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Am 05. Mai 2023 veröffentlichen HIGH SOUTH mit FEEL THIS GOOD sinnigerweise ihr inzwischen fünftes Studioalbum. FEEL THIS GOOD ist ein Album, das von einschneidenden Veränderungen geprägt ist. Dass FEEL THIS GOOD dennoch eine ausgesprochen positive Platte geworden ist, ist einmal mehr der Grundhaltung der beiden HIGH SOUTH Masterminds JAMEY GARNER & KEVIN CAMPOS geschuldet, die sich durch Nichts und Niemandem unterkriegen und von ihrem Weg abbringen lassen - mit ihrer Musik den Gedanken von PEACE, LOVE & HARMONY in der Welt zu verbreiten! IKonzerte weg, Einkommen weg, Produzent weg, Bandmitglied weg - übrig bleiben die beiden Bandgründer inmitten der Scherben ihres musikalischen Traums. Als sich Kevin schlussendlich auch noch aus dem gemeinsamen Wohnort Nashville, dem vermeintlich musikalischen Epizentrum der Country & Americana Welt Richtung Europa verabschiedet, um sich fortan der Liebe wegen in Österreich niederzulassen, scheint die Zukunft der Band für kurze Zeit mehr als ungewiss. Neuorientierung auf allen Ebenen ist angesagt, welche schließlich auch Jamey das kalte Wetter Tennessees gegen die Sonne Floridas eintauschen lässt. In der entspannten Umgebung des Surfer-Hotspots New Smyrna Beach, Fl kann Jamey wieder neue Kraft schöpfen. Das Surferparadies fand entsprechend passend auch in der Album-Artwork durch die wunderschönen Bilder des dort ansässigen Fotokünstlers Dan Mongosa Ausdruck. Spätestens nach der in 2022 nachgeholten PEACE, LOVE & HARMONY TOUR, als den beiden Musikern jeden Abend eine unglaubliche Woge an Begeisterung und Freude ihrer treuen Fangemeinde entgegenschlägt, ist jeder Zweifel einer Fortführung des Projekts ausgeräumt und man macht sich an den Plan ein neues Album aufzunehmen. Das Album wird in Eigenregie produziert, back to the roots, und ist deutlich rauer, ungeschliffener und auf den Kern und die Quintessenz ihrer Musik konzentriert - zurück zu den Wurzeln eines reduzierten erdigen, authentischen Americana Sounds, der durch die unnachahmlichen HIGH SOUTH Harmony Vocal Chöre verfeinert bzw. zur Perfektion geführt wird. Das Ergebnis der Sessions ist pure hörbare Lebensfreude und Positivität, die bei Fans des Genres Gänsehautmomente folgen lassen, und dadurch FEEL THIS GOOD musikalisch und inhaltlich seinem Namen in jederlei Hinsicht gerecht werden lassen und von der Band mit Fug und Recht als die bisher stärkste und authentischste Platte wahrgenommen wird. Genre: CLASSIC ROCK / AMERICANA / COUNTRY ROCK

Orange vinyl. Time is supposed to mellow us, but for Petrol Girls it has distilled their feminist politics into an ever more potent cocktail. Fitting, given that their logo from day one has been a flaming molotov. Since their formation in 2012, the band has been known for playing fast-paced, chaotic punk that takes aim at everything from sexual violence to immigration policy, but over the last few years their sound has evolved in a more nuanced direction. Their 2016 debut album Talk of Violence was a blast of pure political rage, while 2019's Cut & Stitch saw vocalist Ren Aldridge exploring familiar themes from a more personal perspective. Now their latest offering, Baby - to be released through the London-based independent label Hassle on June 24th - sees the band turn another new corner. This time, by embracing irreverence. "We wanted this album to be less epic and less preachy from day one," Aldridge says. "I hate sanctimoniousness. Like, really fucking hate it. But I also know that I have been mega preachy, and felt very pressured to be sanctimonious, because we've always played in a very political punk scene. I lost my fun side, and I really needed to come back to that." Recorded with Pete Miles at Middle Farm Studios in Devon, Baby embraces a more playful sound. A focus on groove and repetition - driven by guitarist Joe York, drummer Zock and bassist Robin Gatt - give the songs a Talking Heads feel, while retaining the band's formative post-punk energy. The lyrics, too, are a departure for Aldridge. While she continues to address heavy topics like burn out, femicide and police violence, the lyrics balance directed anger with tongue-in-cheek humour where appropriate. Angular opener "Preachers" puts the self-aggrandising nature of call-out culture on blast with lyrics like "feeling dead important in the comments", while lead single "Baby, I Had An Abortion" is intentionally puerile from title to finish. On the flip side, tracks like "Violent By Design" see the band kicking back against carceral feminism in the wake of a news cycle dominated by Black Lives Matter protests and PC Wayne Cousins' brutal murder of Sarah Everard. Similarly, "Fight For Our Lives" - a harsh, borderline industrial song - was lyrically co-written by activist and vocalist Janey Starling. Aldridge deliberately wrote the verses to sound like a manifesto, and the lyrics reference Starling's Dignity For Dead Women Campaign with Level Up, which successfully called for the UK media to change the way it reports on fatal incidents of domestic violence. Baby saw Petrol Girls working in new ways - scrapping entire songs rather than trying to force things that didn't feel right, recording to tape for the first time, and deliberately leaving in imperfections. It was a more carefree process, which Aldridge - having gone through a particularly bad period of mental ill-health at the start of 2021 - welcomed. "Our whole thing for a long time, and a big focus of the last record, was making political struggle sustainable," Aldridge says. "And I think having a good time where possible, and things being not totally serious all the time, is really essential."

Boy bands and girl groups were a huge factor in 90’s and 00’s pop culture. From the Backstreet Boys and Take That to the Spice Girls, Sugababes and many more great pop-bands, they sparked mass hysteria among their young fanbase. Being one of the first bands in the late 80’s, New Kids On The Block kicked off the hype, although in the 60’s bands like Jackson 5 and The Supremes had been around for quite some time.

The pop genre sparked a whole new breed of both boys and girl bands, with #1 hits all around, fueled by the sing-a-long lyrics, catchy videos on MTV, magazines and tours targeting a young audience around the world. Girlz ‘n Boyz Collected represents the legendary 90’s and 00’s girl- and boy bands including Backstreet Boys, Spice Girls, Sugababes, Take That, Atomic Kitten, New Kids On The Block and many more acts.

The 2LP Girlz ‘n Boyz Collected is available as a limited edition on blue
(LP1) and pink (LP2) coloured vinyl and includes an insert.

ODD CREW präsentiert "Dark Matters Part II" und feiert damit ihr 25-jähriges Bestehen. Auf 8 Tracks kann man die Feinheiten des Progressiv-Metal erkunden, angeführt vom unverkennbaren Gesang von Frontmann Vasko. Vom Schatten zum Optimismus übergehend, taucht das Album tiefer in mysteriöse Motive ein und lädt den Hörer zu einer tiefgründigen Odyssee ein. Es ist ein echtes Zeugnis ihrer Vielseitigkeit & großen musikalischen Bandbreite und festigt das bleibende Vermächtnis von ODD CREW

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter. A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture - and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with." Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "SolutionismÖs careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability - and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonometry," that "white dove is a pigeon - you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.



A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture—and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."



Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonome- try," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."






[f] Kyanite Toothpick [feat. Hanni El Khatib]




[k] Bermuda [feat. Lealani Teano]


[n] Forward Compatibility Engine [feat. Rob Sonic]



[r] Black Snow [feat. Nikki Jean]

Yearly compilation album RADAR by KEROXEN returns with its fourth volume in the ongoing series of themed based albums showcasing the talents and misfortunes of carefully selected musical projects based or connected with the Canary Islands.

With its first volume released in 2020 aiming to promote and divulge adventurous Island based music, the Keroxen imprint now presents Vol.4 with another showcase of the various insular musical scenes made in the outermost regions – in this case, a very rare incursion outside the Canary Archipelago by way of handpicking friends and colleagues working in the further most regions we can think of. A very special showcase then, featuring the Azores Islands, Reunion Island, Canary Islands and French Guiana - a true connection of likeminded minds whom demonstrate once again that you do not need to be in an western hipster mecca to make interesting work.

The presentation format sticks to its breakable rules, with each artist offering one track per side and the full thing of course wrapped up in Pura Marquez dizzying post-tropical art.

The album opens with the Julee Cruise inspired project Akane by Tenerife’s Carolina Machado where synth arpeggios intertwine organically with her soothing voice, setting the tone for Reunion Island’s Jako Maron and his unique take on local Maloya music by way of electrifying it into a trance like looping beat. Enter French Guyana’s Daryanna Jean unique sound artistry with sampling, cutting and pasting local(?) sounds into a disorientating needle jump glitch fest. Side A eventually closes with a very Azorean take on the very English hauntological sound by borrowing those pastoral melodies and synth riffs of yesterday and transposing it to the remote Sub-Tropical fields of São Miguel island, in the Azores, courtesy of Flipping Candy.

Side B emphatically reinforces the compilation’s original concept that no matter where you are, in this post internet, post everything world, outsider music thrives and keeps raising the invisible bar, true that!

Shatter And Fall - mächtiger Melodic Death Metal in all seinen finstersten Nuancen

Die aufstrebende US-amerikanische Melodic Death Metal Band HINAYANA veröffentlicht am 10. November 2023 ihr zweites Studioalbum Shatter and Fall via Napalm Records. Das Werk besticht mit beeindruckendem Songwriting und den namhaften Feature-Gästen Vincent Jackson Jones (Aether Realm) und Tuomas Saukkonen (Wolfheart). Produziert von Frontmann Casey Hurd und Kevin Butler, wurde Shatter and Fall von Dan Swanö in seinem Unisound-Studio gemastert.

Wie keine zweiten lassen die Texaner moderne Elemente in ihren Melodic Death Metal einfließen womit sie sich von Genregrößen wie Insomnium, Amorphis und Swallow the Sun abheben und ihrem markanten Sound ein frisches Alleinstellungsmerkmal verleihen. Nach der Veröffentlichung der ersten Demo EP sicherte sich die 2014 gegründete Band mit dem Debütalbum Order Divine (2018) einen festen Platz in der Metal Szene und zog zugleich die Aufmerksamkeit von Napalm Records auf sich. Es folgte die Veröffentlichung der Labeldebüt-EP Death Of The Cosmic (2020), mit der HINAYANA der Pandemie strotzten.

Nun sind sie bereit ihre elf neuen Songs diesen Herbst auf der großen Europa Tour mit ihren Labelkollegen von Wolfheart und Before The Dawn zu präsentieren.

The Moon Also Rises gathers songs that Johnny and Robert have written together since finishing their first joint album, Lost In The Cedar Wood (2021). At its heart are the oldest themes of all: death and renewal, darkness and light. The first five tracks are songs of burial, shadows and memory, while the final four are songs of awakening, light and love. The album turns around a central song, ‘The Sun Also Rises’, which stands with a foot in both dark and light. * Johnny Flynn's sixth album, and the second co-written with his friend Robert Macfarlane. Out 10th November 2023 on Transgressive * Gathers songs that Johnny and Robert have written together since finishing their first joint album, Lost In The Cedar Wood (2021). At its heart are the oldest themes of all: death and renewal, darkness and light. The first five tracks are songs of burial, shadows and memory, while the final four are songs of awakening, light and love. The album turns around a central song, 'The Sun Also Rises', which stands with a foot in both dark and light * Fuses poetry, story, landscape, history, nature and myth into a series of rich, strange songlines that criss-cross time and place, joining winter to spring, ancient to present and birth to death. As the Sun sets, so the Moon rises as its echo; as one light dies, another, altogether different light is born * Partly recorded in an old Methodist chapel -now the home of Johnny and Rob's friends, Cosmo and Flora Sheldrake * Produced by Charlie Andrew (Alt-J, Marika Hackman)

For over a decade, Dean Johnson’s rustic tenor and simply strummed acoustic guitar have been perking up ears around the Pacific Northwest and beyond. Johnson has gradually built a devoted fan base — strictly through live performances and word of mouth — singing existential cowboy waltzes, ballads about wishing one could find a way out of heaven, honest confessionals, and other heartbreakers from a unique perspective. The phrase “hidden gem” would seem appropriate here, but it’s a misnomer when talking about Dean Johnson. He shines bright, in plain sight, and it was only a matter of time before people stopped to take a look. Dean’s gentle and passionate approach to songwriting has inspired many, and his work provides the listener the opportunity to believe once more that a song can be more than the sum of its parts. If you catch even a phrase of his melodies or the sobering tone of his voice, it waltzes its way into your heart like a letter written, signed, sealed, and delivered just for you. His debut album 'Nothing for Me, Please' (Mama Bird Recording Co.) was recorded at Mashed Potato Records in New Orleans with the help of Sam Gelband and Charlie Meyer, Dean’s bandmates in The Sons of Rainier; as well as Mashed Potato regulars Sam Doores (The Deslondes), Duff Thompson and Steph Green. The record is a hazy, relaxed daydream – anthems for those who know the sweetness and coldness of quiet moments, the power and the pain of love. Whether you’ve been waiting patiently these many for Dean to release these songs, or you’re just now coming across his work for the first time, the name Dean Johnson, much like his songs, won’t soon leave your mind.

Assegai is an instrumental rock outfit consisting of saxophone, bass, guitar, and drums. Each member of the group brings a variety of musical influences to the eclectic entanglement that is Assegai’s distinct sound. No matter where you place yourself musically you will always find something to grab your attention in their odd type of instrumental rock. The album Water Worlds and Dry Spells is the product of a mutual pile of ideas; written sketches, memorized conversations, and cell phone recordings which were all collected in a joint cloud folder, and eventually laid the foundation of the compositions. Continuing from their 2020 album Kraal and their 2022 album 53, this release is a further development of the unity that the band have found themselves in, where jazz phrases fuse with krautrock repetition, traditional folk themes, and polyrhythmic structures. The compositions on Water Worlds and Dry Spells showcase the intensity that the band has cultivated during the last couple of years of live performances. On Water World and Dry Spells Assegai acts as the perfect live band for a future abandoned water world

Repress!

Wallace has been something of a behind the scenes phenomenon. Having just two official releases at the time of writing, alongside a few white-labels on his own ‘Tartan’ imprint - The man known as Wallace has somehow worked his way into the record bags of the worlds biggest DJ’s: Gilles Peterson, Hunee, Moxie, Ruf Dug, Gideon and beyond.

It’s only a matter of time before the wider dance music community catches on - and I wouldn’t be surprised if - by the time this record hits the shelves - WALLACE- MANIA is in full effect. An artist like this only comes along once in a blue moon.

Wallace has been quietly perfecting his craft for the last decade, and has a deep understanding of club dynamics that can’t be taught. Bradley Zero himself has been playing 4/5 Wallace tracks per set within
the last year alone! Luckily for you, the secret is out, and we, for one - cannot wait!

Straight Outta Caledonia is the first commercially available “Greatest Hits” of the outsider songwriter Jackie Leven, an artist
who has largely remained in obscurity in his native Scotland despite being one of the greatest wordsmiths – and singers – it ever
produced. A well-travelled musician who began making psychedelic, progressive music in the late 60s before emerging as an
epic storyteller full of pathos, humour and humanity in the 90s, Leven lived and wrote like many of the fragile, gregarious
characters of his songs; large, full of life and empathy. Leven passed away in 2011 after recording 30+ albums under different
guises or with his briefly successful New Wave band Doll by Doll. Straight Outta Caledonia is a compilation collated by Night
School Records on its Archival label School Daze that seeks to introduce Leven’s music to new generations.
In an age of isolation, alienation and loss of visceral experience, Jackie Leven’s music can be massive and welcoming. It feels
connected to some universal humanity and vibrates with vitality. His songs are often full of tragedy and comedy simultaneously,
cutting straight to the heart, often plugging directly into the nervous system of the listener. His lyrics are rich, dense with imagery
that can veer from apocalyptic to the comically banal in a sentence, with a songwriting panache that can be heavy handed to
almost bursting point before skewering the song with a clownish, warm punchline. His productions ranged from Bob Dylan’s
Rolling Thunder Revue style rock band orchestrations with strings and organ as on the epic Ancient Misty Morning or they could
be pared down to the purest form of folk song as on Poortoun: Leven on stage alone with an acoustic guitar, albeit played with a
mastery of the instrument that he often only hinted at. Musically his sound can bend traditional structures or stay completely
confined within them yet still forever push towards an ecstatic release, as on the cinematic Snow In Central Park.
The most exciting, jaw-droppingly effective tool at Leven’s disposal was his voice. A multi-octave instrument that, though
damaged during a savage assault in Fife, he used with flair; he had both a brazen disregard for the rules and a deep humility, all
of which is evidenced with every phrasing. A baritone that could flit up through the register – always touched by his gentle
Kirkcaldy accent – it’s the prime delivery method for his songs. Leven’s voice enabled him to inhabit the characters in his songs to
an uncanny degree, a skill that in turn enables the listener to empathise with them and, subsequently, the singer. It’s most evident
in stand out song The Sexual Loneliness Of Jesus Christ, a breathtaking re-telling of the life of its protagonist, not as a pure,
sinless messiah but as a sexually frustrated, solitary man condemned to an existential loneliness no one else will ever feel. In
many ways the track is the archetypal Jackie Leven song. Produced by Pere Ubu’s David Thomas, what strikes the ear first –
after the samples of unemployed workers in Glasgow following the closing of the Clyde shipyards – is the audacious, rhythmic
tremolo effect Leven employs through the verses before the production opens up to allow Leven’s vocal to lift into a soar, a
freeing glide powered both by the force of the singer’s chutzpah and the inherent, doomed destiny of the protagonist. With any
other singer such subject matter could come across as gauche or worse, pretentiously sonorous, but Jackie Leven’s genius was
such that he could be this cinematic and brazen while touching something elemental and true in the beholder. It’s a skill evident in
every song on Straight Outta Caledonia, the trademark of a songwriter who revelled and excelled in intensity with a lightness of
touch.
In his lifetime, Jackie Leven toured, wrote and recorded at a ferocious rate. He recorded under aliases to avoid record contract
restrictions, played house shows in Europe after or instead of official concerts, events which were often spoken word story telling
masterclasses as well as performances of his often bewilderingly dense songbook. His music has traditionally been catalogued
as “folk” music and has been largely banished to a small, dedicated group of international fans and apostles both private and well
known, like author Ian Rankin or Glenn Matlock. Since his passing in 2011 however, there has been a growing recognition
amongst a newer generation, with artists like James Yorkston or Molly Nilsson publicly stating the influence of the unsung
troubadour on their own craft. Jackie Leven’s fairytales for hard men are often forensic deconstructions of masculinity, sad and
ecstatic, light and shadow, always endlessly rich, a resource as bountiful as Leven himself’s human spirit undoubtedly was.

“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on discommunications and the thrill of the other. It’s also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful to that propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time.

Get Up! ist ein moderner Blues-Klassiker in der großen, aber allzu seltenen Tradition der Zusammenarbeit von Künstlern auf einem ganzen Album. Harpers zwölftes Studioalbum, das 2013 bei Stax Records erschienen ist, vereint Gospel, Roots, Country und R&B. Die fließende Chemie zwischen den beiden Künstlern trägt dazu bei, dass sich sein vielschichtiges Werk wie nie zuvor entfaltet. Harper, Musselwhite und die Band (Gitarrist Jason Mozersky, Bassist Jesse Ingalls und Schlagzeuger Jordan Richardson) spielen diesen intensiven und emotionalen Song-Zyklus mit sparsamer Härte.

Get Up! wurde von Harper produziert, wobei der Tontechniker Sheldon Gomberg, die Bandmitglieder und der GRAMMY©-prämierte Roots Musikproduzent Chris Goldsmith als Co-Produzenten fungierten. Das Album erreichte Platz 27 der Billboard 200 Charts und debütierte auf Platz 1 der Blues-Album-Charts. Das Album wurde mit einem GRAMMY© für das beste Blues-Album ausgezeichnet und ”You Found Another Lover (I Lost Another Friend)” wurde mit Gold zertifiziert.

Das Album erscheint als Vinyl.

Vladislav Delay presents the fourth EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

In the 1950s and 60s, the blues was the dominant form of Black vernacular music throughout Texas and the surrounding areas In segregated neighborhoods, community members gathered in saloons, dancehalls, and each other's homes to hear their neighbors sing their stories of sorrow, heartbreak, jubilation, and triumph. Robert "Mack" McCormick, an academically untrained but fanatical devotee of the blues, stepped into this world and became one of its most devout advocates and documentarians. By photographing Black and Latino Texans and their neighborhoods, as well as recording and interviewing musicians, many of whom never stepped foot into a proper recording studio, McCormick endeared and eventually embedded himself into these communities. By the time he died in 2015, McCormick had amassed a collection of 590 reels of sound recordings and 165 boxes of manuscripts, original interviews and research notes, thousands of photographs and negatives, playbills, and posters. Because McCormick never published or released most of these materials, his collection became a thing of legend and intense speculation among scholars, blues aficionados, and musicians alike. 'Playing for the Man at the Door..' is the first compilation of music drawn from this fabled collection, which indelibly documents a pivotal moment in African American history. It features never- before- heard performances not only from musicians who became icons in their own right, including Lightnin' Hopkins and Mance Lipscomb, but also, crucially, performers whose names may be unfamiliar to even the most devoted blues fans and scholars. Newly mastered recordings and accompanying photographs bring to life many of these forgotten figures: offering insight into their lives and illuminating in new, enlightening ways their joys and anguish, deep social connections, distinctive voices, and cultural networks. The collection spans gospel, ragtime, country blues dirges, the unclassifiable music of George "Bongo Joe" Coleman, and more, showing that no community, no matter how tight knit, is monolithic. Accompanying the music is a 128- page book, which contains breathtaking photographs by McCormick and his associates, as well as contextual essays by producers Jeff Place and John Troutman on McCormick's life, and by musicians Mark Puryear and Dom Flemons on some of the marginalized communities throughout "Greater Texas" to which McCormick devoted his life's work.

British rock legend GRAHAM PARKER returns with his first album of new material since 2018. LAST CHANCE TO LEARN THE TWIST finds the veteran singer-songwriter in top form, offering up thirteen new compositions with exquisitely tasteful backing by The Goldtops (bassist Simon Edwards, drummer Jim Russell, guitarist Martin Belmont and keyboard player Geraint Watkins) and frequent contributions from the Easy Access Orchestra horns and backing vocal duo The Lady Bugs. It's a dazzlingly diverse album: sweet classic soul grooves and roots rock sounds dominate, framing lyrics dripping with Parker's vintage "Wicked Wit" (as one song title has it) and his inimitable, impassioned vocal delivery. Two early singles have hinted at the record's depth: the devastatingly stark "We Did Nothing" with its heartbreaking examination of the cost of inaction on both the personal and global stages, and the delightfully playful reggae-tinged "Them Bugs." The beautifully bittersweet ballad "It Mattered To Me" is set to follow, while the folk-informed meditation on mortality "Last Stretch Of The Road" has proven an instant fan favorite at recent solo performances. But there's much more waiting to be discovered on the full album, which is at once one of Parker's most relaxed and boldest statements to date.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

«YENTL: Deluxe 40th Anniversary Edition» feiert den 40. Jahrestag der Veröffentlichung des Films und des Soundtracks Yentl. Disc 1 enthält den Original-Soundtrack zu Yentl, und Disc
2 enthält 15 Tracks, die Barbra als Demos in ihrem Wohnzimmer auf einem Stereo-Kassettendeck aufnahm, um den Film zu drehen, wobei Barbra jeden Track kommentiert. Bei den
Aufnahmen wird Barbra nur von Michel Legrand am Klavier begleitet

End of Ways is a bridge to healing as it was written during the period of helping a loved one escape an abusive household while working though its lingering horrors to find peace. On this second album
release by indie label Kill Rock Stars, 18-year-old Elliott Fullam touches on even darker subject matter than his predecessor What’s Wrong which was a dissociative trip that reached out to thousands of
like-minded music enthusiasts who hailed the record as their album of the year.

And End of Ways is the next record that will continue in that same gentle melody which alleviates the emotional storm that
torments so many of us. Elliott’s sophomore full-length is a blend of home recordings as well as studio recordings which bring some extra depth within the songs to suit their somber settings in the tracks
Throw It Away, Forget, and Better Way. But the record still retains its stripped down, lo-fi vibe in songs like Let’s Go Somewhere and Remember When with their clear Elliott Smith and Nick Drake
influences in both the acoustic guitar lines and quiet vocals. The addition of young pianist Jeremy Bennett also beautifully adds candle-light melody through-out the album with his haunting notes in the opening song Mistake and his Tim Burton-meets-Vince Guaraldi style in the album’s escapist-themed title track End of Ways along with the dramatic climax to Timeless Tears and the album closer, Over
the Moon which is Elliott’s profession of love to his present companion who he saved from her former home. Nick Drake, Big Thief, Crumb, and Alex G that explores childhood, dissociation, heartbreak and ultimately, survival

This classic selection of songs is taken from her first prodigious burst of creativity when she recorded with her then-husband Kansas Joe McCoy.

If ever a title was justified, then 'Queen of the Country Blues' is the bare minimum that should be afforded to Memphis Minnie, a lone female voice in the maledominated country blues scene whose musical legacy is nothing short of remarkable. Minnie transcended both gender and genre and her recording career spanned from the late 1920s heyday of country blues to the cutting-edge Chicago scene of the 1940s & 1950s, where she helped pioneer the roots of elctric blues, R&B and rock 'n' roll.

This collection highlights the formative years of Minnie's career as part of the duo and includes accomplished blues numbers such as 'Memphis Minnie-Jitis Blues', probably based on personal experience, as well as 'Bumble Bee' their first recorded song and one of Minnie's most successful of her hundred or so songs that she recorded before retiring in the mid-1950s.

Pink Vinyl. Original 1994 album remastered and repackaged in an expanded gatefold and pressed on 180 gram virgin vinyl. "On a family vacation to Florida in the mid-'70s, Bubba cut his head on the bedside table in a motel room. I still remember it vividly and how I was haunted by the matter-of-fact line: 'you cut your head on the bedside table.' Its ten syllables sounded right, but the content is what really haunted me. It felt like the ultimate betrayal, the bedside table taking advantage of its proximity to a serenely sleeping body." - Matt Kadane

'The Moon Dance' Mark's the come back of one of Chi Towns most innovative and iconic figures to Apnea Records. Jamal Moss (Hieroglyphic Being) sound's were first released on Apnea in 2007. Now, in 2023, he's back with this double 12'' album flooded with synth jazz and cosmic acid explorations in his signature and irreverent style.

Various Color pressing
I spent a lot of time crossing the Detroit/Windsor boarder tunnel. - My family lives half in the US and half in Canada and my father crossed daily for for work and materials. My brother and I would sit on old paint cans in the back of his work truck. long trips to home depot in the hopes that we could get a rally’s banana milkshake before heading home. - I hated that work truck, but we loved the trips, no matter how mundane. We would spend hours crossing that boarder tunnel when it was busy, our bottoms would hurt from the metal paint cans. When i was in high school i would smuggle cigarettes to sell to the Canadian kids, it was a good business. The dark tunnel in disrepair built over 90 years ago felt like a relic of the past, its leaky walls and pale yellow tiles were always crumbling around you. It was claustrophobic and uncomfortable. But the tunnel made your mind wander with thoughts of what was above you, giant cargo ships or sea monsters. It was an anxious place, the uncertainty of its structure or the dreaded boarder patrol on the other side. Would be be pulled in and searched? would the carton of camels i hid under the seat be found? - It was a special place and a special time. These sounds are about traffic and the movement and time in this strange tunnel.

Knifeplay's sophomore full-length, and first ever studio album Animal
Drowning is a sprawling landscape of shoegaze and lofty slowcore
The album finds the band in a blend of folk instruments, walls of distortion,
orchestral strings and delicate vocals, all carefully organized by Philadelphia
engineer/ producer Jeff Zeigler, known for his work with Nothing, Kurt Vile, and
more.
Though their sonic palette is vast, Knifeplay craft a cohesive aesthetic to carry
frontman TJ Strohmer's thematically heavy songwriting, which touches on loss of
all kinds against the backdrop of a nihilistic world. These songs cry out with
urgency no matter their ever-varied tempo and dynamic, each painting a unique
vignette of tragedy. Yet the band's dense, meticulously composed
instrumentation exudes beauty, creating a lightness to balance the subject
matter.
With Animal Drowning, Knifeplay goes deeper into the sonic experimentation and
brutally honest lyricism so beloved on their early bedroom recordings, creating an
enrapturing experience that deftly builds on previous work.

The rising Tamil-Swiss artist Priya Ragu is set to release her long-awaited debut album ‘SANTHOSAM’ on October 20th.



‘SANTHOSAM’ (the Tamil word for ‘happiness’) is a standout dynamic album which takes her raguwavy sound – simmering R&B, masterful pop hooks, earthy soulful vocals, dance beats, and the warm tabla rhythms, and spiralling melodics of Tamil music – to even more adventurous heights. Defined by Priya’s contagiously positive spirit, it pulsates with gorgeously varied musical textures and urgent political themes. Once again crafted in collaboration with her brother and producer Japhna Gold, it’s an album that originates from Priya’s quest for self-discovery.



‘SANTHOSAM’ opens with ‘Ammama’s Note’, which features a voice recording in which Priya’s grandmothers is questioning why she isn’t married. Like many young South Asian women, Priya felt like she wanted to achieve much more before she settled down, regardless of other people’s preconceptions of what direction her life should take. That ability to write one’s own destiny continues the euphoric ‘School Me Like That’, set to a rumbling tambla beat and breezy synths. More universal issues are explored in the blazing anger of ‘Black Goose’, which was written in the wake of the murder of George Floyd and the Black Lives Matter protests, and ‘Let Me Breathe (Reprise)’, a spiritual call for freedom, emancipation, and peace.



Elsewhere, the record brims with highlight-after-highlight, taking in everything from the dancefloor disco energy of ‘One Way Ticket’ to ‘Power’ which features a rousing string arrangement that was written by Indian composer Bala and recorded with an orchestra in Budapest. It closes with ‘Mani Osai’, a song which continues a yearly family tradition in which Priya, Japhna and their father write a song together. Never intended to be a Priya Ragu track, it nonetheless felt like the perfect way to close the album – especially as the concluding “santhosam” chant conveys the meaning of the word with life-affirming zest.

Ivan Pavlov aka CoH characterizes his latest solo work,Radiant Faults,as “the recording of a dialogue,” rather than a set of compositions. Crafted using a rare new synthesizer,the Silhouette Eins, Pavlov’s first encounter with the instrument across a long, late night session resultedin a continuous set of textures, patterns, and subliminal melodies. Atsome point during the process, he realized he was not alone: “It was as ifsomething was speaking to me through the gear–the feeling was very intense.No matter how determined and specific I attempted to be, theresults were something else. They felt like 'responses.’ This instantly reminded me of ELpH.

Ivan Pavlov aka CoH characterizes his latest solo work,Radiant Faults,as “the recording of a dialogue,” rather than a set of compositions. Crafted using a rare new synthesizer,the Silhouette Eins, Pavlov’s first encounter with the instrument across a long, late night session resultedin a continuous set of textures, patterns, and subliminal melodies. Atsome point during the process, he realized he was not alone: “It was as ifsomething was speaking to me through the gear–the feeling was very intense.No matter how determined and specific I attempted to be, theresults were something else. They felt like 'responses.’ This instantly reminded me of ELpH.

A captivating work of impressionistic memories, observations and intimate confessions, Ebony wrote her debut self-titled solo album while coming into prominence as an in-demand portrait photographer within New Zealand’s contemporary literature and independent music scenes. The release comes five years after her alt-country band, Eb & Sparrow, amicably parted ways in 2018.

Recorded on vintage analog studio gear and mastered to tape, EBONY LAMB finds Runga and Nielson placing Ebony’s distinct, fragile-but-firm voice within a cinematic confluence of jazz, folk, psychedelia, alt-country and ambient pop. Written over the last five years while coming to terms with the realities of a changing world, themes of gratitude, loss, acceptance and aspiration run through the album like a river, especially in the nocturnal groove of ‘My Daughter My Sister My Son’ and ‘Brother Get Me Home’.

From the album’s opening notes, Ebony expresses herself in non-judgmental terms, singing with a raw tenderness that draws listeners into her reflections on friendship (‘Drive Me Around’), the complexity and contradictions of success (‘Successful Feelings’), and connections in seemingly hopeless moments (‘Come, Put A Record On’). Yet while her songs can feel like she’s sitting just across from you, Runga and Nielson’s production imbues them with an expansive sensibility. Spare, vivid and moving,

EBONY LAMB is an album that captures a defining artistic leap from a talented artist coming into her own. Singing to herself and the listener, she implores us to continue reaching forward without losing sight of what we have and the elements of our lives that truly matter.

Some Sudden Weather” finds Products Band sharpening their focus on presence of mind in a culture of noise. For each pummeling wave of distorted guitars, a tender, melodic vocal floats over its crest.
With every winking, deadpan lyric comes a genuine admission of desire, shame, or hope. These songs faithfully represent the diversity of Products Band’s musical influences.

From high-energy, airtight punk’n’roll to intricate, groove-driven pop, “Some Sudden Weather” refreshes rock vocabularies by sculpting them within the band’s unique perspective. Whether you crave
dancefloor-ready bass hooks, spiderwebbed guitar skronk, or interwoven vocal duets, this is an essential listen for all fans of contemporary post-punk, guitar pop, and thoughtful Midwestern charm. FFO: Ought, Television, The Replacements, R.E.M.

2023 repress! clear with pink vinyl.

Beach Fossils' sophomore album, Clash the Truth, is modern post-punk triumph that's left a lasting impression on the music scene it was born out of. After releasing their self titled debut and the beloved EP, What a Pleasure, songwriter and composer Dustin Payseur began recording dissonant and introspective demos reflecting on his southern upbringing and young adulthood in New York. The tracks that would eventually make up Clash the Truth involved Payseur taking his songwriting in a new direction, employing jagged instrumentals, existential lyrics, and socially conscious subject matter. The darker themes of Clash the Truth still come out vibrant through bright guitar tones, locomotive drumming, and Payseur's inventive home recording techniques. Referencing the sounds of Factory Records releases, New York's no wave scene, and 90's avant-pop, Beach Fossils expanded their sound past the perimeters of bedroom dream pop.

Even as a little boy, Johnny Cash has a feeling he was going to be famous one day. It wasn’t the kind of premonition he could go about telling people. They’d have thought dreams of fame and riches pretty far removed from the Cash’s barely-productive 40-acre cotton farm in Arkansas. Especially since Johnny had no idea how he was going to make his mark.

Johnny left the farm to go into the Air Force — and in his travels he acquired first, a wife — and secondly, a guitar. Assigned to Germany and forced to leave his wife behind, Johnny found a faithful companion in his guitar. The boys in his barracks seem to like his “pickin’ and singin'” and gradually the plan for a career began to take shape. He would be a singer — a country singer.

When he got back from service, Johnny was not so modest about his plans for the future. He let his Memphis friends know he was going to be a singer — a good singer, a famous singer — a singer who would revolutionize country music. No matter how long it took — he was determined!

As it happened, Lady Luck inclined her face toward Johnny almost immediately. His releases on the Sun label were instantly acclaimed, and in 1956, one year after Johnny Cash launched his recording career, he was named the most promising country and western artist of the year in four separate polls.

After the success of “I Walk the Line” as a simultaneous C & W and popular hit, it was indicated the course Johnny’s career should take. Though always identifying himself as a singer for the country fans — a favorite entertainer on the Grand Ole Opry — Johnny Cash with “Ballad of a Teen-Age Queen” came to be a top selling artist in the pop recording field.

Almost reluctantly, Johnny evolved a pop-county style in arrangement and instrumentation, evident in such hits as “Guess Things Happen That Way” and “The Ways of a Woman in Love” to supply the demand for Cash records by fans of both types of music. It is ironic that Johnny Cash caused more of a revolution in pop music than in country music, as was his aim, by being one of the first C & W artists exposed on national “general entertainment” TV shows; and the first C & W artist to capture the LP market with one great release (Sun 1220).

Johnny Cash — in his voice, looks and demeanor — carries a certain aura of “specialness.” He is a very dramatic figure — tall, muscular, with blue-black hair. He looks the part of a folk singer — a 20th century wandering minstrel. And his fatalistic style, both in composing and singing, has a quality of monotone, but of “emotional monotone” that defies analysis, but which is genuinely powerful.

Johnny Cash is one of those persons endowed with an exceptional talent which has to express itself. And being expressed, his talent has been uniquely recognized and applauded by many loyal fans, who will enjoy this reminiscent album of the songs which to date are landmarks in the career of the one and only Johnny Cash.

On her new album Queen of Time (due September 29th from Kill Rock Stars), Lou explores that quest across ten tracks of tender, heartbreakingly beautiful music.

Featuring a gamut of guests including GRAMMYr Award-winners Billy Strings and Jerry Douglas, Queen of Time celebrates love and loss, but above all, the art of living as an unattainably--a vibrant, powerful woman who can share herself with the world, and yet define a mighty sense of inner self as well.

IF you follow the smoke from the industrial work sites, wander through the empty streets of a small
town and listen after the tube amp blasting out dreams from the edge of town, you will find the spark
that started Saturday's Heroes over a decade ago. When friends get together to carry out something, it
does not matter where you are born or what type of cards you have been dealt. When the two brothers
Alex and Mikael Lachan grew up in the small town of Finspång, music was the highway and the world
was the destination. Playing together in the basement every day since they were kids, they formed a
bond that would translate into an explosive live show years later. The rejuvenated band hammers out
a sound that is energetic enough to sustain a live show revolution, talented enough to keep your
attention and welcoming enough to let your voice sing the anthemic choruses like there was no
tomorrow. Over the span of their career they have released three full length albums (soon to be four),
two EPs and multiple digital singles. They have toured Europe many times and played with bands
such as Millencolin, Street Dogs, Asta Kask and received praise from bands such as Dropkick
Murphys for their heart-and-soul-packed melodic punk rock. Now in 2023 they are back with a brand
new full length album called Wanderlust & Hardships. Recorded with the acclaimed producer Niels
Nielsen, known for his work with In Flames, Dead Soul, Ghost, and MCC, the album showcases the
band's signature sound that blends hard-hitting instrumentals with anthemic lyrics. Fans can expect a
celebratory and energetic tone that is sure to get them involved.

30 Jahre nach seinem Boygroup-Senkrechtstart mit der 90er-Sensationsband Caught In The Act , fünf Jahre nach den ersten Soloerfolgen mit " Egal, was andere sagen " und dem #1-Auftaktalbum "Kopf aus, Herz an" steht Eloy de Jong mit seinem ultimativen Best-of-Album in den Startlöchern: " Viel mehr als das Beste " erscheint am 13. Oktober! Mit gleich 13 Bonustiteln und doppelt so vielen Meilensteinen aus den letzten Jahren vereint es tatsächlich sehr viel mehr als das Beste ?

Eloy de Jong hat dieses Jahr so einiges zu feiern! 50. Geburtstag, 30 Jahre Bühnenjubiläum und vor allem fünf Jahre ganz oben als Solokünstler, der nach seinen ikonischen 90er-Erfolgen nun auch ein paar der größten Hits der jüngeren Popschlagergeschichte verbuchen kann!

Zum fünften Jahrestag seines Durchbruchs mit der Sensations-Single "Egal, was andere sagen" präsentiert der sympathische Musiker aus den Niederlanden sein ultimatives Best-of-Album, für das er insgesamt gleich 13 Bonustitel eingesungen hat - "Viel mehr als das Beste"!

In the Shadows is the third full-length studio album by Danish heavy metal band Mercyful Fate. It is the first offering of the band since their reunion in 1992. After an almost decade-long hiatus, Mercyful Fate's reunion did not disappoint; it was as if they picked up right where they had left off. There are more of King Diamond's gothic tales of horror and the supernatural, and the music sounds better than ever. It doesn't have the historical significance of their early-'80s material, but that doesn't really matter; this is high-quality material from a tight veteran band.

Jacob Bellens’ new solo Off My Meds took shape over two turbulent years in Jacob’s life. Several major life events happened back to back in a very short time, and it ended up breaking him down to a point of total exhaustion. The energy needed to uphold the outer self we all need to function was no longer there, and his inner actual beliefs and values began to show themselves one by one, which was not pretty to look at. Change was inevitable, simply because the price of not changing would be much higher in the long term.

The album is a pop-poem about accepting the premise of the life given to you. It is an ode to the perils of modern existence and our birthgiven right to love, laugh and cry, whatever hand we may have been dealt to begin with. Lyrically it is centered around self care and the courage to love someone and be loved in return. About taking responsibility for everything in your life instead of using your life history as an excuse for not living, no matter how tragic or unique your situation might be or seem to yourself.
Musically it draws upon an eclectic mix of influences and genres, while still maintaining a distinct underlying red thread throughout the album. It is a melancholic funk hybrid with a positive DNA, and though it sounds like pop music in the best sense of the word, it doesn’t quite look and feel like pop music. It is rather a collection of sounds and feelings put into words that are deeply personal - but personal for all.