song, der von der Nuklearkatastrophe von Tschernobyl inspiriert wurde. Dieser erschien im Jahr 2016 als Single unter dem Titel ("A Solitary Human Voice"). DYMNA LOTVAs erstes Album "The Land under the Black Wings: Swamp" kam noch im gleichen Jahr heraus. Das Debüt stellt auch den ersten Teil einer konzeptionellen Trilogie über Belarus dar. Mit dem Nachfolger, "Wormwood" der nicht zur geplanten Album-Trilogie zählt, kehren DYMNA LOTVA im Jahr 2017 zum Thema Tschernobyl zurück. Nach den gefälschten Wahlen im Jahr 2020 unterstützte DYMNA LOTVA offen die Proteste gegen den Diktator Lukaschenka. Nach einem politisch motivierten Prozess gegen den Metal-Sänger Lesley Knife, der auch als Gast auf der Single 'To Freedom' zu hören ist, werden alle geplanten Konzerte von DYMNA LOTVA offiziell verboten und die Live-Besetzung der Band ist zur Auflösung gezwungen. Sängerin Nokt Aeon kann ihrer politisch motivierten Verhaftung nur durch Flucht außer Landes entgehen. Das Duo will sich in der Ukraine treffen, als der russische Überfall den Plan zunichte macht. Nach zwei Wochen schweren Bombardements durch Russland und harten Kämpfen um Irpin gelingt Nokt Aeon die Flucht aus der Stadt. Beide Musiker finden schließlich Aufnahme in Polen. Für DYMNA LOTVA ist die Veröffentlichung von "The Land under the Black Wings: Blood" daher auch ein Akt des Widerstands. Ihre Musik kann auf mehr als eine Weise gehört werden: Es handelt sich zunächst, nur für sich genommen, um ein wundervoll melancholisches, zeitgenössisches Metal-Album auf der dunklen Seite des Genres; mit einem hörbar belarussischen Einschlag. Doch aus einer erweiterten künstlerischen Perspektive betrachtet, ist DYMNA LOTVAs "The Land under the Black Wings": Blood" ein klagender, wütender Schrei nach Freiheit und Gerechtigkeit!

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

Emerging Glasgow trio Brenda release their self-titled debut album with
Last Night From Glasgow
Brenda are Litty Hughes on guitar, Apsi Witana on drums and Flore de Hooge on
synths - with all three contributing to lyrics and vocals.They've created a name for
themselves by gigging across Glasgow - their energetic sets described as the
type that "end up seared onto your brain after a single viewing" with their
"impudent, inventive and extremely DIY punk- pop" (The Scotsman). Although
easily compared to the riot grrrls that came before them, it is clear that Brenda is
content with being something totally unconventional. The combination of dreamy
synths, witty lyrics and joint vocals is infectious. DIY ethos and unapologetic
energy, Brenda could be your new favourite band.
The album will be launched with a gig at Glasgow's Glad Cafe on 28th July.
The most exciting set of the evening came from Glasgow all-female trio
Brenda...their name daubed on a collapsing bedsheet behind them, like they were
signalling to the media from the roof of a prison riot." - The Scotsman
"Offbeat leftfield synth driven pop with a self deprecating wit and between song
banter that just has the audience eating out of the palm of their hands." - The
Ginger Quiff
"Great set - a certain DIY enthusiasm which is hard to put into words." - Is This
Music?

Fünftes Album von Holy Wave aus Austin, Texas. Im Tarot steht die Karte der Fünf Kelche für Verlust und Trauer. Die Karte zeigt eine verhüllte Gestalt mit gesenktem Kopf, die über drei verschüttete Kelche blickt, während sie die beiden verbleibenden Gefäße ignoriert. Die Fünf Kelche wird im Allgemeinen so interpretiert, dass sie ein verzweifeltes Verharren in der Vergangenheit und die Unfähigkeit darstellt, die positiven Dinge der Gegenwart zu schätzen. Die Tarotkarte wurde zur Muse für das sechste Album von Holy Wave, "Five of Cups". Zu Beginn ihrer Karriere lehnten sich Holy Wave in ein ruhiges Reich der Psychedelik zurück und verzichteten auf lange Jams und Gitarren-Heldentaten zugunsten eines verträumten Pop-Ansatzes. Als sich die Band weiterentwickelte, wich der frühe Sgt. Peppers-meets-the-Velvets-Sound ausgefeilteren Melodien und einer ausgefallenen Instrumentierung und lenkte ihre Musik weg von sonnengebleichter Nostalgie hin zu einer farbenfrohen Dimension, in der sich Klänge der Vergangenheit, Gegenwart und Zukunft vermischten. Wie Pink Floyd in den frühen 70er Jahren haben Holy Wave es verstanden, auf ihrem neuen Album aus dem Pathos ein Gefühl tiefer Erheiterung zu zaubern, indem sie dunkle Elemente durch eine Linse filtern und sie in ein Kaleidoskop des Lichts verwandeln. Five of Cups eröffnet mit dem Titeltrack, der von Anfang an den auditiven und thematischen Modus Operandi des Albums festlegt. Die lysergische Texturpalette von Holy Wave wird sofort in den wabernden Synthie-Leads und dem Gitarren-Jangle des Songs deutlich, aber die untypischen Akkordfolgen und die Gesangsmelodie lenken die Musik weg vom anodynen Eskapismus hin zu einer nachdenklichen Auseinandersetzung zwischen Selbstbestimmung und Defätismus. Holy Wave reiten weiter auf dem wehmütigen und phantasmatischen Zug von "Bog Song" und schwanken zwischen Anschwellungen von strengen Moll-Akkorden und überlagerter elektrischer Orchestrierung. Die zuvor veröffentlichte Single "Chaparral" spielt mit der Nostalgie der Band und verwebt Verweise auf ihre Vergangenheit in El Paso zu einem Teppich des transzendentalen Triumphs. Wie so oft bei klassischer, albumorientierter Rockmusik entfaltet sich die wahre Magie erst in der zweiten Hälfte von Five of Cups. Auf "The Darkest Timeline" rekrutieren Holy Wave ihre Freunde Lorena Quintanilla und Alberto Gonzalez von dem Psych-Duo Lorelle Meets The Obsolete aus Baja California, Mexiko, um ihren berauschenden After-Mid-Night-Grooves zusätzliche ätherische Schichten hinzuzufügen. "Nothing in the Dark" funktioniert nach einem ähnlichen Prinzip, wobei ein gleichmäßiges, treibendes Schlagzeugmuster als Fundament für bandverwaschene Synthesizer, arpeggierte Gitarrenakkorde, Fuzz-Sounds und ruhige Vocals dient. Die Überlegungen von Five of Cups zur Bekämpfung von Niederlagen und Enttäuschungen werden im letzten Stück des Albums, "Happier", direkt aufgegriffen. Wieder einmal auf der melodischen Linie zwischen Melancholie und luftiger Raffinesse, untersuchen Holy Wave das synthetische Konstrukt des Glücks in unserem modernen Zeitalter und wie oft die Erlangung von Komfort jegliches wahre Gefühl von Freude vermissen lässt. Dennoch ist dies kein nihilistisches Klagelied. Vielmehr ist es eine beschwingte Erinnerung daran, dass die Bandbreite menschlicher Erfahrung von Natur aus Höhen und Tiefen erfordert und dass Euphorie oft in der Suche außerhalb des Vertrauten zu finden ist.

Over the past eight years Teenage Wrist have continually evolved their sound, a process that"s peaking with their third full-length, STILL LOVE. Reaching new heights in both scope and execution, the album sees the duo-Marshall Gallagher (vocalist, guitarist, bassist) and Anthony Salazar (drums, vocalist, percussion)-producing the album themselves to handcraft their most expansive collection of songs to date from the ground up. ? e result is a self-realized collection of songs that saw the band borrowing vintage gear, bringing in friends in the form of members from 311 vocalist/turntablist Doug "SA" Martinez and Softcult and incorporating tasteful pop sensibilities to craft a collection of songs that rede? nes the band"s sound while staying true to their guitar-driven roots. From the atmospheric, fuzzed out opener "Sunshine" (which Gallagher says is "the coolest ri? he"s ever written") to the midtempo rocker "Dark Sky"" (the latter of which features the aforementioned cameo from 311 vocalist/turntablist Doug "SA" Martinez), the album will undoubtedly please fans who favor distorted guitars and crunchy chords. However, that"s only one aspect of the album and Teenage Wrist aren"t ashamed to admit that there"s a strong pop sensibility on the album that shows how much they"ve grown as songwriters since 2021"s Earth is a Black Hole. From the brain-invading ballad "Something Good" to the downbeat electronic vibe of "Diorama," the album is teeming with unexpected moments that are reminiscent of Radiohead"s ? air for experimentation. ? e powerful bond between these two collaborators lies at the core of Teenage Wrist"s music and, more than any other factor, that"s evident on every moment of STILL LOVE. "? ere was a certain feeling that music gave me as a kid and this is honestly the ? rst time on any record I feel like we kind of came close to achieving that," Gallagher says of the end result. "We just shot from the gut on this record and tried not to overanalyze things... and I think the record speaks for itself."

Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!

Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!

Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!

Emil Amos (Grails, OM and podcaster plus) decommissions pieces originally bound for the KPM library. A personal interpolation of "music for films (& television)" expounds upon diverse sounds: synthy 80s soundtracks, contemporary hip-hop beatmaking, ambient music, and The Hulk"s "Lonely Man Theme". Emil"s dark visions are full of noirish shadows and eerie neon glow - mood music for drug trips spent dreaming up new soundtracks to take drugs to! Emil Amos" forthcoming Zone Black album is a fully inhabitable world, its episodic narrative divided into an improbable balance between morbid ambient anthems and insouciant hip-hop instrumentals. Emil hadn"t heard it done quite this way before, so he took it upon himself. And it sounds real! Straight out of Madlib"s kitchen sink, and with a sense of brooding dread, "Jealous Gods" features throbbing beats, low synth paired with high vocal melody, layered together into something even more impossibly bizarre than the sum of their parts - like say, monks singing from on high, over a battleground littered with remnants of the old guard. Emil warps evocative tones, taking familiar sounds into new dimensions, reaching for the kind of depth and resonance that defines moments with an almost invisible touch.

Routed through an interdimensional gateway; the latest message from Psy-fi Sounds has materialized. Reporting back to the home world with 4 separate accounts of their latest cosmic endeavors. Encounters with complex life forms, analysis of digital realities and investigations into the true nature of the universe are transcribed within. The trilogy is now complete.