Domino kündigt die physischen Wiederveröffentlichungen von Nicos zweitem und drittem Soloalbum an, „The Marble Index“ von 1968 und „Desertshore“ von 1970. Beide Alben sind seit langem vergriffen; die Wiederveröffentlichungen werden ab dem 29. März auf Vinyl und CD erhältlich sein, mit Audio-Mastering von den Originalbändern.
„The Marble Index“ und „Desertshore“, die beide von Nicos Bandkollegen John Cale von Velvet Underground mitproduziert wurden, haben die Goth-Rock-Bewegung stark beeinflusst. Der ikonische Musikjournalist Lester Bangs schrieb: "The Marble Index ist das bisher größte Stück 'avantgardistischer Klassik', 'ernster' Musik der letzten Hälfte des 20 Jahrhunderts. Beide Alben sind nun wieder auf CD und Vinyl erhältlich, nachdem sie vergriffen waren. Der Ton wurde von den Originalbändern gemastert. Die CD & LP für beide Alben enthalten bisher unveröffentlichte Fotos von Nico von Guy Webster.
New super-band featuring desert rock legends Mario Lalli, Brant Bjork, Sean Wheeler and Ryan Güt !!! The first release from this band of pioneering Desert rock musicians captures the band and its purest form exercising the desert born ethic and approach of rock improvisation, psychedelic and flowing, heavy and explorative. The foundation of Mario Lalli's grooving heavy bass lines and meditative themes with a intuitive guitar work with Brant Bjork and percussion of Ryan Güt set the scene for Sean Wheeler's poems and songs capturing the dark and beautiful stories and images of life in the Mojave desert of Southern California. This is a representation of desert rock in its purest form. A very special live performance in Gold Coast Australia.
Violet vinyl, limited to 400 copies. New super-band featuring desert rock legends Mario Lalli, Brant Bjork, Sean Wheeler and Ryan Güt. The first release from this band of pioneering Desert rock musicians captures the band and its purest form exercising the desert born ethic and approach of rock improvisation, psychedelic and flowing, heavy and explorative. The foundation of Mario Lalli's grooving heavy bass lines and meditative themes with a intuitive guitar work with Brant Bjork and percussion of Ryan Güt set the scene for Sean Wheeler's poems and songs capturing the dark and beautiful stories and images of life in the Mojave desert of Southern California. This is a representation of desert rock in its purest form. A very special live performance in Gold Coast Australia.
"After releasing three studio albums and lots of touring, Blue Öyster Cult released their first live album On Your Feet or on Your Knees in 197The album is a collection of 12 live recordings from performances that took place in the United States in 197It includes three songs from each of their first three albums, an original instrumental track, and two covers: “I Ain’t Got You” (Billy Boy Arnold, The Yardbirds) and “Born to Be Wild” (Steppenwolf). It was their first gold record in the US and became the band's highest-charting album, which put the band forever on the map as one of the essential rock live bands. On Your Feet or on Your Knees is available as a limited edition of 1500 individually numbered copies on silver & black marbled vinyl, housed in a gatefold sleeve and includes a 4-page booklet. "
On Your Feet Or On Your Knees by Blue Oyster Cult, released 29 March 2024, includes the following tracks: "Hot Rails to Hell", "Seven Screaming Dizbusters" and more.
This version of On Your Feet Or On Your Knees comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Booklet.
The vinyl is pressed as a marble, silver & black disc. Another vinyl is pressed as a marble, silver & black disc.
Spaceship is Mark S. Williamson, a musician, sound artist, film maker and educator based in Todmorden, West Yorkshire. His work is often made in response to his environment, working on location, combining
field recordings with electronic and acoustic instrumentation, usually recorded outside, amid the landscape and weather. Mark has recorded for wiaiwya, Apollolaan, the Dark Outside and his own Forged River Recordings. "Williamson is building desire tunnels, churning through the layers of rock and soil to find his conclusions." - The Wire // "...the droning synthesizer waves conjure up something spectral and eerie, stretching out like the wi de horizon..." - The Quietus // "Beautiful." - Hannah Peel
Kjetil Mulelid's various projects have received international acclaim, ranging from his duo with Siril Malmedal Hauge, his trio, and the quartet Wako. His first solo album, "Piano" (Rune Grammofon, 2021) received plaudits that placed him in the same company as pianists like Keith Jarret, Brad Mehldau, and Bill Evans. With "Agoja" Mulelid demonstrates what a musician and composer worthy of such acclaim can do with an ensemble cast of musicians of the highest calibre. On "Agoja" three features are immediately apparent. First, that Mulelid's compositions are melodic, yet frequently surprising in their path from their beginning to end; second, that he is a generous band leader, allowing the musicians both to be themselves and to express themselves, often while he merges almost completely into the background; finally, that each composition has its own unique identity, yet bears Mulelid's hallmark clearly and distinctly. Kjetil Mulelid (b.1991, Hurdal, Norway) has distinguished himself as an inventive artist, blending jazz, psalms, and improvised music in both his own playing and compositions. After graduating from the famous "Jazzlinja" in Trondheim back in 2014, he has been heavily touring the world's nooks and crannies with his own music and projects. He has played concerts in large parts of Europe and Japan and released several well-received albums as a solo artists, as well as with his own Kjetil Mulelid Trio, the jazz quartet Wako, with singer Emilie Storaas as the duo Kjemilie, and with singer Siril Malmedal Hauge - both as a band and as a piano / vocal duo.
Die Queen Of Death Gospel, Louise Lemón, verbindet auf ihrer dritten LP 'Lifetime Of Tears', produziert von Randall Dunn (Björk, Zola Jesus, Marissa Nadler), tiefe, dunkle Untertöne mit einem unerschütterlichen Glauben an das Licht und der Fähigkeit, über sich hinauszuwachsen. Mit ihrem fesselnden Noir-Sound zaubert sie Schönheit aus der Ungleichheit. Der Titeltrack, eine gefühlvolle Rockballade voller intensiver Emotionen, ist eine Hommage an ihre 1970er Einflüsse wie Fleetwood Mac und The Allman Brothers, mit dem sie an Cat Power, Lana Del Rey und PJ Harvey erinnert.
Transnational Speedway League ist Clutch’s allererste Album Veröffentlichung (1993) und wurde bis dato nie auf Vinyl veröffentlicht. Es ist das nächste Album in unserer Clutch Collector’s Serie. Clutch’s Gitarrist, Tim Sult, war federführend inder Neuentwicklung dieses Albums. Das Album ist remastered und die farbige LP wurde auf 180 gr Vinyl gepresst. Das Artwork ist von Dan Winters (dem ursprünglichen Grafiker) und Tim Sult neu interpretiert worden. Der Hochglanzdruck des Albumcovers auf einem Spezialpapier lässt Teile des Gatefold Covers fast metallisch erscheinen. Wie üblich beinhaltet das Album einen nummerierten und von den Bandmitgliedern handschriftlich unterzeichneter Kunstdruck ist vielleicht das wichtigste Element fuer den potentiellen Käufer. Clutch Fans weltweit werde sich um diese limitierte Auflage von 7,500 Stück reißen.
Auf BLIP teilt Rapper NAHreally witzige Alltagsbeobeachtungen zu luftig-melodischen Beats von The Expert. Für das originelle, unprätentiös unterhaltsame Album wird das Duo von Open Mike Eagle, Hemlock Ernst (aka Samuel T. Herring/Future Islands), Dillon (Full Plate) und Jesse The Tree (Strange Famous Rec.) begleitet. BLIP markiert einen Kollabo-Hattrick für The Expert. Das letztjährige RITUAL mit Stik Figa zählt zu den besten Hip-Hop Alben 2023 und erhielt auch Probs von Chuck D./Public Enemy. Davor begann The Expert mit Jermiside und THE OVERVIEW EFFECT eine Reihe psychedelischer Hip-Hop-Platten. Für Rapper NAHreally ist BLIP das Vinyldebüt nach diversen digitalen Tapes.
The first feature film based on the globally beloved Miraculous franchise, Miraculous: Ladybug & Cat Noir, The Movie follows ordinary teenager Marinette, whose life in Paris goes superhuman when she becomes Ladybug. Bestowed with magical powers of creation, Ladybug must unite with her opposite, Cat Noir, to save Paris as a new villain unleashes chaos unto the city.
Jeremy Zag is a producer and entrepreneur known as one of the co-founders of Zagtoon, a French animation production company. This company is behind the hit animated series Miraculous: the adventures of Ladybug and Cat Noir. He has produced over 500 episodes of TV series in his current career.
Driven by lust-fueled limerence and drifting far from conformity, Butterflies Don't Go Away captures Majesty Crush's transient, yet subversive mark on the landscape of American shoegaze to come. Tracked between 1991-1995, the quartet reimagined the collapse of the American rust belt as a late-night, nail biting fever dream/revenge fantasy. This deluxe 2xLP compiles their Love 15 album, singles, EPs, and rarities, all remastered from the original tapes, with thorough annotation and visual documentation in a 24-page booklet. An immortal transcendence if there ever was one.
FÜR FANS VON: Helloween, Gamma Ray, Powerwolf, Primal Fear, Grave Digger, Running Wild, Iced Earth, Blind Guardian, Edguy
Große Ereignisse werfen ihre (offenkundig ebenso großen) Schatten voraus: Die deutsche Metal-Band Rage kündigt für März 2024 die
Veröffentlichung ihres neuen Studioalbums ‚Afterlifelines‘ an. Es handelt sich um ein Doppelalbum mit insgesamt 21 Songs, inklusive Intro, Interlude
und Outro. Das Besondere daran: Die zwei Scheiben haben unterschiedliche musikalische Ansätze: „Die erste CD trägt den Titel ‚Afterlife‘ und besteh
aus Songs, die wir als Trio eingespielt haben, während die Songs der zweite CD ‚Lifelines‘ zusätzlich mit klassischen Orchesterarrangements
ausgestattet sind“, erklärt Sänger und Bassist Peavy Wagner. Wagner und seine beiden Bandkollegen Jean Bormann (Gitarre) und Vassilios „Lucky“
Maniatopoulos (Schlagzeug) haben mehr als 94 Minuten neuer Rage-Musik aufgenommen, darunter ein, wie Wagner es nennt, „20-minütiges Grand
Finale.“ Um die Wartezeit bis zum Album-Release zu verkürzen, werden Steamhammer/SPV bereits ab Januar 2024 drei Singles der neuen Scheibe
vorab auskoppeln.
Neben der Veröffentlichung des Doppelalbums laden RAGE in 2024 zu einer umfangreichen Welttournee ein, mit Shows und Festivalteilnahmen unte
anderem in Deutschland, Österreich und der Schweiz. Darüber hinaus kündigt Peavy Wagner bereits jetzt für den Herbst 2024 eine große
Rage-Biographie anlässlich des 40-jährigen Bestehens der Band an. Kein Zweifel: 2024 wird ein Rage-Jahr!
FÜR FANS VON: Helloween, Gamma Ray, Powerwolf, Primal Fear, Grave Digger, Running Wild, Iced Earth, Blind Guardian, Edguy
Große Ereignisse werfen ihre (offenkundig ebenso großen) Schatten voraus: Die deutsche Metal-Band Rage kündigt für März 2024 die
Veröffentlichung ihres neuen Studioalbums ‚Afterlifelines‘ an. Es handelt sich um ein Doppelalbum mit insgesamt 21 Songs, inklusive Intro, Interlude
und Outro. Das Besondere daran: Die zwei Scheiben haben unterschiedliche musikalische Ansätze: „Die erste CD trägt den Titel ‚Afterlife‘ und besteh
aus Songs, die wir als Trio eingespielt haben, während die Songs der zweite CD ‚Lifelines‘ zusätzlich mit klassischen Orchesterarrangements
ausgestattet sind“, erklärt Sänger und Bassist Peavy Wagner. Wagner und seine beiden Bandkollegen Jean Bormann (Gitarre) und Vassilios „Lucky“
Maniatopoulos (Schlagzeug) haben mehr als 94 Minuten neuer Rage-Musik aufgenommen, darunter ein, wie Wagner es nennt, „20-minütiges Grand
Finale.“ Um die Wartezeit bis zum Album-Release zu verkürzen, werden Steamhammer/SPV bereits ab Januar 2024 drei Singles der neuen Scheibe
vorab auskoppeln.
Neben der Veröffentlichung des Doppelalbums laden RAGE in 2024 zu einer umfangreichen Welttournee ein, mit Shows und Festivalteilnahmen unte
anderem in Deutschland, Österreich und der Schweiz. Darüber hinaus kündigt Peavy Wagner bereits jetzt für den Herbst 2024 eine große
Rage-Biographie anlässlich des 40-jährigen Bestehens der Band an. Kein Zweifel: 2024 wird ein Rage-Jahr!
Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!
The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.
La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.
These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.
To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.
The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.
Debut album from Italian trio of Gabriele Mitelli, Pasquale Mirra, and Cristiano Calcagnile, longstanding members of the Italian jazz community who over the past ten years have collaborated in various formations with the likes of Rob Mazurek, Jeff Parker, Alexander Hawkins, Damon Locks, Danilo Gallo, Chad Taylor and many others.
The Elephant was first formed in 2017 with one of their first performance at the Venice Biennale, within the French Pavilion as part of the opera set up by Xavier Veilhan. Since then the trio has continued to work together across different projects but never made enough time to record a full project.
This changed in 2023 and In The Room presents the trio's vision for jazz with an intimate collection of musical polaroids that reflect the expressiveness and potentiality of the music they love.
The album features vocals from Cristina Donà, Damon Locks, and Rob Mazurek.
RECORDED LIVE AT MAISON DE LA RADIO, STUDIO 105 PARIS ON MARCH 2ND 1993.
FEATURING EXCLUSIVE LIVE VERSIONS OF TRACKS FROM ACROSS THE BAND’S CAREER UP TO THAT POINT. A CLASSIC, FAN-FAVOURITE SESSION, REMASTERED FROM THE ORIGINAL TAPES.
ON COLOURED VINYL! NEVER BEFORE RELEASED!
Recorded in Paris – nine urgent Dinosaur Jr classics performed at arguably the band’s 90s peak as a live outfit. Produced in conjunction with the band and INA, France. A companion piece to 2022’s best-selling ‘Seventytwohundredseconds’ MTV EP
Every morning when Dent May wakes up, the first thing he says is, “What’s for breakfast?” For the Los Angeles-based songwriter and pop auteur, this question is part inside joke with his girlfriend, part sitcom-style catchphrase, and part mantra about getting up every day and persevering in the face of good or bad is happening around you in your life. It’s also the title of his sixth album, which is out on March 29, 2024 via Carpark Records. What’s For Breakfast? is May’s most immediate, nostalgic, and rollicking LP yet, one that’s concerned with breaking daily routines and rediscovering the joys of songwriting.
Over the past 17 years, May has been a consistently adventurous and prolific bedroom pop pioneer and connoisseur of impeccably crafted melodies. Though his songs are always well-written and comfortable, with What’s For Breakfast?, May has freed himself up to more playfully experiment with new and vintage musical inspirations. “I’ve occupied a lot of different lanes over the years,” says May. “I’ve always been drawn to making kaleidoscopic pop inspired by old soul, disco, country, whatever. This time around, I was tapping into music from my childhood, like The Strokes, Weezer and Elephant 6 Collective bands.” By revisiting the music of his youth—energetic and infectious guitar rock—he found a vibrant palate to explore for this new LP.
Lead single “One Call, That’s All” kickstarts with frenetic guitar-driven intensity. While the track slyly takes its name from the slogan of an ambulance-chasing Mississippi lawyer, May sings of unrequited love and phone-based ennui. “It’s a fast tempo pop-rock song that isn’t like anything I’ve done before,” says May. Elsewhere, opener “You Already Know” showcases May’s goofball lyrical charm with lines about playing chess online and looking like a Dawson’s Creek character. Beyond the jokes in the song, there is a bittersweet recognition of time passing and a call to action when May sings, “Now you already know what time it is / It’s time to live your life / Cuz it’s flying by / No matter the day, week, month or year / It’s time to do a lot / Ready or not.”
What’s For Breakfast? marks another first for Dent in being his most collaborative LP yet. Alongside guest appearances from Jimmy Whispers and co-writes with Paul Cherry, are two standout singles with Jordana and Pearl & The Oysters respectively. Jordana assists on the wistful “Coasting on Fumes,” which captures the feeling of being stuck in a rut while the yearning “Time Flies When You’re Having Fun” guests Pearl and the Oysters. “My first album came out almost 15 years ago, so bringing in others to help out is crucial to keep things interesting,” says May. “I’m constantly falling back in love with music through the eyes of others. This album is about remembering why I like music.”
After achieving some decent notoriety, and not only in Italy, as an electro-pop duo (thanks mainly to the single 'Short Wave, a small 'classic' in the early years of that decade), between January 1982 and March 1983 Ruins morphed into a new five members line-up. With this fresh option, Ruins restructured the previous repertoire and produced entirely new material.
The original 4 track recording had remained largely unpublished at the time and seemed irretrievably lost. However, thanks to persistent research and with the aid of modern technology, they have been brilliantly recovered from the archives and are now available in this collection aptly titled “BRAIN FLAKES (The Lost Combo Tapes)“, bringing to light the 'explosive' blend of prog, funk, new wave, and electro-pop, that such short-lived lineup managed to create in just over a year of activity.
Yuko Kureyama returns to TAL with the album Heart Fresh, her first ever full length release under her Kopy moniker. All tracks for the album were recorded in Tokyo in June 2023 at the famous live house Ochiai Soup. For the recordings of the ten tracks, Ochiai Soup was swiftly converted into a recording studio as the intimate atmosphere of the club and its perfect room acoustics gave Kopy the chance to record her music like in a live situation.
Amazingly Kopy‘s instrumentation on Heart Fresh consists only of a Jomox x Base 09 rhythm machine and an Elektron Digitakt mini sampler. In the hands of Kopy this fairly basic and common gear creates an unmistakeably intuitive and original approach to drum programming, which is recognizably her very own.
Due to extensive live playing in the past two years, Kopy has garnered a lot of admiration for her consistently unpredictable and fearless club performances and has easily become one of the most exciting and inventive live acts from the ever vibrating electronic music scene in Japan.
However, Heart Fresh seems even more focused, urgent and ambitious than its predecessors, the Paredo EP (TAL12 including a remix by Lena Willikens), the Eternal EP (TAL 24 featuring a remix by Elena Colombi) and the split album Super Mild (TAL15). Nothing on Heart Fresh is subdued. The entire production is resonating with its peculiar frequencies, it is wonderfully evocative, open hearted, full of life and intelligence.
The album opens with Night Sarkas with quirky snare rolls played against slashing, nervy chunks of melody. Samples of organ and chimes evoke an rollercoaster spinning out of tune and synch. Hole Hole is a beat driven and melody free short story for bass drum, snare and hi hat with constantly changing bpm‘s. Tir Tone marks the arrival of annunciatory rhythm patterns and a lovely sprinkling of distorted synths. The album's final track Moonlight Pool is the perfect closer for an album of taut, free wheeling figurations of meter and tone, a nod to classical ambient music as well as to contemporary more experimental digressions.
However, the album’s most startling and unexpected moments come when Kopy follows her futuristic inclinations and matches them with dissonant excoriations that shuttle the mind into a completely different place where all kinds of different activities seem to follow their own individual compasses. Imagine to walk down the noisy streets in Tokyo and you hear all kinds of different sounds infiltrating your ears independently from different sources and directions. In that sense Heart Fresh is the most appropriate soundtrack we can imagine for the contemporary era.
"Humble Pie was formed by ex- band member of the Small Faces' Steve Marriott, former Spooky Tooth's Greg Ridley, Peter Frampton, and Jerry Shirley. The supergroup recorded eleven studio albums in total, including the 1970 self-titled album. They recorded it with producer Glyn Johns, who worked with many of the most famous rock artists including the Rolling Stones, the Beatles, Led Zeppelin, the Who and many more. The material was darker than their previous two albums and includes Peter Frampton's gentle ""Earth and Water Song"", a cover of ""I'm Ready"" originally by Willie Dixon, and ""One Eyed Trouser-Snake Rumba"". The front cover features artwork by English illustrator-author Aubrey Beardsley, who is known for his Japanese woodblock influenced grotesque and erotic illustrations. Humble Pie is available in its original gatefold sleeve. "
Humble Pie by Humble Pie, released 29 March 2024, includes the following tracks: "One Eyed Trouser-Snake Rumba", "I'm Ready", "Red Light Mamma, Red Hot!" and more.
This version of Humble Pie comes as a 1xLP in a(n) Gatefold Sleeve packaging.
"I Oughtta Give You a Shot in the Head for Making Me Live in This Dump is the debut studio album by American alternative rock band Shivaree. The album was originally released in 1999 and featured their big hit “Goodnight Moon”, which featured in the tv-series Dawson’s Creek and the films Kill Bill: Volume 2 and Silver Linings Playbook. The album spawned a second single, “Bossa Nova”. I Oughtta Give You a Shot in the Head for Making Me Live in This Dump celebrates its 25th anniversary and is therefore available on vinyl for the first time and includes an insert. "
I Oughtta Give You A Shot In The Head For Making Me Live In This Dump by Shivaree, released 29 March 2024, includes the following tracks: "Daring Lousy Guy", "Oh, No", "Goodnight Moon", "Pimp" and more.
This version of I Oughtta Give You A Shot In The Head For Making Me Live In This Dump comes as a 1xLP. This release comes with (a) Insert(s).
"Soul artist Bettye Swann was born in Shreveport, USA on October 24, 1944 and spent her first nineteen years in Louisiana. She moved to California and signed a deal with Money Records, recording her breakthrough hit ""Make Me Yours"" in 1967, which is still her biggest selling record. After the contract expired, she signed to Capitol Records and teamed up with producer Wayne Shuler and recorded a R&B version of Hank Cochran's country song ""Don't Touch Me"". On this comprehensive self-titled double album, compiled by Mark Ainley, classic songs such as ""Tell Me Like It Is"", ""Stand By Your Man"", ""(My Heart Is) Closed For The Season"", ""Willie & Laura Mae Jones"" plus 18 heartfelt soul songs showcase Bettye's unique voice. Bettye Swann is available as a 2LP and includes an insert with liner notes written by Tim Tooher. "
Bettye Swann by Bettye Swann, released 29 March 2024, includes the following tracks: "I'm Lonely For You", "Little Things Mean A Lot", "Just Because You Can't Be Mine", "Sweet Dreams" and more.
This version of Bettye Swann comes as a 2xLP. This release comes with (a) Insert(s).
Das Stockholmer Rocktrio REACH verfeinert in Zusammenarbeit mit dem renommierten Frankfurter Musikproduzenten Christian Schneider seinen einzigartigen Sound und vermischt spielerische Elemente mit rohem musikalischen Talent. Dieses besondere Markenzeichen erwacht bei den explosiven Live-Auftritten zum Leben, bei denen ihre Leidenschaft für Musik und Improvisation unvergessliche Erlebnisse für das Publikum schafft. Das neue Album ist ein echter Beweis für die bemerkenswerte Kunstfertigkeit und Kreativität von REACH und ihr Talent, dramatische Erzählungen in ihre Musik einzuweben. Die Band lässt sich von realen Ereignissen inspirieren und fügt dunkle, fesselnde Wendungen hinzu, um zum Handeln und Nachdenken über aktuelle Themen aufzurufen. PROPHECY ist randvoll mit spannenden und manchmal unerwarteten Einflüssen aus einem breiten Spektrum an Genres.
30 Jahre nach der Veröffentlichung des selbstbetiteln Debütalbums erscheint "Electric Orange" nun endlich auch auf Vinyl gepresst. Die Doppel LP kommt auf 180g schwerem, orange-marbled Vinyl und im Gatefold-Sleeve daher. Dirk Jan Müller interessiert sich seit 1988 für die deutsche Underground-Musik der 70er Jahre, und seine Leidenschaft für Bands wie Amon Düül, Tangerine Dream, Nektar, Neu! und Can führte dazu, dass er Synthesizer, Keyboards, Verstärker und verschiedene Musikgeräte aus den 70er Jahren sammelte. Von seinem Heimstudio aus veröffentlichte er einige Underground-Kassetten mit elektronischer Musik, die im Kassettennetzwerk zu kursieren begannen ("Octopus's Garden" und "Time Signals"), bis 1992 eine britische Firma namens Electronic Dreams "Time Signals" veröffentlichte. In der Zwischenzeit begann Dirk mit der Arbeit am Debütalbum "Electric Orange", zu dem er eine Reihe anderer Musiker und eine Fülle von Instrumenten wie Hammondorgel, Saxophon, Flöte, verschiedene Schlaginstrumente, Samples und E-Gitarren hinzuzog. Im März 1994 veröffentlichte das deutsche Underground-Elektronik-Label "Manikin" das Album auf CD. Es hieß schlicht "Electric Orange" und war eine atemberaubende Mischung aus Krautrock der frühen 70er Jahre und psychedelischem Space Rock, aber mit einem völlig modernen Sound, der das Genre mit neuen Technologien und Produktionswerten aktualisierte. Das Album wurde schnell zu einer begehrten Veröffentlichung, allerdings haperte es am Vertrieb und schien somit zum Kultstatus verdammt zu sein, bis Delerium Records es entdeckte und die Rechte erwarb. Auch 30 später fasziniert der Electric Orange-Sound noch immer und es war überfällig, dieses Juwel endlich auch auf Vinyl zu veröffentlichen.
Il Quadro di Troisi presents La Commedia
Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up.
The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set.
Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition.
The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane.
La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness.
La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach.
La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca.
The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers.
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Whitney Houston’s self-titled debut album has few parallels. Viewed solely through the lens of sales numbers, Whitney Houston is a watershed statement on par with the most commercially successful and culturally dominant LPs ever released. Having sold more than 14 million copies in the U.S. and upwards of 25 million units worldwide, the 1985 LP became the equivalent of the television show or blockbuster film that everyone collectively experiences and discusses. Nearly four decades later, it’s lost none of its appeal or magnetism — and its artistic significance and historical import have only grown.
Sourced from the original master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g SuperVinyl LP of Whitney Houston presents the breakthrough in audiophile sound for the first time. The signature traits Houston exhibits on every song — her three-octave range, radiant warmth, personal conviction, impossibly controlled register — come across with exceptional clarity, focus, and presence. Free of artificial ceilings and constricted dynamics, this reissue plays with an openness, airiness, and balance that put the singer’s once-in-a-lifetime instrument and immortal artistry into proper perspective.
It does the same for the songs’ cascading melodies and captivating arrangements. Individually produced by one of four renowned industry veterans — Kashif, Micheal Masser, Jermaine Jackson, and Narada Michael Walden — each composition feels grander, closer, more genuine. A vocal spectacular, Whitney Houston benefits from the high-end characteristics of SuperVinyl, which include a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces. This is how an album that changed the direction of popular music — opening previously inaccessible doors for Black artists; bringing smooth-singing vocalists back into the mainstream; kickstarting a movement that soon included several “divas” who would command the charts through the early 21st century — should look and sound.
Though Houston’s seemingly effortless performances suggest otherwise, creating the record Rolling Stone ranks as the 257th Greatest Album of All Time wasn’t easy. Nearly 18 months were required to identify songs suitable for a still-unknown singer who did not fit into the conventional frameworks of the mid ‘80s. Confident, powerful, and prodigiously talented, Houston would forge her own parameters with Whitney Houston. In the process, she obliterated the stubborn lines between R&B and pop, Black and white radio. She dared to reimagine who could be a superstar and then went out and defined the role. Recorded for nearly $400,000 and released on Valentine’s Day, the LP exceeded the wildest expectations of those most closely associated with it — save for Houston and her family.
Having made her first public appearance at the age of 11 singing at a Baptist church, Houston understood pressure and knew her way around, inside, and through a song. The invaluable guidance and support she received from her mother, Cissy, an accomplished gospel vocalist who backed Aretha Franklin and Elvis Presley, are on display throughout Whitney Houston. They arrive in the types of authoritativeness, discipline, and diction rare for even most seasoned veterans — and unheard-of for a 21-year-old newcomer. Houston brings a soulful elegance, understated glamour, and in-the-moment rapture to every note. Moving up, down, or staying in the middle of the vocal ladder; channelling softness or sweetness; showing restraint or increasing the volume, she is a marvel of emotionalism, a dynamo who can seamlessly transition from one mood to another within a verse.
Though the 10-track LP largely concerns itself with the ballad tradition, Houston covers the bases, getting into an R&B groove on the fleet “Thinking About You,” turning up the heat on the duet “Take Good Care of My Heart,” and investing the contagious dance-pop confection “How Will I Know” with all the anxiety, hope, energy, and enthusiasm its lyrics demand. Featuring her mom on background vocals and Houston’s pitch-perfect tone, uncanny precision, and skyscraper highs (no AutoTune here, friends), the synth-based anthem propelled Whitney Houston into the stratosphere, the vocalist into regular MTV rotation, and the term “crossover” into popular parlance. The double-platinum single reached No. 1 on the Hot 100, Hot R&B, and Adult Contemporary charts — a trifecta that foreshadowed accomplishments that would ultimately crown Houston as the most-awarded female artist of all time.
Whitney Houston became the first album by a Black female performer to top the Billboard charts. It remained there for 14 non-consecutive weeks en route to claiming the title of the best-selling LP of 1986. It stands as the first debut and first album by a solo female artist to spawn three No. Hits, as well as the first album by a Black female artist to top the year-end charts in Australia and Canada. These are just a handful of the accolades — along with four Grammy nominations — that surround a set that also contains the unforgettable ballad “Saving All My Love,” string-accompanied “Greatest Love of All,” and sensual “You Give Good Love.”
As TIME observed in an article written two years after the album took the world by storm: “This is infectious, can't-sit-down music, and her performance dares the listener not to smile right back.” We’re still smiling.
Im letzten Jahrzehnt hat die New Yorker Komponistin und Produzentin Kelly Moran ihren Status als bahnbrechende Figur der modernen Musik gefestigt, indem sie die traditionell-klassische Denkrichtung des Klaviers mit einem zeitgenössisch-experimentellen Ansatz herausforderte. Es folgten Kollaborationen mit ähnlich visionären Künstler*innen wie Oneohtrix Point Never, FKA Twigs, Margaret Leng Tan, Kelsey Lu und Yves Tumor. Morans experimentelle Klavierkompositionen, die hypnotisierende Texturen und dramatische Spannungsbögen zaubern, werden regelmäßig in die Klassik-, Avantgarde- und Metal-Jahresbestenlisten aufgenommen, so wie die jüngsten Meisterwerke "Bloodroot" (2017) und "Ultraviolet" (2018), auf denen sie erweiterte Klaviertechniken erforscht, u.a. das von John Cage inspirierte, präparierte Klavier. Kellys neues Album "Moves In The Field" ist eine Reihe von Duetten für sich und das Yamaha Disklavier, einer technologisch fortschrittlichen Version des Pianos. Die eingesetzten Disklaviere sind in der Lage, durch intensive Feinabstimmung und programmierbare Dynamik das menschliche Spiel perfekt nachzubilden und dienen als Kontrast zu Morans Streben nach einem Gleichgewicht zwischen technischer Perfektion und emotionalem Ausdruck in ihren Auftritten und Kompositionen.
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Erstmals auf Vinyl erhältlich - das zweite Album der Band. Dunkelgrünes, 180g schweres Vinyl, Gatefold. "A coming storm" - unter diesem Motto stürmen die fünf jungen Musiker erfolgreich die deutsche Metalszene und schaffen es damit innerhalb von nur zwei Jahren, passend zum weltweiten Release ihres zweiten Albums "Kings will fall" bis nach Wacken. Ziel ist es, mit ihrer Leidenschaft für die eigene Musik die Fans in ihren Bann zu ziehen, wobei Winterstorm eine Band ist, die mit ihrem Sound einen frischen Wind in die Metalszene bringt, der bei weitem nicht nur bei eingefleischten Metalfans auf Begeisterung stößt. Dabei war schnell ganz klar, dass sich hier nach jahrelanger Erfahrung bei anderen Projekten endlich genau die richtigen Leute zusammengefunden hatten, um gemeinsam das Metal-Walhalla zu stürmen. Im Vordergrund steht bei Winterstorm ganz klar die Melodie, die sich u.a. in ohrwurmlastigen Refrains und vielen mehrstimmigen Gesängen widerspiegelt. Dabei verschmelzen markante Elemente verschiedener Metalstile miteinander und erhalten so eine ganz neue Bedeutung. Grob kann man sagen, dass sich hier Power, Viking, Folk und Mittelalter mit Epic-Metal vereinigen, welche alle zusammen in einem ganz neuen Glanz erstrahlen. Alles in allem eine explosive Mischung, bei der Fans von Jung bis Alt auf ihre Kosten kommen. So denn, hebt die Hörner und zieht euch warm an - der Wintersturm zieht auf!
Erstmals auf Vinyl - das Debütalbum der Band. Himmelblaues, 180g schweres Vinyl, Gatefold. WINTERSTORM steht für die Vereinigung von stürmischem Powermetal mit Folk- und Vikingmetal aus dem hohen Norden. "A coming storm" - unter diesem Motto wollen die fünf jungen Musiker mit ihrem gleichnamigen Album durchstarten. Ziel ist es, mit ihrer Leidenschaft für die eigene Musik die Fans in ihren Bann zu ziehen, wobei Winterstorm eine Band ist, die mit ihrem Sound einen frischen Wind in die Metalszene bringt, der bei weitem nicht nur bei eingefleischten Metalfans auf Begeisterung stößt. Dabei war schnell ganz klar, dass sich hier nach jahrelanger Erfahrung bei anderen Projekten endlich genau die richtigen Leute zusammengefunden hatten, um gemeinsam das Metal-Walhalla zu stürmen. Im Vordergrund steht bei Winterstorm ganz klar die Melodie, die sich u.a. in ohrwurmlastigen Refrains und vielen mehrstimmigen Gesängen widerspiegelt. Dabei verschmelzen markante Elemente verschiedener Metalstile miteinander und erhalten so eine ganz neue Bedeutung. Grob kann man sagen, dass sich hier Power, Viking, Folk und Mittelalter mit Epic-Metal vereinigen, welche alle zusammen in einem ganz neuen Glanz erstrahlen. Alles in allem eine explosive Mischung, bei der Fans von Jung bis Alt auf ihre Kosten kommen. So denn, hebt die Hörner und zieht euch warm an - der Wintersturm zieht auf!
After a stellar debut release in 2023, vinyl-only label Dust in Grooves, sees its anticipated second EP Reclaim, showcasing one of Dublin's gleaming underground talents Mode_1. Establishing DIG as a progressive sonic platform, founder Olivia Mendez is also curating a series of dynamic augmented reality covers for each EP. Adding more layers into the sound experience of the Reclaim vinyl is motion designer and visual artist Omer Avarkan.
Mode_1's dedication to uncovering layers of tough but rhythmic grooves, both as a DJ and a producer, has led him to make a mark on legendary techno imprints such as Knotweed, FiedelTwo, Truncate and Naked Lunch. Staying true to his advancing, dynamic sound laid with dexterous technique, Robert Kavanagh delivers a collection of four ominous tracks, pulsating with incandescent pads and pacey drums.
The EP opens with the relentless and driving Sigma, setting the tone for a swiftly moving ride across the record. With playful shifting of gears and jacking rhythms, the A2 flows into the next track Dusty Room, utilising the bleepy pitches in contrast to the expansive spheric tones, offering an energetic boost of a melodic techno work-out, with hints of sharp dub edges.
Reclaim on B1 highlights the versatility of Mode_1, comprising multi-layered scales, evolving spiral sounds and a build-up of reverberating tones that escalate with poise. As a closing track of the record, Platform 8 is one of those B2 sides that you keep reaching out to. This ultimate big-floor tool is loaded with advancing movement, keys with mystical undertones, and depth of texture that play with the infinite nature of the number eight.
Unlocking the animated cover of the EP and seeing it come to life virtually, adds a new dimension to the classic format of the vinyls. To unlock its motion, follow the riddle on the back.
All tracks mastered by Nihad Tule.
Words by Lora Mateeva, Orb Mag
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Our fifth chapter is the one where we seek, savor, and settle. The muse found us in the depths of raising children, nurturing relationships, surviving a world-changing virus, bidding farewell, shifting our mindsets, and discovering a sense of peace heretofore unseen. Our third decade of life has proven to be one of routine, rest, and realization, and these songs are about the lessons we’ve learned. We’ve learned to be space-holders and defenders of the people we hold close. We’ve learned from deep, steady love in various forms. We’ve learned to let go of people and perceptions and priorities that just didn’t make the cut as we weighed what is right and important and worth keeping. We’ve learned how all the things we’ve always treasured continue to withstand the pressure of time. If you notice an upward trend to the mood and emotions, you’re on target-we have found calm waters, for now. - The Secret Sisters (2023)
Mind, Man, Medicine by Secret Sisters, released 29 March 2024, includes the following tracks: "If the World Was a House", "Planted", "I Needed You", "Same Water" and more.
This version of Mind, Man, Medicine comes as a 1xCD in a(n) Digipak packaging.
“This record breathes a second life into these songs,” says Alejandro Escovedo of Echo Dancing, the Americana pioneer’s new album where he reconceptualizes the songs of his storied career. The variety of songs range from his short-lived rock quartet Buick MacKane, rarities from his ‘80s alt-country outfit The True Believers, to the celebrated songs of his solo discography from his debut album all the way to his most recent sprawling masterpiece, The Crossing. Highlights include a reimagined trip-hop-funk hybrid of Escovedo’s “Castanets” (retitled here as “Castañuelas''), a blistering version of “Bury Me” that finds that songwriter now older than the characters he was singing about, as well as songs co-written with trailblazers such as Chuck Prophet, Peter Buck, Scott McCaughey and J. Steven Soles. At age 73, Escovedo continues to reshape his ever-changing sound and experiment with the boundaries of Americana music. The 2xLP vinyl edition of Echo Dancing is pressed on gold vinyl and arrives in a gatefold jacket.
Echo Dancing by Alejandro Escovedo, released 29 March 2024, includes the following tracks: "Bury Me", "Too Many Tears", "Outside Your Door", "Thought I’d Let You Know" and more.
"The Last Rebel is the seventh studio album by American rock band Lynyrd Skynyrd and was originally released in 199This album showcases how this line-up could passionately tear their way through southern rock just as easily as the original line-up. It's a superb collection of songs with the title track being as good as anything the band has ever done! Cool riffing, honky-tonk piano playing, slide guitar and a combination of up-tempo songs and ballads. The old Skynyrd recipe works like a charm on this record. It is the last album to feature drummer Kurt Custer and guitarist Randall Hall. The Last Rebel is available on black vinyl. "
The Last Rebel by Lynyrd Skynyrd, released 29 March 2024, includes the following tracks: "Can't Take That Away ", "The Last Rebel ", "Kiss Your Freedom Goodbye ", "Love Don't Always Come Easy " and more.
Ratboys have been recording and releasing music for over a decade, but their newest album, The Window, marks the first time they’d ever traveled outside their home base of Chicago to make a record, journeying to the Hall of Justice Recording Studio in Seattle to work with producer Chris Walla.
The sessions with Walla (Death Cab for Cutie, Tegan and Sara, Foxing) struck the perfect balance between preparation and experimentation, injecting new life into the band’s style of soft-hearted Midwestern indie rock with an ever so subtle Americana twist. The solidified Ratboys lineup stretched and expanded their vision in the studio, adding unexpected elements and instruments like rototoms, talkboxes, and fiddles. The result is Ratboys’ most sonically diverse record, shifting wildly from track to track. It flexes everything from fuzzy power pop choruses on “Crossed That Line” and “It’s Alive!” to
a warm country twang on “Morning Zoo” to mournful folk on the titular track. After more than ten years and four studio albums, The Window finally captures Ratboys as they were always meant to be
heard—expansive while still intimate, audacious while still tender—the sound of four friends operating as a single, cohesive unit. This release comes with a Download Code.
Timeline presents the debut as producer of Mangles, resident DJ of Lanna Club in Gijon (Spain).
New sounds for the label with a strong influence of the Birmingham techno sound.
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This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023
This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023
