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Vaccine Electronic was the 4th album from Younger Brother and originally released in 2014. Now available on vinyl for the first time. Remastered. Heavy Weight 180 gram vinyl

Eaux proudly announces the second full length LP from Rrose, Please Touch, released on vinyl, CD, and digital download. The LP follows 2019's Hymn to Moisture in ways that are both subtle and striking: Please Touch further hones the artist's tensile sound while exploring new aesthetic vistas and basking in an undeniably erotic sense of play. Moving with undulating power, the album's nine tracks drift across tempos from a weightless 0 bpm to a crawling 100 to a lunging 140 and back, with a rich palette of sculpted noise and cross-talking microtones.

Rrose's compositional process, rooted in their studies with West Coast avant garde trailblazers at Mills College, centers on "seed" sounds being fed through elaborate webs of interrelated audio processing. The result is a world where changes in any one element have downstream implications for some or all the others. It's a rich interdependence that lets the tracks breathe, grow and mutate with uncanny organicism. Please Touch addresses in equal measure the perceptual and the corporeal: these are sounds that sink into the body, exhibiting a tactility that pushes, pulls, bends and yields with fearsome vibrancy.

The album splits its time between radical techno iterations and pieces which pare back the percussion, letting the synth textures uncurl in their own time and space. The quivering drone and rolling sub-bass of "Joy of the Worm'' set the tone for the record, while "Rib Cage," Spore" and "Spines " swing with stepping rhythmic underpinnings. Building with finely calibrated tension, they use their few elements to startling, snarling effect. "Pleasure Vessels" is a rare moment of becalmed introspection in Rrose's oeuvre, hinting at a melodic ambiance that is practically unseen in previous works. It glows with a soft, dawn-like light before dissolving into a tidal fizz. "The Illuminating Glass'' brings the tempo down to a languorous chug, nodding its way through a field of glistening chirps and leaden gasps. "Feeding Time," "Disappear" and album closer "Turning Blue'' meanwhile nod to the cerebral psychedelia of Rrose's forebears, with mesmeric, looping textures and long, magisterial tones not dissimilar to the spectral works of James Tenney (whose work Rrose regularly performs) and the deep listening pieces of Pauline Oliveros.

The title of the album refers playfully to the tactile quality of the music while hinting at a forbidden sensuality that is only permitted within the confines of this microcosm. The phrase is also another nod to Marcel Duchamp, who gave this title to a 1947 exhibition of Surrealist art. Across the nine tracks, Rrose follows the lead of the sound(s) rather than trying to impose on the flow of the sonic material. Each move changes the parameters of a track's evolution. Thus, a non-hierarchical, symbiotic relationship forms between the so-called "music-maker" and the music itself. Please Touch acts as a collection of limbs, organs, parasites, and growths which both devour each other and keep each other alive.

One of this year’s breakout success stories from the UK’s current thriving independent music scene,
critically acclaimed seven-piece Black Country, New Road present here their highly anticipated second
album ‘Ants From Up There’ via Ninja Tune.
 Debut album ‘For the first time’ was shortlisted for the 2021 Hyundai Mercury Prize. The band
performed ‘Track X’ live on BBC 4.
 ‘Ants From Up There’ was written in lockdown in the early part of 2021 when the band were unable to
go on tour as planned to support their album release. The result is a stunning collection of songs and a
move in direction to a more crossover, alternative sound beyond the experimental and ‘post-punk’
nature of their debut.
 New album expands on their unique concoction to create a singular sonic middle ground that traverses
classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
 Extensive global touring in 2022, including their biggest London show to date at the Roundhouse, full
UK and European Tour in April/ May. Sold out 2021 shows include Brighton, Liverpool, Manchester,
Birmingham, Glasgow, Bristol and Dublin and more.
 2021 festival dates include End Of The Road, Latitude, Fusion, Roskilde, Dour, Bol Festival, Pohoda,
Le Guess Who, Dour. In 2022 they’ll play Primavera Sound, Dour, Way Out West, Bad Bonn Kilbi, Bol
Festival.
 For fans of IDLES, Black Midi, Squid, Phoebe Bridgers, Jockstrap, Nick Cave, The National,
Radiohead.
 Deluxe 4LP 140g vinyl box set with bonus ‘Live from the Queen Elizabeth Hall’ double LP, black paper
inner sleeves, 4 art prints, lyric booklet and sticker.

Beautiful release coming from Italy drawing inspiration from the intense colors of the works of the painter Tania Cantone on this work of love; "Sharade" by Pino Presti & Garden Planet. Mediterranean and Balearic lushness from the talented Pino Presti, and the eclectic keyboardist Claudio Calzolari, his son Andrea Calzolari, bass player Andrea Verardi and the organist Guido Mazzella. All together they created that magic, that long-forgotten, set aside, almost hidden atmosphere, which covers various genres such as lounge, future jazz, bossa-nova, ambient, which obviously includes chillout and downtempo vibes from the hot summer nights in the Mediterranean. So much vibes on this one release coming from the Italian friends of BEST Record! Recommened!

ZYX Italo Disco : Flemming Dalum Remixes Vol. 2 shines due
to 8 remixes carefully selected by the Italo Disco legend from
Denmark.

The remixes of Flemming are outstanding thanks to a modern
and perfectly produced sound, but are still close enough to the
original to convey the typical 80s Italo Disco feeling.

Freestyle Records are proud to reissue Ambiance II Fusion's mid-80s fusion rarity "Come Touch Tomorrow" - originally recorded in Hollywood CA October/November 1984 and released in 1985.

Following a yearly run of 4 albums self-released between 1979 and 1982, Nigerian-born saxophonist, flutist, and clarinettist Daoud Abubakar Balewa then took a few years off before returning with 1985's "Come Touch Tomorrow", the first of two albums issued under the updated name of Ambiance II Fusion. Combining the afro-spiritual jazz & be-bop inflected fusion of his earlier work as Ambiance, this record took the project into more modern & distinctly cosmic planes with the introduction of spacey pads and drum machines working alongside somewhat tighter arrangements and solid rhythm sectons. Of particular note here is the B1 track "Boy What a Joy" on which a sublimely funky synth & drum machine throwdown is presented in prophetically lo-fi fashion - recalling recent stylistic approaches from the likes of Dâm-Funk among others.

Participating Musicians:

"AMBIANCE II FUSION"

Stanley Dominguez - Guitars

Dr. Isacc Ford - Drums/Electric Drums

Ralph Rodriguez - Percussion

Juliian Breeton - Bass

Jardin Wilson - Bass

Lee Williams - Keyboards/Syntheziers

Daoud Abubakar Balewa - Alto & Tenor Saxophone/Percussion

Larry Dominguez - Alto Saxophone

Suzanne Daniels - Vocal Sounds

"AMBIANCE II FUSION ENSEMBLE"

James "Kino" Cornwell - Keyboards

Randy Landis - Basses

Rick Smith - Percussion

Jim Lum - Guitars

Arnold Ramsey - Drums

Daoud Abubakar Balewa - Soprano Saxophone/Percussion

Recorded at Sound Images Recording Studios - Sound Images Entertainment Complex - North Hollywood, CA & Classic Sound Studios - Hollywood, CA. October/November 1984.

Underground mainstay Guy Gerber is back on his own Rumors label with new EP Leave It On. Across three tracks he showcases his famously emotive and melodic house sounds.

Gerber has been a core part of the underground for years, headlining the world's most revered clubs and festivals, collaborating with P. Diddy, bringing all new party concepts to Ibiza, and serving up serene and synth heavy soundscapes that move people physically and emotionally on labels like Cocoon, Italians Do It Better and Rumors.

This one kicks off with the lush deep house elegance of 'Leave It On' with its languid bass and live sounding drums. Swirling pads and atmospheric vocals bring a romantic feel to this late-night jam. 'Leave Me' then picks up the pace with more percussive but still smooth grooves, this time doused in sweeping chords that bring sunshine and soul. 'Jupiter Blues' closes out with a cosmic exploration, the gently tinkling keys shining like stars as warm, rubbery drums carry you onwards and upwards.

This is another classy EP from Guy Gerber.

Repress!

Rule of Thirds is the debut album from Nine Windows, a collaborative project between Kid Drama & DJ Trace.

The album pulls inspiration from the golden era of atmospheric jungle with the focus on labels like Good Looking, Deejay Recordings and Lucky Spin.

Expect deep nostalgia and euphoria as the pads wash over you and breaks skitter over subsonic 808 basslines as these two veterans take you on a journey into 90s bliss.

To top it off there are features with the Pioneer of the new Jungle movement - Tim Reaper and the legendary Skream making an appearance on the album.

So sit back, reminisce and listen to the sounds of Nine Windows.

Bei »24 Nights: Blues« handelt es sich um eine 2LP Standalone-Version aus dem »The Definitive 24 Nights« Boxset. Die Sammlung aus dem diese Version entstammt destilliert die Essenz aus Claptons Residencys in der Albert Hall von 1990-91, indem sie die besten Performances aus den Rock-, Blues- und Orchesterabenden zu den kompletten Konzerten für jedes dieser Genres versammelt.

»24 Nights: Blues« umfasst die Aufnahmen des Blueskonzerts. Beim Blueskonzert wurde Clapton durch die Special Guests Buddy Guy, Albert Colins und Robert Cray begleitet. Geboten wurde eine Meisterklasse des Genres mit glühenden Versionen von Standards wie »Key To The Highway«, »Sweet Home Chicago«, »Black Cat Bone« und »Reconsider Baby«.

Über Iris aus dem Raum Stuttgart/Esslingen ist nicht viel bekannt. 1981 hat die siebenköpfige Band ihr einziges Album für das kleine Label PEAK aufgenommen, die natürlich nicht die finanziellen Mittel hatten, Iris zu etablieren. Zudem klang das anspruchsvolle und dennoch teils hart rockende Material nach dem, was man allgemein als Krautrock bezeichnet, oder bezeichnen kann. Somit war ein Drängen in die damals angesagte NDW-Richtung absolut ausgeschlossen.

Der Übergang von den späten Siebzigern zu den frühen Achtzigern war musikalisch auch in Deutschland extrem spannend. Iris hielten stilistisch eher an den Siebzigern fest, was ihnen heute mit dieser Wiederveröffentlichung posthum neue Fans bringen wird. Auch in der Hardrock- und Heavy Metal-Szene gibt es immer mehr junge Bands, die mit der Klangästhetik spielen, die auch auf „Iris“ zu hören ist. Ein
„veralteter Sound“ wird wieder modern.

Die CD und LP kommt mit Liner Notes von Fachmann Michael Lörber. Ausserdem wurden alle Komponenten des Albums, also auch das Textblatt, gescannt und hinzugefügt. Den Audiotransfer hat Patrick Engel (Sony Music, High Roller, etc.) vorgenommen, das Remastering erfolgte durch Neudi.

Ein in Zukunft nicht mehr vergessenes Stück deutscher Rockgeschichte!

Not much is known about Iris from the Stuttgart / Esslingen area.

In 1981, the seven-member band recorded their only album for the small label PEAK, which of course did not have the financial means to mainstream Iris. In addition, the sophisticated yet sometimes hard rocking stuff sounded like what is generally called, or can be called, Krautrock. Thus, a push towards the NDW style that was in vogue at the time was absolutely out of the question.

The transition from the late seventies to the early eighties was musically extremely exciting, even in Germany. Iris stuck stylistically more to the seventies, which will bring them new fans posthumously today with this re-release. Also in the hard rock and heavy metal scene there are more and more young bands playing with the sound aesthetics that can also be heard on „Iris“. An „outdated sound“ is becoming modern again.

The CD and LP comes with liner notes by expert Michael Lörber. In addition, all components of the album, including the lyric sheet, were scanned and added. The audio transfer was done by Patrick Engel (Sony Music, High Roller, etc.), the remastering was done by Neudi.
A piece of German rock history that will not be forgotten in the future!

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. DIXIE CHICKEN (2023 REMASTER) [3:55]
[b] A2. TWO TRAINS (2023 REMASTER) [3:06]
[c] A3. ROLL UM EASY (2023 REMASTER) [2:30]
[d] A4. ON YOUR WAY DOWN (2023 REMASTER) [5:31]
[e] A5. KISS IT OFF (2023 REMASTER) [2:56]
[f] B1. FOOL YOURSELF (2023 REMASTER) [3:10]
[g] B2. WALKIN’ ALL NIGHT (2023 REMASTER) [3:35]
[h] B3. FAT MAN IN THE BATHTUB (2023 REMASTER) [4:29]
[i] B4. JULIETTE (2023 REMASTER) [3:20]
[j] B5. LAFAYETTE RAILROAD (2023 REMASTER) [3:40]
[k] C1. TWO TRAINS (DEMO) [3:19]
[l] C2. FAT MAN IN THE BATHTUB (DEMO) [3:56]
[m] C3. WALKIN’ ALL NIGHT (ALTERNATE VERSION)* [3:40]
[n] C4. ROLL UM EASY (ALTERNATE VERSION)* [2:36]
[o] C5. ON YOUR WAY DOWN (ALTERNATE VERSION)* [5:57]
[p] D1. ELDORADO SLIM [4:42]
[q] D2. JULIETTE (ALTERNATE VERSION)* [3:34]
[r] D3. HI ROLLER (ACE IN THE HOLE) [3:27]
[s] D4. DIXIE CHICKEN (ALTERNATE VERSION)* [4:06]
[t] E1. TWO TRAINS (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:23]
[u] E2. GOT NO SHADOW (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:35]
[v] E3. ON YOUR WAY DOWN (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:26]
[w] F1. WALKIN’ ALL NIGHT (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)*[3:34]
[x] F2. FAT MAN IN THE BATHTUB (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [5:31]
[y] F3. WILLIN’ (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [4:31]
[z] F4. A APOLITICAL BLUES (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:33]

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’. The Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature. The 14-song Blues set includes standards such as ‘Sweet Home Chicago, ‘Have You Ever Loved A Woman’, and ‘Key To The Highway’.

The limited-edition ‘Definitive 24 Nights’ deluxe box sets include 47 songs and almost 6 hours of music on 6 CDs or 8 LPs and 3 Blu-ray’s.

Green Monster, the 4th Kito Jempere studio album is a journey through love, interconnectedness and creative freedom, bound together by musical friendship that breaks through walls, borders, languages and shapes; accumulated over a celebrated twenty year career and ten years of Kito Jempere.

Over fourteen tracks Kito teams up with over 26 artists from all over the world: a range of talented artists including Warp records artist Jimi Tenor, Red Snapper drummer Rich Thair, Azari & III ex-vocalist Starving Yet Full, L.I.E.S. records Lipelis (on bass), Curly Castro and SINDYSMAN. The album blends hip-hop, free-flowing jazz and world-building soundscapes into a piece dedicated to Kito’s musical roots; marrying multiple artforms, cultural influences and international artists into a body of work that feels deeply personal, healing and detailed. The accompanying artwork is a world created by Kito made using Midjourney prompt, connecting the albums audio world with visible objects — both vinyl and CD will contain booklets with lyrics and the visual world of Green Monster.

Kito describes the album ‘like getting Ennio Morricone, Weezer, The Beatles, Oneothrix Point Never, Eduard Artemiev, Jaga Jazzist, Massive Attack, Fugazi, Jimi Tenor, Hans Zimmer, Radiohead, John Cage and Aphex Twin all together, then collaborating with movie-directors Wes Anderson, David Lynch, Dziga Vertov and Andrei Tarkovskiy.’ Used as a metaphor to help create his album.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

Das nunmehr 20. Studioalbum der erfolgreichsten deutschen Art- & Progressive Rockband ELOY. Es ist zugleich das 3. Album einer einzigartigen, vom Band- Mastermind Frank Bornemann als Rock Opera gestalteten Trilogie über das Leben und Schicksal der französischen Nationalheldin und Heiligen Jeanne d´Arc.
Bereits die beiden ersten Alben mit dem Titel „The Vision, the Sword and the Pyre, Part 1 & 2“, auf denen sich diverse illustre Künstler (u.a. Alice Merton) auf der Gästeliste befinden, wurden nicht nur durchweg positiv rezensiert, und erreichten hohe Chartsplatzierungen, sondern fanden auch aufgrund ihrer auf profunden Kenntnissen basierenden Umsetzung in allen historischen Details auf kultureller Ebene viel Beachtung.


Mit „Echoes from the Past” legt nun der Autor nochmal nach, und lässt den durch die Handlung der ersten beiden Alben führenden Protagonisten und Waffengefährten von Jeanne d´Arc, Jean de Metz, die aufwühlenden Ereignisse der Vergangenheit auf sehr emotionale Weise reflektieren.


Musikalisch entstand dadurch ein Werk, bei dem sich sensible und atmosphärische Passagen mit gewaltigen, dramaturgisch geprägten Klangwogen abwechseln, die den ELOY-Fan sicherlich an frühere Konzept-Werke der Band erinnern werden.


Diese Melange ist aber gemäß Frank Bornemann, der sich bei dieser Produktion erneut mit Veränderungen im Line up konfrontiert sah, voll beabsichtigt. Obwohl es sich bzgl. seiner musikalischen Elemente bestens in die Trilogie integriert, ließ es bei seiner Entstehung offensichtlich doch viel Spielraum für künstlerische Momente, die man nicht erwartet, aber die sich außerordentlich prägend für das Album auswirken, welches wieder einmal einzigartig ist.

Das nunmehr 20. Studioalbum der erfolgreichsten deutschen Art- & Progressive Rockband ELOY. Es ist zugleich das 3. Album einer einzigartigen, vom Band- Mastermind Frank Bornemann als Rock Opera gestalteten Trilogie über das Leben und Schicksal der französischen Nationalheldin und Heiligen Jeanne d´Arc.
Bereits die beiden ersten Alben mit dem Titel „The Vision, the Sword and the Pyre, Part 1 & 2“, auf denen sich diverse illustre Künstler (u.a. Alice Merton) auf der Gästeliste befinden, wurden nicht nur durchweg positiv rezensiert, und erreichten hohe Chartsplatzierungen, sondern fanden auch aufgrund ihrer auf profunden Kenntnissen basierenden Umsetzung in allen historischen Details auf kultureller Ebene viel Beachtung.


Mit „Echoes from the Past” legt nun der Autor nochmal nach, und lässt den durch die Handlung der ersten beiden Alben führenden Protagonisten und Waffengefährten von Jeanne d´Arc, Jean de Metz, die aufwühlenden Ereignisse der Vergangenheit auf sehr emotionale Weise reflektieren.


Musikalisch entstand dadurch ein Werk, bei dem sich sensible und atmosphärische Passagen mit gewaltigen, dramaturgisch geprägten Klangwogen abwechseln, die den ELOY-Fan sicherlich an frühere Konzept-Werke der Band erinnern werden.


Diese Melange ist aber gemäß Frank Bornemann, der sich bei dieser Produktion erneut mit Veränderungen im Line up konfrontiert sah, voll beabsichtigt. Obwohl es sich bzgl. seiner musikalischen Elemente bestens in die Trilogie integriert, ließ es bei seiner Entstehung offensichtlich doch viel Spielraum für künstlerische Momente, die man nicht erwartet, aber die sich außerordentlich prägend für das Album auswirken, welches wieder einmal einzigartig ist.

Das nunmehr 20. Studioalbum der erfolgreichsten deutschen Art- & Progressive Rockband ELOY. Es ist zugleich das 3. Album einer einzigartigen, vom Band- Mastermind Frank Bornemann als Rock Opera gestalteten Trilogie über das Leben und Schicksal der französischen Nationalheldin und Heiligen Jeanne d´Arc.
Bereits die beiden ersten Alben mit dem Titel „The Vision, the Sword and the Pyre, Part 1 & 2“, auf denen sich diverse illustre Künstler (u.a. Alice Merton) auf der Gästeliste befinden, wurden nicht nur durchweg positiv rezensiert, und erreichten hohe Chartsplatzierungen, sondern fanden auch aufgrund ihrer auf profunden Kenntnissen basierenden Umsetzung in allen historischen Details auf kultureller Ebene viel Beachtung.


Mit „Echoes from the Past” legt nun der Autor nochmal nach, und lässt den durch die Handlung der ersten beiden Alben führenden Protagonisten und Waffengefährten von Jeanne d´Arc, Jean de Metz, die aufwühlenden Ereignisse der Vergangenheit auf sehr emotionale Weise reflektieren.


Musikalisch entstand dadurch ein Werk, bei dem sich sensible und atmosphärische Passagen mit gewaltigen, dramaturgisch geprägten Klangwogen abwechseln, die den ELOY-Fan sicherlich an frühere Konzept-Werke der Band erinnern werden.


Diese Melange ist aber gemäß Frank Bornemann, der sich bei dieser Produktion erneut mit Veränderungen im Line up konfrontiert sah, voll beabsichtigt. Obwohl es sich bzgl. seiner musikalischen Elemente bestens in die Trilogie integriert, ließ es bei seiner Entstehung offensichtlich doch viel Spielraum für künstlerische Momente, die man nicht erwartet, aber die sich außerordentlich prägend für das Album auswirken, welches wieder einmal einzigartig ist.

Brüder und Schwestern, wir haben uns versammelt, um die Heavy-Götter auf dem Altar des Metal anzubeten. HIGH PRIEST kommen aus Chicago, Illinois in den Vereinigten Staaten von Amerika, um unsere Tage mit einer hoffnungsfrohen Botschaft des Doom zu erhellen. Ihre Prophezeiung in Form des Debütalbums "Invocation" ist in Stoner Rock gehauen und in metallene Schrift gegossen. HIGH PRIEST haben sich die Worte der Ältesten zu Herzen genommen. Ihre glorreichen Harmonien und Melodien tragen die eingängige Handschrift von THIN LIZZY. Die düstere Schwere wurde von BLACK SABBATH vorausgesagt und von ELECTRIC WIZARD wiederbelebt. Sogar einige Verse von METALLICAs klassischen Riffs haucht den Songs ihr Leben ein. Und aus den Schriften des Grunge kommt eine emotionale Kraft, die durch an ALICE IN CHAINS gerichtete Gebete empfangen wurde. All diese Herrlichkeit wird in einem neuen Testament aus bluesigen Gitarrenriffs und gefühlvollem Gesang dargeboten. HIGH PRIEST entstanden mit einer klaren Vision in den Köpfen von vier Freunden, die seit ihrer Jugend schon in diversen Bands und Besetzungen zusammen gespielt hatten. Während einer ELECTRIC WIZARD Show in ihrer Heimatstadt im Jahr 2015 gelangten sie spontan und gleichzeitig zu der Erleuchtung, dass sie fortan Doom und Old School Metal spielen mussten. Ihr erstes öffentliches Bekenntnis zum Metal-Evangelium war die im Jahr 2016 erschienene EP "Consecration", die HIGH PRIEST nicht nur viel Aufmerksamkeit in der Doom und Stoner Metal-Szene einbrachte, sondern auch einen Plattenvertrag mit Magnetic Eye. Dies führte zunächst zur Veröffentlichung der zweiten EP "Sanctum" im Jahr 2019. Nun ist es soweit: HIGH PRIEST liefern ihr mit Spannung erwartetes Debütalbum ab. "Invocation" hält nicht nur, was die beiden EPs versprachen, sondern trägt seine Hörer auf einem Wagen aus feurigen Riffs direkt in den Himmel. Amen!

Brüder und Schwestern, wir haben uns versammelt, um die Heavy-Götter auf dem Altar des Metal anzubeten. HIGH PRIEST kommen aus Chicago, Illinois in den Vereinigten Staaten von Amerika, um unsere Tage mit einer hoffnungsfrohen Botschaft des Doom zu erhellen. Ihre Prophezeiung in Form des Debütalbums "Invocation" ist in Stoner Rock gehauen und in metallene Schrift gegossen. HIGH PRIEST haben sich die Worte der Ältesten zu Herzen genommen. Ihre glorreichen Harmonien und Melodien tragen die eingängige Handschrift von THIN LIZZY. Die düstere Schwere wurde von BLACK SABBATH vorausgesagt und von ELECTRIC WIZARD wiederbelebt. Sogar einige Verse von METALLICAs klassischen Riffs haucht den Songs ihr Leben ein. Und aus den Schriften des Grunge kommt eine emotionale Kraft, die durch an ALICE IN CHAINS gerichtete Gebete empfangen wurde. All diese Herrlichkeit wird in einem neuen Testament aus bluesigen Gitarrenriffs und gefühlvollem Gesang dargeboten. HIGH PRIEST entstanden mit einer klaren Vision in den Köpfen von vier Freunden, die seit ihrer Jugend schon in diversen Bands und Besetzungen zusammen gespielt hatten. Während einer ELECTRIC WIZARD Show in ihrer Heimatstadt im Jahr 2015 gelangten sie spontan und gleichzeitig zu der Erleuchtung, dass sie fortan Doom und Old School Metal spielen mussten. Ihr erstes öffentliches Bekenntnis zum Metal-Evangelium war die im Jahr 2016 erschienene EP "Consecration", die HIGH PRIEST nicht nur viel Aufmerksamkeit in der Doom und Stoner Metal-Szene einbrachte, sondern auch einen Plattenvertrag mit Magnetic Eye. Dies führte zunächst zur Veröffentlichung der zweiten EP "Sanctum" im Jahr 2019. Nun ist es soweit: HIGH PRIEST liefern ihr mit Spannung erwartetes Debütalbum ab. "Invocation" hält nicht nur, was die beiden EPs versprachen, sondern trägt seine Hörer auf einem Wagen aus feurigen Riffs direkt in den Himmel. Amen!

Brüder und Schwestern, wir haben uns versammelt, um die Heavy-Götter auf dem Altar des Metal anzubeten. HIGH PRIEST kommen aus Chicago, Illinois in den Vereinigten Staaten von Amerika, um unsere Tage mit einer hoffnungsfrohen Botschaft des Doom zu erhellen. Ihre Prophezeiung in Form des Debütalbums "Invocation" ist in Stoner Rock gehauen und in metallene Schrift gegossen. HIGH PRIEST haben sich die Worte der Ältesten zu Herzen genommen. Ihre glorreichen Harmonien und Melodien tragen die eingängige Handschrift von THIN LIZZY. Die düstere Schwere wurde von BLACK SABBATH vorausgesagt und von ELECTRIC WIZARD wiederbelebt. Sogar einige Verse von METALLICAs klassischen Riffs haucht den Songs ihr Leben ein. Und aus den Schriften des Grunge kommt eine emotionale Kraft, die durch an ALICE IN CHAINS gerichtete Gebete empfangen wurde. All diese Herrlichkeit wird in einem neuen Testament aus bluesigen Gitarrenriffs und gefühlvollem Gesang dargeboten. HIGH PRIEST entstanden mit einer klaren Vision in den Köpfen von vier Freunden, die seit ihrer Jugend schon in diversen Bands und Besetzungen zusammen gespielt hatten. Während einer ELECTRIC WIZARD Show in ihrer Heimatstadt im Jahr 2015 gelangten sie spontan und gleichzeitig zu der Erleuchtung, dass sie fortan Doom und Old School Metal spielen mussten. Ihr erstes öffentliches Bekenntnis zum Metal-Evangelium war die im Jahr 2016 erschienene EP "Consecration", die HIGH PRIEST nicht nur viel Aufmerksamkeit in der Doom und Stoner Metal-Szene einbrachte, sondern auch einen Plattenvertrag mit Magnetic Eye. Dies führte zunächst zur Veröffentlichung der zweiten EP "Sanctum" im Jahr 2019. Nun ist es soweit: HIGH PRIEST liefern ihr mit Spannung erwartetes Debütalbum ab. "Invocation" hält nicht nur, was die beiden EPs versprachen, sondern trägt seine Hörer auf einem Wagen aus feurigen Riffs direkt in den Himmel. Amen!

Wytch Hazel melden sich fulminant mit einem neuen Album zurück!
Ihre musikalische Ausrichtung wird meistens als Hard Rock mit mittelalterlichen Anklängen beschrieben. Als wichtige Einflüsse werden häufig Thin Lizzy, Wishbone Ash und Jethro Tull genannt. Die drei Vorgänger-Alben erreichten auch bei deutschen Musikkritikern aus der Hardrock- und Metal-Szene gute bis sehr gute Bewertungen, u.a. war das 2020er Album 'III: Pentecost' im renommierten Deaf Forever-Magazin 'Album des Monats'. Mit fieberhafter Kreativität, progressiver Dynamik und beflügelt von charakteristischem Twin Guitar-Salven sucht die englische Band nach dem perfekten Sound - und ihrer ganz eigenen Interpretation von klassischem Hardrock. Und diese glitzernde Schatzkiste von 'IV: Sacrament' erweist sich als überaus würdiger Nachfolger des gefeierten Vorgängers. Ist es nicht nur die beste Produktion des Quartetts aus Lancashire, sondern auch ihre durchgehend stärkste Sammlung von ergreifenden Hooks und zeitlosen Melodien.

ROCK HARD
Soundcheck #3
"…Wer sich vor dem Kauf des Albums ein Bild vom "neuen" Sound der Briten machen möchte, kann sich auf YouTube ´A Thousand Years´ reinziehen. Im Grunde ist das für Kenner der Band aber nicht nötig: Wer WYTCH HAZEL bisher mochte, wird auch an ihrem neuen Album seine helle Freude haben."

ECLIPSED
"... Auf "IV: Sacrament" geht es zwischen Riffs und Gitarrenduellen oft melodisch, aber immer heftig zur Sache, Luft holen kann man nur bei einem anderthalbminütigen Zwischenspiel. Dass die Songs verhältnismäßig kurz sind, ist hierbei allerdings ein kleiner Wehrmutstropfen, da die Band mit dem epischen siebenminütigen Finale 'Digging Deeper' deutlich zeigt, dass sie gerade in der Langform zu bestechender Form aufläuft."

VISIONS
"…In den zehn Songs auf IV: Sacrament operieren Wytch Hazel mit allen Soundcharakteristika ihrer Vorgängeralben. Das bedeutet massig Reverb auf mittig abgemischten, analogen Gitarrenamps und wenige Spitzen in Riffing und Gesang. All das wird durchzogen von träumerischen Gitarrenleads, die Hendras sich gerne mit Alex Haslam teilt und in The Fire's Control oder A Thousand Years auch mal an den Songanfang setzt…"

powermetal.de
"…Dass eine Band auch mit dem dritten Studio-Album noch Weltklasse sein kann in heutigen Zeiten, in denen die meisten wirklich guten Bands ja komplett als Hobby-Truppen agieren kommt kaum vor (Ausnahme ATLANTEAN KODEX?). Auch das vierte Album ist also eine Großtat, eine 43-minütige Traumreise. Vielleicht sehe ich es in ein paar Monaten sogar auch auf Zehner-Niveau. Im Moment muss es sich mit 9,5 Punkten zufrieden geben. Klar gab es dieses Jahr noch keine stärkere Veröffentlichung, aber zur Perfektion fehlt halt das letzte kleine bisschen (noch). Das ist für mich ok."

Wytch Hazel melden sich fulminant mit einem neuen Album zurück!
Ihre musikalische Ausrichtung wird meistens als Hard Rock mit mittelalterlichen Anklängen beschrieben. Als wichtige Einflüsse werden häufig Thin Lizzy, Wishbone Ash und Jethro Tull genannt. Die drei Vorgänger-Alben erreichten auch bei deutschen Musikkritikern aus der Hardrock- und Metal-Szene gute bis sehr gute Bewertungen, u.a. war das 2020er Album 'III: Pentecost' im renommierten Deaf Forever-Magazin 'Album des Monats'. Mit fieberhafter Kreativität, progressiver Dynamik und beflügelt von charakteristischem Twin Guitar-Salven sucht die englische Band nach dem perfekten Sound - und ihrer ganz eigenen Interpretation von klassischem Hardrock. Und diese glitzernde Schatzkiste von 'IV: Sacrament' erweist sich als überaus würdiger Nachfolger des gefeierten Vorgängers. Ist es nicht nur die beste Produktion des Quartetts aus Lancashire, sondern auch ihre durchgehend stärkste Sammlung von ergreifenden Hooks und zeitlosen Melodien.

ROCK HARD
Soundcheck #3
"…Wer sich vor dem Kauf des Albums ein Bild vom "neuen" Sound der Briten machen möchte, kann sich auf YouTube ´A Thousand Years´ reinziehen. Im Grunde ist das für Kenner der Band aber nicht nötig: Wer WYTCH HAZEL bisher mochte, wird auch an ihrem neuen Album seine helle Freude haben."

ECLIPSED
"... Auf "IV: Sacrament" geht es zwischen Riffs und Gitarrenduellen oft melodisch, aber immer heftig zur Sache, Luft holen kann man nur bei einem anderthalbminütigen Zwischenspiel. Dass die Songs verhältnismäßig kurz sind, ist hierbei allerdings ein kleiner Wehrmutstropfen, da die Band mit dem epischen siebenminütigen Finale 'Digging Deeper' deutlich zeigt, dass sie gerade in der Langform zu bestechender Form aufläuft."

VISIONS
"…In den zehn Songs auf IV: Sacrament operieren Wytch Hazel mit allen Soundcharakteristika ihrer Vorgängeralben. Das bedeutet massig Reverb auf mittig abgemischten, analogen Gitarrenamps und wenige Spitzen in Riffing und Gesang. All das wird durchzogen von träumerischen Gitarrenleads, die Hendras sich gerne mit Alex Haslam teilt und in The Fire's Control oder A Thousand Years auch mal an den Songanfang setzt…"

powermetal.de
"…Dass eine Band auch mit dem dritten Studio-Album noch Weltklasse sein kann in heutigen Zeiten, in denen die meisten wirklich guten Bands ja komplett als Hobby-Truppen agieren kommt kaum vor (Ausnahme ATLANTEAN KODEX?). Auch das vierte Album ist also eine Großtat, eine 43-minütige Traumreise. Vielleicht sehe ich es in ein paar Monaten sogar auch auf Zehner-Niveau. Im Moment muss es sich mit 9,5 Punkten zufrieden geben. Klar gab es dieses Jahr noch keine stärkere Veröffentlichung, aber zur Perfektion fehlt halt das letzte kleine bisschen (noch). Das ist für mich ok."

Für den Podcast Klenk + Reiter, in dem der Chefredakteur des FALTER, Florian Klenk, mit dem Gerichtsmediziner Christian Reiter seit 2022 über Unfassbares aus der Welt der Gewaltverbrechen und der damit verbundenen Sterblichkeit spricht, schrieb Ernst Molden zwölf Lieder. Songs vom Seziertisch, aus der Unterwelt, vom Tatort und aus dem Versteck. Es sind zwölf gesungene Krimis, von der melancholischen Sorte. Denn es hilft nichts: am Ende noch so faszinierender Verbrechen bleiben die Scherben der Gewalt, das Leid, die Klage.Ernst Molden schreibt: vor 35 jahren hat mich eine wiener tageszeitung ausgesandt, um polizeireportagen zu schreiben. heuer hat mich eine wiener wochenzeitung ausgesandt, um mord- und mörderballaden zu schreiben. es war wie eine heimkehr. für den, mein vater hätte gesagt: hochinteressanten podcast KLENK + REITER, in dem der chefredakteur des Falter., Florian Klenk, mit dem gerichtsmediziner CHRISTIAN REITER schon seit dem vorjahr über unfassbares aus der welt der gewaltverbrechen und der damit verbundenen sterblichkeit spricht, durfte ich zwölf lieder schreiben. das sind songs vom seziertisch, aus der unterwelt, vom tatort und aus dem versteck. es sind zwölf gesungene krimis, wobei, eher von der melancholischen sorte. warum? es hilft nichts: am ende noch so faszinierender verbrechen bleiben die scherben der gewalt, das leid, die klage.diese lieder werden, eines nach dem anderen, in den zwölf kommenden folgen der zweiten podcast-staffel KLENK + REITER veröffentlicht. das dazugehörige album mit dem schlüssigen titel MÖADANUMMAN ist nach ende der podcast-staffel.im handel erhältlich.

180g double LPs, 45 RPM. Hot off the back of this year's critically-acclaimed new album 'New York City', Brooklyn punk institution The Men are back already with a Fuzz Club Session album due out digitally and on limited double LP vinyl June 23rd. Recorded live to tape at Brooklyn's Serious Business Studio by Travis Harrison, the live session sees the Men storm through three tracks from 'New York City', one from 'Devil Music', a cover of English punk band Blitz and nine-brand new tracks that have never seen the light of the day until now, ranging from blistering noise-rock and cathartic rock'n'roll to lo-fi country-rock and hypnotising drones. This is the 20th release in the Fuzz Club Session series from London-based label Fuzz Club, which has previously hosted the likes of A Place To Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’

Das hat eine Wucht, es ist unberechenbar, bringt Vertrautes zusammen und löst es wieder auf. Es mischt die Karten neu: Das 1973 geschriebene Stück »Stay on It« von Julius Eastman (1940-1990) stellt die Koordinaten der Avantgarde-Musik auf den Kopf. Es ist Minimal Music, aber es groovt unverschämt; es öffnet sich für Improvisation, räumt den Interpreten alle Freiheit ein, die sie brauchen, aber es ist kein Jazz, es gleitet auch nie ins Unverbindliche. Haben sich die Musiker einmal an die Disziplin gewöhnt, den Groove angenommen, den Eastman von ihnen verlangt, öffnet sich ihnen ein weitverzweigtes Feld neuer Verbindungen, die zu erhabenen klanglichen Vereinigungen führen.

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

Das Album "12" von Komponisten-Legende, Produzent und Pianist Ryuichi Sakamoto ist eine Sammlung von 12 Kompositionen für Synthesizer und Piano. Die Stücke hat der Grammy-, Oscar- und Golden Globe-Gewinner aus musikalischen Skizzen ausgewählt, die er während seines zweieinhalbjährigen Kampfes gegen den Krebs wie ein Tontagebuch aufgenommen hat. Jedes Stück ist eine intime Momentaufnahme aus dieser schweren Periode seines Lebens und trägt als Titel das jeweilige Entstehungsdatum. "12" ist das erste Solo-Album des mit seinen elektronisch-akustischen Genre-Überschreitungen weltweit stilprägenden Komponisten seit dem 2017 erschienenen Album "async".Über das Album sagt Ryuichi Sakamoto:"Nachdem ich nach einer großen Operation endlich in meine neue vorübergehende Unterkunft 'heimgekommen' war, griff ich zum Synthesizer. Ich hatte nicht die Absicht, etwas zu komponieren; ich wollte einfach nur von Klängen überflutet werden. Wahrscheinlich werde ich diese Art von 'Tagebuch' auch weiterhin führen."

The Search for God is a wake-up call for a troubled world that’s still worth saving, animated by a belief in the power of small connections to add up to big changes. At 10 songs delivered in a brief 15 minutes, Jimmy Whispers’ long-awaited sophomore album feels present in a way that feels brand new for the cult auteur. Like many of us, Jimmy has been affected by the pressure of the past few years. After embracing sobriety in 2019, and now as a filmmaker sharing the stories of lesser known Los Angeles community members, he’s brought his dreaming down to earth, while turning its direction even further out.

Recorded with his longtime friend Ziyad Asrar of the band Whitney (and re-recorded after a hard drive incident destroyed the original files), The Search for God was created in the wake of Jimmy’s COVID isolation, and returns to some teen influences that are out of step with the chill/lo-fi LA indie rock scene he’s found himself lumped in with. Created mostly with two vintage synths, a single Roland CR5000 drum machine, and a busted karaoke machine, it channels Midwestern emo, the Beach Boys’ Smile, subtle nods at hyper-pop production, and forgotten jewel-box era college radio of the early aughts into a pure pop sound that transcends easy categorization.

The album’s standout single—and its statement of purpose—is “Hellscape,” which packs more into a minute and 40 seconds than you’d think possible: multiple immediately-unforgettable hooks, kaleidoscopic keyboards, and a bracing reminder that even the most transcendent moments are rooted in a world full of suffering. “This is a fucking hellscape,” Jimmy sings. “This is real life / this is happening.”

That may sound like punk nihilism, but The Search for God is anything but. Every lyrical acknowledgment of how fucked things are right now comes with a promise that we can still make positive changes. Jimmy calls it “God”; you might call it Love or Peace or A Place In the Universe That Makes Some Kind of Sense.

Will The Search for God deliver whatever that is to you? Of course not. At its heart, it’s still just a really good pop album. But maybe that’s enough. For a minute or two at a time, Jimmy’s music cracks open a space where the divine can enter our lives. The utopia we’ve all been dreaming of is already here if we’re just willing to build it. Jimmy Whispers is there, ready to add his voice, whenever we want to reach out.

Geese veröffentlichen ihr zweites Album '3D Country', den Nachfolger ihres Debüts 'Projector'. Im Sommer 2021 tauchte die Band wie aus dem Nichts auf und obwohl die 5 Jungs aus Brooklyn eigentlich vorhatten, nur ein paar Songs vor dem College zu veröffentlichen, wurde schnell ein Album draus, dass u.a. von der NY Times, Stereogum, Rolling Stone gefeiert wurde und ihnen Auftritte im TV bei Colbert und im Vorprogramm von Jack White einbrachte. '3D Country', von der Band und James Ford (Arctic Monkeys, Depeche Mode, Shame) co-produziert, entpuppt sich als ein abgefahrener, wilder und unvorhersehbarer Ritt, der eine Welt unter die Lupe nimmt, die nicht mehr so ganz die alte zu sein scheint.

Das sechzehnte Album der New Yorker Noise-Rock-Urgesteine Swans um deren Kopf und Sänger Michael Gira, inklusive einer Schar an namhaften Gästen wie Ben Frost.

"Nach zahlreichen pandemiebedingten Tourabsagen für das vorherige Swans-Album 'leaving meaning' und einer scheinbar bodenlosen Grube des Wartens, Wartens, Wartens und der seltsamen Orientierungslosigkeit, die mit dieser plötzlichen, aber nicht enden wollenden erzwungenen Isolation einherging, beschloss ich, dass es Zeit war, Songs für ein neues Swans-Album zu schreiben und alles andere zu vergessen. Es fiel mir relativ leicht, sie zu schreiben, immer in dem Bewusstsein, dass es meine letzten sein könnten. Als ich endlich in der Lage war, mit den Songs in der Hand nach Berlin zu reisen, um mit meinen Freunden an diesem Album zu arbeiten, war das Gefühl ähnlich wie der Moment in 'Der Zauberer von Oz', wenn der Film von Schwarz-Weiß auf Farbe wechselt. Jetzt fühle ich mich ziemlich optimistisch. Meine Lieblingsfarbe ist rosa. Ich hoffe, dass euch das Album gefällt."

'The Beggar' erscheint auf Doppel-Vinyl in einer braunen Spanplattenhülle, als Doppel-CD in einem braunen Spanplatten-Digi-Pack sowie digital. Der knapp 44minütige CD-Track 'The Beggar Lover (Three)' liegt der LP als Download-Karte bei.

- Ltd. 2LP: (Doppel-Vinyl in einer braunen Spanplattenhülle mit einer Download-Karte für zusätzliche 44 Minuten Musik)

Over the course of eight thrilling tracks, ‘Royal’ leads listeners on a topsy-turvy journey from Middle Eastern exotica to Spaghetti Western style scores, via scorching Mediterranean beaches.
Highlights of the album include the surf-meets-Western delights of “Silver Lining”, where irresistible guitar lines are piled high and topped with euphoric synths and rock drums, resulting in a timeless soundtrack for both headless nights in dive bars and heedless days at the funfair.
“Juda” follows, a deadly combination of Zepellin and Middle Eastern rock with subtle hints of synth funk. The track is named after living legend and Middle Eastern guitar hero, Yehuda Keisar, who also joins the band for this song, contributing a scorching solo. The thunderous guitar riffs are matched pound-for-pound by the irresistible percussive groove.
Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, 'Royal'. Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on
their first album for international ambassadors of Middle Eastern grooves, Batov Records.

Boom Pam “Rock the Casbah” on title track “Royal”, revealing another card up their sleeve, as they transform a famous 80's Israeli radio theme into a discoinspired super jam with a punk edge.

The band maintain their reputation for first-rate and distinctive surf rock on the fast paced “Daber Yafé” and “Monsour”.
The sonic imprint is both warmed and widened by the rare addition of a tuba supplying the lower frequencies.
Meanwhile, opener “Lava Tongue”, and “Golden” emphasize the melodic side to the band, conjuring dreamy sunset mirages to hypnotize the listener.

Boom Pam have established themselves as pioneers of modern Middle Eastern surf rock, combining sophisticated yet catchy guitar riffs, with roaring tuba basslines and fiery drums. In the past decade the band have frequently collaborated with and backed legendary Turkish folk singer-songwriter, Selda Bagcan, on stage and record, and performed at some of the world's most renowned festivals, including Primavera Sound, Lollapalooza, Fuji Rock, the Montreal Jazz Festival and many more.
An engaging listen from beginning to end, ‘Royal’ is the perfect representation of Boom Pam’s incredible 20-year journey, showcasing their superior skills in pushing the boundaries of their genre.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

blue + red marbled vinyl
"Dog Eared"! Named as such as it marks a turning point in my productions and releases. Made while moving from Bristol back to London this as a theme pops up throughout the EP.

"Ithaca Vox" is the name of my first ever favourite preset - a CMI-inspired pad from GarageBand which I've been using since I was 11 but never on a release. The track also samples the screeching of Victoria line on my way back from nights out.

"Bubble Trouble" caused many headaches to finish hence the addition of the word "Trouble". The track pops, floats and bursts into the space between simplistic cartoon sound sources and excessively over the top sound design and production.

"Dive" dives further into these production ideas swapping tight space tiny bubbles for wide grinning resonance. The twisting track cuts these resonances leaving a large valley of missing frequencies that gets suddenly filled by an unrelentingly simple bell centring the listeners balance.

"From Window to Wall" gives a not so subtle nod to one of my favourite excessive chart hits as well as a further nod to the source of some of the track samples (see if you spot them).

"Calpohol" is the first collaboration Ive released (another reason to Dog Ear this release). Made from an afternoon of recording with Delay Grounds on his custom Eurorack the track was shaped by us over the weeks that followed.

FOR FANS OF: ROLLING STONES, GUNS N`ROSES, AEROSMITH.
Seit über 45 Jahren sind AC/DC eine nicht wegzudenkende Rock-Institution. Millionenfache Tonträgerverkäufe, ausverkaufte Tourneen, unzählige Hits und Auszeichnungen gehen auf das Konto der erfolgreichsten Hardrock Band aller Zeiten. Wir blicken zurück in die Vergangenheit der RockTruppe: 1985 startete die World-Tour zum Album "Fly On The Wall" von Angus, Brian & Co. und machten auch in der texanischen Metropole Dallas einen Stop. Das Konzert wurde damals vom US-Radiosender RCM-FM mitgeschnitten und später den amerikanischen Fans präsentiert. Endlich gibt das Kultkonzert nun auf einer strikt limitierten 10inch Schallplatte; gepresst in transparentem Vinyl mit edlen Splatter-/Splash-Effekten inklusive den
Hits Fly On The Wall, Back in Black, und viele mehr.

Wytch Hazel melden sich fulminant mit einem neuen Album zurück!
Ihre musikalische Ausrichtung wird meistens als Hard Rock mit mittelalterlichen Anklängen beschrieben. Als wichtige Einflüsse werden häufig Thin Lizzy, Wishbone Ash und Jethro Tull genannt. Die drei Vorgänger-Alben erreichten auch bei deutschen Musikkritikern aus der Hardrock- und Metal-Szene gute bis sehr gute Bewertungen, u.a. war das 2020er Album 'III: Pentecost' im renommierten Deaf Forever-Magazin 'Album des Monats'. Mit fieberhafter Kreativität, progressiver Dynamik und beflügelt von charakteristischem Twin Guitar-Salven sucht die englische Band nach dem perfekten Sound - und ihrer ganz eigenen Interpretation von klassischem Hardrock. Und diese glitzernde Schatzkiste von 'IV: Sacrament' erweist sich als überaus würdiger Nachfolger des gefeierten Vorgängers. Ist es nicht nur die beste Produktion des Quartetts aus Lancashire, sondern auch ihre durchgehend stärkste Sammlung von ergreifenden Hooks und zeitlosen Melodien.

Balearia series stunning with a more groove-driven tracks made for the dancefloor. Starting with four new dancefloor tracks, a combination of 90s underground energy with modern grooves, a summer feelings the sea spoils you just like good wine and lots of sun... Includes Ricky Montanari remix

The legendary Tru Comers release their first instrumental double album "Avantgarde"! On the album you can expect over 60 minutes of finest productions which will not only excite all lovers of the CominTru sound. The music on this album reaches deep and sweeps the listener along from the first minute. This project is a must have! Get your vinyl copy now!

Schwarz auf weiss' war das vierte Album der Vollgas Rock'n'Roller aus St. Pauli, original erschienen in 2011. Die Fans bekommen wie immer straighten, ehrlichen Rock'N'Roll geliefert. Die Songs rocken gradlinig mit fetten Riffs und treffsicheren Hooks, wie man es sonst nur von den australischen Riff-Göttern von AC/DC erwarten darf.
Bis heute sind Songs wie "Heul Den Mond An" oder "Sie hat Ihr Herz An St. Pauli Verloren" aus keine Ohrenfeindt Show wegzudenken und genießen bei den zahlreichen Fans der band absoluten Kultstatus.
OHRENFEINDT überzeugen mit jeder Menge Spielfreude, deutschen Texten, die fast schon überraschend nicht-peinlich sind und einer einwandfreien Produktion. Perfekt in Szene gesetzter Rotzrock, der schlicht und ergreifend Spaß macht.


Neuauflage erscheint mit einer einzigartigen Version des Rose Tattoo Klassikers "Nice Boys" als CD bonus track und als Ltd. White Vinyl Edition.

Back in 2018, two mysterious twelve-inch singles appeared in underground record sthops. Credited to Blotter Trax, a previously unknown outfit who cherished “faceless” anonymity, the pleasingly twisted and mind-altering music on show was a mutant form of electronic psychedelia. The included tracks were variously informed by analogue techno, acid, electro and minimal, but inhabited their own clandestine sonic space. These tracks were, we later discovered, lightly edited “straight to tape” jams, crafted on the fly by their creators in one of Berlin’s most admired studios.

By the time Blotter Trax delivered their follow-up on Clone offshoot Frustrated Funk a year later, the secret was out: the project was in fact a collaboration between two storied artists, techno titan Magda – a DJ/producer who should need little introduction – and serial underground aggravator (and man of many aliases) Jay Ahern, sometime Hauntologists member and acid techno royalty thanks to years spent releasing similarly shadowy EPs as T.B Arthur.

In the years that followed, and before the COVID-19 pandemic grounded them in Berlin, the pair took their incendiary, modular-driven live show to esteemed clubland institutions (Fabric included), on an acclaimed tour of Japan, and onto the stages of festivals across Europe.

Four years on from that appearance on Frustrated Funk, Blotter Trax are back in updated and expanded form. Now a trio thanks to the addition of bassist Hannes Strobl, the band is set to release their far-sighted, funk-fuelled debut album, Super Conductor – a pulsating, thrill-in-minute ride includes contributions from a swathe of notable guests (Nina Hynes, Ilhem Khodja and David Moss provided vocals, Shigeru Tanabu played guitar, Matthew Styles mixed the set and old friend John Tejada mastered it).

While rooted in electro and acid, the album is impressively low-slung, stylish and funky, with nods towards Blotter Trax’s mutual love of Arthur Russell, early ‘80s NYC downtown disco, leftfield new-wave pop and flash-fried punk-funk. Released by JD Twitch’s Optimo Music imprint, it charts the ongoing dancefloor evolution of a band whose days of mystery and mischief are now a distant memory.

Collins and Collins were the American brother and sister duo (Bill & Tonee) who released the self-titled album in 1980, which was their first and final release. The soul/two-step classic "Top Of The Stairs" was written by the Songwriters Hall Of Fame duo Nicolas Ashford & Valerie Simpson. The single was released as a promo and commercial 7" single and became a massive hit in the UK soul scene. The album also contains other great soul, disco and boogie tracks by the duo, such as the cover of Harold Melvin's "You Know How To Make Me Feel So Good", "Please Don't Break My Heart" and "Do You Wanna Dance". The 8 track-set was produced by American disco producer John Davis.

For the first time, this sought-after album is being reissued on vinyl.

Robin Saville - one half of the influential duo ISAN - returns to Morr Music with »Lore«, his fourth solo album to date. After 2020’s »Build A Diorama«, the British musician takes his love for field recordings, whirring pads, hovering bells and subtle electronics further, adding extra depth to both his sonic palette and his storytelling, focussing on biological diversity and its implications for human life.

For many years now, ›look and listen‹ has been Robin Saville's motto on his regular environmental explorations. The avid ambler does not just enjoy being out and about in nature; it is an important inspiration for his creative work as well. Sounds, smells, colours and even soil properties add to the experience. Equipped with a microphone and a recording device, Saville documents his strolls, using these recordings as a base for his compositions. »The field recordings on the album were made very locally this time, for obvious reasons,« he says. Welcome to the sonic landscape of the UK's East Anglia.

»Judith Avenue«, the opening track, is a great example of how Saville evolved his perspective on the sounds of nature: »It is a residential street, fading into a scrubby, wild landscape. There, I made a recording of nightingales at dusk. Such romantic birds! The males fly here from Africa a couple of weeks ahead of the females. They find a good territory, and at dusk, when all the other birds are going quiet, they start to sing to tempt the females down from their migratory flight paths. This has happened for thousands of years. However, the patch of ground where I made the recordings is earmarked for development and I don't suppose it'll happen there again. The recordings therefore become part of the history of that place, the lore.«

Recording the sounds of nature and enriching them with electronic sorcery, Saville is not only a documenting preservationist; he also translates these recordings into meaningful musical miniatures. Building on the soundscapes that marked his previous LP »Build A Diorama«, »Lore« is dominated by both open-hearted melancholy and more upbeat rhythms. But even when the music sounds quirky and loose, there is always deeper meaning. The album is characterised by an ever present melancholy about the threatening loss of living spaces, and a celebration of their beauty. This simultaneity turns the tracks into existential meditations about our human habitat. Saville enriches our lives musically by addressing the very issues we often ignore. At the same time, he becomes an agent of hope and change. Moving between light and dark, »Lore« is a musical allegory of where we stand today.

»The album is a document of places and times and while it is certainly a celebration of those things, it is also a record of things we are losing. That's how interaction with nature feels to me nowadays: something precious and amazing, but with an underlying sadness about the destructive relationship that humanity seems inevitably to have with the world around it.«

Let's not lose any more things.

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY HAMPER - APRIL 2023

Der 3. April 2022 war ein sehr trauriger Tag in der Welt des Punk, der Mode und darüber hinaus. Eine Ikone ist viel zu früh von uns gegangen, aber sie wird aufgrund ihres Vermächtnisses nie vergessen werden. Der Name "Jordan Mooney" war der Stoff, aus dem Legenden gemacht sind! Sie ist "dabei gewesen, hatte es gesehen, hatte es getan", in einer ganzen Reihe von unterschiedlichen Bereichen, vom Balletttanz bis zum Live-Auftritt von Ziggy und dem Treffen mit dem großen Mann; vom Punk sein und aussehen, bevor es Punk überhaupt gab; vom Miterleben der Gründung der Sex Pistols direkt vor ihren Augen zusammen mit Malcolm und Vivienne; von der Schauspielerei in zukunftsweisenden Filmen; vom Scherzen mit Andy Warhol; vom Management von Adam & The Ants und der kurzen Heirat mit einem von ihnen; und von der späteren Karriere als Tierkrankenschwester. Jordan hat in ihren knappen 66 Jahren viel erreicht, aber was auch immer sie anpackte, sie tat es mit vollem Einsatz. Jordan war sich selbst und anderen treu und genoss das Vertrauen all derer, die das Vergnügen hatten, sie zu kennen und zu treffen. Am Sonntag, dem 29. Mai 2022, versammelten sich Hunderte von Menschen in Brighton zum "Official Jordan Mooney Charity Memorial Concert", um das Leben dieser wirklich bemerkenswerten Frau zu feiern. Einige waren aus Japan, Deutschland und anderen Ländern angereist, nur um an diesem besonderen Tag teilzunehmen. An diesem Tag waren alte und neue Freunde unter einem Dach versammelt, um den perfekten Abschied zu feiern. Jordan kannte Captain "Cheers me dears!" Sensible seit etwa fünf Jahrzehnten, und während der letzten heiligen Monate ihres Lebens hatte sie einen Johnny-Moped-Song als Ohrwurm im Kopf, den sie und ich uns gegenseitig freudig vorsangen: "Darling, let's have another baby; Let's make one soon on our second honeymoon...". Es war nur logisch, dass Captain Sensible in Erinnerung an Jordan noch einmal mit seinen alten Kumpels, Johnny Moped, aufsatteln würde. Ein Teil der Veranstaltung wurde aufgezeichnet, und so, meine Damen und Herren, präsentieren wir Ihnen voller Stolz diese Wohltätigkeitsaufnahme! Viel Spaß! (Jordans Partner - Nick Linazasoro)

The ever-prolific and established artist Alan Abrahams aka Portable makes a swift and very welcome return to Circus Company with the impressive lead single "Guiding Me", giving us an early taste of his forthcoming album Augmented Dreams to be released in the fall.

Conceptually the direction of this new project refers to the use of technology to alter our dreams, inadvertently or not, as so much tech advancement becomes available and ingrained in our daily lives. The timely lead single here inspired by Abraham's South African ancestors the Khoi San people and the guidance they provide, appropriately exuding both futurist formed sonics and dream-like tenderness in content, led by his dulcet-toned vocals and delivered with the super solid production we've come to expect. Wonderful multi-purpose electronic music which will find itself right at home on late-night discerning dance floors, or indeed guiding the listener through their respective travels, solo meditations or get-downs in headphones.

Along with the excellent "Guiding Me" original mix, we are graced with a masterful remix by Hamburg's Lawrence of Smallville and Dial fame, who takes the track into an even more floor-focussed realm with his patented rolling sub-bass lines which will guarantee plenty of summertime sound system finessing, as well as the EP-exclusive B2 track "Vigor" in which Portable goes even deeper in tone with classic styled vocal cut-ups and repurposed shards of tasty sound design added to keep the dancers endlessly entranced when and wherever they may be.

TURQUOISE VINYL

The first full-length collaboration from two artists who have expanded the field of rock thru their work over the last 3 decades, both as individuals and in their time together in The Sea and Cake.

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

Persekutor 'Snow Business' is pure black 'n roll heavy metal majesty. Conceived in a forgotten corner of Eastern Europe, PERSEKUTOR channel the tradition of early black metal champions like Venom, Celtic Frost and Bathory through the unflinching hard rock efficiency of AC/DC into their own infectious strain of Carpathian heaviness. No album ever demanded to be launched back through time and inserted as score into Escape from New York or The Warriors more convincingly than Snow Business. Bask in its glory or flee for your pathetic life. First album 'Permanent Winter' was on tastemaker label Svart Records! Limited to 300 copies ww, pressed on dark blue and permafrost yellow swirled/color merge vinyl!

Cory Hanson"s third solo LP follows upon 2020"s luminescent Pale Horse Rider, upping the heat to molten levels, six strings at a time. In search of further adventures, Cory draws with vampiric glee from the madness coursing through the world outside; a spiraling shitshow that"s reawakened a compulsion in him - an old ambition, even! - to crush brutality and elegance together into a fresh set of rocks to hail down upon us. Western Cum is a high-stepping, hard-dancing, first love/heartbreak, tonight"s-the-night, future nostalgia kind of good time - the sound of guitars through the speakers of luxury cars. Like the dream you had once, alone, asleep in an amplifier, blasting Guns N" Roses through every last orifice in your body. And it"s coming through! Western Cum"s map to the treasure is less about pastiche, though; more toward executing the songs by executioner"s axe, rolling their decapitated rhythm heads and soaring melodies, the panoply of Cory"s melodic impulses with guitars, guitars, guitars. Harmony leads are just the tip of the iceberg, but be quick - the guitars like to melt everything in their path! The eight songs of Western Cum are driven by the stalwart bass of brother Casey Hanson and the drums of Evan Backer with a few passing acoustics from Cory and the intermittent spirit-moans of Tyler Nuffer"s steel guitar. The quartet sound - two guitars, bass and drums - acts as beat-making principle/phrasing device, as well as template for Cory"s layers of six-string and vocal textures. From the rooftop of their musical safe house - the band in their makeshift hut and Cory ensconced in an outhouse - they let loose with a blast both face-melting and mind-blowing: a social service that gives constipation a good name.

Introducing "Beats on Boat Vol. 2" - the highly anticipated compilation album featuring some of the most talented and respected names in the lofi hiphop scene With tracks from the likes of FloFilz, Made in M, digitalluc, and Klaus Layer, to name a few. This project promises to deliver a unique blend of chill beats and groovy rhythms that
will transport listeners to a world of laid-back vibes.

Released through ear-sight, tracks from "Beats on Boat Vol. 2" will be released every two weeks starting from
May 31st and will be accompanied by a live set, filmed on Berlins river Spree.

One of the standout features of this album is how each artist brings their own unique style to the table. From FloFilz's jazzy beats to Made in M's dreamy soundscapes, listeners can expect a diverse range of sounds and textures that will keep them hooked like fish on a rod.

Another thing that sets "Beats on Boat Vol. 2" apart from other compilations is the focus on both lofi hiphop and lofi house. While these two genres may seem vastly different at first glance, they actually share a lot of common ground - both are built on a foundation of warm textures, and infectious grooves.

A must-listen for anyone who loves lofi music, chill beats, or just wants to experience something truly unique. With this roster of top-tier artists, the focus on both lofi hiphop and lofi house, and its live beat sets on a boat in Berlin, this compilation is sure to make waves. Hop aboard and tune in!

Mastered by digitalluc
Cover design by Otto Stobbe

Limitierte Neuauflage des Cavetown-Albums 16/04/2016 (2016) auf rotem Vinyl. Robin Daniel Skinner aka Cavetown ist ein englischer Singer-Songwriter, Musikproduzent und YouTuber. Sein Stil verbindet Elemente von Indie-Rock, Indie-Pop und Bedroom-Pop mit sanften, weichen Ukulelen-Balladen.

Wildberry Lillet war der Hit des Jahres 2022. Nun möchte Nina Chuba ihren Fans etwas zurückgeben und lässt das warme Sommerfeeling wieder aufleben. Am 23.06.2023 veröffentlicht sie eine streng limitierte Single-Vinyl der "Wildberry Lillet Remix EP". Hoch die Gläser! Außerdem: Mit etwas Glück bist du dabei, gemeinsam mit Nina unveröffentlichte Songs in einem Studio in Berlin zu hören. Fingers crossed!Wenn ausverkauft, dann ausverkauft. Diese Vinyl wird so nie wieder erhältlich sein. Tracklist:Side A:1. Wildberry Lillet2. Wildberry Lillet (Remix feat. Juju)Side B:1. Wildberry Lillet (Rave Remix by twocolors)2. Wildberry Lillet (Instrumental)Lieferumfang:- 7inch Vinyl in der Farbe Wildberry-transparent- QR-Code zur Teilnahme an einem Gewinnspiel für eine Demo Listening Session* mit Nina Chuba in Berlin*Das Datum und der genaue Ort in Berlin wird nach erfolgreicher Registrierung bekannt gegeben.

*BLACK VINYL* Eight years in the making, Santa Cruz, California’s reclusive sons of tectonic riffage Mammatus return with Expanding Majesty, a sixty-nine minute magnum opus of kaleidoscopic guitars, soaring analog synths, wall-ofamps fuzz bass and one hundred feet drums. Four sidelong pieces unfold across a double album in unstoppable riffs that span the meditative and joyful un-earthed flight of ’70s kosmische godfathers like Popol Vuh and Tangerine Dream to the kinds of sub-surface thunder pioneered by Melvins and Sleep.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieve it on its way,
Do not go gentle into that good night.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

Das intensive, neue Album der britischen Alt Metal Durchstarter!
2021 haben die UK Alt Metal Durchstarter VEXED mit ihrem Debut Culling Culture eines der aufregendsten Alben des Genres veröffentlicht. Mit roher Brutalität und urbaner Attitüde entpuppte sich die Band als die Neuentdeckung der Szene und weckte schon bald großes Medieninteresse. Ein durchschlagender Erfolg, an den das Quartett jetzt mit dem Nachfolgewerk anknüpft, das unter dem Titel Negative Energy am 23. Juni 2023 über Napalm Records erscheint. Auf ihrem Zweitwerk stellen VEXED ihr neues Selbstvertrauen unter Beweis. Brachialer und ungezügelter denn je verarbeiten sie dabei Themen wie Tod, Verrat, Schmerz und Trauer durch markerschütternd ehrlichen, modernen Sound.

Wie bereits der Titel erahnen lässt, hält Negative Energy nichts von erzwungener Positivität. Vielmehr dienen die 13 neuen Songs als Selbsttherapie gegen den aufgestauten Frust der Band. VEXED verpacken tiefgründige und ergreifend ehrliche Lyrics und laufen dabei zu musikalischer Höchstform auf.

„Um Stärke zu finden mussten wir zuerst akzeptieren, dass es uns nicht gut geht, unser Trauma annehmen und uns ihm stellen, indem wir unsere Verletzlichkeit, Ängste und Schwächen teilen”, fügt die
Band hinzu. Negative Energy erweist sich als atemberaubendes, zerstörerisches musikalisches Ventil, das VEXED hernehmen, um vorhandenem Schmerzund Frust Luft zu machen und den frei gewordenen Platz voller Wucht mit Leben zu füllen.

Gary Burton ist nicht nur der große Vibraphon-Innovator seiner Ära, sondern auch ein äußerst scharfsinniger Talentscout. 1973 stellte The New Quartet Abraham Laboriel vor: Dies war die erste Aufnahme des
Bassisten, der bald zu einem der gefragtesten Session-Spieler in allen Genres werden sollte. ”Es muss betont werden, dass Laboriel mit seiner erstaunlichen Bassarbeit wie ein zukünftiger großer Künstler klingt”, schrieb das britische Magazin Melody Maker seinerzeit. Auch Gitarrist Mick Goodrick entpuppte sich mit diesem Album als ein Musiker, den man im Auge behalten sollte. Er glänzte in einem wohl durchdachten Programm mit Kompositionen von Keith Jarrett, Chick Corea, Carla Bley, Mike Gibbs und Bandleader Burton.

”Born Sinner” ist das zweite Studioalbum des amerikanischen Rappers J. Cole. Es wurde am 18. Juni 2013 unter den Labels Roc Nation und Columbia Records veröffentlicht und erreichte doppelten Platinstatus sowie Platz 2 der US-Billboard 200. Zum 10- jährigen Jubiläum ab dem 16.06.2023 als 2LP verfügbar.

To mark its ten year anniversary, Mexican Summer presents a new, limited edition pressing of No Joy’s classic album Wait to Pleasure expanded with two new tracks from the beloved band's original line up. Wait To Pleasure is the product of the Montreal noise-pop band’s first foray in a fullyfurnished studio environment. Here the band has flourished, delivering their finest set to date, rooted heavily in shoegaze ripcurls and devastating melody, finishing sentences whispered long ago with depth, variance and force. Singer-guitarists Jasamine White-Gluz and Laura Lloyd and drummer Garland Hastings knock down the fence between nostalgiaand modernity, chaos and control, in a perfectly- realized effort made to bridge their uncompromised musical pasts with the alarmist tendencies of the present. Wait To Pleasure found No Joy set loose in Mexican Summer’s studio, Gary’s Electric, for two weeks in 2012, with producer Jorge Elbrecht at the helm. “Our earlier records are purely guitar-based, rock band lineups,” Laura adds, “and with Wait To Pleasure we seized the opportunity to change things up a bit.”

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

World-renowned saxophonist Chris Potter releases a brand new recording of music live from the legendary New York venue: the Village Vanguard. Capturing moments from Chris’ annual residency (recorded 2022), the new album features an all-star band comprising Craig Taborn, Scott Colley and Marcus Gilmore. Reimagined folk tunes (Nozani Na, Olha Maria), powerful spirituals (Got the Keys to the Kingdom) and uncommon jazz standards (Blood Count, Klactoveedsedstene) make the final cut from the multi-night residency. Expect high energy, intensity, technical brilliance, effervescent joy and a snapshot of one of the world’s greatest saxophonists in his element.