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DJ Support: Laurent Garnier, Danny Krivit, Chrissy T, Mousse T, Lenny Fontana, Danism & Train, Mr V, Quentin Harris, Natasha Kitty Kat, Eric Kupper DJ Pope, Danism + Train, Saison, Sean McCabe

Physical Education make their debut on SoSure Music with the ‘Sweet Talk EP'. Now based in Barcelona and Prague, Physical Education is the brainchild of Luke Scheybeler and David Philips. The duo’s production alias is synonymous with a soulful, jazzy, sample-heavy sound, meticulously crafted at their studio in the Pyrenees mountains. With a musical history than spans almost thirty years, Physical Education are producing music with a strong focus on musicianship and hardware-based production. Title track ’Sweet Talk’ is a smooth and superbly produced slice of jazz-influenced deep house while ‘Work On That Soon’, ‘Oscar’ and ‘Dreamsville’ (a vinyl only exclusive) are also included here and fully compliment this release to complete a standout debut EP.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Repress

Needing no introduction, The Chemical Brothers make a very special appearance on Phantasy with a limited-edition vinyl pressing of Erol Alkan’s triumphant remix of ‘Goodbye’, a highlight from their recent, Grammy-nominated album, ‘For That Beautiful Feeling’.

Masterfully bridging soulful vocals and widescreen techno with their typical psychedelic edge, Alkan’s interpretation demonstrates his unique brotherhood with Tom Rowlands and Ed Simons. Across a near ten-minute journey, Alkan pushes the Brothers’ irresistible synth line further into dissonant analogue bliss, which coupled with celestial breakdowns, already counts as a personal favourite in the London DJ and producer’s diverse, enviable back catalogue of reworks. The other side of the record includes Alkan's previously unreleased instrumental.

Nach Releases für Cercle, AnjunaDeep und Ninja Tune veröffentlicht der Londoner Produzent/DJ George King (aka Catching Flies) mit TIDES eine basslastige und dennoch melodische Melange aus brütender Elektronik und komplexen Rhythmen, mit Schattierungen von Hip-Hop bis House, Soul bis Jazz. Die LP enthält die Erfolgssingle GLY (25 Mio. Streams), die von Hot Chip und DJ BORING geremixt wurde. Künstlerkollegen wie Nils Frahm, Jungle, Sofia Kourtesis, Caribou, Bonobo, The Black Madonna, Lane 8 und Gui Boratto bekennen sich als Fans.

Returning from a period of intense and concentrated seclusion in its purest form, WRISTMEETRAZOR make their return in 2024 with their upcoming third album, Degeneration. The US metalcore outfit’s latest full length will be released via Prosthetic Records on March 29. Following the release of their 2021 sophomore effort, Replica of a Strange Love, the WRISTMEETRAZOR’s line-up went through of metamorphosis with Justin Fornhof abdicating his role on bass in favour of lead vocals - bringing Elaine Dalton (bass) and Nate Billmyer (guitar) to the fold in the process. Extensive North American touring soon followed with stints on the road among the likes of Seeyouspacecowboy, Traitors, Eighteen Visions and festival appearances at Furnace Fest and Code Orange’s Code World, respectively. Having solidified and fine-tuned the strengths of their latest incarnation onstage, the newly upgraded quintet found themselves with a renewed focus leading into Degeneration’s gestation period. During this moment of rare quiet for the group, WRISTMEETRAZOR sought the production skills of Randy Lebeouf (The Acacia Strain, Dying Wish, Kublai Khan). Ushering themselves into near total isolation in the woods of New Jersey, the writing and recording process for Degeneration was one of acute solitude, only leaving the studio’s cabin three times during the 30 day lock-in between almost non-stop 12 hour recording sessions. Degeneration’s backdrop of self-imposed seclusion bore fruit as the album’s lyrical focus began to develop. Whilst there are still traces of WRISTMEETRAZOR’s established world of Nietzchian philosophy and twisted romanticism, Fornhof found himself gravitating towards themes of misanthropy, apoplexy, and moral, political and religious hypocrisy within society. With WRISTMEETRAZOR’s ire pointed outwards rather than inwards, societal degeneration is explored through allegorical tales of mechanical decline and system failure that pull together to reveal a larger picture of the band’s disdain for humankind’s more repulsive traits. Songs such as Turn On, Tune In, Drop Dead, DogdayGod and The Greatest Love Offering in the History of the World reference intentional exits from society and sordid real life stories of assassination, against deftly woven industrial and EBM influences with groove based nu-metal flourishes at the fore. Degeneration’s post-apocalyptic production values lend a cold and methodically calculated quality to WRISTMEETRAZOR’s new skin, without losing the visceral core of their identity. Seeking to ensure a fully realised aesthetic to represent the absurdity of seeking justice in an unjust world, the cover was put together by Philadelphia, PA visual artist Alex Eckman-Lawn (END, Dim Mak, Woe).

140 Gramm Vinyl inklusive Downloadcard (inklusive vierExtratracks) Auch "Separations", das Album aus dem Jahre 1992, wird als Teil der Fire Embers Reissue Serie mit unveröffentlichtem Bonus-Material neu aufgelegt. Pulp hatten sich bereits einmal musikalisch verwandelt und sich durch die düstere elektronische Phase auf ,Freaks" weit von ihrem Debüt "It" entfernt und dabei deutlich an Schwung aufgenommen. Der inzwischen zu Kritikerlieblingen avancierten Band ging bereits der Ruf voraus eine Live-Band geworden zu sein, mit der nur wenige mithalten konnten, doch erst ,Separations" war der große Schritt hin zu dem Sound, mit dem Pulp nur wenige Jahre später die Massen mitreißen sollten. Auf ,Separations" gibt es zum ersten Mal diesen unausweichlichen Disco-Puls. ,Separations" ist das Übergangs-Album, in dem Pulp die romantisch-verklärte Außenseiter-Vergangenheit zurückließen und brachte passenderweise mit ,Countdown" und "My Legendary Girlfriend " auch zwei sehr erfolgreiche Singles hervor. Der Download bringt noch vier Bonustracks hinzu: ,Death Goes To The Disco" und "Is This House " sowie die längere Maxi-Version der Single ,Countdown" und das bisher unveröffentlichte "Death Comes To Town". Remastered und neues Packaging. Liner Notes von Everett True.

Gatefold Sleeve / 180g Vinyl

Returning to the well of Roger Doyle once again, his “Babel” project spans a decade of composition work before its’ initial release in 1999 as a 5CD set. Over 100 pieces and almost 50 collaborators it marks a journey through a virtual tower of Babel with each piece corresponding to a room within an imagined giant tower city. For the 25th Anniversary vinyl edition Doyle has revisited it- remastering it and providing its first vinyl edit - 80 minutes spread across two 180gm LP’s - rounding out the package with extended liner notes and a download code to the full 6 hours.

We’ve previously explored Roger’s Operating Theatre days and the idea for this project came in the early nineteen eighties while Doyle was heavily involved with the experimental theatre group. Working with emerging technologies and across a variety of genres he realised that he would be unlikely to achieve an overarching compositional style. Instead deciding to make a virtue out of the fact that he composed so schizophrenically, he wished to create a musical alphabet out of short abstract sounds with these sounds being analogous to phonemes in speech. With Blade Runner and sci-fi embedded in the zeitgeist of the times he came to the idea of the Tower of Babel as both a futuristic skyscraper and also an embodiment of language.

In the spring of 1990 Babel was finally begun and kept growing until it reached over 6 hours of music and was released in 1999.A large-scale musical structure making use of many technologies and music languages, with each piece of music being thought of as a 'room' or place within an enormous tower city. Each track in the main section corresponds to a virtual sonic architecture. The pieces are divided into two kinds: aural representations of actual spaces like The Dressing Room, The Stairwell and Mr. Brady's Room alongside internalised dream spaces like the Room Of Rhetoric, the Spirit Levels and the Mansard childhood memory room. Listeners can navigate their way differently through this virtual building at each hearing. As a supplement to the Babel Tower KBBL - the fictitious radio station – broadcasts a number of shows. Each has its own style and atmosphere. Collaborating with DJs, actors, writers and singers, KBBL is made to sound like a real radio station with ads, traffic reports and phone-ins.

Examples of the connections within the project can be found via the architecture were the saxophonist in the off-stage dressing room is rehearsing for her solo in the concert-hall (heard in Pagoda Charm) or the room off the stairwell, where the sounds of piano lessons and apartment life can be heard and the apartment where a muffled KBBL can be overheard At a molecular level The Iron Language Alphabet is a sound alphabet containing tiny fragments of sound representing letters or characters of an alien alphabet. This sound alphabet can be heard scattered through other pieces like The Room of Rhetoric, Pagoda Charm and in KBBL in Johnny’s Body at 002. Other molecular scatterings can be found in Cantilena where two songs sung by Operating Theatre’s Elena Lopez in KBBL are exploded and re-arranged to form new entities.

Doyle’s Babel celebrates language - a slight variation on the Biblical morality tale - and musical expression in all its variety.

The 8-member strong brass band from the windy streets of Amsterdam are back with their fifth studio effort reflecting on their over a decade-long career of bringing the best that instrumental brass music has to offer. With their newest album, they claim their righteous throne as stalwarts of the new European wave of brass bands making waves on the continent.

Containing 9 tracks of top-notch quality brass music from a collective of musicians, friends, and renegades that pursue a quest of innovating of what we know instrumental brass music to be. Gallowstreet is considered a reference point for the (future) sound of European brass bands that mix a multitude of styles into a new sound, whilst simultaneously (re)anchoring the notion of brass bands in its counter-cultural and communal roots. Distinct from its American counterpart, whilst paying homage to the legacy

Celebrating our tenth release, we proudly present "Feeling Everything, All At Once" - a compelling VA compilation featuring music from our current label family and introducing some talented debutants from Scotland.

RED010 marks a powerful statement of intent as we look to the next five years and beyond whilst reflecting on our achievements so far, what we aspire to accomplish and how we can continue to push the sounds that resonate with us. Although it has taken time to reach this milestone, our commitment to quality over quantity remains unwavering.

This compilation serves not only as a collection of club-ready tracks but also as a longform piece suitable to more passive listening. With a total of 14 tracks, it stands as our most extensive release yet, expanding our label family to well over 20 artists. The digital release will be complemented by a physical cassette, perfect for playing in the dusty tape deck of your mate's Vauxhall Corsa as you head to that mad rave in the countryside everyone is talking about.

We are thrilled to announce our collaboration with the Scottish Action for Mental Health (SAMH) on this project with all the profits being donated to this cause. Both Lewis & Ethan have their own personal experiences with mental health difficulties and strongly believe that SAMH is absolutely vital in facilitating the provision and promotion of mental health care, support & information.

A massive thank you to all those involved in making this happen and their generosity in donating their time and talent to the project.

Recorded by award-winning mastering engineer Kevin Gray's record label, Anthony Wilson's Hackensack West is Cohearent Records' follow-up to Kirsten Edkins' Shapes & Sound album. Produced by Joe Harley and recorded all-analogue/all-tube at Gray's studio, Cohearent Recording, the AAA vinyl release is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket.

From the liner notes:

The week before these sessions in the summer of 2023, I sat down each morning with the goal of composing one new song by day's end. I knew I'd soon be in the room with my dear friends Gerald Clayton, John Clayton, and Jeff Hamilton, three musicians whom I trust the most, and with whom I've played the most over the last couple of decades. I tried to imagine themes that would feel natural to us, the kinds of songs we could simply dive into without much thinking. When we headed to Kevin Gray's studio to record, I brought seven new songs along with me. Five are included on this album.

"Daido" is dedicated to Japanese photographer Daido Moriyama, who became known in the late 1960s for his grainy, sometimes blurry, high-contrast black and white images made throughout Japan. I love his pictures taken on the streets of various Tokyo neighbourhoods such as Shinjuku. His portrait of a menacing stray dong, from his series "A Hunter," is the kind of picture that, seen just once, is unforgettable. These days Daido is still out on the street making pictures, at the ripe young age of 85.

"Verdesse" has a sinuous, chorinho-like melody and rhythmic feel. The tune seems to weave and bob playfully in a space of brightness the way a grapevine seems to curl towards the sunlight. So I named it after a wine grape native to the pre-Alpine region of Isère, near Grenoble in eastern France, that makes a particularly delicious and drinkable white wine.

I wrote "Sunday," well...on Sunday. It unfolds slowly, like a good Sunday does when there's nothing to do, you can sleep in, you've got your person beside you, and you just relax into the day.

"The Lands" is dedicated to a family very dear to my heart: that of tenor saxophonist Harold Land. My mother met Harold when they were both teenagers growing up in San Diego, California. The two of them became lifelong friends, and a little later, Harold enjoyed a fruitful musical association and close friendship with my father, Gerald Wilson. Harold, his lovely wife Lydia, and their son Harold Jr. were extended family for us; they looked after me with love and care. Some of my first gigs ever as a young guitarist were with Harold's incredible band that included Oscar Brashear, Billy Higgins, Richard Reid, and Harold Land Jr.

I've loved Todd Rundgren's "Marlene" since I first heard it on his epic double-album Something/Anything. With its tender, well-contoured melody buoyed by a few special harmonic surprises, it almost seems like something from the pen of Burt Bacharach. It tells such a complete musical story. Rundgren's recorded version has a beautiful endlessly repeating tag. So we played the melody simply, and used the tag as a small staging area for a bit of improvising.

Hackensack West is our alias for engineer Kevin Gray's studio Cohearent Recording, a place inspired by Rudy Van Gelder's first studio in Hackensack, New Jersey. Located inside Van Gelder's parents' home, the musicians played in the living room! It was there, in 1954, that Thelonious Monk recorded his classic tune "Hackensack," a "contrafact" melody over the chord changes to the Gershwins' "Oh, Lady Be Good!" In contrafact-like fashion, my own bebop-spirited melody "Hackensack West" seems to nod toward the changes of a few recognizable standards, without corresponding to any particular one.

Out of print as a stand-alone release for decades since its original 1974 issue. Produced by George Harrison, Shankar Family & Friends is an almost-forgotten masterwork – an emotional and sonic pact between two like-minded souls to both advance their spiritually minded bond and unite musical styles, cultures, and sounds in wondrous fashion Contributions from Ringo Starr, David Bromberg, Billy Preston, Nicky Hopkins, Jim Keltner, Klaus Voorman, and a host of virtuosic Indian musicians add to a diverse album that melds Eastern and Western traditions; encompasses jazz, funk, bhajan, Indian, and pop; and represents the spirit and breadth of Harrison's Dark Horse Records imprint.

Memorable contributions from an A-list of American and English musicians — Ringo Starr (drums), David Bromberg (electric guitar), Billy Preston (organ), Nicky Hopkins (piano), Jim Keltner (drums), Klaus Voorman (bass), Robert Margouleff (Moog), Malcolm Cecil (Moog), Tom Scott (saxophone) included — add to the richness of a set that melds Eastern and Western traditions. These “names” mesh with a host of Indian virtuosos — Alla Rakha, Ashish Khan, Kamala Chakravarty, Hariprasad Chaurasia included — who turn Shankar Family & Friends into a journey laced with percussive, string, and vocal components that aren’t soon forgotten.

Throughout, Shankar Family & Friends remains true to its title — a mesmerizing record named to reflect the group participation approach of its creators. The idea started when Shankar told Harrison about a ballet he wrote. The Beatle, who first met Shankar in June 1966 — roughly a year after Harrison became interested in Indian music after overhearing it in a restaurant while filming Help! — immediately was convinced they needed to record it. Harrison’s staunch admiration of Shankar and serious approach to Eastern styles are reflected throughout the album.

Indeed, for Harrison, Shankar Family & Friends marks the culmination of a years-long effort to master the sitar, study Hinduism, and incorporate elements such as drones, unusual chords, and expressive picking into his own songs. The seeds of this unique collaboration can be heard in Beatles works such as “Norwegian Wood,” “Love to You,” and “Within You Without You.” Both musicians were also fresh from performing at the 1971 Concert for Bangladesh shows. Yet Shankar Family & Friends remains entirely unique in each visionary artist’s history — and ultimately, led to a collaborative tour Harrison and Shankar staged across North America.

Encompassing jazz, funk, bhajan, Indian, and pop, Shankar Family & Friends is thematically split into halves. Side One reveals Shankar’s uncanny ear for melody — even when applied to Western forms. The lead-off “I Am Missing You,” the first single ever released by Dark Horse Records and reportedly the first pop composition Shankar completed, underscores his skills as a composer and global ambassador. Beautifully sung across three octaves by his sister-in-law, Lakshmi Shankar, the devotional song features multiple drummers and production that mirrors Phil Spector’s Wall of Sound approach. Harrison plays autoharp and guitar; Starr sits in on drums; Scott handles flute and soprano saxophone. It’s the inviting start of a musical adventure teeming with color, majesty, and mysticism.

A second version of the track — designated with a “(Reprise)” tag — appears minutes later. Unfolding in different ways, it follows a folk ballad structure stitched together with Indian instrumentation. Here, according to Shankar, the musicians “attempted to convey the sounds and atmosphere of Vrindavan, the ancient holy place where Krishna grew up.” Both renditions speak to the cross-continental fusion that came so naturally to Harrison and Shankar, whose oversight on the side’s other vocal tracks ensures listeners familiar with Western methods gain easy access to the hypnotic allure of his native country’s music.

Nowhere is this more evident than on Dream, Nightmare & Dawn (Music for a Ballet), the side-long piece that served as the genesis for Shankar Family & Friends. Launched with an airy overture and unfolding across three movements, the mostly wordless suite features everything from call-and-response interplay and classical lyricism to uptempo dance figures, stacked rhythms, and intoxicating grooves. Blurring the lines between contemporary and traditional, and Western and Eastern, the inspirational work is the exclamation point on a record that defined “world music” well before the term became co-opted as a catch-all genre.

The album "Vital - Van der Graaf Live 2CD Edition" by Van der Graaf Generator is a captivating live recording that showcases the band's exceptional talent and energy on stage. Released by Cherry Red Records, this 2CD edition offers fans an immersive experience of the band's electrifying performances.

Recorded during their European tour in 1978, "Vital" captures the essence of Van der Graaf Generator's unique sound and intense live presence. The album features a selection of tracks from their critically acclaimed albums, including "Pawn Hearts," "Godbluff," and "Still Life."

From the opening track to the closing notes, each song on "Vital" is performed with precision and passion. The band's signature blend of progressive rock, jazz influences, and poetic lyrics shines through in every moment. Peter Hammill's powerful vocals soar above the intricate instrumentation provided by Hugh Banton on keyboards, Guy Evans on drums, and David Jackson on saxophone and flute.

The remastered audio quality of this 2CD edition enhances the listening experience, allowing fans to fully appreciate the dynamic range and nuances of each performance. The package also includes a booklet with rare photos and extensive liner notes written by renowned music journalist Sid Smith.

Whether you are a longtime fan or new to Van der Graaf Generator's music, "Vital - Van der Graaf Live 2CD Edition" is a must-have addition to your collection. Immerse yourself in the energy and artistry of one of progressive rock's most influential bands with this exceptional live recording.

Vom HEXWORKS Art-Team entworfene Deluxe-Ausgabe des OST für das Action-RPG "Lords Of The Fallen" (2023), sorgfältig für 180g Triple-Vinyl gemastert. Die mehrfach preisgekrönten Komponisten Cris Velasco und Knut Avenstroup Haugen erzeugen ein aufwändes Dark-Fantasy-Meisterwerk zwischen romantischer Oper, Mozarts Requiem-Messen, dissonanter Klassik des 20. Jahrhunderts und großartigen Horrorfilm-Soundtracks. Teils live aufgenommen mit dem Budapest Scoring Orchestra & Choir, den Solist*innen Eurielle und Jess Dandy, dem Solocellisten des London Symphony Orchestra, David Cohen, und dem Flötisten Tony Hinnigan (bekannt aus Hollywood-Scores wie "Titanic" und "Avatar").

'Final Symphony II' erkundet weitere beliebte Musik aus der Final Fantasy-Reihe, aufgenommen vom dem Royal Stockholm Philharmonic Orchestra. Reichhaltige, geschickte Arrangements von Nobuo Uematsus Werken, erstellt von Roger Wanamo und Jonne Valtonen, eine Suite des Co-Komponisten Masashi Hamauzu, basierend auf seiner gewaltigen Originalmusik für Final Fantasy XIII, oder das stimmungsvolle Eröffnungsstück 'In A Roundabout Way – Fanfare'. Der Pianist Mischa Cheung steht im Mittelpunkt der Final Fantasy IX-Suite 'For The People Of Gaia' und des Solo-Arrangements 'You Are Not Alone'. Schwarzes 180g Triple-Vinyl.

decade-plus together, the four-piece - Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals) - have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album. Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love . Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all. Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally." "Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "1-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh." "We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness...we can kinda surprise each other, like a good punchline would."

Nachdem das Alternative Rock Trio LOST ZONE aus Norditalien mit ihrem Debütalbum „Reslilience“ & der Deluxe Version „Resilience – Full Circle“ schon einen ersten kleinen Achtungserfolg landen konnte, kommt mit "Ordinary Misery" ein ein neuer Longplayer, dass sich mit seinen Elementen aus Moder-Metal & Alternative-Rock, nahtlos an die Vorgänger anschließt.
"Ordinary Misery" ist mehr als nur Musik; LOST ZONE fassen die „alltäglichen Bad News“ mit denen sich jeder von uns leider oft kommentarlos auseinandersetzt und einfach hinnimmt, zusammen und nehmen den Zuhörer mit in diese Stimmungen und Gedanken. Von aggressiven Shouts und Moshparts, bis hin zu ruhigeren Klängen zeigen LOST ZONE, wie moderne Rockmusik klingen kann!
Darüber hinaus verleihen die einzigartigen Gastfeatures dem Album eine zusätzliche Dimension, die es von anderen abhebt. Ob mit dem Berliner Crossover Act BLUTHUND oder Philip Wilhelm von Post-Hardcore Act FROM FALL TO SPRING.
"Ordinary Misery" ist erhältlich als CD, limitierte Vinyl für Sammler und natürlich als digitales Erlebnis für unterwegs.

Domino kündigt die physischen Wiederveröffentlichungen von Nicos zweitem und drittem Soloalbum an, „The Marble Index“ von 1968 und „Desertshore“ von 1970. Beide Alben sind seit langem vergriffen; die Wiederveröffentlichungen werden ab dem 29. März auf Vinyl und CD erhältlich sein, mit Audio-Mastering von den Originalbändern.

„The Marble Index“ und „Desertshore“, die beide von Nicos Bandkollegen John Cale von Velvet Underground mitproduziert wurden, haben die Goth-Rock-Bewegung stark beeinflusst. Der ikonische Musikjournalist Lester Bangs schrieb: "The Marble Index ist das bisher größte Stück 'avantgardistischer Klassik', 'ernster' Musik der letzten Hälfte des 20 Jahrhunderts. Beide Alben sind nun wieder auf CD und Vinyl erhältlich, nachdem sie vergriffen waren. Der Ton wurde von den Originalbändern gemastert. Die CD & LP für beide Alben enthalten bisher unveröffentlichte Fotos von Nico von Guy Webster.

Domino kündigt die physischen Wiederveröffentlichungen von Nicos zweitem und drittem Soloalbum an, „The Marble Index“ von 1968 und „Desertshore“ von 1970. Beide Alben sind seit langem vergriffen; die Wiederveröffentlichungen werden ab dem 29. März auf Vinyl und CD erhältlich sein, mit Audio-Mastering von den Originalbändern.

„The Marble Index“ und „Desertshore“, die beide von Nicos Bandkollegen John Cale von Velvet Underground mitproduziert wurden, haben die Goth-Rock-Bewegung stark beeinflusst. Der ikonische Musikjournalist Lester Bangs schrieb: "The Marble Index ist das bisher größte Stück 'avantgardistischer Klassik', 'ernster' Musik der letzten Hälfte des 20 Jahrhunderts. Beide Alben sind nun wieder auf CD und Vinyl erhältlich, nachdem sie vergriffen waren. Der Ton wurde von den Originalbändern gemastert. Die CD & LP für beide Alben enthalten bisher unveröffentlichte Fotos von Nico von Guy Webster.