Vier Jahre und eine Pandemie nach "Orificial Purge" legt Vastum, die am längsten bestehende Band im 20 Buck Spin-Roster, mit "Inward To Gethsemane" ihr fünftes knüppelhartes Manifest über psychisches Unwohlsein und verlorenen Glauben vor. Wie schon zuvor umgibt der abgrundtiefe Ekel, der in Vastums einzigartiger Herangehensweise schonungslos eingefangen wurde, die Musik mit einer Aura von beunruhigendem Unbehagen.
Die höhlenartige Dichte, die Vastum zu einem Kernelement ihrer Diskografie gemacht hat, bleibt so unmenschlich wie eh und je. Sie taucht weiterhin in dunklere Atmosphären ein, verkommt aber nie zum Ambient-Dunkel; im Gegenteil, sie ist immer strafend und mit einer furchterregenden Dynamik. Der unverkennbar erschütternde Doppelgesang von Daniel Butler und Leila Abdul-Rauf taucht in "Inward..." auf; die besessenen Erzähler der höllischen Unterwelt von Vastum. Der achtminütige Albumabschluss "Corpus Fractum" zeigt eine transformative und sogar experimentelle Seite von Vastum, sowohl musikalisch als auch stimmlich, während er die charakteristische gnadenlose Kraft beibehält, für die die Band über ihre fünf Alben hinweg gefeiert wird.
Mit ihren sporadischen, aber legendären Live-Auftritten und ihrer verehrten Diskografie des modernen True Death Metal sind Vastum zu einem Fackelträger des grausamen und grotesken Undergrounds geworden, sowohl in ihrer Heimat Bay Area als auch weit darüber hinaus. "Inward to Gethsemane" schlägt eine weitere Kerbe in Vastums Totem der Abartigkeit.
Zero Years Kid is the alter ego of Joachim Badenhorst, one of the most fascinating and adventurous Belgian jazz musicians from the last 2 decades. He plays with the international band Carate Urio Orchestra but also as musician with Naima Joris or Chantal Acda.
Zero Years Kid started of as a solo project, but has grown into a full and organic live band.
Badenhorst sees Zero Years Kid as a kindergarten to explore other ideas and interests besides of jazz. Together with Jan de Vroede, Lennart Heyndels and Erik Heestermans he brings a colorful amalgam of hip-hop, pop, dance and r&b with playful and poetic lyrics in his native language: Dutch. Next to his clarinet and sax he adds samples and electronica which results in a surprising fantasy world where it is wonderful to wander.
In 2019 debut album Ongerijmde Rijmen was released. Successor Geen Grenzen is ready and will be released on November 10th of this year on Klein. Geen Grenzen is an ode to breaking boundaries, to color outside the lines and to don’t get hung up on expectations.
The title track is a rework of No Limits by 2Unlimited. The song got translated, slowed-down and distorted to the universe of Zero Years Kid. The album is a poetic and humorous trip with a melancholic twist, and themes like the covid pandemic, intense arguments that are forgiven, writers-block, desire and love.
Originally released in 2008, MACHINE 15, celebrates it"s 15th anniversary with a long awaited vinyl repress, remastered for vinyl by Dan Swanö. With an impressive string of releases behind them, nearly two million records sold worldwide and having shared stages with the likes of Blink 182, the Foo Fighters and Queens of the Stone Age, the Orebro based quartet of vocalist/bassist Nikola Sarcevic, guitarists Erik Ohlsson and Mathias Farm and drummer Fredrik Larzon show that they are on top of their game. While upholding the classic Millencolin sound, they chose to diversify, evolve and progress on the new album The explosive result is pop infused punk at its all-time best with driving beats, anthemic choruses and irresistible melodies that prove the band is back to kick ass and take names. For Machine 15, Millencolin re-teamed with producer Lou Giordano (Sugar, Taking Back Sunday, Plain White T"s), who previously worked with the band on 2003"s Home From Home. "We wanted the kind of crisp sound that Lou is notorious for. Plus we have a great chemistry with him," guitarist Erik Ohlsson adds.
Berlin-based Swedish bassist and producer Petter Eldh returns with a new Koma Saxo album Post Koma, out on We Jazz Records, 10 November. The title Post Koma aptly describes the vibe of this one: The Koma Saxo sound continues its evolution, morphing into a holistic vision of jazz now and soon, where live instrumentation and repurposed sampling lose their boundaries.
Over the course of its three iterations (self-titled debut in 2019, LIVE in 2020, Koma West in 2022) Koma Saxo has sounded at times "liquid" and postproduced, at times raw and direct, at times acoustic and at other times oddly electronic (even while still being made with acoustic instruments). Post Koma is a culmination of this sonic study by Eldh, resulting in a music vision that never second-guesses throwing tasty hooks and everlasting melodies out the window after a mere bite of them. But fear not: there are even more new ideas just around the corner.
Eldh's compositions and ideas merge together in a way that just flows. There are quality musicians in the mix, including Koma Saxo live band members Sofia Jernberg, Jonas Kullhammar, Otis Sandsjö, Mikko Innanen, Maciej Obara and Christian Lillinger, but that's like saying that a cake includes flour and sugar. This music is not about playing, it's essentially about how the music is and how it takes its shape, so you quickly lose track of who did what, and that's all in the benefit of encountering this music as an entity that is constantly challenging itself while moving forward. The musicians are valued contributors, and an integral part of what's here, but this is far from traditional jazz playing where a band sits in a room playing takes after takes of compositions on sheet.
That being said, this is jazz to the fullest. That is, music that understands its past but always moves forward, and is never afraid of taking risks. Petter Eldh uses jazz as a starting point, not the end goal. This gives his music edge and mobility beyond what can be contained on one album. In a way, an album, then, becomes a snapshot of a creative process in constant flux and evolution.
Opening track "Koma" is literally drum & bass. It only consists of those two elements, yet what comes out of it is an open invite, a way of clearing your palette. It would be useless to describe individual tracks beyond that, but there's a strong sense of deliverance to the set. It feels like an ending, and also like a new beginning.
Berlin-based Swedish bassist and producer Petter Eldh returns with a new Koma Saxo album Post Koma, out on We Jazz Records, 10 November. The title Post Koma aptly describes the vibe of this one: The Koma Saxo sound continues its evolution, morphing into a holistic vision of jazz now and soon, where live instrumentation and repurposed sampling lose their boundaries.
Over the course of its three iterations (self-titled debut in 2019, LIVE in 2020, Koma West in 2022) Koma Saxo has sounded at times "liquid" and postproduced, at times raw and direct, at times acoustic and at other times oddly electronic (even while still being made with acoustic instruments). Post Koma is a culmination of this sonic study by Eldh, resulting in a music vision that never second-guesses throwing tasty hooks and everlasting melodies out the window after a mere bite of them. But fear not: there are even more new ideas just around the corner.
Eldh's compositions and ideas merge together in a way that just flows. There are quality musicians in the mix, including Koma Saxo live band members Sofia Jernberg, Jonas Kullhammar, Otis Sandsjö, Mikko Innanen, Maciej Obara and Christian Lillinger, but that's like saying that a cake includes flour and sugar. This music is not about playing, it's essentially about how the music is and how it takes its shape, so you quickly lose track of who did what, and that's all in the benefit of encountering this music as an entity that is constantly challenging itself while moving forward. The musicians are valued contributors, and an integral part of what's here, but this is far from traditional jazz playing where a band sits in a room playing takes after takes of compositions on sheet.
That being said, this is jazz to the fullest. That is, music that understands its past but always moves forward, and is never afraid of taking risks. Petter Eldh uses jazz as a starting point, not the end goal. This gives his music edge and mobility beyond what can be contained on one album. In a way, an album, then, becomes a snapshot of a creative process in constant flux and evolution.
Opening track "Koma" is literally drum & bass. It only consists of those two elements, yet what comes out of it is an open invite, a way of clearing your palette. It would be useless to describe individual tracks beyond that, but there's a strong sense of deliverance to the set. It feels like an ending, and also like a new beginning.
Neues Konzept-Album der einzigen "Winterdoom"-Band Deutschlands! Die Würzburger, die ursprünglich 2014 als Nebenprojekt der einzigartigen Instrumentalband OMEGA MASSIF gegründet worden waren, ballern uns einen fiesen und massiven dunklen Brocken um die Ohren: Black- und Postmetal vermischen sich mit Sludge, Ambient und Post-Punk auf hohem Niveau, ich wäre tatsächlich überrascht, wenn die Band nicht beim Roadburn 2024 aufschlagen würde, da gehört sie nämlich hin. Grundsätzlich melancholisch und episch, unterlegt von maschinenhaftem Stakkato-Drumming, düster, kalt und wütend. Für die 6 schleppend-schleifenden Songs muss man sich Zeit nehmen, das ausgezeichnete Songwriting entfaltet sich Schicht für Schicht zu einem Albtraum-Szenario, das stetig zu lauern scheint, angriffslustig geduckt und im Schatten. Der Kontrast zwischen sanft-melodischen E-Bow Leads und Klargesang bzw. auch Sprechgesang auf der einen Seite zu präzise drückendem Riffing, Sprachsamples und viehischem Gegrowle auf der anderen Seite verstärkt nur noch das Unwohlsein beim Hören. Insgesamt merkt man den Songs deutlich an, wieviel Mühe darin steckt, es gibt sehr viele Details zu entdecken und zu den Texten, also der Story bin ich noch gar nicht vorgedrungen: Inhaltlich orientiert sich die Platte am Romanzyklus "His Dark Materials" von Philip Pullman, was den Eindruck eines Soundtracks durch den Einsatz von Sprechtexten bzw -samples (teils englisch, teils deutsch) noch verstärkt.
On For Annette, singer-songwriter ronja summons forth a certain unbridgeable void within our existence and the acceptance of the deafening silence that comes with it. Weaving the strands of her previous release something about us with multiple openings towards more abstract territory, this 5-track EP marks her debut under the forward-thinking Unguarded label, astutely situating her music well beyond the confines of the genre.
The opening track “Nothing Makes Me Feel” beckons the listener into a discreet moment amid the early light of dawn, commencing with an up-close acoustic guitar, soon to be graced by ronja’s hushed voice, softly whispering, as if to avoid waking someone near. “Just Once”, with its weeping waltz, is about losing one’s place in the world, about choosing the imaginary over the real. Behind the strummed chords hides a soft dither of sine tones that attempts to fill the gap that cannot be filled, only to transform into quavering distortion ever after. Where language may falter, ronja turns to choral-like instrumental pieces (“Light” & “Grass from Below”), characterized by her distinctive and multi-layered flute arrangements. The absence of words here allows for a sensible stage of introspection, a fleeting and diaphanous pause, forging a passage to a more hopeful outlook. Yet, these pieces are not isolated; hints of fluttering air and cavernous depths are subtly alluded to in the earlier, more song-based tracks. In just under 18 minutes running time, the theme of loss, or the anticipation of its arrival, lingers solemnly before transcending intermediate states in “Almost There”.
Admirers of the dreamgaze band Roomer, which made waves in and around the Berlin music scene this past year, might detect faint resemblances. Nonetheless, ronja—a pivotal presence in said band—unveils a distinct effort here, striking subdued but enticing tones, a foreshadowing of what is yet to come from this luminary artist. – Luka Aron
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This re-issue faithfully replicates the original 1995 Polydor Records UK 2LP release with gatefold sleeve and 12 page booklet and is pressed onto high quality 180g vinyl.
Originally released on Polydor Records in October 1995, All Change reached No 7 in the UK charts, and spawned four Top 20 singles. Cast were formed in 1992 and were something of a scouse supergroup, with leader, guitarist John Power previously bassist in The La's and bassist Peter Wilkinson coming from Shack. Originally a loose conglomerate with various members, Power added guitarist Liam 'Skin' Tyson and drummer Keith O' Neill, and by 1994 Cast were signed to Polydor.
Led by singles Finetime and Alright, Cast's blend of ultra- melodic Merseybeat Britpop proved that they were the right band at the right time. All Change became a runaway success, selling over a million and becoming the fastest-selling debut album in Polydor's history, bolstered by further singles Sandstorm and Walkaway. The catchy, upbeat album closed with the eight- minute epic Two Of A Kind, showing that the band had sufficient skills to take on any Britpop heavyweight.
Yellow / black marbled vinyl. The Sensitives is a rough-haired mixed race dog of punk, rock'n'roll, SKA and folk! It's been touring around Europe, playing over 300 shows, spreading its musical wild oat resulting in a solid fanbase of people who, to their knockout punk, raises their middle finger to racism and sexism. The band have always kept the energy on a constant high, jumping between different styles and switching between the two singers Martin and Paulina, driven by the never resting Magnus behind the drums! The new album, Patch It Up and Go! is no different! The frustration from no touring during the pandemic and the emotional shock from a year of heavy touring as soon as the restrictions were lifted resulted in a worn out and damaged band coming home to lick their wounds. But they did what they've always done, turned their experiences and battles into songs, patched themselves up to go for it again! The result is the new album, Patch It Up and Go! and it covers topics like sex, mental health, animal rights and the importance of celebrating the good times we have while we have them! All of that in a high tempo with a positive vibe and high intensity, Patch It Up and Go! is the most personal and probably the best album from The Sensitives so far! Feet will be moving, hips will be shaking and throats will be singing!
Lately, if you blink you may miss Goose fly by. Attributing much of their success to a dedicated and exponentially expanding fan base, steady creative output, and a collective commitment to improvement, the band is now universally recognized as a premier musical act nationwide. Dripfield, Goose's forthcoming studio offering, is a tale of introspection, carefully dissecting the details of the journey. Produced and engineered by D. James Goodwin at The ISOKON in Woodstock, NY, Dripfield is the band's first full-length project completed exclusively with an executive producer. Known for his unconventional recording style and eclectic equipment collection, Goodwin guided Goose through an entirely new process of album creation. Undoubtedly the product of multiple sold out concerts and consistent recording and songwriting, Dripfield is anchored by the theme of balance. Fittingly, the project features a mix of unheard originals and re-imagined catalog staples.
Shatter And Fall - mächtiger Melodic Death Metal in all seinen finstersten Nuancen
Die aufstrebende US-amerikanische Melodic Death Metal Band HINAYANA veröffentlicht am 10. November 2023 ihr zweites Studioalbum Shatter and Fall via Napalm Records. Das Werk besticht mit beeindruckendem Songwriting und den namhaften Feature-Gästen Vincent Jackson Jones (Aether Realm) und Tuomas Saukkonen (Wolfheart). Produziert von Frontmann Casey Hurd und Kevin Butler, wurde Shatter and Fall von Dan Swanö in seinem Unisound-Studio gemastert.
Wie keine zweiten lassen die Texaner moderne Elemente in ihren Melodic Death Metal einfließen womit sie sich von Genregrößen wie Insomnium, Amorphis und Swallow the Sun abheben und ihrem markanten Sound ein frisches Alleinstellungsmerkmal verleihen. Nach der Veröffentlichung der ersten Demo EP sicherte sich die 2014 gegründete Band mit dem Debütalbum Order Divine (2018) einen festen Platz in der Metal Szene und zog zugleich die Aufmerksamkeit von Napalm Records auf sich. Es folgte die Veröffentlichung der Labeldebüt-EP Death Of The Cosmic (2020), mit der HINAYANA der Pandemie strotzten.
Nun sind sie bereit ihre elf neuen Songs diesen Herbst auf der großen Europa Tour mit ihren Labelkollegen von Wolfheart und Before The Dawn zu präsentieren.
Up wurde 1998 veröffentlicht und ist das elfte Studioalbum von R.E.M.
Das Album, das die Singles ”Daysleeper”, ”Lotus”, ”Suspicion” und ”At My Most Beautiful” enthält, ist von elektronischer Musik inspiriert und nutzt eine breite Palette von Instrumenten, um eine verträumte Poplandschaft zu schaffen, die nachdenklich und stimmungsvoll ist.
Diese erweiterte Deluxe-Edition zum 25-jährigen Jubiläum bietet außerdem ein komplettes, bisher unveröffentlichtes Live-Set vom Auftritt der Band in der 90er Jahre HitTV-Serie Party of Five. Es war das erste Album der Band ohne Schlagzeuger Bill Berry. Das Album war von elektronischer Musik beeinflusst, und Stipe erklärte, dass mehrere Songs das ”religiös-spirituelle versus wissenschaftlich-technisch-moderne Zeitalter” thematisieren.
Es erreichte Platz 3 der Billboard 200 und Platz 1 der deutschen Charts.
LP SHIPPING ONLY / CD DELAYED “This is definitely the most honest and mature record Deathchant has ever made.” That’s Deathchant vocalist and guitarist T.J. Lemieux talking about the band’s third and latest album, Thrones. Think of it as not just the follow-up to 2021’s Waste, but the other side of the coin. “While Waste and our self-titled album touched on similar themes, they were sort of from a problem standpoint,” he explains. “Thrones is full of reflection, self-realization, and solutions for moving forward and conquering those problems.” Which isn’t to say that Deathchant have gone soft. Far from it, dude. In fact, Thrones just might be their heaviest record thus far. The band’s seamless swirl of classic rock guitar harmonies, syrupy sludge, blues boogie and psych bombast has reached a thrilling new apex as Lemieux spins high-powered tales of reckoning from beyond the wall of sanity. Thematically, Lemieux and his bandmates—bassist George Camacho, guitarist Doug Stuckey and drummer Joe Herzog—peel back the veneer of self-delusion to expose the fork in the road. “Thrones is meant to represent things that rule you, things you worship, things you rely on or think you need,” Lemieux says. “Sometimes those things make you feel in control, safe, on top of the world like you're in power—which over time often proves untrue.” Witness lead single “Mirror”: Kicking off with gleaming Lizzy-isms, the song rumbles into a thick groove overlaid with lysergic fireworks that conjure the shaggy European movers of decades past. “‘Mirror’ is the key to the whole Thrones theme,” Lemieux explains. “It’s about looking inward to realize what's ruling you, what's consuming you, and how delusional you've been about those things. Your sense of self is so damn important, and fully facing your truths is not an easy thing to do. It’s admitting that you’ve intentionally dulled and quieted your mind to distract, avoid and run from yourself, from memory, from loss and truth. At some point, you have to face that shit.” The languid and dreamy “Mother Mary” is also crucial to Thrones’ trajectory. “If the album was a book, ‘Mirror’ would be the first chapter and ‘Mother Mary’ would be the last chapter, though they’re not the first and last track for sonic reasons,” Lemieux explains. “‘Mirror’ is saying, ‘I’m looking inward because some things need to change,’ while ‘Mother Mary’ is saying, ‘Okay, things are fucked and have gone way too far but now we have this understanding—and acknowledging things is key to overcoming.’” Thrones was recorded live in a cabin in the remote mountain community of Frazier Park, CA, with trusty engineer Steve Schroeder (a.k.a. Schroeds). “We moved in for a week, rehearsed a bit and went for it,” Lemieux says. “Each tune got three or so takes, but we nailed ‘Mother Mary’ and ‘Canyon’ right away.” Overdubs were done at the cabin, Schroeder’s Studio 3, and Lemieux’s place. The album was produced by Lemieux and Schroeder. “Overall, it’s a pretty dark record,” Lemieux says. “It's serious and leans into heavy themes, sometimes using metaphor and imagery to soften those blows, but sometimes it hits direct. It’s positive, though—and cathartic. Forever riding on the line of total insanity and flirting with mental degradation. It’s our most realized and ambitious record to date.”
Jord (Swedish for “Earth”) performs Swedish Atmospheric Black Metal with ear-catching melodies. For fans of Enslaved, Vintersorg and Borknagar! Jord is an atmospheric Black Metal band with Blackgaze and post rock influences founded in 2020 as a one-man project by Jurg. Based in Sweden the inspiration came from northern nature, folk lore, mysticism, a man’s relation to this part of the earth and bands like Alcest, Enslaved, Anathema and Russian Circles. Two albums were released by Northern Silence Productions, “Sol” in 2021 and “Måne” 2022. Jord transformed into a trio in late 2022 and the new demo songs got attention from Hammerheart Records. A few months later a full studio recording of the third album ”Tundra”, in this new band setting, was done. “Tundra” tells the stories about ancient gods, dark and terrifying beings from Swedish folk lore mixed with modern day power struggles. There is a sand grain of truth to every story however old it may be. Jord uses these old mythologies to give a hint about today’s problems with authorities, mind control and delusions. But most importantly on how the elite will break and fall when they have pushed us too far.
The soundtrack features orchestral, big band, rock, and hip-hop compositions, the score was recorded at Abbey Road and Air Studios and evokes both the intensity and the sardonic humor found within the main themes of the film. Speaking of the music, Nicholas Britell says, “When I first began working with Adam McKay on the score for VICE, Adam’s initial instinct was that the score should have a symphonic scope to match the size of the story we were telling. Over the course of more than one year of composing, I wrote a score which utilizes a full symphony orchestra, while also exploring the sounds of big band jazz, rock, and hip-hop. There is a subtle – and at times not-so-subtle – dissonance in the music which weaves in and out of the themes, harmonies, and textures. This idea of dissonance became a central element within the nature of the score.”
For fans of Dokken, Motley Crue, and 80’s Hard Rock! Red Reign is comprised of singer/guitarist Carlton “Bubba” McMichael, guitarist Stevie Shred, bassist Larry Moore, and drummer Sammy Lee. Bridging the sounds of yesterday and today, the band has issued a pair of hard-hitting yet melodic releases thus far, 2021’s self-titled EP and now 2023’s full-length Don’t Look Back, both of which have been overseen by Grammy Award-nominated multi-platinum producer David Ivory (Halestorm). The title track, “Don’t Look Back” is a standout track and features guitar legend George Lynch (Dokken, Lynch Mob). Other standout tracks are “Here I Am” and opener “No Peace No Love”. Having already shared the stage with the likes of Dokken, Extreme, Jackyl, Lita Ford and Tesla, Red Reign looks forward to spreading the word further with live shows in support of ‘Don’t Look Back.’ They are a live band, with energy that is fed off the crowd and makes every show exciting and new. Red Reign is booked in and around their native Richmond, VA and expanding tour dates throughout 2023
DEVO’s Hardcore documents the group’s beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of “devolved blues” that could hold its own alongside the beatnik groove of 15-60-75 (a.k.a. The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock ’n’ roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. It’s no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early DEVO sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and DEVO’s long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of “Mongoloid” and the spastic bounce and sputter of “Jocko Homo” (two anthems presented in their earlier and superior versions here). Cult favorites like “Mechanical Man” and “Auto-Modown” make Volume 1 essential listening. Superior Viaduct and Booji Boy Records are proud to present DEVO’s Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha’s stunning cover photography. As David Bowie said in 1977, DEVO is indeed “the band of the future.”
Der mitreißende Soundtrack zur dritten Staffel von "The Witcher". Komponist Joseph Trapanese wird bei dieser Staffel von der polnischen Folk Metal Band PERCIVAL SCHUTTENBACH unterstützt. Diese verleiht dem Soundtrack mit der Expertise im Bereich der slawischen Musik sein markantes und authentisches Klangbild.Die Doppel-Vinyl wird begleitet von einem doppelseitigen Poster mit zwei von insgesamt vier erhältlichen Motiven (insgesamt vier Poster erhältlich).
Beth Hart - Front And Center - Live From New York jetzt zum ersten Mal auf 2LP Transparent Blue Vinyl wiederveröffentlicht!
Am 7. März 2017 gab die GRAMMY-nominierte "Powerhouse-Sängerin" (Rolling Stone) Beth Hart ein ganz besonderes, intimes Konzert im Iridium Jazz Club in New York. Der Auftritt wurde auch in der Premierenfolge von Staffel 8 der von der Kritik gefeierten Konzertserie Front and Center des öffentlichen Fernsehens gezeigt.
Beth Hart, die für ihren mitreißenden, souligen Gesang und ihre dynamische Bandbreite bekannt ist, reitet auf einer kreativen Flutwelle nach der Veröffentlichung ihres von der Kritik gefeierten Studioalbums "Fire On The Floor" aus dem Jahr 2016 und ihrer gerade erschienenen Studiokollaboration mit dem Gitarristen Joe Bonamassa, "Black Coffee". Seit 20 Jahren begeistert sie das Publikum mit ihrer unglaublichen Power und ihrer gefeierten, honigsüßen Stimme.
Auf dem neuen Album verweben Hashshashin drei komplexe Kompositionen, inspiriert von Künstlern wie Secret Chiefs 3, Om und Grails sowie der klassischen und Volksmusik Afghanistans. Saranam ist eine üppige und meditative Platte aus hypnotischen Rhythmen, filmischem Post-Rock und östlichen Musiktraditionen. Der sich hauptsächlich auf den afghanischen Rubab konzentrierende Sound klingt fokussierter und zusammenhängender, womit die Band die Grenzen des Post- und Progressive-Rock überschreitet und damit ihren Ruf als einer der interessantesten Underground-Acts Australiens festigt.
AUTARKH (Ex-DODECAHEDRON, EXIVIOUS) sind ein Perpetuum mobile. Schon ihr Debüt klang wie eine Botschaft aus der Zukunft, aber ihr zweites Album verkörpert wirklich, was es heißt, im digitalen Zeitalter zu leben. "Emergent" verbindet die Intensität des modernen Metals mit düsterem Industrial-Drone und ätherischem, klingendem Post-Rock - und das alles in einem einzigen Song. In "Strife" befinden sich die Sänger Michel Nienhuis und David Luiten in einem Kampf mit inneren Dämonen, deren seelische Qualen durch tausend Megawatt industrieller Riffs verstärkt werden, bevor sie durch ein Lichtloch entkommen. Nur wenige Bands haben etwas so Innovatives geschaffen.
Wenn man wie keine andere Band klingt, ist es immer eine Herausforderung, eine Musikrichtung für Presse, Bandinfo und Veranstalter*innen zu definieren. Die Dorks sind zu räudig für Metal, zu melodisch für Hardcore, zu wenig 90er für Crossover, zu anspruchsvoll für Deutschpunk. Unermüdliche Kreativität, Reisebereitschaft und ein Albumrelease - inmitten der von allgegenwärtiger gesellschaftlicher Resignation gezeichneten letzten Jahre - brachten den DORKS im Jahr 2021 mit ihrem Album "Die Maschine von Morgen" genereübergreifende Aufmerksamkeit, sowie hervorragende Rezensionen in renommierten Musikmagazinen ("Meilenstein" - OX Fanzine, Rock Hard, Album der Woche bei Coretex, Süddeutsche Zeitung, u.v.m.). Und weil Stillstand nicht ihr Ding ist, kommt jetzt ihr neuestes Album.
Xavier Boyer, the lead singer of Tahiti 80 and one of the most distinctive voices in French indie pop, returns solo with a melodic and timeless new EP entitled "Soda Coda".
After "Tutu To Tango" (2007, under the name Axe Riverboy), "Some/Any/New" (2017), and not forgetting Tahiti 80's nine studio albums, Xavier Boyer has composed five songs navigating between soft rock, folk sounds and pop experimentation. "On previous albums, I'd done everything on my own, but this time I was looking for something more lively, more organic, more collective. I also wanted to exchange ideas with other musicians.
This mini-album (the vinyl version will include five alternative versions recorded on a 4-track cassette) was created with the help of three emblematic figures from the French music scene, Mehdi Zannad (Fugu, April March, A Girl Called Eddy) on keyboards, Laurent Blot (Le Superhomard) on drums and Stéphane Laporte (Domotic, Egyptology) on mix.
Recorded between tours and studio sessions with his main band, "Soda Coda" once again confirms his talent as a melodist and his appetite for sonic adventures. The power pop of "D Day" or the lyricism of "Children Of The Sun" would not be out of place on albums by Emitt Rhodes or Richard Swift (producer of Tahiti 80's "Ballroom" in 2014). "Oh Liza" is as smooth as an Elliott Smith novelty.
The singer assumes his influences: "My aim has always been to write timeless songs without pretending it's 1975, or 1998. I want my music to remain rooted in its time." "Read The Room" blends Jamaican music and avant-garde pop with its crystalline guitars and soaring synths, while "Soda Coda" brings a touch of Soul to the EP with its distorted piano and slap-back vocals.
More than a journey or a nostalgic trip, Soda Coda is a succession of luminous songs, and as Xavier Boyer sings on the eponymous track: "I'm singing something good, I can hear this tune lighting up my path".
Auf R o n i a s zweitem Album 'string along' fordert sie uns auf, ihr in ihr minimalistisches Pop-Universum zu folgen
Nach dem Vorgänger 'waltz' in (hereinspaziert!) ist 'string along' eine erneute Aufforderung von R o n i a an ihre Hörer: Folgt mir! Melancholische Melodien beschreiben darauf filigrane Emotionen in einem reduzierten Klangbild, häufiger Überlagerung mehrerer Stimmen oder auch Melodien mit vielfältigen Tasten-, Saiten- und Blasinstrumenten, die alle von der One-Woman-Band R o n i a selbst gesiet werden.
Diviner ist eine 2011 gegründete griechische Heavy Metal Band. Nach ihrem donnernden Debüt Fallen Empires (2015) und dem grandiosen Zweitwerk Realms Of Time (2019), das ihren Status etabliert hat, kehren sie mit ihrem dritten und bisher besten Album zurück. Avaton zeigt eine verblüffende Musikalität, inspiriertes Songwriting und kompromisslosen Heavy Metal mit allen Elementen eines echten Klassikers. Kraftvoll, melodisch, episch, düster, spirituell, atmosphärisch, intensiv, Aggressiv, roh und vielfältig zugleich. Herausragende Produktion, dynamischer Sound, außergewöhnliche Texte, süchtig machende Riffs, wunderbare Melodien, eingängig-hymnische Refrains, atemberaubende Gitarrenarbeit, herausragendes Schlagzeugspiel und einige der großartigsten und leidenschaftlichsten Vocals. Avaton ist eine zeitlose, atemberaubende Reise von der grausamen dystopischen Welt zu unseren tiefsten Träumen, auf der Suche nach den wahren Geheimnissen des Lebens. Voller Abenteuer, Emotion und purer Magie, die das Herz eines jeden Metal Fans begeistern wird.
Diviner ist eine 2011 gegründete griechische Heavy Metal Band. Nach ihrem donnernden Debüt Fallen Empires (2015) und dem grandiosen Zweitwerk Realms Of Time (2019), das ihren Status etabliert hat, kehren sie mit ihrem dritten und bisher besten Album zurück. Avaton zeigt eine verblüffende Musikalität, inspiriertes Songwriting und kompromisslosen Heavy Metal mit allen Elementen eines echten Klassikers. Kraftvoll, melodisch, episch, düster, spirituell, atmosphärisch, intensiv, Aggressiv, roh und vielfältig zugleich. Herausragende Produktion, dynamischer Sound, außergewöhnliche Texte, süchtig machende Riffs, wunderbare Melodien, eingängig-hymnische Refrains, atemberaubende Gitarrenarbeit, herausragendes Schlagzeugspiel und einige der großartigsten und leidenschaftlichsten Vocals. Avaton ist eine zeitlose, atemberaubende Reise von der grausamen dystopischen Welt zu unseren tiefsten Träumen, auf der Suche nach den wahren Geheimnissen des Lebens. Voller Abenteuer, Emotion und purer Magie, die das Herz eines jeden Metal Fans begeistern wird.
Diviner ist eine 2011 gegründete griechische Heavy Metal Band. Nach ihrem donnernden Debüt Fallen Empires (2015) und dem grandiosen Zweitwerk Realms Of Time (2019), das ihren Status etabliert hat, kehren sie mit ihrem dritten und bisher besten Album zurück. Avaton zeigt eine verblüffende Musikalität, inspiriertes Songwriting und kompromisslosen Heavy Metal mit allen Elementen eines echten Klassikers. Kraftvoll, melodisch, episch, düster, spirituell, atmosphärisch, intensiv, Aggressiv, roh und vielfältig zugleich. Herausragende Produktion, dynamischer Sound, außergewöhnliche Texte, süchtig machende Riffs, wunderbare Melodien, eingängig-hymnische Refrains, atemberaubende Gitarrenarbeit, herausragendes Schlagzeugspiel und einige der großartigsten und leidenschaftlichsten Vocals. Avaton ist eine zeitlose, atemberaubende Reise von der grausamen dystopischen Welt zu unseren tiefsten Träumen, auf der Suche nach den wahren Geheimnissen des Lebens. Voller Abenteuer, Emotion und purer Magie, die das Herz eines jeden Metal Fans begeistern wird.
Die remasterte Neuauflage von PRESTIGEs zweitem Album "Selling The Salvation" - erhältlich als limitierte Vinyl LP sowie als CD Digipak mit zwei Bonus Tracks (Bonus Tracks nur auf der CD).
Dieses Album zeugt von der rasanten Entwicklung der Band vom eher straighten Speed Metal zum technischen Thrash Metal.
Die remasterte Neuauflage von PRESTIGEs zweitem Album "Selling The Salvation" - erhältlich als limitierte Vinyl LP sowie als CD Digipak mit zwei Bonus Tracks (Bonus Tracks nur auf der CD).
Dieses Album zeugt von der rasanten Entwicklung der Band vom eher straighten Speed Metal zum technischen Thrash Metal.
and Sebastian Kokus and the prolific Ulf Schütte, the Hamburg-based trio has tirelessly expanded upon its sound and extended its musical style. After 2022’s »S/T« documented the results of their first jam sessions as a newly-founded group, »V.A.« started even more modestly and became an even bigger undertaking. Originally conceived as a small one-off release, it grew into a full record which sees the group embracing dub music, collaborating with Peaking Lights’ Aaron Coyes and inviting other artists—No UFO’s, Seekers International, Coco Em—who reworked select tracks in true dub style. »V.A.« is marked by inconsistency, openness, and heterogeneity in the best sense of those words: ever-changing, constantly surprising and consistently in motion.
The starting point for »V.A.« was a Hamburg concert in December 2022 together with Coyes, who played a solo set as Peaking Lights. On the request of the event organiser, Cloud Management teamed up with him for a jam session after the gig, laying the foundation for a track that the group took to the studio before sending it to Coyes to record vocals for it. Another song quickly followed and even though the band initially intended to release »PST« and »0rten Pitch« as standalone 7” single, they soon decided to have others create versions of the two tunes to round them off in the form of a 12” EP. Once more though, one thing led to another and now »V.A.« collects five original pieces by Cloud Management as well as three—four on the digital version—remixes by other artists.
Collaborating with Leipzig-based Canadian producer No UFO’s, the Canadian Seekers International collective, and Kenyan multi-disciplinary artist Coco Em came about organically. As fans of their friend Konrad Jandavs’ work for labels such as Spectrum Spools, Root Strata and his own Nice Up International, Korf, Kokus and Schütte asked him for a remix and granted him full creative freedom for his take on »PST«. Jandavs also connected them with the prolific Richmond-based soundsystem worshippers, who present their take on the same track on this record as well as a version of »Electric CD.« Also this track appears three times on the record, having been re-rubbed by Emma Mbeki Nzioka, who was introduced to the the trio by its label Altin Village & Mine.
There isn’t really a common thread running through the rough digi-dub of No UFO’s take on »PST«, Seekers International’s traditionally-minded yet infinitely playful dub-psychedelia and Coco Em’s bass-heavy, percussive, pulsating take on »Electric CD.« However, as a group dedicated to staying in flux at all times, Cloud Management ended up embracing the creative differences between their own work and those of their respective collaborators. In calling it »V.A.,« they paid tribute to their somewhat loose, but conceptually consistent concept of giving various artists full creative licence over their own work. Neither a true album in the strict sense of the world nor just a compilation, »V.A.« is actually the essential Cloud Management record: ever-changing, constantly surprising, consistently in motion.
Remastered in 2022 by Bob Weston at Chicago Mastering Studio. Recorded in 1995 at Water Music in Hoboken, NJ, with producer Ted Niceley at the helm, House of GVSB captures Girls Against Boys at the zenith of their musical prowess. The album has a simmering anxiety throughout, a kind of vertigo, a taste of what the band was actually experiencing at the time. Released in 1998, on House of GVSB, Girls Against Boys hit their stride. "Super-Fire" leads off the album with more of a swagger than a bang. Follow that up with songs like "Click Click," "Zodiac Love Team," and "Disco Six Six Six," among others, and you've got the recipe for love, destiny, and straight up gin. No going awry with a song like "Crash 17 (X-Rated Car)." All together they play "TheKindaMzkYouLike." In 1998, Girls Against Boys left the Touch and Go stable for a run with major label and later with Jade Tree Records (2002). In recent years, apart from select short tours and shows in Europe, Girls Against Boys has remained on official hiatus. House of GVSB remains probably their most favorite album.
London based multidisciplinary artist and DAYTIMERS internal team member Zar (Arun) is returning once again in 2023, this time on The Tabula Rasa Record Company, to release his second EP: “Unfurl”.
It is the next expression of progression in sound for Zar, a movement further into, above and beyond the foundations laid down from his debut EP “Practice Makes Miracles” - which was listed on Bandcamps’ “Best Electronic Music of March 2023” and described by DJ Mag as “a striking solo debut that sets Zar out as an exciting prospect in the sphere of electronic composition.”
Sitting at that murky midpoint between UK Garage, Tech-House & Bass, the songs literally bloom outwardly, wrapping around the listener leaving trails of familiarity, and feature the tendrils of earworm worthy melodies that strike a balance between serene, uplifting, dense and thoughtful, all whilst resting upon deep thumping drums, clever vocal sampling and unconventional song structures. As a follow up to an already ambitious debut EP, Unfurl is an incredibly full-filling listen.
Pixel Prison is a deeply introspective album that explores the themes of societal division and the struggle for unity. Rising Tide combines the best elements of Roots Reggae, Jazz, Rhythm & Blues and adds deep meditative Dub into their music. Incorporating sounds from across the musical landscape and rooted with hard-hitting conscious lyrics, the band has tapped into another deep well of inspiration for their sophomore release!
“We’re excited to share ‘Pixel Prison’ with our global following,” says Rising Tide founder Marcus Urani. “This album is a reflection of our commitment to using music as a tool for positive change, and we hope our fans will join us on this journey.”
JIMI HENDRIX / LIVE AT THE HOLLYWOOD BOWL: AUGUST 18, 1967 - Diese Aufnahme wurde noch nie zuvor veröffentlicht oder als Bootleg erhältlich. Sie fängt die Jimi Hendrix Experience in einem einzigartigen Moment ihrer beeindruckenden Karriere ein. Vor einem ausverkauften Publikum von 17.000 Zuschauern begeisterte die Experience ein ahnungsloses Publikum mit einer großartigen Show, die seine Interpretationen von Songs der Beatles, von Bob Dylan, Howlin' Wolf und Muddy Waters sowie seine unverkennbaren Songs wie "Purple Haze" und "The Wind Cries Mary" umfasste. "Are You Experienced", das Debütalbum der Band, war damals noch nicht von Jimis Label Reprise veröffentlicht worden.
The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.
In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."
Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."
The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.
In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."
Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."
A viral phenomenon reissued. After 23 million YouTube views, multitudes of tattoos, dozens of cover versions, eight sold-out 7" pressings, comes this NINTH vinyl version.àSpread by word of mouth, click of mouse and without radio play.àThe entrancing romantic love song (murder ballad?) with guest vocalist Sparky Phillips of Demented Are Go counterpointing HME's Emanuela Hutter, hits the sweet spot for obsessive lovers“
The Hillbilly Moon Explosion continue with their gigging schedule across Europe this fall and plan a new album next year.àThe band - two Englishmen, a Frenchman and a Swiss/Italian chanteuse - reside in Switzerland and are one of the classiest exponents of rockabilly alive today, subtly mixing in swing, ska, country, Europop and more without compromising their roots.àTheir widely-sourced rock"n"roll is exciting and enduring; this song is a proven earworm and a worldwide infatuation
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ODD CREW präsentiert "Dark Matters Part II" und feiert damit ihr 25-jähriges Bestehen. Auf 8 Tracks kann man die Feinheiten des Progressiv-Metal erkunden, angeführt vom unverkennbaren Gesang von Frontmann Vasko. Vom Schatten zum Optimismus übergehend, taucht das Album tiefer in mysteriöse Motive ein und lädt den Hörer zu einer tiefgründigen Odyssee ein. Es ist ein echtes Zeugnis ihrer Vielseitigkeit & großen musikalischen Bandbreite und festigt das bleibende Vermächtnis von ODD CREW
The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack vision of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express & Outer Worlds Jazz Ensemble. It only seemed natural for the team at ATA Records to scratch their own Library itch and so "The Library Archive Vol. 1" was born in 2019. Recorded over a series of sessions in the Aladdin's Cave of vintage recording equipment that is ATA studios, it featured many of the ATA stable of performers. Released in 2021, "The Library Archive Vol. 2" still had the golden age of European Library music squarely in it's sights, but this time the focus was drawn more to the off-kilter soul organ sound of Italian quartet I Marc 4. These two volumes garnered praise from Library aficionado Shawn Lee ("Holy...
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