Pop & Rock Vinyl New Releases - News

Work is the debut album by London based HOUSEWIVES. Since forming in 2013 they have built up a strong following playing with fierce originality and a constant sense of experimentation that is quickly making them one of the most respected bands on the UK underground scene today.

They have drawn praise from The Quietus, James Endeacott, Thurston Moore and have featured on Tom Ravenscroft's BBC 6 music radio show. They are regularly championed by Post-Punk luminary Charles Hayward, who describes their sound as 'A sort of monochromatic surliness slowly warming up to a barely controlled anger, hypnotic and building from the simplest elements'.

After releasing a sold out tape on renowned UK indie label Faux Discx, and more recently joining the likes of Thurston Moore and Ted Milton on Hackney based Blank Editions, they now present their debut LP Work as a collaborative release between Hands In The Dark, Negative Days and Blank Editions.

Work was recorded and produced with the help of Alex Townend (Vision Fortune) on a remote farm in the French countryside. Using de-tuned and home-made guitars basic song structures were formed and then added to with recordings made using found objects; machinery, agricultural equipment and construction materials intermingled with field recordings of the surrounding area.

An electric fence from the surrounding farmers land prevented a clean signal to the amplifiers resulting in no guitar or bass parts being recorded at the farm. The focus of the recording process was turned towards creating layers of percussive and instrumental parts; drum parts were recorded from the bottom of a disused silage tank (Autarky), church bells recorded from the closest village (Half Step) and the architecture of the farm captured by creating feedback loops from the ambient sound of the surrounding farm buildings (Fig. 1).

These compositions along with the remaining instrumental parts were assembled and finalised in Townend's South East London studio.

Previously released in two separate volumes to mark the 10th birthday of Finders Keepers we've brought them both together in one package for the first time. Featuring tracks NOT available on the CD counterpart of the same name! Ilaiyaraaja, Ilayaraja, Ilayaraaja, Isaignani, The Maestro... The undeniable prince of Kollywood cinema, India's second largest film industry, Ilaiyaraaja is more than equal to his forward thinking contemporaries in Bollywood and Lollywood in both productivity and experimentation
However, once you have exhausted all possible leads using his various names (and the numerous misspellings) you're faced with the unenviable task of sifting through a 34-year career spanning more than 900 film scores in Tamil, Hindi, Telugu, Malayalam and Kannada in order to unearth some the heaviest dancefloor friendly electronic pop to ever emerge from Southern India.

This not-so-modest collection of lesser-spotted electronic Tamil pop features many tracks previously unavailable away from their original rare as hen's teeth vinyl pressings.

Includes the viral Kollywood/Bollywood classic Solla Solla.

Previously released in two separate volumes to mark the 10th birthday of Finders Keepers we've brought them both together in one package for the first time. Featuring tracks NOT available on the CD counterpart of the same name!

In the mid-1970s Parisian composer and multi-instrumentalist Thierry Müller began operating primarily under the Ilitch moniker. Juxtaposing dark, electronic soundscapes and solo guitar improvisations, Ilitch created some of the most enduring music of the era. It comes as no surprise that Nurse With Wound included Müller on their famed list of influential avant-garde artists.

Originally released on Oxygene Records in 1978, Ilitch's debut Periodikmindtrouble was a shot across the bow for the French underground scene. Comprised of instrumental four-track recordings made in Müller's dorm room, the album features gritty tape loops, analog synth swells and angst-ridden guitars. "Sequence 4" fills the stereo field with eerie harmonium and kosmische textures, while the side-long title track is a bona fide organ soliloquy, exploring both abrasive and ambient sonorities. "Derriere La Fenetre (Behind The Window)" dives deeper into acoustic patterns to reveal the expressive quality of Müller's singular style. Periodikmindtrouble lays the groundwork for an impressive body of work that has grown only more unsettling over the past three decades.

This first-time vinyl reissue comes with gatefold jacket and is recommended for fans of Cluster, Fripp / Eno and Heldon.

"The two go hand in hand like a dance: chance flirts with necessity, randomness with determinism. To be sure, it is from this interchange that novelty and creativity arise in Nature, thereby yielding unique forms and novel structures." Eric Chaisson

Random occurrences. Sunlight bursting through treetops. Accidental beauty. These things are not just confined to nature and landscape.

Le Berger is Montreal native Samuel Landry. Deeply moved and inspired by Ithaca Trio's Music for Piano & Patience, he sought out to make new material, choosing to work with methods that he felt were similar. Unused guitar samples from fifteen years ago became the sole source material, providing the album with a wistful, folky kind of ambience. While ambient textures provide a blissfully drowsy background, the guitars evokes and mirrors the calm feeling of leaves rustling in the breeze, or light on the ocean exploding into millions of individual flecks as the waves come in to shore. As random as they may be, it never startles the listener. It is music mirroring life.

A work born from a marriage of chance, randomness and composed elements, it results in Le Berger's most evocative and poetic work to date.

The second release in the Turkish Anatolian Invasion series. Space age, Anatolian, electronic, progressive-protest, psych-folk-funk-rock from the Middle East. All of the above ingredients are presented immaculately with up-most authenticity and conviction to create a delectable hybrid which has never been replicated or equalled in the 3 decades since its recording.
Released in 1976 to huge critical acclaim and scepticism in equal parts, the album smashed new boundaries both lyrically and musically. Sonically, the LP begs comparison to the second LP by post-folk, sibling three-piece Uc Hurel who used a balance of electronically treated saz and proto polyphonic synthesisers to similar effect (exemplified here on tracks such as 'Gitme' and 'Yaz Gazeteci Yaz'). But the fact that Selda was one of the few female voices to adopt the use of such cutting edge techniques put the LP in a league of its very own. Frowned on by the paranoid Turkish authorities, songs like Meydan Sizindir and Ince Ince were viewed as calls to revolt by the working classes - little did Selda know that now her songwriting was available to a wider market (and soon to be available to an unlimited audience via the introduction of the compact cassette) she would face the threat of imprisonment due to her unwaning desire for freedom of speech and a demand for a quality of human life. Selda would face future jail sentences and travel restrictions as her popularity spread amongst Turkish communities in Europe and America. Luckily the Turkuola label arranged the immediate release of a second which was released in late 1976 (some songs recorded in the same sessions are presented on this release as bonus tracks). Selda's second LP retained some of the psychedelic touches found on her debut, but the passing phase of Turkish electronica - which began to manifest in popular music such as disco and pop - was less prevalent.

After setting the blogs alight last year after putting 'Choreograph' online himself, along with massive remixes for Sia and Glass Animals, Gilligan Moss finally brings us his much anticipated first release; his vibrantly technicolour debut, Ceremonial EP.
The 'Ceremonial' EP boasts a brand new version of Choreograph (re-mixed by Van Rivers (The Knife, Fever Ray)) which is currently getting huge support on Radio 1 from Huw Stephens, Annie Mac & Phil Taggart, and shows off Moss' ability to marry his eclectic palette of psych-rock, synthpop, house and more to seamless yet dazzling effect.
Currently touring with Glass Animals, he is coming to the UK on 14th August to celebrate the release of the EP.
The release comes on beautiful heavyweight spot gloss 12' vinyl featuring the artwork of New York artist Chrissy Angliker. NME - Gilligan included in roundup of best new artists in Radar section

The best of Khwanta Fasawang, the heart and soulful Sister No. 1 of 1980s Lam Phaen, queen of the cassette era.
She was chosen, from over a thousand demo tapes, by legendary producer and songwriter Doi Inthanon, who wanted to create a new, streetwise dance music. The Lam Phaen genre was the result, and Khwanta Fasawang was the singer he chose to be its representative.

Combining earlier musical trajectories with electronic elements and lyrics dealing with drinking and love, money and motorcycles, Khwanta led the cassette-format Lam Phaen boom of the early 80s, gaining great popularity in both her native
Isan and across the whole country. A change in lyrical concerns and the use of electronics has parallels with Jamaican Dancehall, and this music
can be heard as one of the roots of Lam Sin, the Thai Bass Music which began in the 80s and 90s, but these recordings are not mere musicology.

This is living music, and very fine music at that. Queen Khwanta, Sister Fasawang. She can't be denied.

The mid-to-late '60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable.
It was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom.

The second of his MGM trilogy-1967's peculiarly named Lee Hazlewoodism: Its Cause And Cure-took on countrified French ye-ye ('The Girls In Paris'), a tale of a young bullfighter built on Spanish guitar and choral cowboys ('Jose'), a string-drenched song about the passing of time ('The Old Man And His Guitar'), and a western epic about a Native American tribe ('The Nights'). And that was just the first four tracks. Elsewhere, the honky tonk madness of 'Suzi Jane Is Back In Town,' the Byrds-like jangle of 'In Our Time' and-in the bonus tracks-an instrumental named 'Batman' confirm this to be one of Hazlewood's most far-ranging, far-out LPs ever.

It's the result of two main factors: ambition-to top Phil Spector, primarily-and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. 'I think the big sound of those records came out of the Spector thing,' says Hokom, in the new liner notes. 'If you can have a big sound and you have money to burn... it was a flamboyancy.'

Released before the Nancy & Lee LP-a bona fide hit for Reprise Records-Hazlewoodism was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the LHI imprint, and was busy building his own empire-one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus predecessor, The Very Special World Of Lee Hazlewood and follow-up, Something Special. Welcome to Hazlewood's magnificent-and mad-MGM years.

The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood.
He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the "boy/girl' songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when 'These Boots Are Made For Walkin'' made him a star songwriter) had become.

The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label-experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like 'Little War' and 'Hands,' the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world.

The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his 'expensive demos. I'm sure that MGM thought that they would be successful.' Little chance of that with Something Special-it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best-and most varied-work.

Locas in Love, mittlerweile im 14. Bandjahr angekommen, veröffentlichen am 20.11. unter dem Titel
- Kalender ihr siebtes Studioalbum. Und wenn man die beiden Karpatenhund-Alben hinzuzählen
möchte, sind es tatsächlich schon neune. Dabei zeigen sich Locas in Love auf - Kalender bei aller
Produktivität vermehrt von ihrer dunklen Seite: - Es gibt kein richtiges Leben im Bürgerlichen , singt
Stefanie Schrank im Song - Oh! , von der auch der kunstvolle Wandkalender mit zwölf Motiven
zwischen abgründig, absurd und humorvoll stammt, der dem Album beigelegt ist. Dabei waren Locas
in Love eigentlich immer schon das perfekte Bindeglied zwischen Indie-Untergrund und
Breitwand-Pop. Also der ideale Soundtrack für eine moderne Bürgerlichkeit mit einer abgeschlossenen
90s-Sozialisation zwischen Bret Easton Ellis, David Lynch, Nirvana und den Simpsons. Aber nur bei
oberflächlicher Betrachtungsweise! Denn wer genau hinhörte bei den Vorgänger-Alben wie - Saurus
oder - Lemming konnte schon immer bedrohliche Risse im restaurierten Sound-Stuck erkennen.
Locas in Love versuchen über den Kopf hinaus dahinzugehen wo es wirklich wehtut: Mitten ins Herz
hinein!

House Party ist eine US-amerikanische Filmkomödie aus dem Jahr 1990, deren Soundtrack den Hip
Hop Geist der damaligen Zeit aufgreift. Nun gibt es diesen grandiosen Soundtrack wieder auf Vinyl,
inkl. den Hits des Hauptdarsteller Christopher Reid aka Christopher 'Kid' Harris. Auch Hip Hop Icons
Flavor Flav und LL Cool J steuern Titel wie To Da Break Of Dawn' und I Can't Do Nothing For You,
Man!' bei. Ein rasanter Soundtrack, perfekt für eine - House Party

A selection of the best of Buena Vista including tracks such as 'Chan Chan' and 'A Buena Vista' performed by old and new, featuring Pío Leyva and Raúl Planas, original members of the Buena Vista Social Club.











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First-ever vinyl release of the collaboration between the legendary cult director David Lynch (Twin Peaks, Eraserhead) & Polish concert pianist Marek Zebrowski. Barren train stations, Polish factories at night, and silent hotels where lonely travellers meet. These are the images and suggested narratives that pervade the spirit of Polish Night Music
Double LP, with a download code that includes a previously unreleased bonus 4 track live album

In Passion For Vinyl a wide selection of DJ's, musicians, label owners, designers, record dealers, collectors and engineers like

Henry Rollins, Bernie Grundman, Hans Pokora, Chris Ellis, Steffi, Mala, Vaughan Oliver, Lee Dorrian, Jacco Gardner, John Dyer Baizley and many others share their unconditional love for vinyl.
They muse about the first record that changed their lives, talk about their prized collectibles and explain why they were determined to keep vinyl alive.
Passion for Vinyl also tells the history of Record Industry, the Dutch factory that has been pressing vinyl since the 1950's.
This book is a tribute to vinyl, a format that is making a spectacular comeback recently, although for many music lovers it never really disappeared.
Passion For Vinyl is written by Dutch author, music journalist and incurable vinyl fanatic Robert Haagsma. With an introduction by American vinyl guru Michael Fremer.
Passion for vinyl (A tribute to all who dig the groove)

Where It All Begins (1994) is the eleventh studio album by the Allman Brothers Band. 'No One to Run With' obtained the greatest amount of album-oriented Rock airplay, while 'Soulshine', written by Warren Haynes, gained success as a concert and fan favorite.

Gregg Allman also started to confront his substance abuse problems in the past on songs such as 'All Night Train'. In
1998, the album went Gold. This was also the last studio album the group recorded with original guitarist Dickey Betts.

This is the first ever vinyl release of this essential Allman Brothers Band album! The D-side features beautiful etched artwork in the vinyl.

ambiq, the Berliner instrumental trio of Max Loderbauer, Claudio Puntin and Samuel Rohrer, emerged onto the scene not long ago with a self-titled arjunamusic LP (AM703) of impressive sonic distinctiveness and technical ability. Drinking from a deep pool of influences that includes free improv, early electronic music and spaced-out dub, the trio does what any great ensemble should set out to do: it becomes more than the sum of its parts, a single organism with its own unique expressive vocabulary and perspective. Proving that their debut was no fluke, the ambiq trio has already re-convened for a second full length bubbling over with new timbral combinations, and with a sophisticated interpretation of the ancient art of tension and release.
From the opener "The Spur," no time is wasted ushering us to our seats and bringing us to a world where strange new tonalities seem to breathe freely: the nimble percussive shuffle, set in relief against a cascade of detuning electronic tones, is a fascinatingly introspective intro (incidentally, it is actually followed by a piece entitled "Introspective Kitchen," which expands the mood of the preceding track with cleverly delay-effected woodwind, remote organ swells and yet more shivering percussion.) Once the lessons from these preliminary exercises have sunk in, the band then embarks on a more motoring, danceable journey entitled "The Mother": Rohrer's drumming, as always, is taut and confident, while Puntin's clarinet evocatively hovers with a kosmische feel that is all too absent from the realms of "post-rock" and electronics-aided improv.
The interplay between Puntin and Rohrer eventually develops into the main dialogue of the album, though the sound events surrounding it change continuously enough to keep this a fully memorable and downright cinematic experience. On "Parton's Double Vision", the lush "space violin" quavers familiar to vintage sci-fi fans play the support role, and the closing "Consolation" features a lulling bed of electronics that elusively shift in character the more attention one pays to them. With all this in mind, the new ambiq LP is as wonderfully cohesive as its predecessor, but never monotonous in the mood it conveys: the miniature piece "Naked George," for example, is as full of humorous melody as the other pieces are full of investigative curiosity. Another short piece, "Mytoprill," is guided by queasy modular synth strains that impart a delirious kind of funhouse ambience.
Plenty of music exists for the open-minded, but not all of it has the ability to initiate the process of opening minds in the first place. ambiq does have that ability, and have come up with a musical formula that will melt away the defenses of the most hardened techno fanatic or avant-gardist, seeding new ideas not beholden to any one genre or lifestyle.
REMIXES of this album by Margaret Dygas & Thomas Fehlmann will be released in 2016. (AMEL-EP710)

Little known outside their native Sierra Leone where they were huge stars in the 1970s, Afro National played a brand of afro-pop that was a fusion of myriad styles, including Congolese music, highlife & Afrobeat and whose sound was characterized by up-tempo melodic guitar playing.

This double A side features two choice cuts from their 1972 debut album, the gloriously infectious and up-beat 'Temedi Oh' & 'Den Kick' which starts as a gentle rumba before launching into a joyous guitar workout.

ambiq, the Berliner instrumental trio of Max Loderbauer, Claudio Puntin and Samuel Rohrer, emerged onto the scene not long ago with a self-titled arjunamusic LP (AM703) of impressive sonic distinctiveness and technical ability. Drinking from a deep pool of influences that includes free improv, early electronic music and spaced-out dub, the trio does what any great ensemble should set out to do: it becomes more than the sum of its parts, a single organism with its own unique expressive vocabulary and perspective. Proving that their debut was no fluke, the ambiq trio has already re-convened for a second full length bubbling over with new timbral combinations, and with a sophisticated interpretation of the ancient art of tension and release.
From the opener "The Spur," no time is wasted ushering us to our seats and bringing us to a world where strange new tonalities seem to breathe freely: the nimble percussive shuffle, set in relief against a cascade of detuning electronic tones, is a fascinatingly introspective intro (incidentally, it is actually followed by a piece entitled "Introspective Kitchen," which expands the mood of the preceding track with cleverly delay-effected woodwind, remote organ swells and yet more shivering percussion.) Once the lessons from these preliminary exercises have sunk in, the band then embarks on a more motoring, danceable journey entitled "The Mother": Rohrer's drumming, as always, is taut and confident, while Puntin's clarinet evocatively hovers with a kosmische feel that is all too absent from the realms of "post-rock" and electronics-aided improv.
The interplay between Puntin and Rohrer eventually develops into the main dialogue of the album, though the sound events surrounding it change continuously enough to keep this a fully memorable and downright cinematic experience. On "Parton's Double Vision", the lush "space violin" quavers familiar to vintage sci-fi fans play the support role, and the closing "Consolation" features a lulling bed of electronics that elusively shift in character the more attention one pays to them. With all this in mind, the new ambiq LP is as wonderfully cohesive as its predecessor, but never monotonous in the mood it conveys: the miniature piece "Naked George," for example, is as full of humorous melody as the other pieces are full of investigative curiosity. Another short piece, "Mytoprill," is guided by queasy modular synth strains that impart a delirious kind of funhouse ambience.
Plenty of music exists for the open-minded, but not all of it has the ability to initiate the process of opening minds in the first place. ambiq does have that ability, and have come up with a musical formula that will melt away the defenses of the most hardened techno fanatic or avant-gardist, seeding new ideas not beholden to any one genre or lifestyle.
REMIXES of this album by Margaret Dygas & Thomas Fehlmann will be released in 2016. (AMEL-EP710)

GusGus-member Stephan Stephensen aka President Bongo wears many hats, but likes to refer to himself as 'an emotional carpenter'. And the name is fitting: throughout his illustrious career, Bongo has built, tooled, shaped and reconstructed reality in a manner that has touched upon the emotional spheres of thousands, greatly increasing their quality of life and inner harmony in the process.

When this set was recorded in 1964, pianist Randy Weston had no luck interesting any label to release the music, so he came out with it independently on his tiny Bakton company & then in 1972 Atlantic released the performances. It is surprising that no company in the mid-1960s signed Weston up because "Willie's Tune" from the set had the potential to catch on, "Berkshire Blues" is somewhat known and the mixture of accessible bop with African rhythms overall is appealing. Trumpeter Ray Copeland was responsible for the arrangements while Weston contributed all but one of the songs. Copeland and the great tenor Booker Ervin have their share of solo space, bassist Vishnu Wood and drummer Lenny McBrowne are fine in support, and on three numbers the percussion of Big Black and Sir Harold Murray are added; Big Black also sings on "Congolese Children." An excellent outing.

CD

Sigala aka Bruce Fielder ist ein junger Produzent aus London, seine Biografie beeindruckt mit weitreichenden Musikerfahrungen: Nachdem er bereits mit 8 begeistert Klavier spielte, schaffte er nach nur ein paar Jahren sein Grade 8, die höchste Amateurprüfung, die man in England am Klavier absolvieren kann. Als Teenager entwickelte er sich Richtung Jazz, bevor er an der Universität von Westminster studierte, wo er seinen Stil und seine technischen Fähigkeiten weiter ausbaute. Nur unwesentlich älter, entdeckte er seine Liebe für Dance und Künstler wie Pendulum, Sub Focus, Fatboy Slim und The Prodigy. Und sie, in Kombination mit der Musik der Neunziger (speziell RnB und Garage), waren es auch, die seine eigene Musik und seinen Sound beeinflussen sollten.

In diesem Jahr erhielt Andreas Bourani seinen ersten - ECHO sowie den bayerischen Musikpreis und
belegte kürzlich mit SIDO und dem gemeinsamen Song - Astronaut erneut Platz 1 der deutschen
Single-Charts. Das Album - HEY ist für mittlerweile über 400.000 verkaufte Einheiten mit
Doppel-Platin ausgezeichnet. Nun erscheint "HEY" auch auf einer Doppel-Vinyl inkl. MP3 Codes.

Wahrscheinlich haben die allermeisten bereits Musik von Ethan Johns gehört - wenngleich oftmals,
ohne sich dessen bewusst zu sein. Denn der 1969 geborene Brite hat sich in den letzten anderthalb
Jahrzehnten vor allem als Produzent einen Namen gemacht. Ryan Adams, Paul McCartney, Laura
Marling und Ray LaMontagne waren nur einige der Künstlerinnen und Künstler mit denen er gearbeitet
hat. Außerdem war und ist er als Studio- und Tourmusiker für verschiedene Acts aktiv, darunter
Crosby, Still and Nash oder Emmylou Harris. In dieser Rolle hat der Multiinstrumentalist auch
Lead-Gitarren, Drums, Bass und Piano auf Ray LaMontagnes gefeiertem Debüt von 2004 eingespielt
und war in vielfältiger Weise an den Aufnahmen von Ryan Adams' Alben beteiligt. Mit seiner neuen
Platte - Silver Liner' ist Johns jetzt in seiner Rolle als Songwriter und Performer zu erleben. Johns
Solokarriere begann im Jahr 2012 mit seinem Debütalbum, an dem u.a. auch Ryan Adams und Laura
Marling beteiligt waren. Adams übernahm dort auch die Produktion. Für seine neue Platte saß Ethan
Johns wieder selbst an den Reglern und hat mit den Black Eyed Dogs eine Begleitband um sich
versammelt, die man ohne zu übertreiben als Weltklasse bezeichnen kann.

Auf - Weihnachten präsentiert Helene Fischer die schönsten deutsch- und englischsprachigen
Weihnachtslieder zusammen mit dem renommierten Royal Philharmonic Orchestra, aufgenommen in
den legendären Abbey Road Studios in London. Die beliebtesten Weihnachtslieder aller Zeiten
vereint: Angefangen bei Klassikern wie - O Tannenbaum , - Leise rieselt der Schnee , - Ave Maria oder
- Ihr Kinderlein kommet , bis hin zu Remakes jüngerer und älterer X-Mas-Hits von und mit Frank
Sinatra (- Have Yourself A Merry Little Christmas ), Bing Crosby (- White Christmas ) aber auch Plácido
Domingo, Ricky Martin und Xavier Naidoo. Das Album ist seit 13.11. als Doppel-CD und Deluxe
Edt (2C+DVD Behind The Scenes Abbey Road Studios London) erhältlich. Am 4.12.erscheint dann
das spektakuläre Weihnachtskonzert - Weihnachten - Live aus der Hofburg Wien , bei der Helene
Fischer ebenfalls vom Royal Philharmonic Orchestra unterstützt wird, auf DVD & BluRay sowie als
Superdeluxe-Version in einer hochwertigen Fanbox (inkl. Deluxe Edt. "Weihnachten", DVD & BluRay
"Weihnachten - Live aus der Hofburg Wien", 2 Christbaumkugeln und 5 Weihnachtskarten) und
"Weihnachten" als 4LP inkl. MP3 Codes.

Esa-Pekka Salonen dirigiert das Los Angeles Philharmonic und den Los Angeles Master Chorale in
einer Aufnahme vom 23. Oktober 2014 in der Walt Disney Concert Hall.

Wenn die Musik von Rammstein der perfekte Soundtrack für die Errichtung monumentaler Bauten in der Wüste ist, dann muss irgendwo ein imposantes Bauwerk stehen, an dem bereits seit 21 Jahren gearbeitet wird - denn genau so lange beackern die sechs Ostberliner jetzt schon ihren Boden... Die
nummerierte und Rammsteins komplette Karriere umspannende 21st Anniversary Box enthält nicht
nur die sechs Studioalben der Band - exklusiv geremastert von Svante Forsbäck auf 180g-schwerem
Doppelvinyl -, sondern zusätzlich noch eine Doppel-LP mit dem Titel ‚Raritäten', inkl. einer
unveröffentlichten Version des Tracks - Los'. Was die - Raritäten' angeht, sind Rammstein sehr
sorgfältig und die Auswahl spiegelt das wieder: 16 Tracks verschiedener Single B-Seiten, Fan
Releases und Special Editions. Jedes Album ist eine Doppel-Vinyl mit dem Original Artwork und
Texten. Ganze vier der sechs Alben erscheinen erstmalig auf Vinyl: Herzeleid, Sehnsucht, Reise,
Reise und Rosenrot. Diese Jubiläumsbox eine mit Liebe zum Detail aufbereitete, authentische
Verbeugung und Würdigung von Rammstein 1995-2012, die die Tür ein spaltbreit offen lässt für das
siebte Studioalbum... Fakt ist: Der Kuchen zum 21. Geburtstag wird garantiert ausreichend brennende
Kerzen haben!

The MGM Years - Dieses Boxset enthält alle elf Studioalben, die Roy Orbison bei MGM
herausgebracht hat; dazu der Soundtrack zu The Fastest Guitar Alive (geschrieben von Roy und Bill
Dees für den Film mit Roy Orbison in einer Hauptrolle) und ein Album mit B-Seiten und Singles aus
dieser Zeit. Die Aufnahmen entstanden zwischen 1965 und 1973. Das Set erscheint als 13CD-Box
und als Vinylversion mit 14 180g-Platten. Diese insgesamt 152 Tracks sind schon seit Jahrzehnten
nicht mehr verfügbar und liegen neu gemastert vor. Das Boxset enthält ein schön gebundenes Booklet
mit ausführlichem Begleittext, geschrieben von Roy Orbisons jüngstem Sohn Alex Orbison, und mit
bisher noch nirgends gezeigten Fotos. Alle Alben, außer der Singles- und B-Seitencompilation, sind
auch einzeln als CD und LP erhältlich! One of the Lonely Ones - Ein komplett unveröffentlichtes
Studioalbum aus dem Jahr 1969. Dies ist ein verschollenes Roy Orbison Album mit 12 Tracks, welches
bisher noch nie von der Öffentlichkeit gehört wurde und seinen Söhnen erst kürzlich in die Hände fiel.
Diese wiederentdeckte Kostbarkeit erscheint auf CD und auf griffigem 180g-Vinyl. - NICHT TEIL DER
BOX

Break My Mind . Help Me, Rhonda . Only You .
Go, Go, Go (Down The Line) . Money . When I
Stop Dreaming . Loving Touch . Land Of A
Thousand Dances . Scarlet Ribbons (For Her
Hair) . She Won't Hang Her Love Out (On The
Line) . Casting My Spell On You . Penny

Once Upon A Time (1LP)
Once Upon A Time . All The Things She Said .
Ghostdancing . Alive And Kicking . Oh
Jungleland . I Wish You Were Here . Sanctify
Yourself . Come A Long Way .

Im Rahmen des großen BEATLES "1" in HD Projektes wurde ebenfalls eine neue Version der Vinyl
kreiert. Somit erscheinen die neuen glanzvollen 2015er Stereo Mixe von "1" ebenfalls auf einer 180g
Heavyweight Doppel-Vinyl inkl. Poster und Postkarten Set. Ein Muss für jeden BEATLES und Vinyl
Fan.

Gone . A Conspiracy . High Head Blues .
Cursed Diamond . Nonfiction . She Gave
Good Sunflower . P. 25 London . Ballad In
Urgency . Wiser Time . Downtown Money
Waster . Descending .