Suche:peter pan

"The Red Room Crystal-Ruby Splatter Vinyl". Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed-with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense. In as much as Netherworld is a work that exists on a lineage of progressive music and the visionary artists who've expanded their boundaries of exploration to form sound-worlds as big as their imagination, it's also a work of magical realism in the tradition of Pan's Labyrinth, The Company Of Wolves or the work of Gabriel Garcia Marquez and Haruki Murakami-in which the supernatural and otherworldly, lead to a shortcut to the essence of being human. In this World, Louise Patricia Crane is our Storyteller.

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

Following the model of the well- known Ella Fitzgerald and Oscar Peterson songbook albums reuniting the work of great American song composers, Dave Brubeck prepared Angel Eyes, dedicated to compositions by Matt Dennis.

Czechoslovakian big band legend Gustav Brom has graced dancefloors with his music for a long time, you've probably heard his work and not realised it. PANORAMA returns with "Calling Up The Rain", from his 1976 album "Gustav Brom plays for you Pop Jazz and Swing" Gustav infused big band jazz and a latin groove into this dancefloor weapon, Organ solos, Trumpet solos and a screeching guitar solo. What's not to love?

Presented as a reissue by the newly launched London-based record label, PANORAMA Records, "Calling Up The Rain" reaffirms the label's discerning direction and "Don't Judge A Record By It's Cover" attitude. Championed by Gilles Peterson, Patrick Forge and a few other legends in the game, PANORAMA Records aims to reintroduce this big band hit to new audiences, establishing itself as a tastemaker in the business of reissuing global grooves. It comes with a sticker on the front with quotes from tastemakers Patrick Forge, Rainer Trueby and Zag Erlat (My Analog Journal).

With this release, record collectors can anticipate a discovery of Gustav's anthem, for the first time on a 45 and a first time official reissue, a full blown party starter, as Panorama Records presents "Calling Up The Rain" as a timeless reissue. The label shook mountains with it's first release of Gitte and Inger, with huge DJ support from Gilles Peterson, Ross Allen and other great tastemakers. PAN002 is here, Buy or cry!

R'n'Cs is the contraction of "Rem and the Courbarians". made up of Rem (drums - Vox) and the Courbarians brothers, Saïd (Guitar - Vox) and Gui (Bass Guitar - Vox). they were formed in the Orléans region at the dawn of the second millennium, combining Punk / Hard Core with overdriven Garage Punk'n'Roll. giving birth to a Rock'n'Roll speed all their own! The years go by. but the cadence remains the same. they are and remain definitively addicted to feedback and BPMs. Their Rock'n'Roll remains fast and furious. You'd think the teats they feasted on from an early age were loaded with nitroglycerine! And these R'n'R aficionados never tire of it! Class, delicacy and refinement have nothing to do with it. even if some music lovers will enjoy it! Their music isn't a poem, it's an ode to sex, drugs and rock'n'roll. all at breakneck speed! Hang on to the handlebars, because no one escapes this infernal spiral that grabs you and sends you straight to the devil's entrails! They became a national benchmark for speed rock'n'roll. and were repeatedly asked to play with bands such as Nashville Pussy, Supersuckers, Discharge, GBH, Unseen, Guitar Wolf, New Bomb Turks, The Cellophane Suckers, The Butchers, Burning Heads, Etc.. Over the years, R'n'Cs has always been backed, produced and supported by labels such as 442ème Rue, Beast Records, Guerilla Vinyl and of course Trauma Social. Their 7th Opus "Flytrap in the Murderhouse" released on Beast Records / Fly House Records (Trauma Social for the CD) saw the light of day in Spring 2024 and still remains in the tradition of Zeke, Peter Pan Speedrock, Mötorhead. This incendiary bomb will not differ from previous productions. Still in sweat, flames and Rock'n'Roll!!!! Hell Yeah!

Warehouse Find!

Vienna-based producer Sam Irl popped up on our radar a couple of years ago following stellar releases on Jazz & Milk, but honestly we should have been paying far closer attention as this guy has been making the best crunchy, MPC-driven jazz-infused House music dating right back to 2006. EP's for S3A's Sampling As An Art and collaborative projects with Patrick Pulsinger and Dusty have won him fans including Gilles Peterson (leading to a release on Brownswood), Mr Scruff and Session Victim amongst many others. His live sets have also seen him perform at the hallowed grounds of Panorama Bar and Sonar Festival.

For his debut EP here on Freerange Sam has delivered four tracks which perfectly showcase his production skills and knowledge of what makes a dance floor tick, kicking off with title track Rain Technique. Quirky keys and a playful groove help build a warm and charming vibe, light and bouncy yet deep and driving enough to get your dance on to.

Trust follows with loping, lopsided percussion forming the basis of the groove, sparse Rhodes pads punctuating the beat and adding just the right musical element to the mix without cluttering the beats or compromising the sense of space.

Flipping over we have All That's Left which sees Sam utilising his trusted TR606 for some lovely snappy snares and sizzling hihats. Chiming arpeggios join the repeating chord riff creating another simple yet uplifting and playful mood which can't fail to get under your skin. Closing the EP we have a wonky, shuffling house track which once again shows Sam proving less is more, sampling his key elements into the MPC and jamming out the arrangement in a live and improvised way which brings a fresh, somewhat naive appeal to the production.

Es ist 2021, und eine Pandemie würgt die Welt ab - und niemand scheint Spaß zu haben. Der scheinbar unermüdliche Musikfreak Peter Tägtgren kümmert das wenig, denn er landet einen Volltreffer mit - Entschuldigung für die harte Sprache - einer verdammt eingängigen... naja, Partyhymne.

Wir sprechen natürlich über den Song ?Party in My Head' von Tägtgrens synthinfiziertem Metal-Projekt PAIN. Unser geliebter Planet mag am Ende sein, aber in der Welt von PAIN scheint immer noch nicht viel falsch zu sein, da 2024 schnell im Kalender voranschreitet.

Es kann einfach nicht sein, denn das sehnlich erwartete neue Studioalbum von PAIN, "I Am" ist bald hier - ja, nach acht Jahren des hingebungsvollen Wartens. Das kraftvoll klingende "I Am" ist wirklich eine vielseitige - wenn nicht die vielseitigste - musikalische Rakete in PAINs reicher Diskographie. Die neuen Songs bewegen sich überall mit schweren industriellen Riffs, eindringlichen melancholischen Vibes und groove-gefüllten Rhythmen - ohne Überraschungen natürlich zu vergessen.

Making a bold return, genre-defying, North Carolina-bred quartet and live sensations Rainbow Kitten Surprise will unveil their first full-length album in six years, LOVE HATE MUSIC BOX, on May 10, 2024 via Elektra Entertainment / Parlophone. Produced by Daniel Tashian (Kacey Musgraves) along with Konrad Snyder (Noah Kahan) and Melo, the much-anticipated album ponders life’s ups and downs, and traces the turbulent trajectory of relationships, painted out loud in hues of pop, electronic, rock, and hip-hop. As such, it finds the musicians at their most vulnerable, vibrant, and vital.

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Hailing from Copenhagen, Denmark, The Sonic Dawn is one of Europe's most prominent current acid rock bands. Formed in 2013 by childhood friends Emil Bureau, Jonas Waaben, and Niels 'Bird' Fuglede, the trio has delivered four albums, celebrated for their dynamic fusion of genres from sitar pop to heavy psych. Their highly anticipated fifth LP is slated for release this spring via Heavy Psych Sounds. The debut album, Perception (2015), marked their international breakthrough with Berlin-based Nasoni Records. The sophomore release, Into the Long Night (2017), launched on Heavy Psych Sounds, accompanied by an extensive European album tour-some 60 shows, including two weeks with Brant Bjork (US)-solidifying their presence. The subsequent album, Eclipse (2019), earned acclaim as "easily one of the best psychedelic pop albums of the decade," and once again the group hit the road hard, playing in 11 different countries. In 2020, The Sonic Dawn unveiled Enter the Mirage, recognized as "a modern psych classic" by Shindig Magazine. While the planned album tour was cut short, it was possible to play on WDR's legendary TV show Rockpalast, which has featured David Bowie, the Grateful Dead, and many more through the years. Now, their highly anticipated fifth album, Phantom (2024), is set for a worldwide release on May 10th, 2024. Formally welcoming long-time collaborator Erik 'Errka' Petersson as a new studio band member on organ/keys, The Sonic Dawn continues its sonic journey. Culminating from four years of creating music, the album showcases a raw and heavy musical style blended with the melodic psychedelia for which the band is renowned.

Hailing from Copenhagen, Denmark, The Sonic Dawn is one of Europe's most prominent current acid rock bands. Formed in 2013 by childhood friends Emil Bureau, Jonas Waaben, and Niels 'Bird' Fuglede, the trio has delivered four albums, celebrated for their dynamic fusion of genres from sitar pop to heavy psych. Their highly anticipated fifth LP is slated for release this spring via Heavy Psych Sounds. The debut album, Perception (2015), marked their international breakthrough with Berlin-based Nasoni Records. The sophomore release, Into the Long Night (2017), launched on Heavy Psych Sounds, accompanied by an extensive European album tour-some 60 shows, including two weeks with Brant Bjork (US)-solidifying their presence. The subsequent album, Eclipse (2019), earned acclaim as "easily one of the best psychedelic pop albums of the decade," and once again the group hit the road hard, playing in 11 different countries. In 2020, The Sonic Dawn unveiled Enter the Mirage, recognized as "a modern psych classic" by Shindig Magazine. While the planned album tour was cut short, it was possible to play on WDR's legendary TV show Rockpalast, which has featured David Bowie, the Grateful Dead, and many more through the years. Now, their highly anticipated fifth album, Phantom (2024), is set for a worldwide release on May 10th, 2024. Formally welcoming long-time collaborator Erik 'Errka' Petersson as a new studio band member on organ/keys, The Sonic Dawn continues its sonic journey. Culminating from four years of creating music, the album showcases a raw and heavy musical style blended with the melodic psychedelia for which the band is renowned.

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

The opening line of Emily Dickinson’s short poem ‘‘Hope’ is the thing with feathers’ inspired the central image of Emily Barker’s new single ‘Feathered Thing’, written while she navigated cumulative grief.

When Barker was first introduced to producer Luke Potashnick (Gabrielle Aplin, Jack Savoretti, Katie Melua) in May 2022, she brought with her a full album’s worth of songs. But after visiting Potashnick’s storied studio, The Wool Hall and hearing his ambitious production ideas, she was inspired to write one more song.

“I also needed to process some heavy news” she comments. Barker and her husband Lukas Drinkwater had been trying to start a family. Following a couple of failed IVF cycles (and other “starts that we’d lost”), they investigated adoption and had decided to relocate to Australia to be closer to Barker’s family.

“It felt like we couldn’t work out what we wanted, but we finally reached a point where we both felt at peace with not having kids,” Barker recalls. “It had been an incredibly intense time, coinciding with a house move and the pandemic.”

And then Barker found she was pregnant. “We’d done all these things to try to make it happen, and then it happened naturally (and against all biological odds). Having previously navigated losses throughout our pregnancy journey, we now had to get our heads around what having this new person in our lives might look like - emotionally and practically.”

Soon after work began on the album, Barker had a miscarriage.

“Songwriting has always been a way of processing throughout my life.” Barker reveals how the new song came quickly as she sat at her piano at home. She shared an early version with Potashnick and remembers him politely asking, “Do you mind telling me what this is about?”

“I think I’d left it too abstract, initially,” she reflects. “It was difficult to open up about the miscarriage, but Luke was very supportive and encouraged me to dig a little deeper without necessarily being specific. I revisited the lyrics, and the result is much stronger.”

“I went to the burnt-out woods/ A tourist with some damaged goods/ Remembered how the trees withstood fires before…”

“The opening line is a metaphor for knowing that I’ll get through this,” Barker clarifies. “It’s about recovery and hope, allowing yourself both the space to grieve and permission to move on”. But Barker’s optimism is never misplaced – she knows the imprint of imagined futures and lost children are carried in hearts and minds forever:

“It’s so hard to let go, wanted to know wanted to know you …”

“I think that it's important to share and normalise these stories, which are all too common, yet not openly spoken about. People hide their pain and don’t want to burden friends and family. I think behind all this anguish, there’s a deep, often untold story.”

Now that Barker is settled back in Western Australia, she’s embracing being an auntie. “I’ve got three younger siblings over here who I’m close to, and they all have kids,” she enthuses. “I look after my brother's kids, aged two and five, one morning a week.”

Recorded - along with the entirety of the new album - at The Wool Hall, ‘Feathered Thing’ begins gently, with oscillating piano and distant drums, until the arrangement gradually transforms into an instrumental dervish of vibrant strings, bass drones and cymbal crashes. Throughout, Barker’s vocals float tantalisingly like a slipstreaming feather.

Watch the video, filmed at The Wool Hall here. The Wool Hall is a studio in Beckington, Somerset, set up by Tears for Fears in the 1980s and used by artists including The Smiths, Pretenders, Joni Mitchell and many more.

Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the hugely successful BBC crime drama ‘Wallander’ starring Kenneth Branagh.

Her last album, 2020's ‘A Dark Murmuration of Words’, was produced by Greg Freeman and recorded at StudiOwz, a converted chapel in the Welsh countryside. Lyrically probing, by turns both dark and optimistic, Barker searches for meaning through the deafening clamour of fake news and algorithmically filtered conversation, delivering a timely exploration of the grand themes of our age. It garnered widespread acclaim, with Uncut calling it “…a kind of Australian equivalent of PJ Harvey’s Let England Shake”.

Barker has released music and toured as a solo artist as well as with various bands and collaborations, most notably her long association with Frank Turner, and has written for TV and film, including composing the soundtrack for Jake Gavin’s lauded debut feature ‘Hector’ starring Peter Mullan and Keith Allen.

‘Fragile as Humans’ is scheduled for release on May 3rd 2024 through Everyone Sang/Kartel Music Group. The album will also feature earlier singles: the vast, cinematic ‘Wild to be Sharing This Moment’ and the meditative, crestfallen ‘Loneliness’.

Hinter dem Bandnamen Potato Beach versteckt sich ein Wiener Indie-Surf Kollektiv rund um Mastermind Jannik Rieß. Bislang gab es eine EP, die als Tape erschienen ist. Der Strand ist für alle da! "Back on the road, driving slowly, sipping coke" - Mit den ersten Zeilen auf "DIP IN" legt Jannik Rieß direkt ein Geständnis ab. Der deutsche Wahlwiener und Multiinstrumentalist hinter dem Musikprojekt Potato Beach, bekennt sich mit seinem Debüt zum Softdrink bei Einhalten des Tempolimits - und damit zur eigenen Kartoffeligkeit. Sympathisch! Potato Beach's durchaus nostalgischer Garage-Rock versucht gar nicht erst, dem Bravado und Machismo alter (The Kinks) oder neuer (Foxygen) Inspirationen nachzueifern. Rieß erzählt lieber seine eigenen Geschichten in der lähmenden Sommerhitze Wiens, irgendwo zwischen zu lang jung bleiben und zu früh alt werden. Die Platte braucht keine waghalsigen Salti vom Zehner schlagen, um in die Tiefe zu gehen. Vielmehr lädt sie uns dazu ein, mit baumelnden Füßen am Beckenrand tief ins Rot-Weiß der Freibadpommes zu tauchen. Schmeckt vertraut - und ziemlich lecker. So wabern simple, aber sorgfältig arrangierte Vintage-Riffs und schrullige Orgeln wie Hitzeschlieren am Horizont, wenn Rieß "Why are we feeling guilty for not doing anything?" oder "How can anyone go to work?" die blöden Fragen stellt, über die wir alle rätseln. Potato Beach's Selbstreflexionen sind am Puls der Zeit getaktet und sprechen dabei ganz ungezwungen 0,5 bis 2,5 Kartoffelgenerationen von der Pelle. So handeln sie nicht etwa von Heroin und Manic Pixie Dream Girls, sondern von Ghosting, Fernbeziehungen oder dem Gefühl der Einsamkeit unter Vielen. Potato Beach befreit den Küstenrock der 60er vom alten Rost und verleiht ihm mit ehrlichen, nachdenklichen und bodenständigen Anekdoten einen zeitgenössischen Anstrich. Dass Potato Beach mit "DIP IN" nicht dem Mackertum seiner Blaupausen folgt, ist kein Zufall. Nachdem Rieß' musikalische Vorbilder durch ihren Sexismus unhörbar wurden, sah er sich gezwungen, seine Lieblingsmusik selbst neu zu schreiben. Dass er das komplette Instrumentarium und den Gesang der 11 Tracks im Alleingang aufgenommen hat, zeigt: Dem ist das wirklich wichtig. Hingabe, Leidenschaft und Weltschmerz hallen jedenfalls deutlich hörbar aus dem Röhrenverstärker. Nur vereinzelt tauchen Vertraute Musiker:innen der Schwesterbands Peter the Human Boy oder Gardens auf, um ein Cello hier oder ein Keyboard dort einzuspielen. Die sind auch dabei, wenn die Freibäder Wiens warm genug werden, um die Platte live zu performen. Bis dahin sorgt "DIP IN" mit seiner warmen Melancholie für süße Tagträume vom Sehnsuchtsort Strand. "DIP IN" erinnert uns: Ob Potaetoe oder Potahtoh, every Body is a Beach Body!

J. Robbins on Basilisk:
2020 gave us the pandemic, which despite all its awfulness also gave me a lot of opportunities to write and demo music - but everyone was terrified to get into the same room together to play. Finally, around February of 2021, I called up Brooks Harlan and Darren Zentek and asked if they would be down to meet me at the studio and do a 2-day session and see how it turns out. Brooks and Darren were into the idea - we were all in full cabin fever mode at that point and dying to do anything - so I sent them the demos and we did it. The musical connection had always already been there, but the energy that came from all being in the same room doing this together - something we had just spent a year wondering if we’d ever get to do again - was wonderful. It felt like having been lost in the desert, and then finding an oasis. I’ve never been so happy with a session - both the results and the experience, and the outcome was exactly what I had wanted: something more stripped down and very immediate.

We were all fired up and we did a second session in March 2022. In the interim I enlisted some collaborators:Gordon Withers to add cello and second guitar to a few songs, Janet Morgan and her two sisters to sing some harmonies, Dave Hadley to play pedal steel on “Not The End,” and Chicago punk legend John Haggerty to add an actual blazing guitar solo to the song "Exquisite Corpse." And I went on working on vocals and overdubs at home. The lyrics were (as always) somewhat therapeutical: “Automaticity” came out of thoughts on aging and remaining present in a world increasingly going on auto-pilot; “Last War” and “Dead Eyed God” work out fears prompted by January 6th and the rise of neo-fascism. More personal matters were trying to work themselves out as well. Recurring childhood dreams ("Deception Island"), surrealist games ("Exquisite Corpse"), and trephination guru Amanda Feilding ("Open Mind") were also in the mix.

Another result of pandemic isolation was that I had also been working on more abstract, electronic based music(inspired by my love of film soundtracks, Peter Gabriel’s music, and by studio work I had done not long ago with the band Locrian), using granular synthesis, sampling, and software synths. So as Basilisk came together, I wanted to see if I could pull those sounds into the flow of the record, open up its vocabulary a little and still make something cohesive. Connection has always been the whole point of music making for me. There are so many ways to come at it, and i don't want to close any of those doors. Going forward, I only want to open more of them.

Brötzmann arbeitete im Laufe seiner Karriere mit vielen Künstlern zusammen und nahm regelmäßig neue Landsleute hinzu. Der norwegische Schlagzeuger Paal Nilssen-Love wurde zu einem seiner engsten Verbündeten, nachdem der Perkussionist dem Chicago Tentet beigetreten war. Sie arbeiteten in verschiedenen Kontexten zusammen, unter anderem in diesem unerschöpflichen, schlagkräftigen Duo. Die meisten Alben, die sie veröffentlicht haben, waren Live-Auftritte, aber 2015 haben sie diese beeindruckende Studioaufnahme gemacht. Peter hatte sich eine Kontra-Alt-Klarinette zugelegt und war vom Klang dieses Instruments sehr begeistert", so Nilssen-Love in den Liner Notes. Ich hatte auch mehrere koreanische Gongs gekauft, die ich noch nicht benutzt hatte." Im August dieses Jahres trafen sie sich zu einer zweitägigen Session in Antwerpen, und von Anfang an unterscheidet sich das Stück von vielen ihrer Arbeiten. Die Musik ist weniger hektisch und aggressiv als wir es gewohnt sind, da die Musiker ihre Erkundung neuer Instrumente mit einem kontemplativeren Ansatz teilten. Natürlich bringen sowohl Brötzmann als auch Nilssen-Love hier und da die übliche Energie auf, aber es ist eine echte Offenbarung, sie in Echtzeit neue Klänge ertasten zu hören, sei es, dass ersterer die rheumatische Nasalität der Kontra-Alt-Klarinette liebkost oder letzterer in der anhaltenden Resonanz seiner neuen Gongs schwelgt. Doch auch wenn sie neue Instrumente ausprobierten, waren ihre Beziehung und ihr Engagement so stark und tief wie immer. Terminüberschneidungen verhinderten, dass sie die Produktion des Albums jemals abschließen konnten, aber sie begannen bereits während der Pandemie mit den Planungen dafür. Leider blieb es Nilssen-Love überlassen, das Projekt zu Hause zu betreuen, aber das Warten hat sich gelohnt. Dieses Duo-Album ist ein wichtiges Statement der beiden Musiker. Aber es gibt noch mehr gute Nachrichten: Ein zweiter Teil mit Musik aus derselben Studiosession wird 2024 auf Vinyl erscheinen, zusammen mit einer CD mit Live-Aufnahmen.

Drum To Death is a collection of 11 experiments by Peter Kernel and their favourite drummers. Throughout 2020-2023 Peter Kernel invited eleven of their most esteemed drummers to send them rhythms with which they composed these eleven tracks. Each song was written and dedicated to the inherent drummer as an ode of appreciation to the beat creator. These eleven songs come together as a unique collection of an odd collaboration based on appreciation for different styles and people, a microworld made of different feelings, patterns, colours, intentions and attitudes. The album features collaborations with Bernard Trontin (The Young Gods), Cosmic Neman (Zombie Zombie), Beatrice Graf, Domi Chansorn, Ema Matis, Tam Bor, Hugo Panzer, Julian Sartorius, Kevin Shea (Storm & Stress, Lydia Lunch), Simon Berz, Simone Aubert (Hyperculte, Massicot).

Riotvan is thrilled to announce the latest installment of the "Familiar Faces” series, with label bosses Panthera Krause and Peter Invasion once again opening their arms and welcoming an exceptional group of friends. Some familiar faces return, while others make a glorious Riotvan
debut. Originally conceived as a four-track release, in line with previous installments, the project took on a life of its own as the incredible music continued to flow in. Today, we are delighted to present "Familiar Faces IV," an eight-track selection that showcases the freshest and most diverse sounds from a group of our incredibly talented friends.

Daylight Saving Records will release Blowdry Colossus, the new solo album by Field Music"s Peter Brewis. The record is Peter"s first solo venture since 2008"s The Week That Was and follows collaborative albums with Paul Smith (on 2014"s Frozen By Sight) and Sarah Hayes (on 2019"s You Tell Me). The album was recorded over the last year at the Field Music studio in Sunderland, and features contributions from Peter"s brother David, Sarah Hayes and Peter"s son Alexander.

As the music industry continuously evolves, pushing boundaries and challenging conventions, artists like Michael Peter Olsen emerge to redefine the very essence of their chosen instruments. With an
impressive career spanning nearly three decades, Olsen has had mainstream exposure through collaborations with renowned artists like Drake, Ed Sheeran, and Arcade Fire and developed multifaceted talents as a player, producer, composer, and Grammy-nominated songwriter.

However, it is his electric cello based solo project, which debuted in a grimy basement club in Berlin in 2019, and his 2021 album “Yearning Flow'' that truly showcased his desire to subvert expectations of what a cello can be. With the release of "Narrative of a Nervous System," Olsen taps into the prevailing sense of disconnection in modern society, accentuated by the recent pandemic. The record delves into the increasing divisions between the mind and body, metaphorically capturing the struggles many individuals face with their mental health.

Olsen aims to bridge this disconnect through his music,
creating a powerful fusion of sonic and visual elements. While the album is instrumental and conceptually-driven, Olsen remains committed to making the music accessible and relatable. Olsen's
vision is further realized through the inclusion of special guests Owen Pallet, Màiri Chaimbeul, alaska B, and Zoon, each representing older music traditions. Celtic, European, North American Indigenous,
and Traditional Chinese are explored and stretched, offering a modern perspective on ancient intuitively based traditions. While Michael Peter Olsen dismantles the preconceived notions surrounding the cello, he continues to create evocative emotional music.

"Narrative of a Nervous System" invites listeners to explore the disconnections between mind and body, and offers a transformative musical journey that resonates with both the modern world and ancient traditions. “Essentially I’m trying to destroy the cello, but do it in a nice way”