Pop & Rock Vinyl New Releases - News

For the benefit of those who may not know about the Rising Storm or have never heard their work:

in brief, they were six Phillips Academy students from Andover, Massachusetts, who formed a high school garage band that performed from 1965 to 1967 and, within this brief time, recorded an amazing album called 'Calm Before.' The release of this 45 has been timed to honor the 50th Anniversary of the 1965 inception of the band. It contains two of the most powerful original numbers on the album, 'I'm Coming Home' and 'She Loved Me'.

This single is the only authorized vinyl pressing of these two numbers since the original 1967 'Holy Grail' release of Calm Before (when only 500 LPs were pressed) and it is also the only 45 ever released of the Rising Storm's music.

Remastered sound, beautiful hard cardboard sleeve w/ never seen pics and liner notes by Greg Prevost.

Limited edition of 400 copies!

Saroos fangen auf ihrem vierten Album das Unvorstellbare ein, ohne es seines Geheimnisses zu berauben. Für das feinsinnig verwobene »Tardis« hat die Band mit dem Produzenten Tadklimp neue Möglichkeiten ausgelotet. Mit behutsamen Rhythmen, einem satten modularen Sound-Design und dichten Harmonien beschwört die neue LP von Saroos, für das von Markus & Micha Acher kuratierte Label Alien Transistor die Geister vager Erinnerungen herauf. »Tardis«, gleicht einer Einladung zu einer Reise durch Zeit und relative Dimensionen im Raum.

Über ganz Deutschland verstreut gelingt es dem Trio trotz zahlreicher anderer Projekte (The Notwist. Lali Puna, Driftmachine) von Zeit zu Zeit, sich in ein Studio zu einzuschließen und auf ausgedehnte Touren zu fahren. Saroos fußt auf einer engen Freundschaft zwischen den Musikern. Eine sich stetig wandelnde kreative Kraft, die sich in ihrem
bisher stärksten musikalischen Statement gebündelt hat.

Nachdem sie bereits mit dem Anticon-Artist Alias und
cLOUDDEADs Odd Nosdam zusammengearbeitet haben, öffnete sich das Trio für eine weitere Perspektive. Tadklimp, der unter
anderem auch für Fenster und Slow Steve arbeitet, begleitete die drei Musiker diesmal von Anfang an mit Ideen und Sounds. Während für Saroos bislang die Arbeit mit Samples und das Arrangieren einzelner Elemente der Ausgangspunkt des Kompositionsprozesses war, öffnete die Zusammenarbeit mit Tadklimp neue Räume. »Tad hat uns bei diesen Aufnahmen immer das Gefühl gegeben, es gäbe keine Beschränkungen«, erinnert sich Punktezahl. Das Resultat sind sorgsam durchdachte Kompositionen, die zwischen Pop-Sensibilitäten und der atmosphärischen Dichte instrumenteller Musik changieren.

Darüberhinaus hatten Zimmers Experimente mit Modularen
Synthesizern in seinem Nebenprojekt Driftmachine einen spürbaren Einfluss auf »Tardis«. Saroos nutzen ihre Musik als einen offenen Referenzrahmen. Ob ein selbst eingespieltes Sample aus dem Horror-Klassiker »Rosemary's Baby« oder die Einbeziehung des japanischen Saiteninstrumentes Koto: Alle externen Einflüsse werden erst in neue Formen übertragen und dann zusammengeführt, bis am Ende ein einfallsreiches Ganzes steht, welches versucht das Unwirkliche einzufangen, ohne es je zu erklären. Vom Opener »Weaver's Cave« mit seinen verfremdeten Melodien über die tief in den Mix eingebetteten ätherischen Vocals von »Orange Book« hin zu den
blubbernden Sounds, mit denen »Sleepy White« das Album
abschließt, integriert »Tardis« gekonnt selten Gehörtes in scheinbar vertraute Strukturen.

»Tardis« soll also nicht als Titel eines Dr. Who-Konzeptalbums
gelesen werden, sondern zieht den Begriff aus seinem pophistorischen Zusammenhang und nimmt die Abkürzung »Time And Relative Dimension in Space« wörtlich: Alles auf »Tardis« scheint nahbar und doch weit entfernt in Zeit und Raum verloren. Passenderweise nennt Zimmer auf die Frage hin, von welcher Kollaboration die Band schon immer geträumt hätte, den Namen der verstorbenen Broadcast-Frontfrau Trish Keenan. Ähnlich wie die Musik Broadcasts schaffen Saroos auf »Tardis« weiträumige Schichten, in denen Geister frei wandeln können.

Nite Flights is the sixth studio album by the American Pop group The Walker Brothers, released in 1978. It includes the haunting single 'The Electrician'.

Nite Flights was the last album the trio recorded as a group, although the structure of the album, effectively split into 3 sections in which each member writes and sings, has led to both critics and band members describing it as more akin to 3 miniature solo albums than a true group album.

Two songs were by written by Gary Walker while Scott Walker and John Walker each contributed four. The album was recorded in February 1978 in the UK at Scorpio Sound, London. The artwork was designed by Storm Thorgerson's Hipgnosis studios, famed for their Pink Floyd album artwork.

"(Kraut)-Rock im Stil der 70er von
einer ostdeutschen Band. Ein
wahrhaft farbenfroher Genuss!"
CLASSIC ROCK

"Ein Musiktraum in sechs Akten."
POWRMETAL.DE

Wiederveröffentlichungen der frühen Bowie-Singles auf diesem "1966" betitelten Album. 180g schwarzes Vinyl. Die ursprünglich bei dem britischen Label Pye aufgelegten Aufnahmen, die noch vor dem Albumdebüt auf verschiedenen Singles erschienen, gab es später unter dem Titel "I Dig Everything" erstmals zusammengefasst. In dieser Zusammenstellung längst vergriffen, ist die Neuauflage von "1966" nun die Gelegenheit einige der ersten Songs des Ausnahmekünstlers neu zu entdecken.
1Hörprobe Track 1: I'm not losing sleep

Ende Januar erscheint bei Domino "Music For A New Society/M:Fans" ein 2CD Bundle und zwei separat erhältliche LPs bestehend aus dem Klassiker "Music For A New Society" (1982) und "M:Fans" ein bis dato unveröffentlichtes Rework des 82er Albums!

Musikalisch einer der größten und wandlungsfähigsten Künstler unserer Zeit, zeichnet sich der britische Artrocker John Cale, der vor allem mit seiner Band The Velvet Underground bekannt wurde, immer wieder als Freidenker und Speerspitze der Avantgarde aus. Ende Januar erscheint bei Domino eine neu gemasterte Version des John Cale Klassikers "Music For A New Society" aus dem Jahr 1982 inklusive drei bisher unveröffentlichter Bonustracks (CD only), und auf "M:FANS" vereint Cale jetzt alt und neu, indem er aus Samples der originalen Tracks eine komplett neue Geräuschkulisse entstehen lässt.

- 2CD: Gatefold CD "M:FANS" (Unreleased) + "Music For A New Society" (Remastered)!
- "M:Fans" erscheint darüber hinaus als 2LP inklusive Downloadkarte und ist bis dato unveröffentlicht!
- "Music For A New Society" erscheint als Single LP inklusive MP3 Downloadcard!

Zwischen 2001 und 2008 veröffentlichte der schwedische Indie-Musiker Karl Rasmus Kellerman alias Tiger
Lou mehrerer Singles und Alben. 2009 legte Kellerman seine Band auf Eis, um sie jetzt wieder aufzutauen.
Als erstes Tonkonservenergebnis dieses Comebacks, das Tiger Lou mit ausverkauften Konzerten in
Deutschland und Schweden einleitete, liegt nun die EP "California Hauling" vor, die auf jeweils 700
Exemplare limitiert auf schwarzem Vinyl (Klappcover) und CD (mit 16 Seiten Booklet) erscheint.

Wer durch die Augen von Adrian Hates auf die Welt blickt, sieht Krieg, Zerstörung, Fanatismus, Egoismus,
Leid und Trauer - so weit das Auge reicht. Um emotional nicht abzustumpfen, völlig zu verkümmern oder
komplett zu verzweifeln, verarbeitet Hates seine Eindrücke und Gefühle auf kreative Weise: Willkommen bei
Diary Of Dreams, Deutschlands berühmtester Synth-Pop-Formation. Die Band um den Sänger Adrian Hates
legt mit "Grau im Licht" ihr nunmehr zwölftes Studioalbum vor. Dieses richtet sich gegen den ansteckenden
Wahnsinn um uns herum und ist als Statement für Mitgefühl und Güte zu betrachten. "Grau im Licht" bietet
ein Dutzend Songs, bei denen es erwartungsgemäß düster und brachial zugeht. Mit Bombast wird nicht
gespart, groß und gewaltig stampfen düstere Rhythmus-Bollwerke gegen massive Gitarrenwände an,
während elektronische Soundwände Hates charismatischen Gesang durch die Kompositionen tragen. Auch
die gewohnt melodisch-melancholischen Synth-Hymnen fehlen ebenso wenig wie die tiefgängigen Balladen.
So ist auch dieses Werk wieder zu einem typischen DOD-Album geworden: mächtig, melancholisch, wütend,
mitreißend und zum Nachdenken anregend.

An unknown pleasure torn out of Manchester's lost DIY manual, this overqualified/underexposed post-punk pop pillar cast an almost invisible undetected web across the history of Manchester's inner-city music scene which has trapped body parts of The Mothmen, Martin Hannett, Gerry And The Holograms, John Cooper Clarke, The Blue Orchids, Naffi Sandwich (The Naffis) and The Fates in its glue.
As a central mast to 1970s/80s Manchester's deserted' DIY era, spanning angular jazz funk, punk and sarcastic synth pop, Spider King has also played huge parts in Manchester's honorary adoption of The Velvet Underground's Nico (as her lead guitarist), fronted Martin Hannett's first ever band and inhabits a key roll in the careers of Sad Cafe, Alberto y Lost Trios Paranoias, Paul Young and AC/DC's Mancunian debut. With dozens of self-penned songs, unreleased demos and two of the best collectable Manc punk funk 45s to grace collectors want lists it's almost unbelievable (almost tragic) that Mike King never released a full length album... until now.

Shot To Pieces is one of the most elusive jagged pieces of the North West's punk funk puzzle. Recorded sporadically between 1979 and 1983 with a cast of characters from the Rabid/Absurd label family, such as behind the scenes synth wielder John Scott from Gerry And The Holograms, and producers like Laurie Latham (The Blockheads) it's plain to see why 2016's current music climate is the perfect time for the Spider King's lost music to resurface. Commonly recognised by stalwarts of the era's mutating punk/alt/indie genre as the one that got away', Spider King is the archetypal artist's artist as well as the outsider's outsider and the hardest working man in no-business who is now attracting a whole new audience of champions from bloggers, vinyl nerds and well respected contemporary musicians with his appearances on mix-tapes and various artist compilations. On hearing this essential release you could argue that these lost spider-grams' are more relevant now than they were when those arachnophobic A&R men shooed him away over 3 decades ago. For those who ain't afraid to get bitten say hello to the Spider King.

London four - piece, TELEGRAM are set to release their eagerly awaited debut album on the 5th of February 2016. 'Operator',
Recorded in London with Rory Atwell, features twelve tracks including the forthcoming single 'Taffy Come Home', and a new version the band's long deleted seven-inch debut release 'Follow' from October 2013. The album will be released on black vinyl and limited edition signed coloured vinyl, while the CD digipak and digital versions will come with bonus track 'Have It Your Way'. A stunning set of songs, the album will more than confirm TELEGRAM's early promise as one of the most exciting bands around right now. Formed just over two years ago, the TELEGRAM line up of Matt Saunders (vocals/ guitar), Oli Paget-Moon (bass) and Jordan Cook (drums) have recently recruited new guitarist Pip Stakem to the fold. Effortlessly combining a love of Roxy Music, Syd Barrett, krautrock and late proto-punk to great effect, they've built up an ever growing fanbase of critics and public alike with extensive touring and a clutch of fantastic and much sought after seven inch singles, 'Follow', Regatta', 'Inside Outside, and most recently 'Aeons'.

To coincide with the album release, TELEGRAM have announced a UK Tour in February and March.

London four - piece, TELEGRAM are set to release their eagerly awaited debut album on the 5th of February 2016. 'Operator', Recorded in London with Rory Atwell, features twelve tracks including the forthcoming single 'Taffy Come Home', and a new version the band's long deleted seven-inch debut release 'Follow' from October 2013. The album will be released on black vinyl and limited edition signed coloured vinyl, while the CD digipak and digital versions will come with bonus track 'Have It Your Way'. A stunning set of songs, the album will more than confirm TELEGRAM's early promise as one of the most exciting bands around right now. Formed just over two years ago, the TELEGRAM line up of Matt Saunders (vocals/ guitar), Oli Paget-Moon (bass) and Jordan Cook (drums) have recently recruited new guitarist Pip Stakem to the fold. Effortlessly combining a love of Roxy Music, Syd Barrett, krautrock and late proto-punk to great effect, they've built up an ever growing fanbase of critics and public alike with extensive touring and a clutch of fantastic and much sought after seven inch singles, 'Follow', Regatta', 'Inside Outside, and most recently 'Aeons'.

To coincide with the album release, TELEGRAM have announced a UK Tour in February and March.

London four - piece, TELEGRAM are set to release their eagerly awaited debut album on the 5th of February 2016. 'Operator', Recorded in London with Rory Atwell, features twelve tracks including the forthcoming single 'Taffy Come Home', and a new version the band's long deleted seven-inch debut release 'Follow' from October 2013. The album will be released on black vinyl and limited edition signed coloured vinyl, while the CD digipak and digital versions will come with bonus track 'Have It Your Way'. A stunning set of songs, the album will more than confirm TELEGRAM's early promise as one of the most exciting bands around right now. Formed just over two years ago, the TELEGRAM line up of Matt Saunders (vocals/ guitar), Oli Paget-Moon (bass) and Jordan Cook (drums) have recently recruited new guitarist Pip Stakem to the fold. Effortlessly combining a love of Roxy Music, Syd Barrett, krautrock and late proto-punk to great effect, they've built up an ever growing fanbase of critics and public alike with extensive touring and a clutch of fantastic and much sought after seven inch singles, 'Follow', Regatta', 'Inside Outside, and most recently 'Aeons'.

To coincide with the album release, TELEGRAM have announced a UK Tour in February and March.

Largely unknown and unheralded, this collection of Hell-Bound Hayseeds will come as a revelation.
Mostly cut on microscopic or private-press labels and distributed in minuscule amounts, these Tortured Troubadours tell of torments, temptations and tumults - Satan, drugs, murder, suicide, demonic visions, infanticide and redemption - all in one handy LP package.

A labor of love - years in the making - 'Hillbillies In Hell' presents 18 timeless testaments of transgressions, tribulations and moral turpitude. Originally issued on forgotten 45s, some of these sides are indescribably rare and are reissued here for the very first time, all for your listening pleasure.

DAVID BOWIE FIVE YEARS 1969 - 1973 is the first in a series of box sets spanning his career. The ten album / twelve CD box, ten album / thirteen-piece vinyl set and digital download featuring all of the material officially released by Bowie during the nascent stage of his career from 1969 to 1973. All of the formats include tracks that have never before appeared on CD/digitally as well as new remasters.

6 original studio albums: David Bowie AKA Space Oddity*, The Man Who Sold The World*, Hunky Dory*, The Rise and Fall Of Ziggy Stardust And The Spiders From Mars, Aladdin Sane and PinUps*. (*New remasters)

2 Live albums: Live Santa Monica '72, Ziggy Stardust: The Motion Picture Soundtrack

Exclusive to the set: 
Re:Call 1 a new 2-disc compilation of non-album singles, single versions & b-sides. Featuring a previously unreleased single edit of All The Madmen. And the original version of Holy Holy, which was only ever released on the original 1971 Mercury single.
'The Rise and Fall Of Ziggy Stardust And The Spiders From Mars' (2003 stereo remix) by the album's original co-producer Ken Scott, previously only available on DVD with the LP/DVD format of the 40th anniversary edition of the album.
Book: ( CD - 128 page book / Vinyl - 84 page book ), features rarely seen photos as well as technical notes about each album from producers Tony Visconti and Ken Scott, an original press review for each album and a short foreword by legendary Kinks front man Ray Davies.
The CD box set includes faithfully reproduced mini-vinyl versions of the original albums, the CDs will be gold rather than the usual silver, an alternate cover for the 2003 mix of Ziggy Stardust by Ken Scott and newly originated artwork for the 'Re:Call 1' featuring a 1973 in-studio image from renowned photographer Mick Rock.
The vinyl box set has the same content as the CD set on pressed on audiophile quality 180g vinyl.





1. "Space Oddity" (2015 remastered version)
2. "Unwashed & Somewhat Slightly Dazed" (2015 remastered version)
3. "Letter To Hermione" (2015 remastered version)
4. "Cygnet Commitee" (2015 remastered version)
Side 2
1. "Janine" (2015 remastered version)
2. "An Occasional Dream" (2015 remastered version)
3. "Wild Eyed Boy From Freecloud" (2015 remastered version)
4. "God Know's I'm Good" (2015 remastered version)
5. "Memory Of A Free Festival" (2015 remastered version)
Side 3
1. "The Width Of A Circle" (2015 remastered version)
2. "All The Madmen" (2015 remastered version)
3. "Black Country Rock" (2015 remastered version)
4. "After All" (2015 remastered version)
Side 4
1. "Running Gun Blues" (2015 remastered version)
2. "Saviour Machine" (2015 remastered version)
3. "She Shook Me Cold" (2015 remastered version)
4. "The Man Who Sold The World" (2015 remastered version)
5. "The Supermen" (2015 remastered version)
Side 5
1. "Changes" (2015 remastered version)
2. "Oh! You Pretty Things" (2015 remastered version)
3. "Eight Line Poem" (2015 remastered version)
4. "Life On Mars" (2015 remastered version)
5. "Kooks" (2015 remastered version)
6. "Quicksand" (2015 remastered version)
Side 6
1. "Fill Your Heart" (2015 remastered version)
2. "Andy Warhol" (2015 remastered version)
3. "Song For Bob Dylan" (2015 remastered version)
4. "Queen Bitch" (2015 remastered version)
5. "The Bewlay Brothers" (2015 remastered version)
Side 7
1. "Five Years" (2012 remastered version)
2. "Soul Love" (2012 remastered version)
3. "Moonage Daydream" (2012 remastered version)
4. "Starman" (2012 remastered version)
5. "It Ain't Easy" (2012 remastered version)
Side 8
1. "Lady Stardust" (2012 remastered version)
2. "Star" (2012 remastered version)
3. "Hang On To Yourself" (2012 remastered version)
4. "Ziggy Stardust" (2012 remastered version)
5. "Suffragette City" (2012 remastered version)
6. "Rock 'N' Roll Suicide" (2012 remastered version)
Side 9
1. "Five Years" (2003 remix)
2. "Soul Love" (2003 remix)
3. "Moonage Daydream" (2003 remix)
4. "Starman" (2003 remix)
5. "It Ain't Easy" (2003 remix)
Side 10
1. "Lady Stardust" (2003 remix)
2. "Star" (2003 remix)
3. "Hang On To Yourself" (2003 remix)
4. "Ziggy Stardust" (2003 remix)
5. "Suffragette City" (2003 remix)
6. "Rock 'N' Roll Suicide" (2003 remix)
Side 11
1. "Introduction" (live)
2. "Hang On To Yourself" (live)
3. "Ziggy Stardust" (live)
4. "Changes" (live)
5. "The Supermen" (live)
6. "Life On Mars" (live)
Side 12
1. "Five Years" (live)
2. "Space Oddity" (live)
3. "Andy Warhol" (live)
4. "My Death" (live)
Side 13
1. "The Width Of A Circle" (live)
2. "Queen Bitch" (live)
3. "Moonage Daydream" (live)
4. "John, I'm Only Dancing" (live)
Side 14
1. "Waiting For The Man" (live)
2. "The Jean Genie" (live)
3. "Suffragette City" (live)
4. "Rock 'N' Roll Suicide" (live)
Side 15
1. "Watch That Man" (2013 remastered version)
2. "Aladdin Sane" (2013 remastered version)
3. "Drive-In Saturday" (2013 remastered version)
4. "Panic In Detroit" (2013 remastered version)
5. "Cracked Actor" (2013 remastered version)
Side 16
1. "Time" (2013 remastered version)
2. "The Prettiest Star" (2013 remastered version)
3. "Let's Spend the Night Together" (2013 remastered version)
4. "The Jean Genie" (2013 remastered version)
5. "Lady Grinning Soul" (2013 remastered version)
Side 17
1. "Introduction" (live)
2. "Hang On To Yourself" (live)
3. "Ziggy Stardust" (live)
4. "Watch That Man" (live)
5. "Wild Eyed Boy From Freecloud" (live)
6. "All The Young Dudes" (live)
7. "Oh! You Pretty Things" (live)
Side 18
1. "Moonage Daydream" (live)
2. "Changes" (live)
3. "Space Oddity" (live)
4. "My Death" (live)
Side 19
1. "Introduction" (live)
2. "Cracked Actor" (live)
3. "Time" (live)
4. "The Width Of A Circle" (live)
Side 20
1. "Let's Spend The Night Together" (live)
2. "Suffragette City" (live)
3. "White Light/White Heat" (live)
4. "Farewell Speech" (live)
5. "Rock 'N' Roll Suicide" (live)
Side 21
1. "Rosalyn" (2015 remastered version)
2. "Here Comes The Night" (2015 remastered version)
3. "I Wish You Would" (2015 remastered version)
4. "See Emily Play" (2015 remastered version)
5. "Everything's Alright" (2015 remastered version)
6. "I Can't Explain" (2015 remastered version)
Side 22
1. "Friday On My Mind"
2. "Sorrow"
3. "Don't Bring Me Down"
4. "Shapes Of Things"
5. "Anyway, Anyhow, Anywhere"
6. "Where Have All The Good Times Gone"
Side 23
1. "Space Oddity" (original UK mono single edit - 2015 remastered version)
2. "Wild Eyed Boy From Freecloud" (original UK mono single version - 2015 remastered version)
3. "Ragazzo Solo, Ragazza Sola" (2015 remastered version)
4. "The Prettiest Star" (original UK mono single version - 2015 remastered version)
5. "Conversation Piece" (mono - 2015 remastered version)
Side 24
1. "Memory Of A Free Festival" (part 1 - 2015 remastered version)
2. "Memory Of A Free Festival" (part 2 - 2015 remastered version)
3. "All The Madmen" (mono single edit - 2015 remastered version)
4. "Janine" (mono - 2015 remastered version)
5. "Holy Holy" (original mono single version - 2015 remastered version)
6. "Moonage Daydream" (The Arnold Corns single version - 2015 remastered version)
7. "Hang On To Yourself" (The Arnold Corns single version - 2015 remastered version)
Side 25
1. "Changes" (mono single version - 2015 remastered version)
2. "Andy Warhol" (mono single version - 2015 remastered version)
3. "Starman" (original single mix - 2012 remastered version)
4. "John, I'm Only Dancing" (original single version - 2012 remastered version)
5. "The Jean Genie" (original single mix - 2014 remastered version)
6. "Drive-In Saturday" (German single edit - 2015 remastered version)
Side 26
1. "Round & Round" (2015 remastered version)
2. "John, I'm Only Dancing" (sax version - 2012 remastered version)
3. "Time" (US single edit - 2015 remastered version)
4. "Amsterdam" (2015 remastered version)
5. "Holy Holy" (Spiders version - 2015 remastered version)
6. "Velvet Goldmine" (2015 remastered version)

Critically acclaimed pop duo Chairlift - AKA writers, producers and multi-instrumentalists Caroline Polachek and Patrick Wimberly - today announce their eagerly anticipated third album Moth, due for release in January 2016 via Columbia Records. The first single from the record Ch-Ching was premiered as a 'World Record' on Zane Lowe's Beats 1 radio show earlier this week and is available to download and stream now.

Patrick Wimberly says Ch-Ching began as 'an experiment in combinations that began by banging on my living room coffee table, layering drastically different grooves, and forcing them to work together... a Sunday morning impulse that pretty much reflects manic New York life.'

Caroline Polachek notes that the song is about 'that moment of disbelief when you're confronted with a huge opportunity or stroke of luck, and you take it and run with it - pumped full of adrenaline, but you pretend it is business as usual. It's the kind of miracle people move to NYC for. The audition you didn't think you'd get, the lie that accidentally works brilliantly, finding a $100 bill on the sidewalk.'

The dazzling, movement-infused dance video (with choreography by NYC dancehall guru Korie Genius) premiered on New York Mag's Vulture. Directed by duo that-go, the video finds Caroline and Patrick navigating the industrial underbelly of New York City and combing through the bridges along the East River, including The Ward's Island Bridge. Textures of New York City are found threaded throughout the video, from the prominent nuts and bolts of the bridge structures to the construction-site-orange wardrobe.

Ch-Ching is the first new Chairlift song in three years, but the duo have been far from quiet. They collaborated with Beyoncé on her groundbreaking self-titled album via the track No Angel, which was written and produced by Caroline and co-produced by Patrick. Caroline released and toured Arcadia, a self-produced solo album under the alias Ramona Lisa and collaborated with SBTRKT, Blood Orange and others, while Patrick produced and collaborated with artists such as Solange Knowles, Wet, Kelela, and Tei Shi.

An evolution from their last album, 2012's Something, Moth proves to be an emotionally uninhibited and markedly stronger, more pop inspired body of work. A very New York City inspired album, listeners can expect to be led through an aural mix of big, rich pop inspired hooks, vibrating bass, lively brass and sensuous R&B inspired vocals, all anchored in the duo's meticulously crafted instrumentation.

Clutch's DVD "Full Fathom Five" is an excellent choice for the Clutch fan who's never managed to make it to a live show. Unlike so many band DVD's that are chalked full of interviews, behind the scenes footage, and generally drab use of film time, "Full Fathom Five" is all about the music!

"Though there aren't any new tracks on the release, since the DVD came out before Clutch's newest album, there is a good sampling of the rest of the band's discography, from the '95 album "Clutch," all the way through their 2007 release "From Beale Street To Oblivion." But, the songs are not in chronological order, and the performances end up being a good variety of the hard rock, punk and bluesy styles Clutch has played with over the years.

The series of live shows takes us from Pittsburgh to Sayreville, New Jersey, over a course of time from August 2007 to March 2008. There isn't really one performance that's any better than the rest, but each one is solid, and well-orchestrated. The instruments are on, Neil Fallon's vocals are on, and the shows are just plain good. Sure, there aren't any amazing laser lights or excessive glam, but Clutch isn't exactly a glam band, either.

And unlike a lot of band DVD's, there aren't any amateurish web cam shots or shaky handheld camcorders. The recording is professional grade, with split screens, close-ups, and excellent sound quality. So while "Full Fathom Five" may not be an all-encompassing journey through time with the band members of Clutch, it is an excellent DVD for those who just want to see a band put on a really good show.

Bottom line: This DVD is the perfect solution for those who've always wanted to but never quite made it to a Clutch show."

Clutch's DVD "Full Fathom Five" is an excellent choice for the Clutch fan who's never managed to make it to a live show. Unlike so many band DVD's that are chalked full of interviews, behind the scenes footage, and generally drab use of film time, "Full Fathom Five" is all about the music!

"Though there aren't any new tracks on the release, since the DVD came out before Clutch's newest album, there is a good sampling of the rest of the band's discography, from the '95 album "Clutch," all the way through their 2007 release "From Beale Street To Oblivion." But, the songs are not in chronological order, and the performances end up being a good variety of the hard rock, punk and bluesy styles Clutch has played with over the years.

The series of live shows takes us from Pittsburgh to Sayreville, New Jersey, over a course of time from August 2007 to March 2008. There isn't really one performance that's any better than the rest, but each one is solid, and well-orchestrated. The instruments are on, Neil Fallon's vocals are on, and the shows are just plain good. Sure, there aren't any amazing laser lights or excessive glam, but Clutch isn't exactly a glam band, either.

And unlike a lot of band DVD's, there aren't any amateurish web cam shots or shaky handheld camcorders. The recording is professional grade, with split screens, close-ups, and excellent sound quality. So while "Full Fathom Five" may not be an all-encompassing journey through time with the band members of Clutch, it is an excellent DVD for those who just want to see a band put on a really good show.

Bottom line: This DVD is the perfect solution for those who've always wanted to but never quite made it to a Clutch show."

 July 24th 2015 sees the release of the latest special limited DAVID BOWIE 7" picture disc, the 40th anniversary edition of FAME.
Originally released in summer 1975 FAME was taken from the album YOUNG AMERICANS, it was co-written with John Lennon and guitarist Carlos Alomar and was Bowie's first #1 in the USA. This is the first appearance of the single edit since a 'Best Of Bowie' LP in 1980, it's only other appearance being the original single itself.
The b-side of the original single was the YOUNG AMERICANS album track RIGHT, for this 40th anniversary RIGHT is now the AA-side and appears as an alternate mix previously released by Ryko/EMI in 1991. However, due to a mistake it was released at the wrong speed but for this release that has been corrected.

Plans is the fifth studio album by Indie Rock band Death
Cab for Cutie, originally released August 30, 2005.


The album spawned three singles: 'Soul Meets Body', 'Crooked Teeth', and 'I Will Follow You into the Dark', with all three songs charting. 'I Will Follow You Into The Dark' became Death Cab for Cutie's best-selling single to-date, and gained the band a nomination for a Grammy Award for Best Pop Performance by a Duo or Group with Vocals the following year.

Plans peaked at number four on the Billboard 200, and received platinum certification by the Recording Industry Association of America. The album was nominated for a Grammy Award for Best Alternative Music Album at the 48th Grammy Awards in 2006.

Narrow Stairs is the sixth studio album by indie rock band Death Cab for Cutie, originally released in 2008. Four singles were released for the album: 'I Will Possess Your Heart', 'Cath...', 'No Sunlight', and 'Grapevine Fires'.

Narrow Stairs reached number one on the Billboard 200, making it Death Cab for Cutie's highest charting album to-date. The album was nominated for the 'Best Alternative Music Album' award at the 51st Grammy Awards. In addition, 'I Will Possess Your Heart' was nominated for 'Best Rock Song', and named iTunes UK song of the year 2008.

In 2011 guitarist and producer Walla stated, 'the master plan for Narrow Stairs was to be as invisible and hands-off as a producer as I possibly could. I was really interested in seeing what would happen. When we started that record, we had been on tour for the better part of two years. All we could remember was being on stage and playing. So the whole idea was: what happens if we're just on stage and we play, except we're in the studio and we're recording' He added: 'Narrow Stairs was very much a commitment to just crashing through the songs as we recorded them, like four people in a room.'

The cover art was created by designer EE Storey, the art director forTegan and Sara.

Codes And Keys is the seventh studio album by Death Cab for Cutie, originally released in 2011. A much less guitar- centric album than the band ever made before, the band surprised the world with their compelling venture to new horizons.

As lead vocalist and guitarist Ben Gibbard stated: 'It's not a guitar-based record. We've been into vintage keyboards and playing with that palette.' Guitarist and producer Chris Walla stated: 'Guitar is great; it's a really immediate, impulsive sort of instrument. But I think if we had strapped on guitars and gone into the studio with the intent of making a sort of live-ish sounding record, we definitely would've retreaded some of the territory that we were in for Narrow Stairs [MOVLP1376].'

In 2011, the album received a Nomination in the 54th
Grammy Awards for Best Alternative Music Album.

Stormbringer . Love Don't Mean A Thing .
Holy Man . Hold On . Lady Double Dealer .
You Can't Do It Right . High Ball Shooter . The
Gypsy . Soldier Of Fortune .

Mannequin Records is proud to present the 12'' reissue of one of the rarest minimal synth singles ever released in UK, cradle of DIY post-punk and minimal synth bands inspired by Kraftwerk, Tangerine Dream, the early 4AD, Mute and Factory Records singles.
In 1983 the Neo Romantic BlitzKid music of synthesists John Mellor, Steve Millard and Frankie Abbot created new waves in the sedate seaside resort of Penzance Cornwall.
Dave Hastilow, a record producer, sound engineer and analogue synthesist himself who had worked for Pete Townshend of The Who became interested in their music and took them into a local recording studio installed in an old wartime bomb shelter, also playing drums on the track and crafting the sound using the natural acoustics of the concrete bunker. The result was 'Lets Get Together' and 'Memories' and he named the band Shazam.
Limited edition of 250 copies

TONIGHT ALIVE are 5 best friends from Australia who went from playing tiny club shows in Sydney only a few years ago, to touring the world with their favourite bands, topping album charts at home and abroad, playing main stages at festivals like Reading and Leeds and Slam Dunk and appearing on the Amazing Spider-Man 2 soundtrack with huge 2013 single 'The Edge'. They can now announce that their brand new studio album LIMITLESS will be released on March 4, 2016 through Easy Life/Sony Red, and is available for pre-order right now.

As TONIGHT ALIVE front woman Jenna McDougall explains, 'LIMITLESS is a record that is just as much about redefining boundaries as it is about challenging the illusory concept of boundaries itself. Our mission in both the song writing and recording process was to dissolve all restriction and repression of the mental, physical and spiritual; and grant ourselves an opportunity to be expressive at our highest capacity.

'Following an emotional reaction to our second record THE OTHER SIDE and the healing of its touring cycle, we found the clarity to explore a newfound, centred version of ourselves where creating something meaningful and everlasting was of the highest importance.

'We tore away every formula, structure and safety net we knew to embrace a complete unlearning and evolution. This record shares our journey of harnessing personal power and acts as the long awaited answer to the questions of our previous records.'

Columbia Records is proud to announce Don't You, the long-anticipated album from the trio of friends known as Wet. An astonishingly lucid and heart-wrenching collection of 11 tracks, the album is due out this Fall.

Much has been made of the utopian merging of indie and traditional pop worlds in recent years, but Don't You is an album that takes this fusion to an unprecedented place. This is a benchmark record that delicately sews together the clean songwriting of big-pop, the melodic sensuality of R&B, and the faint twang of country with touches of experimental production and precise instrumentation to create a bold and effortless-feeling new space. Wet, comprised of singer-songwriter Kelly Zutrau, and multi-instrumentalists Joe Valle and Marty Sulkow, make songs that resist easy categorization and invite every listener to bask in its intimate glow. But despite their wide-ranging sensibilities, Wet never compromises its core: sturdy pop songwriting and piercing lyrics.

Written during a period of solitude in a rented house in Western Massachusetts last year, Kelly's deeply personal words on Don't You project both sweetness and brutality, confusion and clarity, rawness and polish, naivete and wisdom: 'These days I can't take too much,' she sings with an unnerving directness. 'Today I scare so easily.' Kelly's naked lyrics, along with her intuitive grasp of familiar chords and pure, catchy song structures place her in a diverse lineage of potent American female singer-songwriters alongside women like Fiona Apple and Taylor Swift. Joe, meanwhile, has emerged as a brilliant producer, delicately fine-tuning each song and creating uncanny grooves. Marty, the true musician of the group, textures the songs with some of the strongest guitar playing in indie-pop today. Together, Joe and Marty work on all aspects of the album's instrumentation; they take Kelly's demos and arrange them to perfection.

The trio met through mutual friends as college students in New York City in 2007. After a few years of informal dabbling, they began officially making music as Wet during the summer of 2012, an especially aimless and emotionally turbulent period. "We were all a little lost and looking for something that felt meaningful, so we focused all of this emotional energy into something productive,' Kelly says. After releasing a few songs on SoundCloud -- like 'Don't Wanna Be Your Girl,' a weak-kneed but strong-headed breakup ballad -- they quickly began attracting attention, sometimes from unexpected places.

The Fader described Wet as 'pure, unhurried... sounds like it was made in the city but good while driving to the country,' and social media stars like Kylie Jenner began gushing on Instagram. Former New Yorker music critic Sasha Frere-Jones listed 'Don't Wanna Be Your Girl' as his favorite song of 2013, describing it as 'completely perfect.' Interview magazine wrote: 'Electronic music has never been this lonely and beautiful.'

The product of many months of seclusion, soul-searching and intense collaboration, Don't You fulfils the promise that Wet's music has made since day one. Old fans will rejoice; new listeners will quickly be pulled into the music's intimate embrace.

White Denim have announced Stiff, their sixth studio record that sees the Austin quartet return to their frenetic rock band roots and is described by frontman James Petralli as a 'high heat, high energy, good times record." Out 25th March 2016 via Downtown / Sony Red, Stiff is both a jubilant thrill ride and joyous celebration of their past ten years - two qualities that lay at the heart of the outrageously shredding first single 'Holda You (I'm Psycho)'. The band also return to the UK next month, where they'll headline London's Islington Assembly Hall and Manchester's Deaf Institute.
Heading into the studio with an external producer to oversee a whole album for the first time - and even writing a tune with Cass McCombs ('Thank You') - the band teamed up with the legendary Ethan Johns (Paul McCartney, Laura Marling, The Staves) to produce their first truly live record. With drummer Joshua Block and guitarist Austin Jenkins now pursuing other production ventures, Petralli and bassist Steve Terebecki teamed up with new guitarist Jonathan Horne and drummer Jeffrey Olson, gaining a beefed-up rhythm section and a reinvigorated White Denim sound, resulting in some of their biggest and brawniest songs to date.
Stiff is full of high octane turns. Right from the beginnings of the Red Krayola-sampling 'Had 2 Know (Personal)' to the tremendously fun 'Ha Ha Ha Ha (Yeah)', every track sounds like a band re-energised and revitalised. Having previously sold out Shepherd's Bush Empire, played on Later with Jools Holland, plus having toured with Tame Impala and Arctic Monkeys, Stiff is full to the brim with songs that now sound ready to lift White Denim to similar heights, with added influences ranging from Elvis Costello circa This Year's Model, Buzzcocks pop-punk and '70s soul.
The artwork - which was created by collagist Eugenia Loli - was inspired by the band's previous album covers and videos, which Loli used as a visual template. It's a fleeting visit to a place the band have been before, as the covers of Workout Holiday and D were collages too.
Ultimately, Stiff is the sound of a band finding their feet again and having the time of their lives. 'We thought, what's the fundamental thing that made us want to get into a van and quit our terrible jobs and start this whole thing in the first place" Petralli says. "And the answer was loud, fast-playing, rock and roll.'

Bowie At The Beeb is a four-disc 180g vinyl box set, which was previously released on CD in 2000. This is the debut of the Best Of David's Bowie's BBC radio sessions from 1968 - 1972 on vinyl. The set comes in a lift off lid box and features a full colour 20 page booklet.
This vinyl version features 'Oh! You Pretty Things' from a Sounds Of The 70's: Bob Harris session broadcast in September 1971 which was previously exclusive to the Japanese release of the CD. This performance features just David and Mick Ronson as a duo.
Completely exclusive to the set, and therefore making it's debut, is the once lost 'The Supermen' from Sounds Of The 70's: Andy Ferris session broadcast in March, 1970 and performed by The Hype.
This recording was only re-discovered during the research for the original CD set and remained unreleased until now.

Record 1 Side 1:

1/ In The Heat Of The Morning
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

2/ London Bye, Ta-Ta
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

3/ Karma Man
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

4/ Silly Boy Blue
David Bowie and The Tony Visconti Orchestra
Programme: John Peel In Top Gear
Recorded: 13th May, 1968
Transmitted: 26th May, 1968 and 26th June, 1968
Produced by Bernie Andrews

5/ Let Me Sleep Beside You
David Bowie and Junior's Eyes
Programme: D.L.T. Show (Dave Lee Travis Show)
Recorded: 20th October, 1969
Transmitted: 26th October, 1969
Produced by Paul Williams

6/ Janine
David Bowie and Junior's Eyes
Programme: D.L.T. Show (Dave Lee Travis Show)
Recorded: 20th October, 1969
Transmitted: 26th October, 1969
Produced by Paul Williams
Record 1 Side 2:
 
1/ Amsterdam
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett
 
2/ God Knows I'm Good (3.38)
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett
 
3/ The Width Of A Circle
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett
 
4/ Unwashed And Somewhat Slightly Dazed
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett

Record 2 Side 1:
 
1/ Cygnet Committee
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett
 
2/ Memory Of A Free Festival
David Bowie and The Tony Visconti Trio (aka The Hype)
Programme: The Sunday Show introduced by John Peel
Recorded: 5th February, 1970
Transmitted: 8th February, 1970
Produced by Jeff Griffin
Sound balance by Tony Wilson
Engineered by Chris Lycett
 
3/ Wild Eyed Boy From Freecloud
David Bowie and The Hype
Programme: Sounds Of The 70's: Andy Ferris 
Recorded: 25th March, 1970
Transmitted: 6th April, 1970
Produced by Bernie Andrews
 
4/ The Supermen
David Bowie and The Hype
Programme: Sounds Of The 70's: Andy Ferris 
Recorded: 25th March, 1970
Transmitted: 6th April, 1970
Produced by Bernie Andrews

Record 2 Side 2:
 
1/ Bombers
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin
 
2/ Looking For A Friend
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin
 
3/ Almost Grown
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin
 
4/ Kooks
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin
 
5/ It Ain't Easy
David Bowie and friends
Programme: In Concert: John Peel
Recorded: 3rd June, 1971
Transmitted: 20th June, 1971
Produced by Jeff Griffin

In the first half of the 70s the landscape of pop / rock music world was revolutionized by a current defined as 'progressive'. For those groups who dared to deviate from the 'commercial' stream and propose something different, a double destiny was reserved: they could become a meteor-band, releasing only one LP or so before disappearing completely, or emerge from anonymity and capture the attention of major record labels.

This was the case of Le Orme who, after a debut on Car Juke-Box, were engaged by Philips, releasing several albums who made history. And in an attempt to ride the wave of success led by 'Collage', 'Uomo di Pezza' and 'Felona e Sorona', the record label didn't take long to propose the release of a live record, which turned out to be "In concert ", one of the first if not THE actual first live album ever printed in Italy.

The haste in wanting to market a new product with 'Le Orme' brand on it prevailed on the quality of the recordings, consisting of one side fully improvised (the two parts of 'Truck of Fire') and the other with songs from the 'Collage' LP; but the charm of this work, also due to the beautiful photographic cover, comes out unharmed, and the grooves of 'In Concert' deliver us the 'real' Le Orme, without any tricks or deception, but sincere as only a live performance can be!

Replica of the original '74 release / red & black mixed coloured vinyl edition.

Often considered the 'black sheep' of Le Orme's discography, 'Smogmagica' is actually a great LP, that needs to be contextualized to be fully appreciated: we are in 1976, the masterpieces that have made the history of Italian progressive rock had already been written, and the same Le Orme had been important protagonists of this little musical revolution.

In 'Smogmagica', thanks to the presence of an additional blues-rock guitarist, Tolo Martin, and the 'American context' in which the recordings were made, rock often leave space to more modern and mainstream sounds; Purists hated this change as soon as the album was released, but if you listen with an open mind you'll soon reconsider this album as an important part of a career in constant evolution. 'Smogmagica' stands out also for the wonderful cover painting by Paul Whitehead (Genesis, Van Der Graaf Generator...), full of tiny details that just beg to be discovered, in the perfect prog tradition!

Faithful replica of the original release / Yellow & white mixed coloured LP.

Bob Theil's self proclaimed opus, "Songs from the Margin" was supposed to be the follow-up album to "So Far" which debuted in 1982. It was never put out untill now, pick..

Bob Theil's self proclaimed opus, 'Songs from the Margin' was supposed to be the follow-up album to 'So Far' which debuted in 1982. It was never put out untill now, picked up by Strawberry Rain for a 500 copy release !
The project spanned seven years with 'Fading Ways, Fadings Faces' being written as far back as 1977, and the remainder of the album being written between 1982 and 1984. Sadly this project was finished but never went as far as being released until now. The material on 'So Far' didn't translate well to the climate of the folk club scene of that time, so the Margin songs that Bob was writing at the time (along with other material) were an effort on his part to create music that reflected his admiration for the Sandy Denny/Richard Thompson area of modernized folk and rock. It was also an attempt to have material that would be more suited to performing at folk clubs. With 'So Far' being considered one of, if not the best folk records from the 80's, this is a sure buy for many collectors. Top shelf material.

Hardy, working with arranger Charles Blackwell, a former protégé of Joe Meek, set about creating a new interpretation of her glacial, existentially yearning music: part pop, part chanson, part soul music. On one hand, she was marrying yearning melodies with lyrics examining feelings of otherness. On the other, she was interpreting the music coming from Britain and America—both that of Phil Spector and country, too. Blackwell was the first arranger with whom Hardy was happy, and Mon Amie La Rose was the first album she thought of as more than an afterthought. She chose her own songs and was very in control,' says Blackwell. She was very much a perfectionist.'
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents-a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

Following the French success of 1962's Tous Les Garçons Et Les Filles and 1963's Le Premier Bonheur Du Jour, 1964 was the year Hardy went truly international. Having competed in the Eurovision Song Contest and acted in a Roger Vadim film, this was the year Dylan dedicated a poem to her on the sleeve of Another Side and the year she ventured to Britain to record English language songs for the first time.

Hardy's first three French EPs of the year, from which just "Pourtant Tu M'aimes" appears on Mon Amie La Rose, were largely recorded on home soil with Paris-based arranger Mickey Baker. After the third, Françoise changed tack, abandoned French studios and arrangers, and headed to London's Pye Studios. She would not record again in France until 1968, instead employing a series of British producers and musicians that even included then-studio guitarist Jimmy Page.

It was very difficult for me to convince my record company to go to London for the production because my artistic director was having lots of success with very bad arrangements,' she says dryly. Since they were having success with bad arrangements, they could continue like that.'

Liebe Freunde: Heute bei uns zu Gast im Rockpalast: The Icebreakers!" Mit diesen Worten moderierte
Albrecht Metzger am 26. November 1980 eine vierköpfige Blues-Band an, die dem Publikum in der
Dortmunder Westfalenhalle noch relativ fremd war. Entsprechend verhalten wirkte zunächst der Empfang,
doch nach rund zehn Minuten brandete Applaus auf: Nach dem Opener "Sweet Home Chicago" und "She's
So Fine" betrat Albert Collins die Bühne und zog die Fans unmittelbar in seinen Bann: "Listen Here". Schon
nach dem fulminanten Intro war das Eis gebrochen! Mit ebenso verschmitztem wie verschwitztem Gesicht
entlockte der "Master of the Telecaster" seiner Fender die für ihn typischen Blue Notes. Auch "Cold Cold
Feeling" zeugte von Collins' Können. Mit seinen schlanken Fingern und ohne das sonst übliche Plektrum
traktierte der "Iceman" die sechs Saiten seines Instruments in unnachahmlicher Manier. Ungewöhnlich auch,
dass Albert Collins die Gitarre nicht wie üblich am Gurt über den Rücken laufend hielt, sondern nur über dem
rechten Arm trug. Das verlieh ihm mehr Bewegungsfreiheit, die er reichlich nutzte ... "Live At Rockpalast" ist
ein zeitloses Dokument der Musikgeschichte, das bis heute nichts von seiner Faszination verloren hat. Das
Konzert erscheint in einer Box im CD-Format. Enthalten sind zwei CDs, eine DVD, viele Fotos und
professionelle Linernotes.
Seite

+DVD

Bat-Bike - 3 members - 3 drummers, 3 guitarists & 3 singers (1 of which is now legally named Alan Trashmouth Records, having sold his surname (£200) for advertising purposes)

dont believe what ya read, we started in a room, all lost with no good ideaz and some bad feelings, but we liked being together. music can save you and give you a great night or a calm morning, if you look out your window just as the suns gone down you can see us blind flying in circles trying to find some food from tesco like mash potatoe. If you like money you wont like us and all are music sounds like that. we are all different ages but are the same together, looking for love, its hard to have, we fight alot but we are batz so we stick together and have made this album.'

They also have their own brand of hot sauce. Made in Scotland by Alan Trashmouth Records himself, BAT-BIKE Shit Hot Hot Sauce is official merch, "an essential condiment for all junk food, and spectacular in a Bloody Mary".

Ltd (5k) 12" white coloured vinyl release packaged in a beautiful die cut sleeve. Taken from the massive #1 album "The Next Day". Tracklisting: Side A - "Love Is Lost" (Hello Steve Reich Mix by James Murphy for the DFA). Side B - "I'd Rather Be High" (Venetian Mix), "Love Is Lost" (Hello Steve Reich Mix by James Murphy for the DFA - edit). Promo & marketing activity across all media outlets.

Field Music ist eine britische Indie-Art-Rock-Band aus Sunderland. Sie wird von dem Geschwisterpaar Peter
und David Brewis angeführt. "Commontime" ist der fünfte "richtige" Langspieler seit ihrem gleichnamigen
Debüt in 2005 und das erste Album mit neuen Songs seit "Plumb" im Jahr 2012. Nach "Plump" haben sich
die Brewis-Brüder mit diversen Nichtbandprojekten die Zeit vertrieben. Doch offensichtlich war das relativ
unbefriedigend, die Familienbande fehlte, wie David im Interview erklärte: "As much fun as we might have
had on our own or collaborating, we missed just spending time in the studio, the two of us, trying things out
and playing together." Mit "Commontime" haben die beiden wieder ein typisches Field-Music-Album
vorgelegt. Es ist charakterisiert durch rhythmische Wechsel, verflochtene Gesänge und Akkorde, die stets
etwas off sind. Zudem zeigen die 13 Stücke neben einer überbordenden Liebe für Refrains eine sensible
Zuneigung für Pop, die in der Vergangenheit von Field Music nur angedeutet wurde, hier aber in vollen Zügen
ausgelebt wird. "Commontime" erscheint beim Label Memphis Industries als CD und Doppel-LP mit
Download-Card.
Visions + Feature
Rolling Stone
Musikexporess
Kulturnews
M-beat
... + diverse Stadtmagazine
Presse (Update folgt)
rolling stone.de
musikexpress.de:
jmc + Feature
motor.de + Feature
Online
Radio Eins

Field Music ist eine britische Indie-Art-Rock-Band aus Sunderland. Sie wird von dem Geschwisterpaar Peter
und David Brewis angeführt. "Commontime" ist der fünfte "richtige" Langspieler seit ihrem gleichnamigen
Debüt in 2005 und das erste Album mit neuen Songs seit "Plumb" im Jahr 2012. Nach "Plump" haben sich
die Brewis-Brüder mit diversen Nichtbandprojekten die Zeit vertrieben. Doch offensichtlich war das relativ
unbefriedigend, die Familienbande fehlte, wie David im Interview erklärte: "As much fun as we might have
had on our own or collaborating, we missed just spending time in the studio, the two of us, trying things out
and playing together." Mit "Commontime" haben die beiden wieder ein typisches Field-Music-Album
vorgelegt. Es ist charakterisiert durch rhythmische Wechsel, verflochtene Gesänge und Akkorde, die stets
etwas off sind. Zudem zeigen die 13 Stücke neben einer überbordenden Liebe für Refrains eine sensible
Zuneigung für Pop, die in der Vergangenheit von Field Music nur angedeutet wurde, hier aber in vollen Zügen
ausgelebt wird. "Commontime" erscheint beim Label Memphis Industries als CD und Doppel-LP mit
Download-Card.