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"Herz Verloren" ist nach sechs Jahren das erste Lebenszeichen des Farin Urlaub Racing Team; die erste Single aus dem neuen Album Faszination Weltraum. Eine Liebeserklärung an die bessere und schönere Hälfte der Menschheit mit Gitarre, Bass und Schlagzeug; ein Lied für Tänzer und solche, die es werden wollen. Zwei nicht auf dem Album oder im Gebirge erhältliche Bonustracks runden die Single ab: das optimistisch-romantisch-bedrohliche "Die perfekte Diktatur", und "Wahnsinn", ein Lied über Tiefstapelei in der postnuklearen Konsumgesellschaft. Farin Urlaub ist Gitarrist, Sänger, Serien-Songschreiber, souveräner Publikumsdompteur, waghalsiger Weltenbummler, Fotograf und Bildband-Autor, Fan von Harry Nilsson und Giovanni Piranesi, ziemlich groß, oft blond, gelegentlich schlagfertig und immer schwarz gekleidet.

01. Herz Verloren
02. Die perfekte Diktatur
03. Wahnsinn

Na, wer kann sich noch an John Kongos erinnern Anfang der 70er legte der Südafrikaner mit griechischen Wurzeln mit "He´s Gonna Step On You Again" und "Tokoloshe Man" zwei kapitale Hits in Europa hin ! Nun hat der Bursche vier Söhne Johnny, Jesse, Dylan and Daniel und die sind nicht nur in Südafrika und London aufgewachsen, nein, sie machen auch richtig gute Musik. Alternative Rock und das sehr wohlklingend. Vielleicht lag das auch etwas am lockeren Aufnahmeort, in Phoenix, Arizona. 70.000 Stück des Debutalbums verkaufte das Quartett auf eigene Faust allein in USA, die Single "I'm Only Joking" war übrigens schon davor wochenlang auf Platz 1 der südafrikanischen Charts und das machte die Kollegen bei EPIC stutzig und so taucht dieses schöne Album nun über Umwege auch bei uns auf. Die erwähnte Single, aber auch Songs wie "Come With Me Now" haben auch bei uns, und gerade mit so einer Story drumherum, riesiges Potential. Sehr coole Mucke und ein weiterer Beweis für den Apfel der nicht weit vom Stamm fällt !

has-beens One that is no longer famous, popular, successful, or useful. While accurate for most washed up middle-aged rock musicians, the above definition does not apply to Les Has-Beens. Indeed, despite having relentlessly tried, the individual members of this exciting new musical group have achieved neither fame nor fortune and have stopped chasing success long ago. To truly demonstrate their usefulness though, we need to take a quick look at the history of Rock & Roll itself. In the past, this art form was primarily enjoyed by young adults who indulged in it as a type of primal rebellion against the establishment and a sure way to drive the older generation up the wall. Nowadays, the enthusiasts have matured and the roles have been reversed. While today's youth is busy chatting and texting each other, their parents, yesteryear's rock rebels, can now torment the young brats with the same dumb loud racket they treasured back in the day when they were mindless idiots. A warm feeling of nostalgia adds a non-negligible aspect to the experience. Rock & Roll is here to stay, and in this context Les Has- Beens are a welcome addition to the shrinking number of serious pretenders to its throne. This selection of songs by German electronic pioneers Kraftwerk was recorded in a single day without prior rehearsals. This inventive music should fit nicely somewhere between Detroit & Düsseldorf into any connoisseur's collection and will hopefully bring the performers a tiny bit of the well-deserved success that has eluded them so far.

First Spacemen 3 release in 10 years since 'Live in Europe 1989' - LP Vinyl Only - with silver cardboard sleeve, 500 copies - Liner note by Sonic Boom - 29:12 version of Suicide - Recorded from the mixing desk - Picture sleeve from the actual gig - 500 copies printed on shiny silver cardboard We all know and love Spacemen 3. We've been exchanging this recording since 30 years. We thought this was about time to release it properly. ... so instead of dealing with the impossible task of finding the words to describe how amazing this record is, let's just hear what Sonic Boom has to say about the release: I seem to remember this show more distinctly than most, and always did. Spacemen 3 was a band not overly loved in their day. It was tough, or at least uneasy. Musically people thought we were some sort of twisted joke. Which in some ways we were. You needed to be bloody-minded to make this music at that time. The set presented here, is as it was .... except the show was twice this length. We tuned and smoked for almost as long as we played. And then our disenfranchise moment, installed to filter the wheatfrom the chaff in our audiences - the sprawling SUICIDE wheeled out here in a long mischievous version. We slipped away mid song amongst much fog and dry ice. With taped down keys and feeding back guitars propped against our speaker cabs keeping the song pulsating and screaming. Disappearing back down to the already too familiar dressing room. We rolled large smokes and cracked fresh drinks. And finally after an extended 'break' re-appeared on stage. Not to wind down as normal at that juncture, but to re-fire up the piece for a further onslaught. Extending the maelstrom as bloody mindedly as we could.

300 only blue vinyl LP. 'A bruised eremitic, Withnalian Rattlesnake on downers. Makes Lou Reed sound like a bricklayer.' Andrew Male, Mojo. Following his rock and roll debauches in The Jesus and Mary Chain, and the insanity of the last days of nineteen-eighties New York, the early nineteen-nineties found John Moore back in London, on the scrap heap, penniless, divorced, broken-hearted, and keeping some very dubious company. Things had never been better. Old enough to have acquired some scars, yet young enough to keep upright, now at last, with something interesting to write about...to him, at least. Armed with a few guitars, a Tascam 4-track cassette recorder, a cheap condenser Mic, a lot of red wine, Absinthe, rolling tobacco, and a beautiful view of The Westway, he wrote and recorded Lo-Fi Lullabies, for the next phase of his stalled career. Songs, which, with the great studios, producers, and record companies he was expecting to come knocking at any moment, would be every bit as good as the classics that had inspired him, and propel him back to the path of glory - Some chance. Strangely, he did build a following in The Czech Republic and Spain, and recorded one album 'You Might As Well Live' with his band revolution 9, which was well received in the UK, but completely out of step with the flag-wavers of Britpop. The venture ended, as it had begun, in noble failure. He continued writing and performing, and put together a more raucous quartet whose recordings can be heard on the companion album tp Lo-Fi Lullabies - Floral Tributes. The band had potential, but was broke, and once again, heroically unsuited to the times. Then, almost as a joke, he and drinking buddy Luke Haines recruited a pretty young singer with a fine voice, and formed Black Box Recorder, ostensibly as an art project, which accidentally became popular, and took up much of the next decade. As if this wasn't enough, his enthusiasm for the Green Fairy - Absinthe, which he had discovered on a tour of the Czech Republic, led him to become its first importer since 1914, right in time for the Millennium. A period of notoriety and relative wealth followed, and the Lo-Fi Lullabies were put in a drawer for a rainy day, still with the idea of 'doing them properly one day', as if they were some kind of musical pension - but, of course, they were promptly forgotten about. Time passed, life happened, and suddenly it was 2014. To this day, Moore still owns a green double-decker bus, but has no idea where it is parked. It took twenty years to realize that these strange, claustrophobic songs of love, wisdom, and bitter experience that he'd smoked and croaked his way through, in the tiny top-floor room overlooking the Westway, while consuming Absinthe and red wine like a true-doomed soul, in his narcotic afternoon reverie, were in fact, the definitive arrangements, and that no amount of Neumann U87 microphones or expensive string arrangements could recreate their strange atmosphere. Finally, it dawned on him, that the record companies - what was left of them, weren't coming, the big pay-days had been and gone, and the producers had retired. Even the dreaded Britpop was stuffing odour eaters into its orthopaedic adidas and limping out on the heritage trail. Twenty years on, rather than waiting for a posthumous release, obliteration - or to be discovered in a land-full, ten thousand years from now, he decided to release them - the rainy day us now. The Lo-Fi Lullabies are spirit messages from a past life - wax cylinder recordings from a time before even the lowliest musicians had enough recording power on their phones to produce a soft-rock apocalypse, with extra plug-ins for soulfulness and authenticity. Here, the hiss is real, the string buzzes genuine, and the playing mistakes, a testimony to youthful intoxication, and all the better for it. Without being Luddite, no record companies, major studios, or interested parties of any kind were involved in the making of this record. It was recorded onto four-track cassette - the best available at the time, then many years later, transferred to computer and given a wash and brush up, then finally, mastered and pressed onto Blue Vinyl - just as Moore's very first release was. Now, along with its companion LP, Floral Tributes, on red vinyl, free digital-download cards for vinyl purchasers, and available to purchase on-line, these Lo-Fi Lullabies are finally blinking into the light. So far, nobody has invented a plug-in to recreate their sound, but an algorithm can't be far away. In the meantime, please sit back, watch the sunset, smoke an e-cigarette, drink wine, let the Paddington-slip from your mind, and let the Lo-Fi Lullabies wash over you, and cast their spell.

300 only red vinyl LP 'A bruised eremitic, Withnalian Rattlesnake on downers. Makes Lou Reed sound like a bricklayer.' Andrew Male, Mojo. While compiling Lo-Fi Lullabies, John Moore realized he had a second album stashed away in his song drawer. Begun in New York, and completed twenty years later in London, Floral Tributes hangs together remarkably well. It begins in the mid-nineties, prior to Black Box Recorder, with his songs, fleshed out by, of all things, a jazz quartet. Frey Smith - double bass, Laurence Jones - piano, and Ben Clark - drums, all wonderful players, but the band was not to be. A disastrous gig, upstairs at The Garage, in front of legendary A and R man and rock legend Muff Winwood, with Jones struggling with a mutinying electric piano, and Moore with a broken finger and ribs, from an incident earlier in the day, put paid to any hopes of a deal. However, the band's few recordings - which were on DAT tape, were good, and once again, went into the drawer marked - Rainy Day. Black Box Recorder happened not long after this ignominious on-stage implosion, and lasted several years. In 2005, Moore released another solo album, Half Awake, which was well received, but he lacked the resources to promote it properly. When its distributor went bankrupt, and all its stock was seized, it was almost a relief. Moore did other things. He wrote a novel, finally to be published, he wrote for The Guardian newspaper, but generally, he did very little.

Blackest Ever Black presents to youDead Unique, an album by Officer! recorded in 1995 but - outrageously, inexplicably - never before released into the public domain. This then is not a reissue or a revival; it's a new record that just happens to have been maturing in the cask for, oh, a little shy of 20 years. It also happens to be a lost classic of English art-rock, and the crowning achievement in the career of its mercurial creator, Mick Hobbs.Londoner Hobbs' roots are in the fecund RIO scene of the late '70s and early 1980s, initially as guitarist in The Work (alongside Bill Gilonis, Rick Wilson and Henry Cow's Tim Hodgkinson), and subsequent related groupings The Lowest Note, The Lo Yo Yo, and The Momes. Over the course of the decade he became closely associated with This Heat and their Cold Storage studio in Brixton, working with the likes of Flaming Tunes, Family Fodder, Catherine Jauniaux and Zeena Parkins, to name but a few. Officer! - the project that this incorrigible collaborator and connector calls his own - surfaced in 1982 with a cassette tape entitled Eight New Songs By Mick Hobbs. It marked the blossoming of a singular writer and improvisor, with a gift for plangent melody, ingenious arrangement and lyrics at once caustic and courtly, playful and profound (two songs from this tape, 'Life At The Water's Edge' and 'Dogface', have been remastered for a limited edition 7' release on Blackest Ever Black later this year). The Cold Storage-recordedOssification LP arrived a year later, followed by Cough (1985) and Yes Yes No No Yes No Yes (1988). Megaphone Records, responsible for Ossification's recent 30th anniversary reissue, rightly describe it as 'one of the most unusual, pleasurable and character-filled 'pop' records anyone has heard...a timeless anomaly in the history of recorded music.' By the start of the 1990s Hobbs had joined Jad Fair's Half Japanese (he continues to play in that group as well as Strobe Talbot, a trio with Fair and Benb Gallaher). In the early months of '95, Half Japanese were in Baltimore to record their Hot LP; Hobbs stayed on to cut the bulk of the songs that comprise Officer!'s Dead Unique - songs drawn from a rich store of material written and refined in the seven years since the band's last outing - with a talented assemblage of local and visiting musicians. Returning to the UK, Hobbs brought the tracks to producer Julia Brightly to mix at her 16-track home studio in Bethnal Green; by the end of the summer,Dead Unique had taken shape. And then Nothing. For reasons that no one, least of all Hobbs, can remember, Dead Unique was shelved, all but forgotten about until 2012, when Blackest Ever Black chanced upon it while trawling the Officer! archive maintained for Hobbs by Andrew Jacques. Finally, rightfully, on May 26th, 2014, the album will be made available to all for the very first time - on double-vinyl, CD and digital formats. A complex but thrillingly immediate avant-pop song cycle that charms and confounds at every turn, Dead Unique will give immense pleasure not only to Officer!'s existing cult following, but to anyone with an appreciation of piquant, idiosyncratic songcraft - fans of Kevin Ayers, Flaming Tunes, Art Bears, Woo, Dislocation Dance, R. Stevie Moore, Robert Wyatt, Cleaners From Venus, Lol Coxhill or The Monochrome Set should especially pay attention. It touches upon ragged-raw rock 'n roll, sumptuous chamber music, pastoral folk, blowsy prog-jazz and paranoid dub-space, effortlessly shifting from skronking abstraction to rousing harmonic refrain and back again. Dead Unique is also the culmination of Hobbs' lifelong collaborative impulse: his visionary ability to bring musicians together, galvanise them and wrestle coherence out of the collective free play of ideas, arriving at something far more than the sum of its parts. The tension between composition and improvisation is key to the LP's power, with Hobbs abetted by an extraordinary supporting cast that includes Tim Hodgkinson (bass clarinet), Pleasant Livers' Fred Collins (vocals), Legendary Pink Dots' Patrick Q (violin), filmmaker/animator Martha Colburn (vocal), Gilles Rieder (drums), Jad Fair (vocals) and Jason Willett (bass, keyboards, trumpet). Special mention must go to John Dierker, whose superbly expressive clarinet and saxophone parts are a fixture throughout, and to Joey Stack, who takes lead vocals on 'Good' and the show-stopping 'Elephant Flowers'. Nonetheless it is the voice of Hobbs - as principal writer, performer and protagonist of these songs - that resonates most powerfully. Blurring the roles of storyteller, poet and prankster, he turns memorable line after memorable line, booby-trapping them with mischievous puns, fleet-footed literary allusions, sudden digressions and shifts of register, nonsense rhymes and other wordplay. But his acute wit and flair for the absurd is moored by a deep romantic sensibility, and though it delights in the minutiae of the human comedy, Dead Uniqueultimately addresses its biggest themes: love, loss, commitment, independence, the mutability and inconstancy of all things. 'You lose, you learn, you advance...but you always go back.'

Leonard Cohens Songs zählen zu den ganz großen Werken der populären Musik der letzten 50 Jahre. Anlässlich des 80. Geburtstags Cohens am 21. September erscheint mit POEM - LEONARD COHEN IN DEUTSCHER SPRACHE eine beeindruckende Hommage an den immer noch aktiven kanadischen Poeten und Singer/Songwriter. Mit POEM ist eine stimmige Zusammenstellung mit deutschsprachigen Versionen der wichtigsten Cohen-Songs (u.a. 'Hallelujah', 'So Long, Marianne', 'First We Take Manhattan', ‚Lover Lover Lover') entstanden. Für die von Leonard Cohen genehmigten deutschen Übertragungen zeichnet der Autor und künstlerische Leiter des Projekts, der Berliner Misha Schoeneberg, verantwortlich. Das Album, das parallel als Digipak-CD in wertiger Ausstattung sowie als limitierte Doppel-Vinyl erscheint, enthält 17 exclusiv eingespielte Cohen- Interpretationen von einigen der ambitioniertesten deutschen Musiker der verschiedensten Generationen. Mit: Peter Maffay, Madsen, Nina Hagen, Fehlfarben, Tim Bendzko, Johannes Oerding, Cäthe, Stefan Waggershausen, Reinhard Mey, Manfred Maurenbrecher, Mrs. Greenbird, Jan Plewka, Anna Loos, Alin Coen & Joa Kuehn, Max Prosa, Suzanna & Karsten Troyke.

Limitierte Auflage des 1983er Albums als 2LP BOXSET (Stülpdeckel-Box)

Authentische Neuauflage des Original Albums von 1983 als 180g audiophile Vinyl Edition im Klappcover. Edle Box mit Bonus LP (ebenfalls 180g) mit B Seiten, Remixes und alternate Versionen, mit Poster und neuen Liner Notes von Matt Johnson ('Making of Soul Mining'). Alle tracks wurden remastered. Mit im Paket ist ein Download code für 'Dubbed From Disc' Audio, komplett mit jenen magischen Knacken und Knistern des Vinyl Erlebnisses.

Der einflussreiche englische Singer/Songwriter Matt Johnson war der creative Kopf einer der wichtigsten englischen post-punk/synth-pop Kult Bands der 80s. "Soul Mining" wird al seine der wichtigsten Alben des Jahres 1983 gehandelt und wurde bis jetzt über 1 Mio mal verkauft.

After touring Australia in December 2013 with the Brian Jonestown Massacre The KVB's new six track EP is the culmination of a week long recording session at Anton Newcombe's studio in Berlin last autumn . During which they recruited the help of Joe Dilworth (Stereolab) to contribute live drums to the recordings , this was the first time the band have worked outside of their own studio set up at their home in South London. 'Out Of Body' is a further exploration of the bands interest in phenomenology, bodily immersion and consciousness. Introspective lyrics are suspended in dream like melodies, further expanding upon the duo's hypnotic aesthetic which they explore both sonically and visually on the record.

The Kooks veröffentlichen ihr lang ersehntes neues Album Listen bei Virgin/EMI. Es wurde von Luke Pritchard und dem jungen Hip-Hop-Pionier Inflo produziert. Darauf überrascht der mehrfach mit Platin ausgezeichnete UK-Act mit einer neuen Stilrichtung und neuem, frischem Sound - und sind doch unverwechselbar als The Kooks zu identifizieren. Die englsiche Presse lobte: 'Frisch und spannend" - Independent // 'Ein radikaler R'n'B-Richtungswechsel mit lautem Knall bei Luke Pritchard und Co. Passt zu ihnen." - Sunday Times, Culture - Playlist.

Auf Listen finden sich 11 Tracks (15 auf der Deluxe-Version), wie z. B. die aktuelle Single 'Around Town', die im Mai veröffentlicht wurde. Im Juni spielte die Band bereits eine 3-Städte-Tour in Deutschland und verkaufte die Hallen in Berlin und Köln aus. Des Weiteren traten The Kooks bei den Hurricane-Southside-Festivals auf. Eine weitere Tour im Winter ist geplant.

The Kooks veröffentlichen ihr lang ersehntes neues Album Listen bei Virgin/EMI. Es wurde von Luke Pritchard und dem jungen Hip-Hop-Pionier Inflo produziert. Darauf überrascht der mehrfach mit Platin ausgezeichnete UK-Act mit einer neuen Stilrichtung und neuem, frischem Sound - und sind doch unverwechselbar als The Kooks zu identifizieren. Die englsiche Presse lobte: 'Frisch und spannend" - Independent // 'Ein radikaler R'n'B-Richtungswechsel mit lautem Knall bei Luke Pritchard und Co. Passt zu ihnen." - Sunday Times, Culture - Playlist.

Auf Listen finden sich 11 Tracks (15 auf der Deluxe-Version), wie z. B. die aktuelle Single 'Around Town', die im Mai veröffentlicht wurde. Im Juni spielte die Band bereits eine 3-Städte-Tour in Deutschland und verkaufte die Hallen in Berlin und Köln aus. Des Weiteren traten The Kooks bei den Hurricane-Southside-Festivals auf. Eine weitere Tour im Winter ist geplant.


1. Around Town - Osei, Naomi
2. Forgive & Forget
3. Westside
4. See Me Now - Osei, Naomi
5. It Was London
6. Bad Habit - Osei, Naomi
7. Down
8. Dreams
9. Are We Electric
10. Sunrise
11. Sweet Emotion

Die Geschwister Catherine und Allison Pierce aus Alabama starteten mit ihrem Debütalbum You & I ihre Erfolgsgeschichte. Das in UK mit Gold ausgezeichnete Album erreichte Platz 4 der UK-Charts und bescherte ihnen einen Sommer voller erfolgreicher Festivalauftritte.

Der Song "Secret", der im Hintergrund erfolgreicher US TV-Serien lief (u.a. Dexter, Pretty Little Liars), verschaffte den Geschwistern endgültig den Durchbruch: Plattenvertrag bei Polydor, Auftritte im Vorprogramm der Nordamerika-Tour von Coldplay 2012 und nun das neue, bevorstehende Album Creation. Auf Creation haben die Pierce-Schwestern alles anders und doch wieder richtig gemacht. Wie schon bei You & I stehen die kunstvoll verwobenen Stimmen der Schwestern und große Gefühle im Zentrum des neuen Werks.

Tracks wie "The One I Want" und "Must Be Something" beschwören Herzschmerz herauf. Doch musikalisch ziehen The Pierces auch andere Facetten auf: Creation überzeugt durch Tiefe und Kraft und gleichzeitig durch eine Leichtigkeit, die The Pierces auch bei ihrem neuen Album spielerisch gelingt. Neben der Standard CD mit 13 Tracks, wird es auch eine Deluxe Version mit drei weiteren Bonustracks geben.

Lieblingsfarben und Tiere heisst die erste Single aus dem gleichnamigen neuen Element of Crime Album. Das Schöne: alles wie immer. Das noch Schönere: doch nicht. Alles wie immer: Perfekt komponierter Song, dessen Perfektion beiläufig und naturgegeben klingt.

Und wie immer ein Text, der nur jemandem einfallen können, der nebenbei ein großer Schriftsteller ist und weiß: seit 200 Jahren müssen die wahren Romantiker mit jedem Satz den Krieg gegen die Sentimentalität gewinnen. Mit Worten das mit Worten Unsagbare sagen. Und alles ist auch ganz anders Nicht ganz, aber doch: Die Instrumente befreien sich häufiger vom Zentrum des Songs, sie probieren mehr aus. So klingen die Songs musikalisch komplexer, angenehm zerzauster als zuletzt, aber - Entwarnung - nie doof experimentell, falsch ambitioniert oder prätentiös. Es ist immer Element of Crime. Es ist immer die Musik, die Fans brauchen, wenn der Himmel grauer ist als erlaubt.

Die 7 inch enthält neben dem Singletrack noch drei wunderbare Coverversionen.

"This album is instantly recognizable as a Foo Fighters record, but there's something deeper and more musical to it. I think that these cities and these people influenced us to stretch out and explore new territory, without losing our 'sound'."—Dave Grohl
Though not a soundtrack album by any stretch, Sonic Highways shares its title with the Dave Grohl-directed eight-episode HBO series described by Grohl as a love letter to the history of American music and premiering Friday, October 17 at 11 p.m.. For the album and series, Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett and Pat Smear wrote and recorded one song in each of these eight cities, delving into the local musical currents: how each region shaped these musicians in their formative years, and in turn the impact those people had on the cultural fabric of their hometowns. All songs feature local legends sitting in, with every lyric written in an unprecedented experimental style: Dave held off on putting down words until the last day of each session, so as to be inspired by the experiences, interviews for the HBO series and other local personalities who became part of the process.

Am 5. September 2014 veröffentlicht US-Singer/Sonwriter Ryan Adams nach drei Jahren Pause ein neues Studioalbum. Der selbst betitelte Longplayer, den Adams in seinem PAX-AM Studios in Los Angeles selbst produzierte, erscheint via PAX-AM/Columbia Records. "Ryan Adams" ist der Follow-Up zu "Ashes & Fire", das in den USA und Großbritannien die Top Ten der Charts erreichte. In Deutschland peakte das Album auf Platz 34. Die erste Single aus dem elf Songs umfassenden Album ist der Opener "Gimme Something Good".

'Live Like A River' is taken from 'Odludek', the debut solo album from Doves frontman Jimi Goodwin.
Available on limited 12" and digital download, featuring remixes from Beyond The Wizard's Sleeve and Andy Votel

Fortuna, the second full length from New Zealand trio Popstrangers, trades the grunge revivalism of the band's previous releases for buoyant hooks and '60s pop. Pairing their minor-key riffs with pervasively melancholic songwriting, the band's refined sense of melody is on full display on Fortuna, which echoes the classic guitar pop of their homeland's Flying Nun Records.

Psyche-funk-rock obscurity from between 1969-70, that starts w/a classic break. Originally a B-side on the Rama Rama label, it gets a Kenny Dope retouch & f/the instrumental on the flip.

First Aid Kit neu bei Sony Music: nach den beiden Independent-Alben "The Big Black & The Blue" (2010) und "The Lion's Roar" (2012, beide Wichita Recordings) veröffentlichen Klara (21) und Johanna Söderberg (23) mit "Stay Gold" ihr drittes Album nun bei Columbia Records. Die Söderberg-Schwestern stammen aus dem Stockholmer Vorort Enskede, wo sie 2007 damit begannen, eigene Songs zu schreiben. Bereits ein Jahr später nahm sie das The Knife-Label Rabid Records unter Vertrag, bei dem im selben Jahr die Debüt-EP "Drunken Trees" erschien. Der Re-Release der EP beim Indielabel Wichita Recordings 2009 enthielt zusätzlich eine Coverversion des Fleet Foxes-Stückes "Mountain Peasant Song", mit dem First Aid Kit 2008 bei YouTube für Furore gesorgt hatten.

Nachdem den beiden mit dem Debütalbum "The Big Black & The Blue" der Einzug in die Top 30 der schwedischen Charts gelungen war, schafften sie gleich mit dem zweiten Longplayer "The Lion's Roar" den internationalen Durchbruch.

Die erste Single aus "Stay Gold" (VÖ 6. Juni) heißt "My Silver Lining".

Maybeshewills viertes Studioalbum Fair Youth ist ein überwältigend positives Album, auf dem die Band eine musikalische Lösung für den Umgang mit weltlichen Problemen und Schwierigkeiten kreiert. Es greift Themen wie Nostalgie und Oneirismus auf, sowie die Verbindungen, Trennungen und das permanente Gefühl der Bewegung, das sich einstellt, wenn man sich so viele Monate eines Jahres auf Tour befindet.

Einmal mehr hat Jamie Ward (Bassist) die Produktion übernommen, dieses Mal jedoch hat die Band die Soundpalette und die verwendeten Instrumente erheblich erweitert. Indem sie wo immer möglich mit Live-Instrumentierung gearbeitet, zugleich aber auch das Reale mit elektronischen Schnörkeln verbessert haben, ist es sowohl das am meisten als auch das am wenigsten organische Maybeshewill-Album überhaupt geworden.

Kurze Historie: Das dritte Album I Was Here For A Moment, Then I Was Gone (2011) erhielt viel Lob in der Musikpresse und das finnische Eishockey-Nationalteam wählte den Albumtrack Words For 'Arabella' zu seiner Auslauf-Musik bei der Weltmeisterschaft.

Die Vinylversion des Albums kommt als extra schwere, schwarze 180g LP. Als Bonus ist der LP eine CD mit allen Albumtracks in transparenter Stecktasche beigelegt.

01. ...
02. In Amber
03. You And Me And Everything In Between
04. Fair Youth
05. All Things Transient
06. Sanctuary
007. Asiatic
08. Waking Life
09. Permanence
10. In The Blind
11. Volga

Die amerikanischen Alternative-Popper Neon Trees aus Utah feierten 2011 ihren Durchbruch in den USA.
Ihre Single "Animal" entwickelte sich zum absoluten Radio Hit und belegte #1 in den Billboard Alternative Song Charts.
Auch in Deutschland rotierte sich die Single Animal bis auf #14 der deutschen Airplay Charts.
Nun erscheint das 3. Studioalbum Pop Psychology, der Band um den charismatischen Frontman Tyler Glenn, angeführt von der pulsierenden Single Sleeping With A Friend.


01. Love In The 21st Century
02.Text Me In The Morning
03. Sleeping With A Friend
04. Teenager In Love
05. I Love You (But I Hate Your Friends
06. Unvadoidable
07. Voices In The Halls
08. Foolish Behavior
09. Living In Another World
10. First Things First
11. American Zero

Deluxe re-issue edition with bonus 'Hole' EP and 'Retreat! Retreat! single video and B-sides. In conjunction with the 10th anniversary year of the release of 65daysofstatic's debut album, The Fall of Math and a series of live dates around Europe, for which the band will play the album in its entirety, Monotreme Records will re-issue a deluxe edition of The Fall of Math on CD and 180 gm vinyl in March 2014. The CD edition will be a 2-CD album containing The Fall of Math, the Hole EP and the B-sides and video from the Retreat! Retreat! single. The first ever vinyl edition of the album will be a pressing of 1000 copies on black 180 gm black vinyl and will include a digital download coupon for the Hole EP and Retreat! Retreat! Single video and B-sides, as well as a poster and a copy of the album CD in a printed card wallet. Sheffield UK's 65daysofstatic scored an unlikely hit in 2004 with their debut album, The Fall Of Math. A critical success, it launched the band into a new league of recognition; here, they would hone their sound, transforming from studio operatives crafting rave music for rockers into a rock band impossible not to rave to. Live, they excelled. Audiences swelled. With their fifth studio album out last year, the band remains one of the most arresting live acts on the circuit, touring the globe relentlessly. UK press by iLikepress: // UK Dates : 25th March - Phoneix, Exeter, 26th The Brook, Southampton, 27th Koko, London UK (Fall of Math live show), 28th Arts Centre, Norwich, 29th The Arches, Glasgow. // Tracklisting :











PLUS - bonus 'Hole EP and Retreat! Retreat! single B-sides and video: 1. Hole 2. Wrong Side Of The Tracks
3. The Fall Of Math (65dos Remix)
4. Betraying Chino
5. No Station
6. Retreat! Retreat! (Mothboy Remix)
7. 4Connection
8. AOD
9. The Major Cities of the World Are Being Destroyed One By One By the Monsters 10. Hole (video)

Ltd one sided 12'. soundcloud link here - https://soundcloud.com/tough-love/sets/autobahn-autobahn-ii/s-onadK / 'They're really fucking good' - CRACK // 'Tense and aggressive Bauhaus-misery' - NME // 'A band who sound like they truly mean it' - Loud & Quiet // Leeds-based five-piece AUTOBAHN follow last year's sold out debut EP, 1., with a second 3-track 12', out 7th July. 2. channels the same aggressive post-punk of their debut, but feels sharper, more focused in its intent. And it's hardly surprising - the first EP was a document of the band's first three songs. Time has afforded the chance to hone the creative process with an almost military precision: cut the excess; find the point; hammer it home. If that approach recalls the crack-the-whip intensity of early Greg Ginn-led Black Flag rehearsals (legend states that Ginn would have the band practice 8 hours a day, 6 days a week), then it's fitting of the conditions in which the music was conceived. AUTOBAHN's practice room also plays host to Leeds' DIY hardcore/punk venue, and elements of that lifestyle have filtered into these new songs, in spirit if not aesthetic. Indeed, AUTOBAHN should not be mistaken for a hardcore band and its associated dogma. There's too great a range of influences at play - current listening includes Chron Gen, Tubeway Army and Rowland S. Howard. This breadth of influence has informed the band from conception, but it's never been as manifest as on 2. You can hear it on the krautrock-inspired EP closer, 'Ulcer', with its metronomic intensity and subtle-but-persistent synth line, and in the myriad of guitar lines that close 'Pale Skin'. A nod must also be made here to producer Matt Peel, who the band credits for pushing their songwriting in new directions. Full Uk Press Campaign Via In House & Enganche. Dates : 20th Jun - Camden Crawl, London 21st Jun - Camden Crawl, London 10th July - Brudenell, Leeds - EP launch 11th July - Victoria, London - EP launch
12th July - The Hope, Brighton 26th July - Tramlines, Sheffield 9th Aug - Beacons, Skipton.

Blue Coloured Vinyl 7" with Jukebox Hole. The new single form CHAIN AND THE GANG is the dancefloor smash 'Never Been Properly Loved', taken from their critically acclaimed new album MINIMUM ROCK N ROLL and due out on Fortuna POP! on 26 May. Featuring the snotty-nosed vocals of Katie Alice Greer of Priests the song is a demand for love and affection set to an insistent disco beat and with a killer chorus that's going to be stuck inside your head all summer long. Led by the remarkable Ian Svenonius, prime mover behind two of the most essential bands of our time, Nation Of Ulysses and The Make-Up, Chain And the Gang deal in a new genre called CRIME ROCK. As Ian himself puts it: 'If asked about it by a prospective fan, I would say "Watch out; it might hurt your feelings." Or "Be careful ... there's no telling what might happen if you put it in your ear." Why Because Chain & The Gang isn't for everyone. It's not designed for the victims of Ikea who rely on robots to choose their background muzak. But it can also prove to be addictive and has some disturbing side effects.' A gang with a fluid and floating active core, Minimum Rock N Roll was recorded in Portland Oregon with Ian and Katie Alice on vocals, Brett playing the electric guitar, Chris on electric bass guitar, and Fiona driving the drum kit and then mixed down in DC by Brendan Canty. More minimal and more ferocious, more lean and more mean, Minimum Rock N Roll is Chain & the Gang looking for food, hungry and intent on devouring the known world, once they find its tender underbelly. "Crunches in with impeccable musical economy, a grimy R&B groove propelled along by cuffed dreams and Svenonius' sultry vocals laying out the terms of social dissemblance in a pouting drawl." Mojo "Svenonius' charisma is unflagging, and his commitment to the theme can thrill, too." Uncut "A true one-off, you're either a believer or your'e not." Q /

REPRESS: Blackest Ever Black presents the first vinyl edition of Dickon Hinchliffe's original score for 1980 - the second part of Channel 4 and Revolution Films' Red Riding trilogy, adapted by Tony Grisoni from David Peace's quartet of novels and first screened in 2009. Each film in the Red Riding trilogy, a landmark achievement in British television history, was helmed by a different director and had its own distinctive look, sound and feel. While Julian Jarrold's 1977 and Anand Tucker's 1983 were both marvellous, well-rounded pictures, James Marsh's1980 - photographed by Igor Martinovic on 35mm - somehow seemed to penetrate deeper, hit harder, and linger longer and more vividly in the memory. Described by Tony Grisoni as "an elegant steely trap", 1980's tragic arc is all the more devastating for the glimpses of lightness and redemption with which it taunts its hero - policeman Peter Hunter, played with astonishing grace and nuance by Paddy Considine. Warren Clarke, Maxine Peake, Peter Mullan, Tony Pitts, Jim Carter, David Morrissey, Sean Harris, Shaun Dooley and Lesley Sharp also figure in what surely ranks as one of the finest British ensemble casts ever assembled. So yes, the acting, writing and direction are all first-rate, but crucial to the mesmeric, elegiac and ultimately pincering, punishing effect of 1980 is its music, composed by Dickon Hinchliffe and performed by a small string ensemble augmented with bass, piano, guitar and percussion. A founder member of Tindersticks, Hinchliffe has played a major role in the band's scores for the films of Claire Denis (including Vendredi Soir,Trouble Every Day and Nénette Et Boni), and since flying the roost has established himself as an arthouse and Hollywood composer of considerable renown, with credits including Forty Shades Of Blue, Project Nim, Winter's Bone and Rampart. Even more eloquently than Paddy Considine's note-perfect performance, Hinchliffe's music for 1980 articulates Hunter's journey from righteousness to ruin, his optimism gradually consumed by dread and paranoia. Even at its most tender, its most hopeful, its most soaringly romantic, the stench of death is all over it.

First new material from the upcoming fourth album from one the key Fysisk Format bands! Exclusive vinyl-only The Byrds cover on the b-side. Silkscreened cover art, inlay and innersleeves. The Fysisk Format mainstays Haust is back! A new exclusive 7 from the masters of psychedelic punk rock. The 7 will feature the album taster 'Fall' on the A-side and and a cover of The Byrd's 'Lady Friend' on the b-side. The b-side is an exclusive treat for our beloved vinyl collectors and will not be released in any digital form. The artwork is made by Haust-drummer Øystein Wyller Odden and Hans Kristian Borchgrevink Hansen. Silk screened Drid Machine. Haust has released three albums as well as a split release with Next Life on Fysisk Format. The last few years they've been on a roll of new ideas, new members and new ways of expression, forging a new identity where their white-trash punk meets psychedelia and dirty rocknroll. Haust's fourth album is entitled Bodies and is scheduled for a worldwide September release on Fysisk Format.

Zu Recht wähnen sich Placebo auf dem Höhepunkt ihrer Karriere. Die gereizten, plötzlichen Gitarrenausbrüche der vergangenen 17 Jahre sind weitgehend passé, im Vordergrund steht heute eine Songsammlung aus intimen, sämtliche Sinne herausfordernden Stücken, die sich mit jedem Mal hören tiefer in die Seele brennen. Eines davon ist 'A Million Little Pieces', die dritte Singleauskopplung aus dem Erfolgsalbum Loud Like Love. Es ist ein verzehrender, romantischer, melancholischer und sehr emotionaler Song. Die Single erscheint vor und zu den diversen Sommerfestivals, die Placebo in diesem Jahr europaweit spielen. In Deutschland zählen z.B. das Highfield Festival, das Rock'n'Heim Festival sowie ein Placebo eigenes Open Air in Mönchengladbach dazu.

1LP w/ DL. Cyan Haze On Milky White Colored Vinyl. Source of Pride is the second full-length album by Roman Ruins (Graham Hill). The album continues his exploration into the distinctive yet evolving sound of his solo recording project. The songs on Source of Pride formed as Hill moved his family from Oakland to New Orleans, where he now lives and works as an architect and a father to 2 young children. Hill often worked late at night, which helped define the aural landscape that belies each track. As the songs began to
take shape, Hill's wife remarked how "every time I'm pregnant, you're pregnant with an album." The lyrical themes on Source of Pride address the relationships, rituals, and revelations that constitute family. Hill has toured with both both Papercuts and Beach House since 2008, drumming and singing backing vocals for both bands. After extensive touring in the US and Europe, he was also asked to contribute to the recording of several Beach House and Papercuts albums. After the birth of his first child, Hill began touring less in order to focus more time and effort on his family and the Roman Ruins project, which eventually led to the release of a full-length debut, Homebuilding, in 2012. "Hill takes a Comfy In Nautica approach to modern pop, floating gauzy vocals over meshed loops of natural sound, harmony, and instrumentation. Hill's luminous concoction sets us on a gravel road in the South, cruising past a chain-gang toiling alongside a sea of sunflowers, cicadas and the waning summer sun in the bed of '54 Chevy Pickup." IMPOSE Magazine.

Repress of the RSD release which had to be mostly destroyed!! Very limited pressing. 5 songs ep vinyl + download code. Teho Teardo and Blixa Bargeld (Einstürzende Neubauten / Nick Cave and the Bad Seeds). are back with a new ep of unreleased tracks and covers: they'll surprize us all with this stunning and sensual version of Caetano Veloso's masterpiece The Empty Boat from his early years. The other cover here is another song from the late sixties: Crimson And Clover both in the english and italian version. The two new songs are going even further from what the duo presented us on their debut album Still Smiling. It's another possibility to investigate new territories fulfilling their endless curiosity.

Die wichtigsten Facts:
- Die erfolgreiche Re-Issue- Series: erstmals auf Vinyl erhältlich!
- Restauriertes Audiomaterial
- Das legendäre Konzert aus Paris 1975!

Das legendäre Konzert aus Paris 1975 aus der erfolgreichen Re-Issue-Series mit restauriertem Audiomaterial und exklusivem Originial-Inter-view erscheint erstmals auf Vinyl! Was gibt es noch zu erzählen über Deep Purple Zusammen mit Led Zeppelin, The Who und Black Sabbath gilt die Band als Begründer des Genres Heavy Rock. Deep Purple prägte so manch eine Jugend der 70er. Über 100 Millionen verkaufte Alben weltweit und Hits, die ins kol- lektive Gedächtnis übergegangen sind, sprechen da eine deutliche Sprache.Im Rahmen der Stormbringer-Tour trat Deep Purple 1975 auch in Paris auf. Aber diese Show ist mehr als nur ein gewöhnliches Konzert, sie ist ein historischer Musikaugenblick: Gitarrist Ritchie Blackmore stieg noch im selben Jahr aus der Band aus und gründete die erfolgreiche Rockband Rainbow. Am 7. April 1975 trat das legendäre MK-III-Line-up also zum letzten Mal gemeinsam auf. Aber an dem besagten Abend in Paris merkte man der Band nichts davon an. David Coverdale (Gesang), Glenn Hughes am Bass, Ritchie Blackmore an der Gitarre, Jon Lord an der Orgel und Ian Paice an den Drums performen so enthusiastisch, so fiebrig energetisch wie selten. Auf dieser Aufnahme hört man der Band die Spielfreude egelrecht an. Ausgedehnte Schlagzeug- und Gitarrensoli, die gekonnt überraschenden Improvisationen, all das findet sich auf diesen Live-Aufnahmen wieder. Selbst die Intros und Ansagen kommen in der hier vorliegenden ungeschnittenen Fassung nicht zu kurz. Voller Power performt die Band

Devanagari is a way to be, a project born from the minds of human beings full of dreams. That's the first year of Life; it's a young path trampled by an old feet. Music inspired from the conceptual philosophy of the Buddhism in order to link the Soul to the power of the Sound as in the Mantra happens.

The trio hails from Naples, Italy, where the Music is like away of life: everyone sings, everyone plays, but not everyone does it as a necessary means of expressing ideas and emotions. Day by day the members of this band built up their first Concept EP made of five songs, each linked to the next.

The debut CD, "Nam Myoho Renge Kyo" EP, was recorded in Minneapolis (MN, USA) by Producers Davide Raso and Owen Sartori. It will be released this spring on Tranquillo Records, the Italian division of Dublin's Psychonavigation Records. Nam Myoho Renge Kyo is a Cycle of five songs in which the Being of the Men is analyzed with an original eye.

Five steps that will lead the main character of the EP to reach Nirvana following the path of Sound and Music. Research of sounds, organic melodies, marriage between Music and Cinema: that's what Devanagari is. Founded by Ego (songwriter) and now home of Simon Carax (guitarist) and Sharon Viola (cellist), the project will go ahead in the name of the Sense, waiting for the hearing of the ears that will want to caress them.

We have some of the EP which was only available on tour at Xmas time. Fat White Family announced details of a split EP. The 10' EP, with Trashmouth Records label-mates Taman Shud, will be available to download on Christmas Day. The EP features three new songs, including the 8-minute crawling, swampy & menacing 'sick epic' Wet Hot Beef parts one and two, and Now That I Am Taking Myself As An Artist (Wet Hot Beef part three). The B side features two songs from Taman Shud's forthcoming psychedelic cave-rock debut album - The Ziggurat, A Mirrage (premiered on Tom Ravenscroft's 6 Music show) & Crime Cycle. "Raw-assed rabble rock as dark, deviant and disgusting as the '70s" - NME // "Fat White Family are sick. I don't mean this like, they're well sick la, like some scouse teenager would have said eight years ago. I mean, they're seriously not well... they're also slightly brilliant" - The Quietus // The band who have been compared to The Birthday Party, The Fall and The Gun Club. Fat White Family are: Lias Saudi (vocals), Saul Adamczewski (vocals/guitar), Adam J Harmer (guitar), Nathan Saudi (organ), Joseph Pancucci (bass) & Dan Lyons (drums)..... Taman Shud are: Nick Richardson (vocals/drums), Derry Tomlinson (bass), Tasha Vorontsova (bass/organ) & Greg Hilditch (guitar).