"Wir leben im Hier und Jetzt und wollen mit unserem neuen Album zum Aufbruch in ein anderes Leben aufrufen. Eine Gemeinschaft, die sich respektiert, füreinander da ist und sich über kleine Dinge erfreut und in der jeder gleich ist, egal welchen Rang er bekleidet oder ob man reich oder arm ist. Reich ist der, der teilen kann und arm ist der, der immer nur sich sieht!", so Sir Hannes.
Ihr Album ist eine sehr explosive Mischung aus Wort, Musik, Energie und Wut geworden, welches ihren Fans und Hörern ein musikalisches Feuerwerk der besonderen Art bietet. Es soll befreien, aufwecken, zum Nachdenken anregen aber natürlich auch Kraft, Freude und Energie verbreiten.
Auf "König der Idioten" verkörpern THE IDIOTS das, was sie fühlen, denken und wofür sie leben!
Jeder Ton, jedes Wort wird von ihnen gelebt, mit Hingabe zelebriert und steckt voller Authentizität.
Mit ihrem neuen Album "König der Idioten" schreien THE IDIOTS nach einer besseren Welt!
Textlich, wie musikalisch, ist "König der Idioten" sicher das bis dato extremste und härteste THE IDIOTS Album.
"Wir leben im Hier und Jetzt und wollen mit unserem neuen Album zum Aufbruch in ein anderes Leben aufrufen. Eine Gemeinschaft, die sich respektiert, füreinander da ist und sich über kleine Dinge erfreut und in der jeder gleich ist, egal welchen Rang er bekleidet oder ob man reich oder arm ist. Reich ist der, der teilen kann und arm ist der, der immer nur sich sieht!", so Sir Hannes.
Ihr Album ist eine sehr explosive Mischung aus Wort, Musik, Energie und Wut geworden, welches ihren Fans und Hörern ein musikalisches Feuerwerk der besonderen Art bietet. Es soll befreien, aufwecken, zum Nachdenken anregen aber natürlich auch Kraft, Freude und Energie verbreiten.
Auf "König der Idioten" verkörpern THE IDIOTS das, was sie fühlen, denken und wofür sie leben!
Jeder Ton, jedes Wort wird von ihnen gelebt, mit Hingabe zelebriert und steckt voller Authentizität.
Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!
Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!
Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!
Emil Amos (Grails, OM and podcaster plus) decommissions pieces originally bound for the KPM library. A personal interpolation of "music for films (& television)" expounds upon diverse sounds: synthy 80s soundtracks, contemporary hip-hop beatmaking, ambient music, and The Hulk"s "Lonely Man Theme". Emil"s dark visions are full of noirish shadows and eerie neon glow - mood music for drug trips spent dreaming up new soundtracks to take drugs to! Emil Amos" forthcoming Zone Black album is a fully inhabitable world, its episodic narrative divided into an improbable balance between morbid ambient anthems and insouciant hip-hop instrumentals. Emil hadn"t heard it done quite this way before, so he took it upon himself. And it sounds real! Straight out of Madlib"s kitchen sink, and with a sense of brooding dread, "Jealous Gods" features throbbing beats, low synth paired with high vocal melody, layered together into something even more impossibly bizarre than the sum of their parts - like say, monks singing from on high, over a battleground littered with remnants of the old guard. Emil warps evocative tones, taking familiar sounds into new dimensions, reaching for the kind of depth and resonance that defines moments with an almost invisible touch.
Damit können nur Insider etwas anfangen. Nichteingeweihten soll dieses Bewerbungsschreiben verdeutlichen, dass 'Ich bin der Boss' an Umstände gebunden ist. Während wir empfehlen, sich bei einem Bewerbungsgespräch kein T Shirt mit 'Ich bin der Boss' anzuziehen, ist 'Ich bin der Boss' als neu aufgelegtes, phantastisch anzusehendes und vorzüglich anzuhörendes Vinyl hingegen ein unverzichtbares Muss.
Nein, wir wollen Euch nicht nötigen, erpressen, zwingen, herausfordern, oder verpflichten, aber es bleibt Euch sicher keine andere Wahl, als dem inneren Drang und Druck nachzugeben, sich davon zu überzeugen, dass der erneute Release von Deutschlands meister Schallplatte der Welt ein Volltreffer für Augen und Ohren ist.
Mit einem einzigen Demo namens "042103Freitod" lotete Farsot 2004 die Grenzen des rohen, kalten Black Metal aus, mit ihrem über Lupus Lounge / Prophecy Productions veröffentlichten Debut-Album "IIII" bereichert die Formation das Genre um ihre eigenen niederschmetternden Visionen menschlicher Abgründe. Dabei vermeiden die junge Deutschen mit ihren zwischen Unvorhersehbar- und Eingängigkeit pendelnden Stücken plumpe Effekthascherei und dringen ebenso beharrlich wie subtil in ebenjene gefürchteten Seelenwinkel vor, die in uns allen lauern.
Routed through an interdimensional gateway; the latest message from Psy-fi Sounds has materialized. Reporting back to the home world with 4 separate accounts of their latest cosmic endeavors. Encounters with complex life forms, analysis of digital realities and investigations into the true nature of the universe are transcribed within. The trilogy is now complete.
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Purer Dreck und Zerstörung! Tumulation ist die perfekte Death/Doom Metal Band mit Conjureth Mitgliedern! Seht, die unheilige Kraft von
Tumulation, den kalifornischen Death/Doom-Lieferanten, die eine massive Wand aus heruntergestimmtem Dreck hervorbringen.
Die Umarmung des sumpfigen Death/Doom Metal der frühen 90er Jahre, verströmt "Haunted Funeral Creations" eine bösartige Aura von Aggression und Wut und durchtränkt jede Pore mit dieser infernalischen Atmosphäre.Mit einer unerschütterlichen Hingabe an den Death/Doom Metal der alten Schule bleibt der erstklassige, ranzige und gnadenlose Sound von Tumulation unglaublich abwechslungsreich, ohne jemals in Belanglosigkeit oder Langeweile zu versinken.
Nach einem Instrumenten- und Rollentausch gründeten die Mitglieder von Conjureth im Jahr 2021 Tumulation, um sich neuen
musikalischen Ideen zu widmen. Sie entwickelten einen neuen Songwriting-Prozess, der sich auf den sumpfigen Doom/Death-Sound der frühen 90er Jahre konzentriert.Die beiden Demos von Tumulation wurden sowohl von den Medien als auch von den Fans gelobt und brachten die voll ausgebildeten Veteranen der extremen Musikszene zum Vorschein.
Der britische Folk-Singer/Songwriter Roo Panes kündigte sein neues Album 'The Summer Isles' dieses Jahr mit ersten Konzerten an namhaften Orten in London (Union Chapel), Amsterdam (Paradiso) und Berlin (Heimathafen) an. Zu Panes' durchdachtem Gitarrenspiel gesellen sich himmlische Harmonien und klangvolle Strukturelemente, die sich mühelos zu stimmungsvollen Bildern verbinden, während Roo von Schätzen, Jacarandas, unberührten Blumen und ruhigen Meeresnächten singt. Durchweg sicher und atmosphärisch, trägt die klare Produktion des Albums zur natürlichen Thematik bei.
- 'Mit seiner grandiosen Gitarrentechnik verzaubert er die Ohren, mit den Texten die Herzen der Hörer*innen. Der Aufbau und die Harmonik seiner Songs stammen nicht selten aus der klassischen Musik.' - heimathafen-neukoelln.de
“Teorie” è un ep composto da 4 brani di cantautorato alternative folk con leggere incursioni elettroniche;
“Imprevisti” è l’altra faccia – ibrida - della medaglia: le stesse 4 canzoni arrangiate in full band e registrate live presso lo Splash Recording studio di Napoli. Interessante come le canzoni, pur cambiando veste, mantengano la loro anima. Un esperimento interessante e stimolante condotto con musicisti eccellenti.
A queste canzoni si sono aggiunte “Rive” e “Cilento”, coerenti con la produzione del cantautore.
Incredible jazz / prog / folk score to groundbreaking tattoo film by maverick filmmaker. Unreleased until now, so don’t go saying it’s a reissue because it isn’t, but I’m sure some people will because they always do.
John Samson (1946 - 2004) was a truly great documentary maker. He must be as I’ve been obsessed with his work for many years. Educated first at Glasgow School Of Art (circa 1963) and then finally in the art of film making at The National Film And Television School in Beaconsfield - he headed there in its opening year of 1971 having made a short film that got him a scholarship.
It was at the NFTS that Samson met Mike Wallington, who was to become his right hand man and eventual producer; together as a quite brilliant team they made a handful of inspiring, entertaining and hugely prescient films about important, overlooked, unseen and marginal fringes in society. Tattoo (1975) Exploring the rather clandestine world of tattooing in the UK. Dressing For Pleasure (1977) Exploring the rather clandestine world of festish in the UK. Brittania (1979) A film about railway enthusiasts and a steam train restoration.
Arrows (1979) The life of dart player Eric Bristow. Drag Ball (1981) An unreleased film about the annual Porchester Hall Drag Ball. The Skin Horse (1983) BAFTA winning film about The Outsiders Club, a dating agency for disabled people. The subject matter in all films was always unusual for the time, and Samson managed to navigate his way with compassion, interest and subtlety, immersing himself in the chosen scene and producing moving, fascinating and sometimes darkly amusing situations. His documentaries also do not rely on traditional voiceovers, with stories, facts and narrative threads being dictated by the subjects.
I’ve tried for a long time to find the music for a couple of his early films (there was actually an original 7” for Arrows) - so far this is the only unreleased soundtrack I have found. This one was written by Steve Jolliffe, who met Samson at the NFTS. Joliffe was the resident composer and had a room at the college complex where he could work on scores for the fledgling film makers. Jolliffe was and still is a multi-instrumentalist and prolific composer who had met Edgar Froese at the Berlin Konservatorium in the late 1960s and played in an early incarnation of Tangerine Dream. He toured with blues rock outfit Steamhammer, before hanging out at the NFTS, making this recording (and many others) and eventually rejoining Tangerine Dream in the late 1970s. Jolliffe still writes, records and releases today and once i had made contact with him we traced the original Tattoo master tape to a box at his brother’s house. Musically it’s charming, slightly folky, a touch baroque, there’s a whiff of prog too, and it perfectly suited this early documentary about the art and desire of tattoos. I only wish it was longer. But the film is only 16 minutes long. Seek it out if you can. Try and find all the Samson films, they really are a joy.
As well as featuring intimate footage of tattooed people, the film also includes a rare and very early interview with Alan Oversby (better known as Mr Sebastian), a seminal character in the development of tattoos and body modifications worldwide - it was he who eventually was to tattoo and pierce Genesis P-Orridge.
The images for this vinyl release were all found in Mike Wallington’s Tattoo documentary research folder from 1974, and were photos sent in to Mike and John by people who wanted to feature in the film. Most answered an advert in Time Out, and others included people from my home town of Aldershot where tattooist Bill Skuse and his wife, Rusty (the most tattooed woman in Britain at the time, and featured in the film) were based. His parlour was situated at the back of the arcade where we all used to lose all our pocket money in the slot machines.
The Musicians:
Steve Jolliffe - keyboards, flute, sax Geoff Jolliffe - bass guitar Julian Furniss - guitar Mick Kirby - drums
1914 – das Debütalbum Eschatology of War in neuen physischen
Formaten!
“Wir singen nicht einfach die Songs, wir erzählen Geschichten!“(1914)
Seit ihrer Gründung im Jahr 2014 thematisieren die ukrainischen Blackened-Death/Doom-Metal-Visionäre 1914 in ihren Songs die Grausamkeiten des Ersten Weltkriegs. Begonnen hat dieser unerbittliche Streifzug durch die Geschichte mit ihrem Debüt Eschatology of War (2015) und gipfelte zuletzt im erneut von Kritikern hoch gelobten Where Fear and Weapons Meet (2021). Nachdem Eschatology of War 2021 über Napalm Records zunächst digital wiederveröffentlicht wurde, folgen am 4. August 2023 nun endlich auch mehrere neue, physische Formate.
Ohne jegliche Kompromisse kombinieren 1914 Death und Black Metal der alten Schule zu einer unheilvollen Allianz. Mit ihren Werken schaffen 1914 eine eigene, höchst authentische bemerkenswerte Klangwelt und Hommage an alle, die im Ersten Weltkrieg gefallen sind. Zusammen mit intensiven Texten und einem einzigartigen visuellen Erlebnis transportieren sie die Hörer zurück in eine grausame Zeit der Menschheit und strecken ihr gleichermaßen den Spiegel der Gegenwart entgegen. 1914 rufen dazu auf, sich mit der eigenen, schrecklichen Vergangenheit auseinander zu setzen, die nie vergessen werden darf, vor allem aber auch, das Hier und Jetzt nicht aus dem Fokus zu verlieren, während das musikalische Schaffen der Künstler zudem eine Hommage an alle darstellt, die im Ersten Weltkrieg gefallen sind.
CRYPTA manifestieren mit Shades of Sorrow ihre herausragende Stellung im Death Metal!
Das brasilianische Death-Metal-Quartett CRYPTA veröffentlicht mit Shades of Sorrow am 4. August 2023 via Napalm Records den Nachfolger seines von Kritiker hoch gelobten 2021er Debüts Echoes of the Soul (#55 der Offiziellen Deutschen Album Charts sowie #15 der US Hard Music Albums und Top New Artist Albums Charts). 2019 von den ehemaligen NERVOSA-Mitgliedern Luana Dametto (Schlagzeug) und Fernanda Lira (Gesang) gegründet, komplettieren die beiden Gitarristinnen Tainá Bergamaschi und Jessica di Falchi die ungestüme Death Metal Macht, die ihrem einzigartigen Sound auf Shades of Sorrow treu bleibt und ihre herausragende Stellung in der Szene mit Album Nummer zwei manifestiert. CRYPTA vereinen selbstbewusst klassischen und modernen Death Metal mit signifikanten Extreme- und Black-MetalElementen und veredeln diese Mischung mit schäumender Energie und unvergleichlichem Charisma.
CRYPTA haben mit Shades of Sorrow ein weiteres, beeindruckendes Death Metal Meisterwerk geschaffen, das die technischen Fähigkeiten und Songwriting-Skills der vier Frauen über 13 Songs hinweg perfekt herausstellt. Aufgenommen wurde das Album im Family Mob Studio, von Daniel Bergstrand (33 Stockholm, Schweden) gemischt und von Jens Bogren im Fascination Street Studio gemastert.
Bekannt für seine ultrapersönlichen Texte und umwerfendes Songwriting auf der Schnittstelle zwischen tiefschürfenden Balladen und stadiongroßem Pop, ist Cian Ducrot aus Irland in den letzten zwei Jahren zu einem der wichtigsten UK-Newcomer avanciert, indem er erst TikTok, Insta & Co. und dann auch noch die offiziellen Charts auf den Kopf gestellt hat. Ein überraschend nahbares Songwriting-Genie, das nicht nur musikalisch kein Blatt vor den Mund nimmt – und in seinen Socials auch mal mit Chorverstärkung die Londoner U-Bahn per Flashmob zum Implodieren bringt: Jetzt steht der für seine „erfrischende Ehrlichkeit“ (Clash) gefeierte Singer-Songwriter mit dem ersten offiziellen Albumstatement in den Startlöchern: „Victory“ erscheint auf Vinyl und CD am 04. August. Darauf vertreten sind auch die jüngsten Singlehits „I’ll Be Waiting“, „All For You“, ”Part Of Me” und die aktuelle Single „Heaven“.
Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.
New album from West Virginia based singer-songwriter, William Matheny, set for release on Tyler Childers' Hickman Holler Records. While That Grand, Old Feeling is a document of Matheny’s own journey as a seeker, he hopes that the album can inspire anyone else out there searching for meaning in their own lives, whether they’re searching at a truck stop or in an album of old photographs.“I feel like I've just been trying to recapture that youthful excitement my entire life, trying to regain that clarity and that feeling of purpose,” he says. “And it comes and goes. I mostly seem to be looking for it at gas stations and rest areas and at gigs. But I think a lot of people are probably looking for it in a lot of places like that, too. Pilgrim to pilgrim, I hope you find it.”
Alabama native Drayton Farley has as honest a voice as you're likely to hear in this burgeoning scene of country, folk, roots, and Americana music we're all wrapped up in. With songs and lyrics pulled from real life experience, there's a grounded feeling to his stories, a confessional quality that rings true to those who know. His voice fills the room like cigarette smoke, curling into every corner of you, with a fine grit rasp that smooths out every rough edge. It lingers hours, days, after you've left the bar - turns of phrase that tumble around your mind, bittersweet and familiar. He sings as deeply about the love he holds as the love he's lost and there's something so broken-in and comfortable about that Southern inflection that every song feels like coming home. Sharing stages with musicians on the rise such as Zach Bryan, Arlo McKinley and Mike and the Moonpies, Drayton has quickly gained a loyal fan base. Twenty on High, Drayton's first release with Thirty Tigers, was produced by Sadler Vaden (Morgan Wade) and recorded with Chad Gamble, Jimbo Hart, Sadler Vaden, Peter Levin, Kristin Weber and Katie Crutchfield at Nashville's Sound Emporium Studios. “Lyrics that are immediately reminiscent of the humor and subtlety of John Prine, the directness and honesty of Bob Dylan, and the everyman gravity of Pete Seeger, Farley firmly establishes himself as one of the great American voices in folk and Americana music.” - Americana Highways
"Terra Em Desapego" marks the second longplayer of the Portuguese for LIFEFORCE RECORDS. On the 2019 album "Eterno Rancor", a cover of the Bad Brains was found in the last place. On the EPs released since then, the group from Lisbon has taken on tracks by Only Living Witness, Napalm Death and Devo. This fits conceivably well, because BESTA have proven to be a band that moves between death'n'grindcore, punk and hardcore. The seven tracks of "Terra Em Desapego" are above all uncompromising and oppressive. BESTA appear direct and furious at all times, but do not miss out on variety. More melody and atmosphere than on the new album have never been. The Portuguese surprise with playful, sometimes really catchy heavy songs that still sound familiar rough and pleasingly uncomfortable. The more consciousness and metallic basis as well as the clearer production work fit in very well. BESTA continue to sound impulsive and biting, but "Terra Em Desapego" opens up a different approach to the rigorous approach of the Lisbon band. All this does not change anything about the lyrics in the Portuguese mother tongue of the musicians - of course not. Cover art was done by CVSPE (Arch Enemy, Uniform) and the album was produced by Miguel Tereso (Analepsy, Sinistro).
Produced/Engineered/Mixed/Mastered by Randy Lebouef (Counterparts, Every Time I Die, Fit For An Autopsy). Sixth full length album from the band. New album combines nu metal sound with super heavy riffs, along with a southern country look. Full US headline tour will accompany the new album.
Blaue Vinylversion! Exklusiv für den Indie-Handel! Vona Vella (Izzy Davis und Dan Cunningham), die Antwort von Leicestershire auf Jane Birkin und Serge Gainsbourg, veröffentlichen diesen Sommer ihr gleichnamiges Debütalbum über Strap Originals. Zwölf sensationelle Indie-Perlen, die die Kunst des Duos sonnige Gitarrenklänge mit poetischern Texten zu kombinieren, die nicht immer so niedlich sind, wie sie auf den ersten Blick klingen. Vona Vella" wurde im Albion Rooms Studio von The Libertines in Margate aufgenommen und von Jason Stafford (Jamie T, Sports Team, The Libertines) und Vona Vella produziert. Alle zwölf Tracks des Albums wurden von dem Duo gemeinsam geschrieben: Dan an der Gitarre und am Klavier, Izzy an der Gitarre und der Flöte... und Jake Bott am Schlagzeug. Nachdem sie letztes Jahr als Support für die Libertines, Tim Burgess und Morcheeba und letzten Monat für Peter Doherty auf Tournee waren, traten Vona Vella auch bei The Great Escape in Brighton auf. Weitere Headline-Shows und Festivalauftritte werden in Kürze bekannt gegeben. Vona Vella besteht aus den einundzwanzigjährigen Singer-Songwritern und Multiinstrumentalisten Izzy Davis und Dan Cunningham. Die Band wurde offiziell im Herbst 2020 gegründet, nachdem Ross Godfrey von der Band Morcheeba ihre (damals noch unveröffentlichte) Single "Sun" gehört und beschlossen hatte, sie zu remixen. Nach der Veröffentlichung erwies sich der Song als sofortiger viraler Hit und wurde über 1 Million Mal gestreamt. Anfang 2022 veröffentlichten Vona Vella ihre Debüt-EP "Go Outside Forever", die von keinem Geringeren als Paul Heaton (Housemartins, Beautiful South etc.) in den höchsten Tönen gelobt wurde. Im Januar dieses Jahres wurde ein Remix des Titeltracks der EP, "Go Outside Forever", im äußerst erfolgreichen Videospiel NBA2K23 verwendet.
A reissue of Jorge Ben's Solta o Pavao, originally released in 1975. Jorge Ben is one of Brazilian music's iconic and best-loved figures. Born Jorge Duilio Lima Menezes in Rio in 1942, he took the stage name, Jorge Ben, in deference to his mother's Ethiopian roots, and later used Jorge Ben Jorge for further distinction. Playing tambourine and singing in a church choir from an early age, Ben began playing in Carnival blocos and was performing in nightclubs as a teen. Signed to Philips in 1963, his "Mas Que Nada" became an instant international sensation that has never waned, despite being sung entirely in Portuguese. Beginning in samba, Ben's openminded approach saw him embrace aspects of bossa nova, the "Jovem Guarda" rock movement of the mid-1960s and the experimental Tropicalia form, the broad palette and diverse influences yielding a number of adventurous and abstruse albums during the 1970s, of which Solta o Pavao is one of the most rated by connoisseurs, though somewhat overlooked in general; its title translates roughly to "Unleash the Peacock" and apparently concerns the outward expression of inner beauty. Against a backdrop of lushly produced samba rock with shades of MPB, highlights include opener "Zagueiro", in which Ben salutes football center-backs in typically playful and poetic language; closing number "Jesualda" is a heady ballad of a chance encounter leading to a girl's social climbing and "Para Ouvir No Radio (Luciana)" a love song with striking flute and string arrangements; Dadi Flavi's bubbling bass and occasional string synths help keep the sound non-standard.
Third Man Records is delighted to present Michael Kiwanuka's contribution to the TMR Blue Series of releases. Kiwanuka, a 25 year-old UK native of Ugandan heritage, was raised in north London where he split his time between session work and local gigs. Along the way, having found footing as a solo artist, he was signed to Communion Records, then Polydor, and has since performed throughout Europe and North America too—touring in direct support of Adele. He made his way through Nashville this past summer with just enough pause and aplomb to commit these morsels to tape. The A-side "You've Got Nothing to Lose" is an original composition, featuring The Buzzards' Dominic Davis on upright bass and Cory Younts on piano, joined also by fellow balladeer Lillie Mae Rische on fiddle. Their contributions transform his work into a stone-cold groove with almost orchestral underpinnings, making it a fitting extension of their previous Blue Series. PRODUCED by Jack White (not collaborated with, so please fight your every urge to put "collaborator" in your headline!), the single also features a chilling rendition of Townes Van Zandt's infamous "Waitin' 'Round to Die" on the B-side, the perfect compliment to the timbre and mood of the A-side.
Mary Jane Leach is a composer focussed on the physicality of sound, its acoustic properties and how they interact with space. She has played an instrumental role in NYC’s pioneering Downtown scene alongside Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner and Arnold Dreyblatt, as well as devoting years to the preservation and reappraisal of Julius Eastman’s work since his death in 1990, compiling the »Unjust Malaise« 3CD set in 2005 and editing the 2015 book »Gay Guerrilla: Julius Eastman and His Music«. »Woodwind Multiples« is her second album for Modern Love, following »(f)lute songs« (2018).
»Woodwind Multiples« features four pieces for multiples of the same instrument: four bass flutes, nine oboes, nine clarinets, and seven bassoons. Each piece works closely with the unique sound of each instrument, combining pitches that create other, sometimes unexpected, tones, primarily combination and interference tones, as well as rhythmic patterns. What you hear is what happens naturally - there is no processing or manipulation.
»8B4 (1985/2022)«, played by Manuel Zurria, is for four bass flutes. It is a revision of 8x4, which was written in 1985 for the DownTown Ensemble and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice.
»Xantippe’s Rebuke« (1993) was written for Libby Van Cleve, for eight taped oboes and one live, solo oboe. The eight taped parts are equal and dependent, while the solo part is meant to be a solo with the tape as accompaniment. The piece works with the unique sound of the oboe, starting with unison pitches that create the richest sound, building the piece from there. Pitches and rhythmic patterns that occur naturally are notated and then played later, which in turn create other pitches and rhythmic patterns. So, in effect, the nature of the oboe and its natural sound determine the direction of the piece.
»Charybdis« (2020), played by Sam Dunscombe, is for solo clarinet and eight taped clarinets. It combines a somewhat obscured reference to Weep You No More, a John Dowland piece, which combines with the sound phenomena created from the melody and supporting chords of the Dowland.
»Feu de Joie« (1992) was written for bassoonist Shannon Peet and is an homage to the bassoon and its wonderful sound. It is for seven parts—six taped and one »live.« The taped bassoons combine to create a bed of sound that exploits the unique qualities of the bassoon, creating combination and interference tones, starting off with unison pitches, creating a rich sound that builds from there. Most of the subsequent pitches and phrases occur naturally, and are then notated later on in the piece, which in turn creates other notes and phrases.
Decades Of Devil Worship
HIGHLIGHTING OVER 25 YEARS SINCE THE BIRTH OF THE UK EXTREME METAL GREATS, WITH A STORMING LIVE SATANIC ASSAULT OF CLASSICS FROM AKERCOCKE'S EARLY REPERTOIRE
Throughout the years, Akercocke has become known for its savage & prodigious
live work. And now, with a stunningly produced & meticulously delivered torrent of
high-octane blackened death metal captured live in at the Underworld in London
in 2007, Akercocke blast through a collection of tracks lifted from the classic
debut, 'Rape Of The Bastard Nazarene' & follow-up album 'The Goat Of Mendes'
for a night of pure satanic magic with 'Decades Of Devil Worship', a hellish &
eclectic journey through the ritualistic & the profane.
Towering above most nefarious contemporary noisemakers, London's Akercocke
erupted across the consciousness of the UK metal scene in the late '90's,
wielding a fiendishly inventive blend of death, black & progressive metal. Their
distinctive, smartly-dressed demeanour & eloquent preoccupation with all things
dark & Satanic marked them out both as ferociously individual artists &
enlightened students of the pitch-black sonic code. Immediately embraced by the
British faithful upon the release of debut album 'Rape Of The Bastard Nazarene',
Akercocke spent the following decade leading the creative charge for their entire
native scene.
Akercocke received widespread acclaim for follow- up album 'The Goat Of
Mendes' (Peaceville, 2001) & despite enjoying furious momentum over the
following years, the release of fifth album 'Antichrist' in 2007 signalled the end of
the first chapter of the Akercocke story, when the band retreated into the
shadows & remained dormant for the best part of a decade until a triumphant
return was marked with the stellar Peaceville return, 'Renaissance In Extremis',
released in 2017.
This Moment' - Shakti's first new studio album in more than 45 years - is
a work of immense depth and radiant optimism
With John McLaughlin (guitar, guitar synth) and Zakir Hussain (tabla) joined by
vocalist Shankar Mahadevan, violinist Ganesh Rajagopalan, and percussionist
Selvaganesh Vinayakram, the Shakti of now is a powerfully dynamic collective,
defined by deft interplay, dazzling unison passages, extraordinarily dexterous
improvisations, and the ability to draw from a vast well of global traditions and,
miraculously, put them in conversation with one another.
As a cornerstone of what is now called World Music, the vision and virtuosity of
Shakti has inspired generations of musicians from around the world to explore
sonic hybrids once thought impossible. Born of the musical and spiritual
brotherhood shared by the revolutionary British guitarist and bandleader John
McLaughlin and master Indian percussionist Zakir Hussain, Shakti's soulful,
organic intermingling of Eastern and Western musical traditions has proven
transformative for both the band's members and its listeners. Fifty years after the
informal conversations and jam sessions that sparked the band into existence,
their music continues to resonate and evolve.
Despite the large gap in their studio discography, Shakti has persisted
intermittently over the years as a live proposition, releasing several concert
recordings. "Shakti is very much a 'live' band, " explains McLaughlin. "A part of the
problem with making a studio recording has always been the fact that we live on
different continents, and we all follow our individual careers – in addition to
working together in Shakti. 'This Moment' is the result of me calling everyone in
the fall of 2021 and persuading them to use today's recording technology to
realise it."
Recorded and mixed in the U.S., Monaco, India, and Great Britain, This Moment is
nevertheless cohesive, bound by the deeply held bond shared by the players - a
bond that is audibly apparent across the album's eight tracks.
A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis Known for his extensive musical experimentation, particularly in the area of time
signatures, Ellis began his long career in the New York City's post bop and avantgarde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus'
Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he
also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and
Woody Herman. On subsequent albums, Ellis would take an even wilder direction.
Here, on his first recoding date as a band leader, the experimentation begins. Ellis
stretches the boundaries of bop-based jazz playing with time, tempo and meter. It
is the start of his exploration of Third Stream - a fusion of jazz and contemporary
classical music. The album title itself - How Time Passes - was taken from an
article written by the controversial German composer Karlheinz Stockhausen on
the "function of time." The exceptional section features Ron Carter on bass, the
underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The
LP includes extraordinary liner notes by Candid A&R man and producer Nat
Hentoff, and noted musician, historian and writer Gunther Schuller - the originator
of the term "Third Stream" - giving a context and insight that adds to the
experience of hearing these extraordinary performances.
When he first came on the scene, Phil Woods was often referred to as
"The New Bird," in a nod to the legendary Charlie Parker - A testament to
his genius on the saxophone to be sure
But while obviously indebted to Parker - as all modern jazz saxophonists of a
certain era were - there is no question that Phil Woods was an original. After
earning a degree in music from Juilliard in the early 1950's, Woods found himself
in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy
Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State
Department as part of a global cultural diplomacy initiative - and subsequently
became a member of Jones' own touring band. This recording, his 9th album as a
band leader, consists entirely of Woods' five- part Rights of Swing Suite. An
ambitious large-scale composition based solidly on jazz traditions. A culmination
of the influences the then 30 year artist had absorbed. Arguably considered one
of Woods finest recordings, the record features a stellar section made up of
Wood's fellow Quincy Jones band members. (It should be noted that these same
musicians, for the most part, are also the section on Benny Bailey's Candid
Records recording, Big Brass, recorded a a few months prior in November of
1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in
January and February of 1961, and conducted by Quincy Jones. The LP includes
extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and indepth commentary from Woods himself, giving a context and insight that adds to
the experience of hearing these extraordinary performances
Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy
Nominated pianist and composer Toshiko Akiyoshi - then known as
Toshiko Mariano
Women have long been denied the credit they deserve in jazz. It must be noted
that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many
fronts. Jazz has been a patriarchy community from the beginning, and even
critical praise of her playing could not help but take note of her gender. Leonard
Feather, for example, writing at the time in the Encyclopedia of Jazz called out
Akiyoshi's playing as "fiery, powerfully articulated and exceptionally fluent," but
added that there was "nothing delicately feminine." Even today it is still hard for
people to see Jazz in any other way. We are pleased to be a part of shifting the
narrative and shine a spotlight on this talented artist and this wonderful album.
While she was later to compose using themes, harmonies, and instruments
connected to her Japanese heritage, this album captures the pianist early in her
career playing a straight ahead, harp bop style. This was already her 7th album as
a band leader, and it is a shining example of her confidence and mastery of her
instrument and as a band leader. Recorded at the Nola Penthouse Studios in New
Your City in December of 1960, the LP includes extraordinary liner notes by
Candid A&R man and producer Nat Hentoff giving a context and insight that adds
to the experience of hearing these extraordinary performances
Following up the 2020 Sub Pop Singles-Club with a new single on 7" Vinyl
& Digital once again produced by Don Bolles for maximum
Punk Rock /Junk Shop effect.
C&TH is heart-warming rock and roll originally from Boise, Idaho
Oneself, psych rock band, Clarke performing live with a drumstick in hand, guitar
strings under her thumb, vocals that cut right to the point with a Moe Tucker
rhythm laid underneath, with C&TH, she takes basement rock fuzz, pop precision,
molten neo-psych, weirdo gutter punk while singing exception art/psych damage
pop songs.
Since 2013 she has released five albums. Clarke and the Himselfs (Curly
Cassettes, 2013), Clarke and the Himselfs II (HIB, 2014), The Well-Rounded Clarke
and the Himselfs (Scavenger Cult, 2015), Clarke and the Himselfs and Friends
(SC, 2016), In Your Heart you Know She's Clarke and the Himselfs (CC, 2017)
Throughout this time she's been touring nationally and internationally. Daytrotter
and Paste Magazine listed C&TH as #1 for Rock and Roll and #4 for in general for
their best of 2017 list. Pot Sounds LP in 2019 and The One and Only Clarke and
the Himselfs LP in 2022.
DIM WATTS is the latest outlet for veteran Athens, Georgia songwriter,
Jim Willingham - Fronting previous groups like the psyche pop of Ham1
and banjo driven, kudzu folk of Old Smokey, Willingham has backed
modern folk outsiders like Vic Chesnutt
He returns to sharply crafted 4- piece folk pop, produced with Dim Watts &
engineer, Jesse Mangum.
Throw on your platform boots and stomp along to the latest 7' double Aside vinyl single and digital release of "Rock N Roller" and "Rock N Roll
Angel" out on Curation Records in May 2023! It's pure bubble glam crunch
rock madness!
Hammered Satin is a glam rock band from Los Angeles California
established in late 2010
Stylistically pulling from what is now known as unkshop Glam from the 1970's. In
other words, they aspire to sound not like David Bowie himself but more like the
hitless wonder wanna- be Bowie's, Bolans, Quatro's, Sweets, Muds ect ad
nauseam. There are also punk or 'Proto Punk" and Bubblegum elements to
Hammered Satin's music that seemingly goes under the radar. The current 2023
lineup includes the three founding members. Noah Wallace lead vocals (formerly
of Teachers's Pet, S'cool Girls), Dan Sandvick Bass, Conor Berhle guitar, and
glampa Don Bolles drums, vocals (formerly of The Germs, Celebrity Skin, 45
Grave among many others). To date Hammered Satin have released two albums,
four two song 7" singles, and four digital-only singles. Their music has made it
onto a few TV shows such as Showtimes 'Dice", and Netflix's cartoon Mr.
Peabody and Sherman. The band has even managed to garner press in Rolling
Stone magazine more than once which is unheard of for an underground band.
Other noteworthy moments were direct support slots for The Ark in Sweden and
The Black Crowes in Las Vegas.
Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS alongside Gregory Davidow and recorded two singles. Diving into the Paris post punk scene he met Claude Arto and designed the artwork for Claude's single on Celluloid Kwai Systeme / Betty Boop.' Robin Scott (M Pop Music') had produced the SpionS first single and wanted to collaborate further. With Claude, Jean-Marie wrote Me Me Me', intended for a choir, for M. Then SpionS split and Robin was off to Switzerland to record an album to follow-up his hit single. That left Jean-Marie alone in London, where he began working as Codek, a play on the brand name Kodak The Me Me Me' single was released by MCA Records in 1980. Back in Paris, now with some studio experience, Celluloid Records hired Jean-Marie to produce records for Artefact and Les Orphelins. Over the next 2 years he began working on ideas for the next Codek single Closer / Tam Tam'
Closer' started its life as an electric baseline played by Jean-Marie. Claude Arto sequenced the floating synthesizers. Laurent Grangier and Frédéric Lapierre of reggae band Immigration Act played the horns. The lyrics Hard to say. Easy to do. We don't need to say what we do' were a statement on creation as narration expressed Jean-Marie's ennui, I'm tired with it.' Tam Tam' was inspired by Burundi drummers playing on the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. JM was part of the the African night scene in Paris, remixing Xalam's Kanu' and Touré Kunda's Salaly Muhamed.' Claude achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of Tam Tam' and Closer' spanned over two years. They started on 16-track in Studio d'Auteuil, where JM blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder. Jean-Marie was producing other bands, and a lot of this was recorded on "borrowed" studio time. The single was released in 1981 on West African Music, a tiny label from the Ivory Coast, and was re-released a year later by Island Records in the UK (where the B-side was re-named Tim Toum'). Both tracks were staples in the DJ sets of Beppe Loda and Daniele Baldelli, finding a spiritual home in the Cosmic scene of Italy.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1981 edition with artwork by Angela Boy, inspired by primitive electronics and African paintings. Each copy includes an doubles-sided insert with photos and liner notes by Jean-Marie Salaun.
Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS and collaborated with Robin Scott (M 'Pop Music'). He began working as Codek, a play on the brand name Kodak with the 'Me Me Me' single released in 1980. In 1981 the 'Tam Tam'/'Closer' single was released on West African Music, a tiny label from the Ivory Coast, and re-released a year later by Island Records in the UK (where the B-side was re-named 'Tim Toum'). 'Tam Tam' was inspired by Burundi drummers playing in the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. Claude Arto achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of spanned over two years. They started on 16-track in Studio d'Auteuil, where Jean-Marie blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder.
In 2017 we reissued the 'Tam Tam'/ 'Closer' single and shortly after the 24-track master tapes were discovered in Paris by original engineer Gérard Chiron. We arranged for graphic designer Maycec to pick up the tapes and immediately began to think of remixers for this project. First up is producer and DJ Daniele Baldelli who gave the original single a spiritual home in the Cosmic 80s scene of Italy. Here he's teamed up with Marco Dionigi for two remixes. Remix A goes full on funky disco baseline while Remix B a more balearic affair. We remember Justin sharing a memory of DJing the original Island Records promo at the Mudd Club in 1981 so we had to ask him for remix. He teamed up with his Whatever/Whatever production partner Bryan Mette and delivered an hypnotic pulsing house remix and an extended edit. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is new twist designed by Eloise Leigh on the 1981 edition artwork by Angela Boy, inspired by primitive electronics and African paintings.
