Buscar:q band

Jeder Song hat die Kraft, Erinnerungen wachzurufen und das Gefühl von Heimat durch Musik nutzbar zu machen: von der psychedelisch-funklastigen Single 'Something's Going On' bis zur kongregativen Energie des neuen Tracks 'We Give Thanks' verschmilzt 'Could We Be More' die Afro-Londoner Synergie, die so natürlich die Wärme und Identität von Kokoroko untermauert. Die Mehrfach-Preisträger Kokoroko sind auf soulige, bläserlastige Sounds mit westafrikanischen Wurzeln und Londoner Einflüssen spezialisiert. Sie spielten bereits auf vielen europäischen Festivals (von Glastonbury über Meltdown bis Elbjazz und Jazz á la Villette) und freuen sich darauf, ihre Reichweite in 2022 und darüber hinaus weiter auszubauen. Die Band trat in mehreren BBC-Fernsehshows auf, ihre beiden Boiler Room-Sets wurden zusammen fast eine halbe Million Mal angehört.

- 'This female-led, multicultural collective of under 30s is a vital example of not only jazz's new form but the shape of things to come.' - The Guardian
- 'Drawing influence from West African highlife and jazz, wellmarinated in enough polyrhythm seasoning to induce fires on the dance floors they play.' - OkayAfrica
- 'Afrobeat, jazz, soul and ’70s psych-leaning funk - luminescent!' - Cool Hunting

Endlich wieder ein Lebenszeichen der legendären Indie-Rock-Band Grandaddy aus Kalifornien. Im Februar 2024 wird ihr brandneues Studioalbum „Blu
Wav“ via Dangerbird Records erscheinen. Kürzlich feierten Grandaddy ihr Schaffen mit einer Reihe von Wiederveröffentlichungen zum 20-jährigen
Bestehen, darunter das hochgelobte Sumday Twunny-Boxset, das von Pitchfork als „Best New Reissue“ ausgezeichnet wurde. Auf Wunsch der Familie
seines Freundes und Psychedelic-Pop-Kollegen Mark Linkous steuerte Lytle auch Gesang zu einem posthumen Sparklehorse-Album bei. Grandaddy
haben fünf offizielle LPs veröffentlicht, zuletzt 2017 das Album „Last Place“. Zu den Mitgliedern von Grandaddy gehören Jason Lytle, Aaron Burtch,
Jim Fairchild, Tim Dryden und der 2017 verstorbene Kevin Garcia.

Dersu and Diego Figueura are Basel-based brothers also known as Alma Negra and have been responsible for some seriously fresh and funky, afro-inspired dance music since their inception a decade ago. With releases on Heist, Lumberjacks In Hell, Basic Fingers and their own Alma Negra imprint, the duo wear their Cape Verdean roots proudly on their sleeves ensuring a warm, tropical sound emanates through their productions. For their Delusions debut Alma Negra have delivered a compelling and well-rounded EP which shows off their skills across two original tracks, a dub version and a brilliant remix from Yuksek.

Title track Madrugada takes us directly to the afterparty. More specifically, the kitchen of the house party where the action invariably continues to the early hours. Live horns, guitar, percussion and bass all bring a big sound and real band groove to the production making for a feel good modern-day boogie tune guaranteed to lift the spirits.

Next up we have the aptly named Funky Fever which treads a similar path with big horn parts rubbing up alongside Moog synth lines and punctuated with 80’s tom fills and a rock solid rhythm guitar riff. The real star of the show is the vocal which is unashamedly raw and unpolished giving an authentic and endearing hook to the track.

French producer Yuksek is someone whose productions we’ve been loving for some time and really happy to finally have him onboard for a remix for what we feel is the perfect project for him. Like Alma Negra, Yuksek is another talent who is difficult to pigeonhole and enjoys mashing up genres and incorporating many outernational influences into his sound. On his remix of Madrugada he keeps many of the live parts intact but generally ‘houses’ up the drums and mix which increases the energy without losing the overall vibe of the original.

Closing out the EP we have Alma Negra’s own Dub Mix of Madrugaga which goes for a classic dub approach; pairing back the parts, muting the vocals and creating space for the groove to shine, all making for a perfect track to warm up the dance floor early doors.

Die "Gothics" glaubten an das Do-it-yourself-Punk-Ethos, dass jeder ein Instrument in die Hand nehmen könne. Graue Wolken zogen auf, und in der unwahrscheinlichen Stadt Hamburg gründete eine dreiste und eindringliche Bande von fünf Frauen, Caro May, Rita Simon, Manuela Rickers, Fiona Sangster und Anja Huwe, Xmal Deutschland. Und wie es sich für einen echten Punk gehört, taten sie dies ohne musikalische Vorkenntnisse. Die 7“ Single "Schwarze Welt" wurde 1981 auf dem lokalen Punk-Label ZickZack veröffentlicht und stellte die Band als einen beunruhigenden Schwarm von Intensität vor. Die Dringlichkeit des repetitiven Klagelieds, die wirbelnde Manie, die sich auf der B-Seite mit "Die Wolken" und "Großstadtindianer" fortsetzt, deren krude Synthesizer-Geräusche die Spannung noch steigern. Vor allem der einzigartig giftige deutsche Gesang von Huwe wurde schnell in die ungezügelte und aufkeimende Szene der glamourösen Düsternis eingebettet. Die Unabhängigkeit des Punks vom starren Griff der Tradition erlaubte es der Band, Trost in einer Anti-Establishment-Kunst und -Musik zu finden, weit entfernt von den Konventionen der Vergangenheit. Mit ihrem Pfauenhaar und den dick mit Kajal umrandeten Augen bewahrte sich die Musik von Xmal Deutschland sowohl eine Unruhe als auch eine Zartheit, die mit der Veröffentlichung der Single "Incubus Succubus" im Jahr 1982 die Grenzen der "Neuen Deutschen Welle" (ähnlich wie ihre Kollegen und Freunde DAF und Einstürzende Neubauten) überschritt. Sie wurde sofort zu einem Post-Punk-Klassiker. Die Gitarre wühlt sich durch die Melodie, während die schaurige Primitivität von Huwes Stimme andeutet, dass sie vielleicht, nur vielleicht, die alptraumhafte Kreatur ist, vor der man sich in Acht nehmen muss. Die B-Seiten, "Zu Jung Zu Alt" und "Blut Ist Liebe", halten sich an strenge militaristische Tanzbeats, während sie in Aufregung wimmeln. Im selben Jahr trat die Band in London als Support für die Cocteau Twins auf; das war die Plattform, die sie brauchten, um in die Arme der zerrissenen Netzmassen zu stürzen. „Early Singles 1981-1982“, ist eine Karte der grundlegenden Bewegungen von Xmal Deutschland, nur Sekunden vor dem Abheben. Die Bonustracks auf der Compilation, "Kaelbermarsch" und eine düstere Live-Version von "Allein", unterstreichen die Verschmelzung von Härte mit der quixotischen Dekadenz atmosphärischer Synthesizer. Das Streben der Band nach etwas Größerem ist spürbar, zu einer Zeit, in der nach dem Aufkommen von Punk neue Möglichkeiten des Musikmachens offenstanden.

Australischer Rock-Glanz trifft auf 80s Sunset Strip! The Neptune Power Federation kehren mit ihrem sechsten Album zurück, einer Sammlung fieberhafter Night Stories, untermauert mit purem Rock! Die vertonten Kindergeschichten mit einem ausgesprochen US-Rock-Sound der frühen 1980er Jahre sind inspiriert vom unbeschwerten und rücksichtslosen Sunset Strip in LA. Und hier wendet sich die Band bei 'Goodnight My Children' auch dem Radiorock der späten 1970er Jahre zu. Die acht Tracks feuern mit purer Rock-Inbrunst, inkl. dröhnender Gitarrensoli und dem stets markant verlockendem und hypnotisierenden Gesang von Front-Lady Screamin' Loz Sutch. Dieses Album dürfte die bisher beste Vocal-Performance der Sängerin mit dem beeindruckenden Kopfschmuck sein.
Die Sessions waren organisch und intuitiv, ermöglichten es Sutch so, die klassischen Pop-Strukturen der Tracks zu erweitern. Perfekt zum Album-Thema, das eine Sammlung nächtlicher Geschichten symbolisiert, die, so schrecklich sie auch sein mögen, den Zuhörer in der fürsorglichen Umarmung von Sutch, der kaiserlichen Priesterin, zurücklassen. Und als zusätzlichen Bonus erhalten die Fans ein illustriertes Märchenbuch, das die Veröffentlichung begleiten wird.
Die Band wird Ende Februar / Anfang März auch Deutschland-Konzerte spielen und dabei u.a. in Hamburg das 'Hell Over Hammaburg'-Festival beehren.

Rock Hard (10/10 Pkt.)
"Wie starb Sid Vicious? Wo ist Richie Edwards? Wann kommt ein neues Guns-N´-Roses-Album? Was ist die wahre Identität von Jens Peters? In die Reihe der großen Mysterien des Rock fügt sich das Rätsel, warum THE NEPTUNE POWER FEDERATION in gottverdammten kleinen Clubs spielen, während die konzeptionell ähnlich gelagerten Ghost Arenen füllen. Mangelnde Vielfalt ist nicht die Ursache: Die Aussies packen rustikalen Rock´n´Roll, Düster-Doom und Schrägo-Psych ebenso in ihre knallbunte Wundertüte wie überlebensgroßes Musiktheater mit viel Pomp, Musical-Flair und Pop-Appeal. Die Songs stehen dem Durchbruch auch nicht im Wege. Sie sind entweder ziemlich gut, verdammt gut oder schlicht großartig. Manche tänzeln leichtfüßig im glamourösen Power-Pop-Gewand einher (´Let Us Begin´, ´Twas A Lie´), andere klingen, als würden Heart Black-Sabbath-Stücke interpretieren (´Lock & Key´). Wieder andere lassen New-Age-bewegte Queen auf die synthetisierten ZZ Top der Achtziger treffen (´Woe Be Father´s Troubled Mind´, ´Hariette Mae´). Viele lassen sich auf Anhieb mitpfeifen, wobei die Eingängigkeit nie auf Kosten der Tiefe geht. Vielmehr sind die Arrangements so detailverliebt und wendungsreich, dass es fast zu Tränen rührt. Doch kommen wir zum "unique selling point" der wahnwitzigen Truppe: dem intergalaktischen, Brautkleid tragenden Christbaum mit Hirschgeweih namens Screamin Loz Sutch. Dass sich die "Imperial Priestress" in den hochherrschaftlichen Gesangskreisen von Farida Lemouchi, Chrissie Hynde oder gar Ann Wilson bewegt, war bereits erwiesen. Der hochdramatische Titeltrack zeigt jetzt, dass sie nicht von dieser Welt ist. Kurz: Es gibt keinen Grund, warum TNPF nicht längst Megastars sind - außer einer großen kosmischen Ungerechtigkeit. Es ist an euch, diese zu korrigieren!"

Legacy (12/15 Pkt.)
"Die australische Ausnahmekapelle um Screaming Loz Sutch, ihres Zeichens Exzentrikerin und Frontfrau mit großartiger Stimme, legt das sechste Album auf den Tisch, und bereits nach dem ersten Hören ist klar: Das Ding könnte verdammt groß werden! Full Energy Rock'n'Roll spielst du nicht, ohne, wenn du es gut machst, an die Großen zu erinnern. Aber auch wenn die Dinos im Sound der Band präsent sind, wirken die Songs easy und frisch von der Leber weg gerockt ('Let Us Begin' und 'Lock & Key'). Manche Parts lassen einen fast unverschämten Pop-Appeal in den Rock'n'Roll tropfen und begeben sich auf Ausschweifungen in die psychedelisch poppige Ecke ('Woe Be Father's Troubled Mind'). Ein Stück, in dem die Musik mit einer überlebensgroßen Attitüde flirtet, was die Gitarrensoli vor dem beschwörenden Part schön ins Rampenlicht setzt. Danach die klassische Mitklatsch-Nummer, ab da mutiert die Platte langsam zum Überflieger ('Betrothed To The Serpent'). Am Ende strecken sich Musik und Songwriting und wachsen aus dem bisherigen, schon vielschichtigen Können der Band nochmals hinaus. Da trifft der Pop-Appeal auf gefühlvollen Blues-Sound und wird zu wuchtigem Siebziger-Rock. Das funktioniert bestens. Nicht zuletzt, weil die Instrumentalfraktion auf dem Album fast blind miteinander zu harmonieren scheint und Screaming Loz Sutch die Kunst vollbringt, die nötige Theatralik, das gewisse Quäntchen an Exzess und die genau dosierte Übertreibung in ihr Organ zu legen. Der Titeltrack legt davon erstaunliches Zeugnis ab! It ain't a long way to the top … anymore."

DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).

Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization.



The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table.

The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected.



Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before.

Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better.

Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL), Lokerse Feesten (BE), Fluff Fest (CZ) and much more.

Tyranny and Mutation is the second studio album by American hard rock band Blue Öyster Cult, released on February 11, 1973, by Columbia Records. The album was recorded at the Columbia Studios in New York City during the year before and was produced by Murray Krugman and Sandy Pearlman. On May 12, 1973, the album peaked at #122 on the Billboard 200.

The song “Baby Ice Dog” features lyrics by singer/poet Patti Smith (who was keyboardist Allen Lanier’s girlfriend at the time), who would make several lyrical contributions to the band’s repertoire during its career. The song “The Red & The Black”, with lyrics referencing the Royal Canadian Mounted Police, is a renamed, re-recorded version of “I’m on the Lamb But I Ain’t No Sheep” from the same-titled debut album. The song was later covered by the Minutemen and Band of Susans.

Celebrating its 50th anniversary, Tyranny and Mutation is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.

"Secret Treaties is the third studio album by American rock band Blue Öyster Cult, released in 197It features the same band members and production team as their previous album Tyranny & Mutation, but also the only BÖC album that does not feature a track with lead vocals sung by guitarist Donald ""Buck Dharma"" Roeser. Lyrics to the lead-off track ""Career of Evil"" were written by future punk poet Patti Smith, a longtime contributor to the band (and, at the time, girlfriend of BÖC keyboardist and rhythm guitarist Allen Lanier). The album spent 14 weeks in the US album charts, peaking at No. 5It was certified Gold by the RIAA. In 1975, a poll of readers of the British magazine Melody Maker voted Secret Treaties the ""Top Rock Album of All Time"". In 2010, Rhapsody called it one of the all-time best ""proto-metal"" albums. Secret Treaties is available on black vinyl and includes an insert."

Secret Treaties by Blue Oyster Cult, released 8 March 2024, includes the following tracks: "Dominance and Submission", "Cagey Cretins", "Flaming Telepaths" and more.

This version of Secret Treaties comes as a 1xLP. This release comes with (a) Insert(s).

"Two Steps from the Move is the fifth studio album by the Finnish rock band Hanoi Rocks, released in 198This is their last album to feature the late drummer Razzle. Before this album, all of Hanoi Rocks' albums were released on Lick Records and Johanna Kustannus, but this was the band's first album on a major label. Originally the album was supposed to be called Silver Missiles and Nightingales, but the name was changed at the last minute. The album's producer, Bob Ezrin had previously worked with big-name artists like Pink Floyd, Kiss and Alice Cooper, which was one of the main reasons Hanoi Rocks wanted him to produce the album. Ezrin wanted the album to have a heavier atmosphere and darker guitar playing than the band's previous efforts, while still keeping it melodic and punky, and he also worked on the writing of almost every song on the album. Two Steps from the Move was Hanoi Rocks' biggest hit when it was released, reaching #28 on the UK Album Charts, along with the singles ""Up Around the Bend"" and ""Don't You Ever Leave Me"". The album also gave Hanoi Rocks their first gold record in Finland, but not until 1986 after the group had already disbanded. Two Steps from the Move is often considered as a glam rock/hard rock classic. The album is available on black vinyl and includes an insert."

Two Steps From The Move by Hanoi Rocks, released 8 March 2024, includes the following tracks: "Underwater World", "Million Miles Away", "Boiler (Me Boiler 'N' Me)", "Cutting Corners" and more.

This version of Two Steps From The Move comes as a 1xLP. This release comes with (a) Insert(s).

Die amerikanische Band SKELETAL REMAINS bereitet mit "Fragments of the Ageless" für Century Media einen weiteren Death Metal-Angriff vor. Die Besetzung mit Chris Monroy (Gitarre/Gesang), Mike De La O (Gitarre), Pierce Williams (Schlagzeug) und Brian Rush (Bass) verkörpert das Genre und geht dabei tiefer, dunkler und bis an die Grenzen der Brutalität. "Fragments of the Ageless' ist eine stampfende Platte aus purem Death Metal", sagt die Band. "Ein tyrannisches, blastlastlastiges Sperrfeuer aus schnörkellosen Riffs und Kompositionen. Alles an diesem Album ist verdammt brutal und direkt ins Gesicht." SKELETAL REMAINS schrieben 'Fragments of the Ageless' zwischen Europa- und US-Tourneen/Festivals u.a. mit Emperor, Morbid Angel, Mortician, Left to Die und Defeated Sanity. Die Songwriting-Sessions waren von einer No-Limit-Mentalität geprägt, bei der Kreativität und bekannte Genre-Rituale gleichberechtigt nebeneinander standen. Das Ergebnis war nicht nur ein definitives Death-Metal-Showpiece, sondern eine Evolution. "Wir haben einen Gang höher geschaltet und die technische Seite und die zunehmende Intensität verbessert, ohne die Eingängigkeit zu vernachlässigen", sagt die Gruppe. "Mit jeder neuen Platte streben wir danach, uns in unserer Musikalität und unseren Songwriting-Fähigkeiten zu verbessern. Auf der einen Seite haben wir an Dichte und Brutalität zugelegt, auf der anderen Seite haben wir ein paar Songs mit längeren und 'epischeren' Strukturen geschrieben." Die lyrischen Themen von "Fragments of the Ageless" umfassen Folklore, Science-Fiction, Geschichte und persönliche Kämpfe. Inspiriert wurden sie von dem eindrucksvollen Cover von Dan Seagrave (Entombed, Memoriam). Das Album wurde von der Band und dem Studioexperten Dan Swanö (Opeth, Incantation) koproduziert, der auch den Mix und das Mastering übernahm. Der Death Metal ist mit "Fragments of the Ageless" nicht tot. Er war noch nie tödlicher!

"English heavy-metal band Diamond Head was formed in Stourbridge by guitarist Brian Tatler and drummer Duncan Scott in 197Diamond Head were part of the New Wave Of British Heavy Metal and have been acknowledged by bands such as Metallica and Megadeth as a significant early influence. The album Borrowed Time is one of the all-time classic albums from the NWOBHM era and was originally released in 198 The album's openers ""In the Heat of the Night"" and ""Call Me"" are both power ballads, strongly signifying the band's approach to a more mainstream sound. Sean Harris portrays a vivid picture with his soul-searching vocals and guitarist Brian Tatler adds great solos and rhythms to the songs. The album also features “Am I Evil?”, which remains the band’s signature song, which rose to international prominence after it was covered by Metallica."

Borrowed Time by Diamond Head, released 8 March 2024, includes the following tracks: "To Heaven From hell", "Borrowed Time", "Am I Evil?" and more.

This version of Borrowed Time comes as a 1xLP.

"Something happened on No. The early EPs from Baltimore’s Tomato Flower were pretty, dreamy psychedelia. Warm to the touch, like looking up at the trees on a cloudless day. On No, the four-piece’s debut album, those trees, that cloudless sky, have become haunted, thorny, stormy. It takes Tomato Flower from buttoned-up, almost technically formalist psych pop to something more urgent, raw, emotionally immediate. No is messier, more expansive, and through all of its chaos, the band’s most rigorous artistic statement to date.

No is the band’s first effort made entirely in person, the first thing tracked in a studio instead of in a bedroom. It is a highly collaborative record written and recorded by everyone, partially made live. It is very much the byproduct of a band that has done some serious touring, following a coast-to-coast tour with Animal Collective in the summer of 2022.

Lead single “Destroyer,” has Jamison Murphy practically screaming over angular guitars, oscillating in a sonic space somewhere between the prettiness of Broadcast and the sludge of Jesus Lizard. It also presents an early entry point to one of No’s major conceptual underpinnings: that of the breakup between Murphy and fellow co-lead vocalist and guitarist Austyn Wohlers, which occurred during the composition of the album.

It wouldn’t be fair to just call No a break up album. It’s far more complicated with that. No is a record about negation: I will not do this, you cannot tell me what to do, we are not living in a utopia, don’t be delusional. No embraces a kind of brutal realism, a confrontation of life that only happens when you wizen up a little bit. All of it is a brutal delight, a departure from the past, a nod to a startling present."

Left Eye Perspective Are A Riff-Based Metal Band From Gent, Belgium. The Four-Piece, Consisting Of Kristof (Vocals And Rhythm Guitar), Kim (Lead Guitar), Jelle (Bass) And Tony (Drums), Started As A Post Rock Band But In Recent Years They Have Created Their Own Dynamic And Versatile Sound, Combining Also Influences From Sludge, Stoner Rock, Prog Metal And Grunge.
 After Their Debut EP In 2019, The Band Traversed The Limits Of Their Trademark Sound: Riffing Hard And Fast In A Controlled Way And Exploring The Endless Boundaries Of Progressive Rhythms Until That Hell Of A Punch Drags You Into That Overwhelming Universe Of Crushing Grooves.
 Pressed On Yellow Vinyl.
 For Fans Of Mastodon, Cobra The Impaler, Tool, Baroness, Gojira, The Ocean, Korn, Psychonaut, Machine Head, Soundgarden, Corrosion Of Conformity, Lamb Of God.

Back again for the first time in a few years, note price increase. Unfettered by studio time limitations with their own home base of Echo Canyon, SYR 2 shows Sonic Youth chasing the shadows of predecessor SYR 1 and the series' distinct aesthetic: total exploration of freedom and further discovery. While the cover art evokes European contempo classical releases of yore, Sonic Youth distinctively reinvent their own personal output potential the way those kinds of records revolutionized a previously defined genre. Their ethos of utilizing the roots of the Ramones, Television, VU, Stooges, and No Wave to shape their first decade now find the band in later years bullet-pointing fascination in AMM, MEV, improvised music, free jazz and other outer-limit/organic refractions of traditional rock. While Sonic Youth's spontaneous-creation moments had long been showcased in their recordings, Peel Sessions, and live, SYR 2 sums up the band's state in 1997: rolling lots of tape, fine-tuning ideas and presenting great moments of exciting new directions, allowing deep-listener type fans to gain better insight into their sound process. Add to that the alchemy of Jim O'Rourke's gradual entry into the core band which would soon be fully on display for SYR 3, and this series is an X-ray of evolution, dissection and reconstruction

Dry Cleaning will reissue their first two EPs, Boundary Road Snacks and Drinks / Sweet Princess, on 8 March 2024. Remastered to celebrate the release, Boundary Road Snacks and Drinks and Sweet Princess will be pressed as one single vinyl. The former will be available on cassette for the first time and include an exclusive bonus single, a demo of New Long Leg single, "Strong Feelings", recorded during the sessions for Boundary Road Snacks and Drinks. Today, the band has shared a new visualiser for the song "Sit Down Meal", the first in a series of new visualisers created for all tracks across the EP by original "Magic of Meghan" video collaborator Lucy Vann. To coincide with the reissues, Dry Cleaning will head back on the road this March and April for headline sets that will lean heavily on songs from Boundary Road Snacks and Drinks and Sweet Princess. The tour will offer fans the chance to see the band play in more intimate venues like Leeds" Brudenell Social Club and East London"s EartH theatre, and honour US shows that were postponed in 2020 (including SXSW and Treefort festivals). Tickets will go on sale this Friday 19 January.

Sydney rock outfit The Blamers are a modern band—two modern men, two modern women—with a revolutionary bent. Utilizing the latest cutting-edge stereophonic technology, the group—fuelled by an obsession with early garage greats—are at the fore of a sonic campaign to simplify rock back to its basic proto-punk form. With hooky riffs and a healthy dose of tambourine, the group are preparing to release their debut album early-2024 after a string of singles. The Blamers have shared the stage with Aussie heavy hitters The Chats, Bad Dreems, Pist idiots and blistered clubs around Australia with their no bullshit, beer-soaked sound. It’s a wonder that a band like The Blamers hasn’t come earlier! If you like the hard ass style of 60s punk with the wit of The B52’s, here it is.

Kapitän Platte will release the debut album from Belgium based band CHATTE ROYAL in March 2024. The four-piece group has already released two EPs in 2020 and 2022 and will present eight new songs on the first full-length, Diego Di Vito who is responsible for most of the songwriting on the album is also well known as the guitar player in cinematic-post-rock band We Stood Like Kings. CHATTE ROYAL is like the music of a film whose image we would have removed. Obsessions that result in powerful riffs accompanied by an impactful rhythm. This quartet travels through music oscillating between atmospheric and aggressive math-rock and melodic post-rock with a punk attitude. In a completely uninhibited style and imbued with virtuosity and energy on stage.

Despite ‘Hindsight Is 50/50’ being the third album from Ghost Woman in 18 months, songwriter and multi-instrumentalist Evan Uschenko believes that this is the first album that “finally captures the true nature of the band”.

The album was recorded mostly live in three days at the analogue Kerwax studios in Brittany, France by Christophe Chavanon (The Good Damn). Uschenko states that “the first two albums were never meant to be albums: they are like pages from diaries that have long since been burned. With the introduction of Ille van Dessel as co-writer/drummer, the project feels like it has a direction”.

There is a confidence and assurance that feels built upon the 2022 eponymous debut and the follow-up ‘Anne, If’, which was only released in January 2023. This urgency to progress and keep moving forward is reflected by the band: “We prefer to keep busy. But we’re lazy too. We still feel like we could be doing a lot more.” Overall, there is a darker, denser feel compared to previous releases, but the sound and vibe of this album is more akin to what the project was supposed to be when it started in 2016, finally realising Ghost Woman’s creative vision.

Steve Wynn and Kendra Smith founded The Dream Syndicate in 1981 and the band was a mainstay of the Paisley Underground movement. Reformed in 2012 by Steve Wynn, the band is still touring and recording.

The LA Times says the Dream Syndicate “rocked with the highest degree of unbridled passion and conviction”.

“The Dream Syndicate’s How Did We Find Ourselves Here?” documentary and companion soundtrack, “Live Through the Past, Darkly” will be available on CD or LP and includes a DVD of the recent documentary How Did We Find Ourselves Here

The documentary includes Chris Robinson, Stephen McCarthy, Ryan Adams, Chris Cacavas, Chris D., David Fricke, Russ Tolman, Tim Devine, Tom Gracyk, Pat Thomas, Karen Schoemer, Kari Pearson, Scott McCaughey, Sandy Pearlman, Dan Stuart and Howe Gelb.

When accidents happen, they are normally over in seconds, sometimes minutes; this one has been going on for 20 years. It is two decades since the members of Emile Parisien’s quartet played a jam session together. At the end, they looked at each other in disbelief. They had not just been hit by a collective musical thunderbolt, they also knew they had just brought...well...something...into being. The common ground between them was jazz, but each had all kinds of seeds to sow in it, from classical music and contemporary sounds to rock, electronica and chanson. Saxofonist Emile Parisien, Pianist Julien Touéry, Bassist Ivan Gélugne and drummer Julien Loutelier rip up labels, break down barriers, upset codes, and yet they know exactly where they are headed. There is a shared obsession with narrative. “The central axis of the quartet has always been storytelling,” Parisien emphasizes.

“Let Them Cook” is like a breath of fresh air, and with a band sound now firmly and unmistakably of 2024 rather than 2004. There was a particular turning point: at a concert in Sweden near the end of their “Double Screening” album tour, they had taken a chance and tried out a move from an entirely acoustic sound to incorporate some electronics.It worked, so they stayed with it: they found that these electronic punctuations never polluted the band’s DNA, but rather stimulated it. The electronic apparatus was clearly additive to the stories of these compositions, the way it all fitted together was astounding.

Which brings us back to the ever-present question: how do you get away from the classic jazz quartet of sax, piano, bass and drums? “We’re always trying to find the answer! There’s no point in redoing what the John Coltrane and Wayne Shorter groups did, because in many ways you’ll never reach their level.” “There’s a certain road in life most people walk on,” Wayne Shorter once said, “because it’s familiar, and they can jostle to get in front. I prefer to take a different road that’s less crowded, with many forks, where you get a wider view of life. I call it ‘the road less travelled’. That’s where I want to be.” In the year which marks its 20th anniversary, Emile Parisien’s quartet has never been more in tune with the thinking of one of its main influences.
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Les Égarés

Les Égarés

Dry Cleaning will reissue their first two EPs, Boundary Road Snacks and Drinks / Sweet Princess, on 8 March 2024. Remastered to celebrate the release, Boundary Road Snacks and Drinks and Sweet Princess will be pressed as one single vinyl. The former will be available on cassette for the first time and include an exclusive bonus single, a demo of New Long Leg single, "Strong Feelings", recorded during the sessions for Boundary Road Snacks and Drinks. Today, the band has shared a new visualiser for the song "Sit Down Meal", the first in a series of new visualisers created for all tracks across the EP by original "Magic of Meghan" video collaborator Lucy Vann. To coincide with the reissues, Dry Cleaning will head back on the road this March and April for headline sets that will lean heavily on songs from Boundary Road Snacks and Drinks and Sweet Princess. The tour will offer fans the chance to see the band play in more intimate venues like Leeds" Brudenell Social Club and East London"s EartH theatre, and honour US shows that were postponed in 2020 (including SXSW and Treefort festivals). Tickets will go on sale this Friday 19 January.

Who To Love is a 10-song modern rock opera by a new creative collective, The Time Experience Project comprising of Rock And Roll Hall Of Famer, Dave Stewart and legendary Italian band, Mokadelic. "Who To Love" is an immersive 10-song modern rock opera with
an accompanying film which premiered at the Rome Film Festival in October 2023.

Dave Stewart called to his side the great Italian television, stage, and Þlm actress, Greta Scarano and legendary Italian band Mokadelic for this adventure that inextricably joins music and images, weaved together with a strong emotional impact that investigates the
deepest folds of the human soul through music, memories and nightmares that intertwine in an alienating journey. Turquoise colored vinyl.

In the UK ‘Garage’ is most commonly used to refer to Rock music –
mostly of the kind that’s a bit rough (and ready) round the edges. Most
of the Punks were Garage bands, and before them were Psychedelic
Rockers, and before them Surfers and Beat bands. All the groups on
this compilation hail from the late 1950s and very early 1960s. Featured genres are Surfer instrumentals, Doo-Wop, ‘Trash’ Doo-Wop, Frat-Rock and Beat music.

ELO Part II were a band formed by Electric Light Orchestra drummer and co-founder Bev Bevan. The band also included former ELO bassist and vocalist Kelly Groucutt and violinist Mik Kaminski for most of its career, along with conductor/keyboardist Louis Clark who toured as a guest with ELO in its later years. Features the hit singles Honest Men, Kiss Me Red and Thousand Eyes as well as a bonus track on Side A, Love For Sale.

ELO Part II were a band formed by Electric Light Orchestra drummer and co-founder Bev Bevan. The band also included former ELO bassist and vocalist Kelly Groucutt and violinist Mik Kaminski for most of its career, along with conductor/keyboardist Louis Clark who toured as a guest with ELO in its later years. Features the hit singles Honest Men, Kiss Me Red and Thousand Eyes as well as a bonus track on Side A, Love For Sale.

Scottish alt/post/progressive-rock outfit Midas Fall release their Fifth studio album, ‘Cold Waves Divide Us’ on March 8th, 2024 worldwide on Monotreme Records. Michael Hamilton joins founding members Elizabeth Heaton and Rowan Burn for the follow-up to their 2018 Prog Magazine Awards ‘Limelight Award’ winning album, ‘Evaporate’. ‘Cold Waves Divide Us’ sees Midas Fall at their most confidently visceral, each song moving beautifully between quiet and loud, gentle and crushing. “This album is a heavier and bigger experience than the last album”, says Heaton. “We kept the atmospheric strings and 80s synths of Evaporate but wanted to add heavier layered elements, to represent more what we sound like live.” Opener ‘In the Morning We’ll Be Someone Else’ starts quietly with serene piano and vocals, ominously ratcheting up the tension to walls of crashing guitars and Heaton’s soaring vocals. ‘I Am Wrong’ thunders along on pounding rhythmic drums swirling around heavy swathes of low and delicate melodic highs. On ‘Monsters’, the band are more contemplative, with an ethereal beginning making way for gorgeously syncopated guitar and drums, whilst ‘Cold Waves Divide Us’ builds slower, allowing Heaton’s voice to gracefully float over the growing force beneath it. ‘Avalanche’ is a bittersweet lullaby showcasing Heaton’s heart-rending vocals in one of the quieter moments on the album. ‘Point of Diminishing Return’ sees a more electronic influence, with glittering shimmered synths taking the space where guitar melodies were, but with all of the Post Rock beauty that the duo are known for, something ‘Little Wooden Boxes’ showcases perfectly, expertly hovering between gentle clean guitar and piano, and exhilarating, uplifting full-band, full-bore epic. Credits: Elizabeth Heaton - vocals, guitars, strings, synths, piano, drums // Rowan Burn - guitars, synths, piano, drums // Michael Hamilton - bass, synths, drums // Music by Elizabeth Heaton and Rowan Burn/Lyrics by Elizabeth Heaton

Who To Love is a 10-song modern rock opera by a new creative collective, The Time Experience Project comprising of Rock And Roll Hall Of Famer, Dave Stewart and legendary Italian band, Mokadelic. "Who To Love" is an immersive 10-song modern rock opera with
an accompanying film which premiered at the Rome Film Festival in October 2023.

Dave Stewart called to his side the great Italian television, stage, and Þlm actress, Greta Scarano and legendary Italian band Mokadelic for this adventure that inextricably joins music and images, weaved together with a strong emotional impact that investigates the
deepest folds of the human soul through music, memories and nightmares that intertwine in an alienating journey. Turquoise colored vinyl.

The Rhythm Method veröffentlichten 2019 ihr Debütalbum und kündigen heute, vier Jahre später, den Nachfolger Peachy an, der am 8. März auf Moshi Moshi Records erscheint. Publikationen wie The Guardian, Dazed, Dork, i-D, Loud + Quiet haben die Band schon früh gelobt und sie mit Künstlern wie Pet Shop Boys und Squeeze verglichen. The Rhythm Method kehren nun mit einem völlig anderen Sound zurück, und, wie sie sagen, mit einem "zusammenhängenden Meisterwerk". Das neue Album, das von Bill Ryder-Jones produziert wurde und an dem auch Aoife Power von Whenyoung mitwirkt, ist das erste Mal, dass sie Musik in einem richtigen Studio aufgenommen haben. Es ist von dem Wunsch beeinflusst, das eigene Potenzial voll auszuschöpfen und sicherzustellen, „dass man es auf dem Sterbebett nicht bereut", so The Rhythm Method, die von Mike Skinner bis Michaela Coel gefeiert werden.


Über die neue Single „Have A Go Heroes“ sagt das Duo:

"Nach einem Gig in Hull im Jahr 2018 hatte Rowan einen psychotischen Anfall. Pech gehabt. Er machte (entgegen allen medizinischen Ratschlägen) mit einer kompletten UK-Tournee weiter. 'Have A Go Heroes' ist das Ergebnis davon.

Es ist eine Collage der britischen Regionallandschaft: Tankstellen, einsame Hügel, euphorische und mörderische Gedanken in einem."

Über zehn Songs sind Bokassa auf ihrem neuen Album so vielfältig wie eh und je. Das Power-Trio bietet alles von riffigem Stoner-Metal, fast progressivem Skatepunk, metallischem Hardcore bis hin zu entspanntem Flaschenhals-Riffing auf dem Wüstenrocker 'Gung Ho'. Ganz zu schweigen vom eingängigen und hymnischen Titeltrack. Während zum Beispiel das Debüt eine laute Klanglandschaft hatte und das 2021er 'Molotov Rocktail' mit einen verspielteren und größeren Rocksound kam, hat 'All Out Of Dreams' einen etwas raueren metallischen Sound inkl. Snare-Drum-Sound der 90er wie bei Clutch, Helmet oder Therapy erinnert? Das Album wurde von Tue Madsen (Meshuggah, BabyMetal, Madball, Sick Of It All, The Haunted) aufgenommen, gemischt und gemastert. Die Band hatte dabei erstmalig Gäste wie Lou Koller von den NYHC-Legenden Sick Of It All und Aaron Beam von den Stoner-Rockern Red Fang an Bord. 'All Out Of Dreams' erscheint als Digipak, Black Vinyl sowie lim. Red Vinyl!

30 Jahre Metal: Drei Jahrzehnte lang hat Wade Black mit Bands wie Crimson Glory, Leatherwolf, Seven Witches, Leash Law und Chalice of Sin den Metal gelebt und international getourt. Wade, dem Veränderungen weder fremd sind noch Angst davor hat, ein Katalysator dafür zu sein, kündigt sowohl Neuerungen als auch einige sehr verlockende Teaser für die Dinge an, die im Jahr 2024 kommen werden. Geschmiedet aus über einem Jahrzehnt des gemeinsamen Schreibens, Aufnehmens und Tourens haben Wade und Rich einen Songwriting-Stil entwickelt, der nicht von dieser Welt ist - das ist auch der der Grund, warum sie den Namen Astronomica gewählt haben. Sie glauben, dass dies der beste Weg ist, um ihren Sound zu beschreiben. Ein Blick in die Zukunft: Sie freuen sich darauf, Musik zu machen, die das Herz, den Verstand und die Vorstellungskraft ihrer Fans anspricht - sie auf eine Reise zu weit entfernten Orten mitnimmt und sie dazu inspiriert, ihr Bestes zu geben! Sie bereiten sich auch darauf vor, ihren Fans eine super Live-Show zu bieten und freuen sich darauf, all ihre METAL-Fäuste in die Luft zu strecken, wenn die Band die Bühne dezimiert. See you soon!

Closure/Continuation Live dokumentiert eindrucksvoll die triumphale Rückkehr von Porcupine Tree auf die Bühne. Der Live-Mitschnitt, der am 7. November 2022 im 17.000 Zuschauer fassenden Ziggo Dome in Amsterdam aufgenommen wurde, versetzt den Zuhörer/Zuschauer für die Dauer der Show mitten auf die Bühne, wo psychotrope Visuals hinter der Band explodieren. Porcupine Tree spielen indes ein Set von Songs der Superlative, das - um Steven Wilsons Worte zu verwenden - "keine Hits" enthält, und doch wird jeder wie eine Hymne aus einem alternativen Universum aufgenommen wird. Closure/Continuation Live enthält Live-Aufnahmen eines Großteils des Reunion-Albums von 2022 (einschließlich der Singles „Harridan“ und „Of The New Day“) sowie Klassiker wie „Trains“, „Fear Of A Blank Planet“ und „Anesthetize“.

GOST existiert in der dunklen Zone zwischen Black Metal und dem düsteren Ende der elektronischen Musik. Seit der Veröffentlichung der "Radio Macabre EP" Anfang 2013 und dem erbarmungslosen Debütalbum "Skull" sechs Monate später hat sich der texanische Multiinstrumentalist, Produzent und Kopf der Band, James Lollar, zu einer zunehmend eigenständigen Kraft in der Szene entwickelt. Weitaus aggressiver und düsterer als der Synthwave, mit dem er oft in Verbindung gebracht wird, ist GOST ein rauer und einzigartiger Albtraum, der den Hörer direkt in das Herz des Abgrunds führt. Jetzt kehren GOST mit ihrem sechsten Album "Prophecy" zurück. "Prophecy" ist zweifellos ihr bisher aufregendstes Werk und spiegelt perfekt den Horror und die düsteren Ängste einer Welt wider, die von religiöser und politischer Maßlosigkeit heimgesucht wird und in der der Fortschritt "in die verdammten 1950er Jahre zurückgeworfen wird".

The Rolling Stones embarked on the Licks World Tour in 2002 & 2003 to celebrate their 40th anniversary, featuring the band performing in arenas and stadiums, in addition to the occasional theater. In November 2002, the Stones arrived in Los Angeles to perform at a packed Wiltern Theatre, treating fans to a set heavy on rarities which feel right at home in such an intimate setting. While some of the hits are performed, this night at the Wiltern is for the rarely played classics, including “Stray Cat Blues”, “No Expectations” and a cover of “Everybody Needs Somebody To Love” featuring a guest spot by the legendary Solomon Burke, who opened the show that night.

The Rolling Stones embarked on the Licks World Tour in 2002 & 2003 to celebrate their 40th anniversary, featuring the band performing in arenas and stadiums, in addition to the occasional theater. In November 2002, the Stones arrived in Los Angeles to perform at a packed Wiltern Theatre, treating fans to a set heavy on rarities which feel right at home in such an intimate setting. While some of the hits are performed, this night at the Wiltern is for the rarely played classics, including “Stray Cat Blues”, “No Expectations” and a cover of “Everybody Needs Somebody To Love” featuring a guest spot by the legendary Solomon Burke, who opened the show that night.

Die in Montréal lebende schwedische Sängerin und Komponistin hat in den letzten 20 Jahren sechzehn unabhängig produzierte Alben vorzuweisen und ist zahllose Kollaborationen eingegangen. Sie ist eine poetische und kühne Kraft in der Musik, die sich dem Genre entzieht. Ihre Stimme wurde als "eine führende Präsenz" (Exclaim) beschrieben, die "den Unterschied zwischen dem Göttlichen und dem Dämonischen aufspaltet, gekonnt aus den Angeln hebt" (Under The Radar) und "neben den größten Indie-Künstlerinnen steht, die vor nichts Angst haben" (Le Devoir). Aufgewachsen auf einer Insel an der schwedischen Westküste, begann ihre musikalische Laufbahn, als sie 2004 nach Stockholm zog und Mitglied des renommierten Kollektiv-Labels und Veranstaltungsortes Fylkingen wurde (die älteste Organisation in Europa für experimentelle Musik und Kunst, gegründet 1933). Seit ihrem Umzug nach Montréal im Jahr 2012 erstreckt sich ihre Karriere über zwei Jahrzehnte und ist geprägt von einem unerschrockenen Streben nach Originalität, einem unerschöpflichen Wunsch, Genres zu überschreiten, und einem Engagement für künstlerische Zusammenarbeit. Angell verschmilzt musikalische Bereiche von Klassik, Folk, Rock und Pop bis hin zu Jazz, Elektronik, freier Improvisation und Avantgarde. Bekannt ist sie vor allem für ihr unkonventionelles künstlerisches Schaffen mit der gefeierten und für den Polaris nominierten Avant-Rock-Band Thus Owls, die sie seit 2007 gemeinsam mit ihrem Mann Simon Angell leitet. Zu ihren früheren Ensembles gehören das schwedische Vokal-Bass-Duo Josef & Erika und die elektronische Noise-Gruppe The Moth. Zur Unterstützung dieser und anderer Projekte unternahm sie ausgedehnte Welttourneen, bei denen Daníel Bjarnason (Ben Frost, Sigur Rós), Liam O'Neill (SUUNS), Karl Lemieux (Godspeed You! Black Emperor), Lisen Rylander Löve (Midaircondo) und Anders Jormin (ECM) zu ihren zahlreichen Partnern zählten. Ihre unverwechselbare und virtuose Stimme hat Aufnahmen und Live-Auftritte mit einem breiten Spektrum von Künstlern geziert, darunter Loney Dear, Patrick Watson, Leonard Cohen, Kim Myhr, Arve Henriksen, Land Of Kush, Wildbirds and Peacedrums, La Force und The Besnard Lakes, um nur einige zu nennen. Kürzlich gründete Angell zusammen mit Róisín Adams und Peggy Lee das Neue-Musik-Trio Beatings Are In The Body und vollendete ein Solo-Debütalbum mit uneingeschränkter stimmlicher Erkundung und expressionistischen avant-elektronischen Kompositionen, das Anfang 2024 auf Constellation erscheinen soll.

In the sway of a rural breeze, Ian Hatcher-Williams' vocals soothe and enchant the listener on his self-titled debut album as Lamplight, which recounts his odyssey from a child raised in a Virginia cult, to a burned out tech worker in New York, and then back to Virginia, happily married to his childhood friend. Throughout the album, Hatcher-Williams explores identity as it relates to where a person is from and evolves with where they live, and how that facet of self is further compounded by the amount of agency one has over where they call home. Hatcher-Williams wrote and recorded what would become Lamplight, attempting to process and distill some of his experiences into songs. Though the album has moments that hint at the antique lace and creaking floorboards of traditional folk, Lamplight skews modern, in part thanks to Kevin Copeland's (Lightning Bug) deft production. Hatcher-Williams met Copeland while living in Brooklyn, and as they got to know each other, he revealed that he'd spent years playing in bands before his career took over his life. Copeland's encouragement, in tandem with the concurrent changes in Hatcher-Williams' career and domestic life, gave him the confidence to revisit this part of himself that felt unfinished.

Back in print on vinyl! Deerhoof debuts their new guitarist John Dieterich and achieves widespread critical acclaim for the first time. 2002's Reveille is a defiant expression of artistic rebirth, spilling over with madcap exuberance, apocalyptic imagery, newfound technical confidence belying their no-budget DIY recording methods, and jarring stylistic about-faces in which no two songs sound alike. The contrast of Satomi's ever-catchy, ever-charming melodiousness with John and Greg's noisy, cinematic bombast still has the power to thrill and tickle and upset, more than 20 years after its initial release. Includes reimagined cover art with the faint morning glow the band had always envisioned, pressed on clear sun-colored vinyl. Complete lyrics included for the first time, written by Satomi on the center labels.

Am 08. März 2024 erscheint Philipp Poisels Live-Album NEON ACOUSTIC ORCHESTRA auf Holunder Records, dass Anfang April unter der Regie von Produzent Frank Pilsl in der Motorworld in Metzingen aufgenommen wurde. Die Stücke stammen allesamt von Poisels 4. Studioalbum NEON (2021) und zeigen sich hier in breit orchestrierten Versionen, denen ein besonderer organischer Charme innewohnt. Der Musiker scharte zur Aufnahme nicht nur seine seit Jahren treue Band und Sängerin Alin Coen um sich, die schon seit PROJEKT SEEROSENTEICH dabei ist, sondern holte sich neben den Streichern auch einen Bläsersatz hinzu. So zeigen sich Poisels einfühlsame, einzigartige Stücke in Versionen, die nicht in Konkurrenz zum feinsinnig produzierten Album stehen, sondern nochmal einen ganz eigenen Kosmos öffnen. Dabei leben sie nicht nur von der Akustik des Live-Moments und der intensiven Darbietung, sondern auch von der spürbaren Begeisterung des Publikums, das hier einem der spannendsten und besten Musiker zujubelt, die das Land zu bieten hat.

"Idris Muhammad is an American jazz drummer and bandleader and is one of contemporary music’s most sampled drummers. His resume includes nearly 500 recording credits that range across the genre spectrum and 12 studio albums as a bandleader, including the 1976 House of The Rising Sun. The album is arranged by David Matthews, also known as leader of the Dave Matthews Band (DMB), and produced by Creed Taylor, founder of CTI Records. The track ""Sudan"" is arranged by jazz trumpeter Tom Harrell. The album features several guest performances by New York studio aces, including Joe Beck, Don Grolnick, David Sanborn, Fred Wesley, and Michael Brecker amongst others. House of the Rising Sun is available on black vinyl."

House Of The Rising Sun by Idris Muhammad, released 7 March 2024, includes the following tracks: "Hard to Face the Music", "Sudan" and more.

This version of House Of The Rising Sun comes as a 1xLP.

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

The ever poignant yet exceedingly elusive Chorg Dorgon speaks on the new album by Charles Moothart, entitled Black Holes Don’t Choke: “For the sake of clarity, and its clarity that we seek, Charles has been a pillar of our musical experience since he began playing eons ago in the various projects and countless albums he has contributed to. Charles is a musician who has been constantly on the road for years playing in Ty Segall’s Freedom Band and Fuzz. When there has been a rare time away from those engagements especially in the post-pandemic scramble to catch up world of gigs and tours, he has been spending all of his time in his laboratory figuring out how to synthesize all of the info he has collected and musical ideas he has developed in the past few years since the last CFM record and subsequent shows for this new solo work. Just before the pandemic started, he was out playing solo shows in a project that revolved around an MPC sampler, just to give an example as to the wideness of his explorations. His result is Black Holes Don’t Choke. Love songs for the apocalypse. A prayer toward optimism amid chaos. A plea toward nature. The themes on this album are the themes of today. Charles appeals for us to visualize evolution. And with a signature, the music sounds exactly as you want it to. It sounds like Charles Moothart’s music only more evolved and with greater focus and direction. With greater textural dynamic and more sonic variation and realization, but never sacrificing the insane riff that he is clearly the master of. He gets to the point on this record. He is presenting a voice you can understand and rely on as you make your own journey into it. Create your own meanings. The record now belongs to the world. Because we all start a thought as that which is beginning-less and endless and at some certain point it becomes its own thought, takes it owns shape and becomes itself, separate from the thinker, separate from the observer. alive in the ether!”

**Ltd First Pressing on Black/Red Splatter Vinyl** Introducing Observers “The Age of the Machine Entities” an instrumental heavy metal reimaginin of Stanley Kubrick and Arthur C Clarke's 2001 A Space Odyssey. Observers is a new project fronted by Martin Kennedy whose ambient rock band All India Radio has seen music used in CSI, One Tree Hill and many more. Canadian metal titan Devin Townsend even covered an All India Radio song that he fell in love with while on holiday. Kennedy has also released over fifteen albums with Steve Kilbey of psychedelic rock legends The Church. Kennedy says “I’ve been fascinated by 2001 A Space Odyssey ever since my mum took me to see it in the 1970s. It blew my mind. I started making my own 2001 inspired super 8 movies, I collected everything I could afford and I’m still obsessed with it into my adult years.” “The Age of the Machine Entities” is entirely instrumental and takes us on a cosmic journey through melodic metal, atmospheric riffs and psychedelic ambient sequences with echoes of Gojira, Black Sabbath and Tangerine Dream and the early 70’s work of Pink Floyd. Indeed treats us to a searing metal version of the obscure but fan favourite “The Narrow Way Part 2” from the Floyd’s Umma Gumma. The album was mixed by Joe Haley from Tasmania’s legendary Psycroptic and the line up is Rich Gray (Annihilator) on bass, Chris Bohm on drums, and guest soloists including Joe Haley and Jake Weber. The all important visual aspect is brought to life by Ryan T Hancock (known for work with King Buffalo, ᴀɢɴᴏxɪᴀ, Robot God), who created the mesmerizing album artwork. Observers' "The Era of Machine Entities" is a fusion of artistic brilliance that pays homage to the timeless mystery of "2001: A Space Odyssey.”

Stuck on common ground is the debut album of the Italian Power Trio hijss. With a mixture of heavy blues influenced riffs and synthesized Krautrock parts hijss tries to create a high dynamic range that will keep your attention at all time. On top of gritty basslines and ferocious drums lie cosmic guitars, tantalizing vocals and arpeggiated electronic drones. All three band members come from a vast musical background. Their common denominator is with out a doubt a punkish attitude. The album was produced by Toni Quiroga and hijss, drums were recorded at Nologo Recording Studio, Laives by "holy barbarian" Fabio Sforza. Engineered, mixed and mastered at accept productions by Toni Quiroga, album cover by Luca Guarino.

O*RS are proud to release „HERON“, the first album by newcomer duo Heron from Leipzig. On their debut LP Heron tap into Synthwave with hints of Pop. The introspective lyrics elevate the 80s-like soundscape to an immersive listening experience. Producer Tino Kulisch and singer/writer Birthe Kleemann have been working on this project for quite a while now. Both of them are multitalented musicians who were involved in several band projects before forming Heron. We are very happy they came together and gave us their album „HERON“.

limited edition of 300
includes: poster , download code , sticker

There are plenty of performers who rock critics describe by using the label "primitive," but few if any can hold a candle to the greatest American rock primitive Jad Fair. With his wildly influential band Half Japanese or as a solo performer, Fair has constructed a prolific and extremely interesting career. He writes and records songs that display an uncomplicated emotional directness, unselfconscious charm and warmth, and a genial simplicity that is beyond words. From Jad: "I set a goal for myself to release 100 albums in a year's time. I was able to pass that mark. I released over 150 albums. This album is a "best of" compilation of the songs recorded that year. It's 100 songs chosen from 160 albums."

The Mormones from Lillehammer, Norway had the reputation of being one of the best bands you could experience live, and for their debut album they went to Nashville and producer Mark Nevers (Lambchop, Calexico, Will Oldham) to transfer this energy and nerve to a record. The Mormones consists of Morten Lunde on bass/vocals and Simen Jeistad on drums/vocals, and we promise you've never heard anything like it from a duo before. This is straight-to-the-point garage punk that owes as much to Chuck Berry and The Sonics as it does to Motorhead and The Ramones.

"Guide To Good And Evil" by The Mormones includes the following tracks: "Fast Roads Fast Riffs", "GTO Society", "Roadburn ’68", "Private Affair" and more.

Bay area textural pop group Torrey delve deep into a translucent dreamworld on their self-titled sophomore album. Bending classic shoegaze, rainy day indie rock sounds, and 90s alt rock flair into more intricate forms, the band uses these guitar-forward songs to shapeshift between gentle drifting and noisy breakthroughs. The overall effect is blissful, but never losing sight of the sturdy tunes underneath the fuzz. Some touchstones might include Lush, Drop Nineteens, Cocteau Twins and The Breeders, but Torrey have a deft grasp of their craft and a forward-thinking studio approach that places them very much in the NOW. Singles like No Matter How, Bounce and Moving are pure 2024 and place Torrey firmly alongside like-minded groups like Seablite, Winter and Alvvays who are enlivening a similar set of inspirations.

"Torrey by Torrey" includes the following tracks: "Moving", "Hawaii", "Slow Blues", "July (And I'm)" and more.

Aus Trondheim, an der kalten Küste Norwegens, haben VICINITY seit 2006 ihren Mix aus progressivem Metal, Melodien und ausgefeilten
Rhythmusmustern entwickelt. Mit ihrem dritten Studioalbum hat die fünfköpfige Band nun die perfekte Mischung für ihren Sound gefunden. "VIII" ist
ein ausgereiftes Progressive-Metal-Album mit einem frischen Ansatz in der Komposition.
Indem sie neue Einflüsse in ihren ohnehin schon reichhaltigen Schmelztiegel von Referenzen einfließen lassen, ist "VIII" eine Sammlung von
Progressive-Metal-Songs, bei denen die Norweger zu einem schwereren, prägnanteren Sound als bei den vorherigen Veröffentlichungen abdriften.
Das Endergebnis kann sowohl traditionellen Prog-Fans von Bands wie Threshold als auch Anhängern von neueren Acts wie Haken gefallen.
Gemischt wurde "VIII" von Øyvind Voldmo Larsen (Seventh Wonder, Circus Maximus, Withem) und gemastert wurde in den Fascination Street Studios
von Tony Lindgren (Ihsahn, James LaBrie, Leprous, Opeth).

Mercurio is the debut album by Opuntia, the solo project of Mexico City producer Camila de Laborde. After three albums with her duo/band, Camila Fuchs (ATP/Felte, etc.), Camila decides to embark on a new path of musical and interpersonal exploration with Opuntia as her new alias, and with the album Mercurio as a statement of metamorphosis and creative process.

Broadly speaking, Mercurio is a direct impact of beautiful melodies, rhythms, and voices that traverse a leftfield electronic pop axis, sprinkled with elegant nods to experimental transitions. In Mercurio, you can sense the spaces, textures, and echoes, akin to a sort of retro Sci-Fi analogy. Bass hits or percussions carry a weight that bursts forth yet delicately dissolves instantly – perhaps another analogy, akin to liquid metal. From softness to fury across the ten songs, Opuntia proposes an artistic reinvention in constant movement. Speeds and spaces change, but the narrative remains consistent from beginning to end – finding a place, a resolved utopia. Mercurio is darkly joyful, with substantial doses of sophisticated pop.

Brooklyn-based artist Jonah Parzen-Johnson returns with the new album You're Never Really Alone, out on We Jazz Records, March 8. If you look at the label on the LP containing eight intimate compositions for baritone sax & flute, you will find the words, “we made this together”. At first thought, this simple phrase may seem out of place on a solo record, but just like the compositions on this album, it was carefully crafted to cut to the core of what this music is all about.
In Jonah’s words: “It’s pretty hard to end up at a solo saxophone concert by accident. Odds are pretty good, if you are there, it is because you light up when you experience something new, something experimental. That shared desire connects us, and suddenly, for a night, we are a community. For me, being connected to those spontaneous communities is the best part of being an experimental artist. Everything I make is in service to the cultivation of that community, our community. Without it my music doesn’t exist and because of that I can joyfully say to each person, at every concert, that we made this together.
”You’re Never Really Alone arrives in stark contrast to Parzen-Johnson’s 2020 We Jazz Records solo debut, Imagine Giving Up. Where Imagine Giving Up was celebrated for Parzen-Johnson’s ability to assemble deeply evocative electr acoustic sound worlds, “filling the landscape in one element at a time until a picture emerges that could almost be a full band,” (Wire Magazine, March 2020) You’re Never Really Alone shows us that Jonah can look you in the eye and say “my voice alone is enough”.
Across eight tracks, Parzen-Johnson, a Chicago native, explores the technical limits of his baritone saxophone and flute without ever making the listener feel like he has something to prove. You will find circular breathing, multiphonics, and explosive levels of sound, but more importantly, you will enjoy every moment of musical storytelling and compositional skill. This album is made for repeat listening.
The opening track, “When I Feel Like Myself” is a meditative invocation of self realization. Parzen-Johnson summons three and four note harmonies from his saxophone with deep control, as he gently explores how tension can become its own release. An unadorned melodic thread gently weaves each musical expression to the last, guiding us deeper into an album that simultaneously celebrates the power of one, and the yearning for exploration that unites us all.

Utrecht (NL) based Tusky proves that punk-rock is alive and well in 2024, with the release of their fist-in-your-face-but-you-love-it new album: ‘Tusky’. Their third studio album will be released March 8th 2024 on Suburban Records
.
On previous releases, the band has been known to be in charge of their own recordings and productions, but with the new album they took it a step further: They converted their rehearsal space into a studio. By doing this, they have built a space in which they were able to record their new album in peace. “Having your own space is awesome! A place where you can take all the time you need, to experiment with different amps, pedals, guitars, mics. Each day we could go on as long as we wanted, but we could also decide to take a break and go for a swim in a nearby lake,” singer Vladimir Stevic elaborates.

Das lauteste Rock/Fusion-Instrumental-Power-Trio der Welt beschert uns ihr erstes Konzeptalbum: In DUCK flieht der Protagonist, eine Ente, vor einem Pinguinpolizisten nach New York, wo Aufreger und Gefahren auf ihn warten. Die Aristocrats - Guthrie Govan/Gitarre, Bryan Beller/Bass, Marco Minnemann/Schlagzeug - haben ein kaleidoskopisches musikalisches Universum erschaffen, in dem sie sowohl typische Genre-Pastiches als auch einfallsreiche neue Arrangements erforschen - einige davon überraschend gefühlvoll und sensibel -, um die Geschichte zu ihrem rasanten Ende zu führen. Und während ihre offensichtliche Virtuosität und die ihr innewohnende Absurdität wie immer vorhanden sind, wird sie nun in der bisher ambitioniertesten kompositorischen und klanglichen Produktion der Band eingesetzt. Die abwechslungsreiche Musik begleitet den Protagonisten von der Ente in einem Großstadt-Tanzclub ("Aristoclub") über den gewaltsamen Rauswurf aus einer Spelunke ("Hey, Where's MY Drink Package") bis hin zum düsteren Thema für seinen Pinguin-Verfolger ("Sgt. Rockhopper") und endet schließlich mit dem actiongeladenen Balkan-Fusion-Finale "This Is Not Scrotum", bei dem der Geiger Rusanda Panfili (Hans Zimmer Live) als seltener Aristocrats-Album-Spezialgast auftritt. Duck ist das erste neue Studioalbum der Aristocrats seit fünf Jahren und wurde und mit einem Original-Artwork von Lance Myers (Space Jam) versehen. Und es ist klar, dass die ARISTOCRATS ihre kollektive Kunstfertigkeit auf ein völlig neues, wenn auch absurdes, Niveau gebracht haben. Als Standard CD, CD Deluxe Package in Box mit USB-Stick mit Stunden an Bonus-Material, Schlüsselanhänger und mehr sowie Dopple-Vinyl-LP erhältlich!

This collection assembles the range of sources that Robert Johnson heard and learned from including songs from his mentor Son House and from other Delta performers and from sources that show aspects of the musical world in which he lived. His tastes ranged far and wide and he had a gift for absorbing sounds of all kinds, including from tin pan alley to hillbilly songs. He was a brilliant creative musician who managed a stunningly effective fusion of his Delta roots and the smoother approach of the then prominent contemporary blues artists. As with any genius in any field he was able to produce great work only because he was standing on the shoulders of previous great artists. This collection provides an introduction to a number of them and gives a sense of how Johnson adapted and combined their styles. It presents music that can still excite and inspire us today just as it did to Robert Johnson back in the first golden age of the blues.

In their long career The Grateful Dead have been inspired by a stunning variety of American musical artists and traditions from blues to country to rock to folk - some of the most exciting and moving music ever recorded. Here are the original versions of The Dead's best loved cover tunes that surprise and delight with their musical depth, originality, and feeling. This collection has been lovingly compiled by a group of Dead insiders including Henry Kaiser, David Gans, and others with the enthusiastic support of The Dead itself. There are extensive notes included that give an overview detailing how the band came to cover each of these tunes and when they first played them in concert. The distinctive Robert Crumb cover artwork is an instant attraction and add to the collectability of this release.

Mute celebrates the 25th Anniversary Edition of Looper’s debut 1999 album, Up A Tree, featuring never-before-released songs.

LOOPER Stuart and Karn David, originally recorded for the Sub Pop label in 1999, this anniversary edition include remixes, reworks, new sleeve notes and alternative artwork, and is out on transparent green vinyl (accompanied by a Flexi Disc), double CD, and digitally

Up A Tree was completed while Stuart was still working with Belle & Sebastian (the band he co-founded in 1995) and brought Looper instant acclaim (including an 8.1 review in Pitchfork, who credited the album with originating a new genre they dubbed Folk-Hop). It reached #21 on the UK Independent Album chart, and #79 on the Scottish Albums Chart, and brought in fans such as Ben Folds who recently called Up A Tree “… a gift of a record”.

The anniversary edition also features alternative artwork designed by Karn and includes new sleeve notes by Sub Pop’s Jenny Hayo, who recounts working with Looper on their first records and first US tour, alongside words from Stuart’s sister Karla Black, who takes us back to Glasgow School of Art in 1998, reminiscing about the first Looper show.

The vinyl edition of Up A Tree comes with a Flexi Disc of ‘Brilliant Paper’, an unreleased track by Looper and Sue Tompkins (Life Without Buildings) and the double CD includes a remix by Pulp (credited as The Chocolate layers).

Ltd Edition!

Anläßlich des 45ten Jubiläums der Compilation veröffentlicht Domino die LP am 8. März 2024 in durchsichtigem, orangefarbenem Vinyl.

„Singles Going Steady“ ist ein Compilation-Album der englischen Punkrock-Band Buzzcocks, das ursprünglich am 25. September 1979 auf I.R.S. Records in den Vereinigten Staaten veröffentlicht wurde.

Format: Limitierte, nummerierte translucent-orange Vinyl inkl. Booklet und Downloadkarte (2019 Remastered Version)

Since emerging in 1997, Chicago quartet Plain White T's — Tom Higgenson vocals, Tim Lopez [lead guitar, vocals], Mike Retondo [bass], and De'Mar Hamilton [drums] — have remained visible and viable. They have consistently delivered unforgettable pop rock anthems that take up real estate in your brain for months at a time. They have amassed over 2.7 billion total global streams, earned two Grammy nominations, and collected several Platinum-plus and Gold certifications across their impressive catalogue. Their signature single "Hey There Delilah" went quadruple-platinum, topped the Billboard Hot 100, and earned the pair of aforementioned GRAMMY® nominations in 2008 — for "Song of the Year" and "Best Pop Performance by a Duo or Group with Vocal." They have made their pop culture mark by appearing on highly visible shows such as the Macy's Thanksgiving Day Parade, Sesame Street, iCarly, 90210, Beavis & Butthead, and Frankenweenie, all the while nabbing press accolades from TIME, Billboard, ESPN, Rolling Stone, AV Club, MTV, MSNBC, and more. Plain White T's have proven to be a reliable musical force, as well as a career band that shows no signs of stopping or slowing down.

Aquasky are a trio that formed in Bournemouth in 1995, inspired by the likes of LTJ Bukem, DJ Krust and Roni Size. They were signed to Moving Shadow for a three-single deal by the strength of the first two tracks that they made together. But the label had a heavy release schedule back then, so it took 2 years for the 3 releases to come out. During that time though they wrote more music for R&S and Reinforced as well as untold remixes.

These two tracks were written whilst signed to Moving Shadow but were not released at the time as drum and bass was progressing in style and tempo. So, they were put to DAT and forgotten about until 2015 when the band put out a 20 year compilation, finding the tracks on one of their many DAT tapes.

The music will take you right back to the mid-90’s when the music was deep and rolling and there were no hard and fat rules on how to make drum & bass.

This release has a close connection to Vinyl Fanatiks as the label is run by Brent from Aquasky.

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Mars and part of a 4 vinyl Cosmik series.

Keep em rollin’

"A New Form of Beauty (1981) was recorded and produced by the band itself. It includes the tracks of the first four parts of what was a five-part, mixed-format project with Rough Trade Records. Part 1 was a 7” record, Part 2 was a 10”, Part 3 was a 12”: these were recorded between July and October 1981. Part 4 was ‘Din Glorious’, released as an audio cassette, was a recording of extracts of a live event on 8th November 1981 at the Douglas Hyde Gallery in Dublin. Part 5 was to be a film of ‘Performance, Exhibition, Event staged at the Douglas Hyde Gallery on 7th and 8th November 1981.
This deluxe edition features all four parts remastered from original tape in a 3LP Tri-fold reverse board sleeve deluxe package with a 16 page 11 inch deluxe artbook containing brand new sleevenotes by Jon Wood and original Guggi drawings. "

Post-Punk (Originally Called New Musick) Is A Broad Musical Genre That Emerged In 1977 In The Wake Of Punk Rock. Post-Punk Musicians Moved Away From Punk's Traditional Elements And Raw Simplicity, Adopting Instead A Broader, More Experimental Approach That Included A Variety Of Avant-Garde Sensibilities And Non-Rock Influences. Inspired By Punk's Energy And DIY Ethos, But Determined To Break With Rock Clichés, Artists Experimented With Styles Such As Funk, Electronic Music, Jazz And Dance Music; Dub And Disco Production Techniques; And Ideas From Art And Politics, Including Critical Theory, Modernist Art, Film And Literature.

These Communities Have Produced Independent Record Labels, Visual Art, Multimedia Performances And Fanzines. These Three Compilations Are By No Means 'Best Of' Or Collections Of Chart Hits. They Are Compilations That Endeavour (And We Think They Do Well) To Take A Wide-Ranging Look At The UK And American Post-Punk Scene In The Years From 1978 To 1984, But Here Almost Everything Stops In 1981, Giving Space To Bands And Artists That Almost Always Didn't Make It Beyond The 45 Rpm Mark. A Representation Of The True 'Outside Of Everything' Of The Era.

Black Grape, eine Band, die nur in Manchester entstehen konnte, melden sich mit dem brandneuen Album ORANGE HEAD zurück. Shaun Ryder (Happy Mondays) hat sich vom wilden jungen Rabauken zu einem britischen Nationalschatz entwickelt. Ihm zur Seite steht Rapper Paul Leveridge aka Kermit. Black Grape gelten als eine der innovativsten und kultigsten Bands der letzten 25 Jahre. Sie hatten vier Top-10-Singles, ihr Debütalbum 'It's Great When You're Straight… Yeah' schoss 1995 direkt auf #1 der UK Charts und wurde mit Platin ausgezeichnet. Der Nachfolger 'Stupid Stupid Stupid' erreichte 1997 Gold. Black Grape waren schon immer ein düsteres, kosmisches musikalisches Puzzle, das Rock, Hip-Hop, Acid House, psychedelischen Pop und Reggae mit Ryders Gossenpoesie vermischte, vorgetragen in seinem unnachahmlich-hysterischen Stil.

Recommended If You Like: OOIOO, Blonde Redhead, Guerilla Toss, Rolling Stones, Liars, Marnie Stern, Yoko Ono, Battles. Clear Sun Vinyl. Reissue of Deerhoof’s 2002 album Reveille. First Deerhoof album with guitarist John Dieterich. Back in print on vinyl! Deerhoof debuts their new guitarist John Dieterich and achieves widespread critical acclaim for the first time. 2002’s Reveille is a defiant expression of artistic rebirth, spilling over with madcap exuberance, apocalyptic imagery, newfound technical confidence belying their no-budget DIY recording methods, and jarring stylistic about-faces in which no two songs sound alike. The contrast of Satomi’s ever-catchy, ever-charming melodiousness with John and Greg’s noisy, cinematic bombast still has the power to thrill and tickle and upset, more than 20 years after its initial release. Includes reimagined cover art with the faint morning glow the band had always envisioned, pressed on clear sun-colored vinyl. Complete lyrics included for the first time, written by Satomi on the center labels.

The debut album from Groningen scene stalwarts Real Farmer arrives, sprouting fully formed punk - equally melodic and breezy, and urgent and abrasive - evocative of a hybrid of The Jesus and Mary Chain and MC5. However, the band instil their addictively melodic noise with as much present-day influences and originality as there nods to The Stooges.

Navy blue vinyl. For fans of Triumph, Rik Emmett, and Classic Rock! Rik Emmett is best known as the guitarist/vocalist for the legendary Canadian hard rock band Triumph. Between its 16 albums and DVDs, they have received 18 gold and nine platinum awards in Canada and the United States. They were nominated for multiple Juno Awards, including the 'Group of the Year Award' in 1979, 1985, 1986, and 1987. It was inducted into the Canadian Music Industry Hall of Fame in 2007, into the Canadian Music Hall of Fame in 2008, and into Canada's Walk of Fame in 2019. Their classic Allied Forces sold over a million copies in the US, while attaining the highest chart positions any Triumph album would attain: No. 23 in the US and No. 13 in Canada. It included the songs "Fight the Good Fight" and "Magic Power". "Magic Power" reached #8 on the Billboard Mainstream Top Rock Tracks chart and #51 on the Hot 100, while "Fight the Good Fight" went to #18 on the Top Rock Tracks chart. "Diamonds" is a brand-new compilation featuring Rik's favorite rock tracks from his Duke Street years. Newly remastered in 2023 at Iguana Studios in Toronto ON with the most up-to-date technology, every track brims with a new crisp presence. Tracks from Absolutely, Ipso Facto and The Spiral Notebook never sounded so good!

Lightnin’ Hopkins was one of the greatest and most popular authentic blues artists. This collection covers singles released by Lightnin’ Hopkins between 1947 and 1952. They weren’t his first recordings but they were the first released under his own name.
Although he did record with other musicians and even with full bands it’s these acoustic classics that best illustrate his art and they are some of the most endearing blues tracks ever recorded.
Includes the popular songs “Katie Mae Blues” and his biggest chart hit “Shotgun Blues”.
A true genius of the genre this Lightnin’ Hopkins release by Jasmine is a must have for blues and R&B fans.
Fully detailed liner notes.
Limited edition press on 140 gram colour red/black marbled vinyl.

“The Chicago Super Blues Revisited” is Jasmine’s homage to the two superb albums “Super Blues” and “The Super Super Blues Band” which contained these great bluesmen playing together. Here the concept is different as these three giants of Chicago blues are not performing together but what is presented are sides of their 45s released after Jasmine’s respective releases: “Muddy Waters – Natural Born Lover” (JASMCD3017/8); “Howlin’ Wolf – The Wolf is at Your Door” (JASMCD3020/1) and “Little Walter - The Singles As & Bs – 1952-1960” (JASMCD3015/6).
These artists personify Chicago Blues and this collection of marvellous recordings catches them before global fame took them to greater heights.
Features “Messin’ With The Man”, “You Need Love”, “Wang-Dang-Doodle”, “I Ain’t Superstitious” and many superb songs that influenced the UK blues boom.
Fully detailed liner notes.
Limited edition press on 140 gram colour blue/black marbled vinyl.

Postpunk band Dead Years from Bielefeld/Germany was founded in January 2019 by Julia, Hannes and Jonas. Hannes and Jonas had already played in Ruins together, Julia and Jonas were in Pointed. Further current and former bands are Mayak, Gloom Sleeper, Patsy O’Hara and Shoyu Squad

The founders of Cukor Bila Smert’ (Ukrainian: Цукор– Біла Смерть, English: Sugar – White Death) band were Svitlana Okhrimenko (a.k.a. Svitlana Nianio), Oleksandr Kohanovs’kyi, and Tamila Mazur, who studied at the Reinhold Glier Kyiv Academy of Music in 1984-1988. In the summer of 1988, they got acquainted with Eugene Taran, a young guitarist and artist. He joined the band and also became the ideologist of Sugar – White Death. Moreover, Eugene coined the name for the band: the irony towards the Yellow Press. The musicians gathered at Kohanovs’kyi’s house, where they spent their free time not only playing music but also listening to and discussing new records and thinking about the conception of their new project.



For two years, the band recorded a few home-made albums, such as “Rhododendrons Coral Aspides” in 1988 (which is considered lost), where Kostyantyn Dovzhenko took part as a guitarist and sound engineer. He also replaced Taran during the recording session because Eugene was passing an exam at that time. The band also recorded another album – “Lilies and Amaralises,” in 1989, which is also considered lost. Eugene remembers that the band made a lot of recordings but did not pay so much attention to them. Sugar – White Death played live occasionally but spent more time creating their own sound, which was named by Oleksii Dekhtyar (a founder of “Ivanov Down”) as a “sugar calypso sound.” At that time, the music was mostly created by Oleksandr Kohanovs’kyi, and the lyrics were written by Svitlana Okhrimenko and Eugene Taran.



In February 1990, a quartet came to the Scientists House Studio in Kyiv, where they had one studio session only, recorded by Valerii Papchenko. Musicians played live for about one take. This session was represented on the “Mannered Music” compilation by several blocks – “Venus with Long Neck,” “The New Sissies,” and “Rhododendrons Coral Aspides,” which was shortened to “Rhododendrons” on the cassette (two songs from which – “Summer Will Not Come” and “The Great Hen-Yuan’ River,” dedicated to Grigorii Khoroshylov, the sinologist from Kyiv). The compilation cover design was created by Eugene Taran. Later, this tape got to Vlodek Nakonechnyj, the founder of Koka Records, a young Polish label, who released “Mannered Music” on cassettes and made efforts to invite Sugar – White Death to play several gigs in Poland.



In November 1990, Sugar – White Death played their last gig as a quartet in Kharkiv. They were invited by Sergii Myasoyedov, who curated the art association “Nova Scena” (The New Scene). The band played selected tracks from the albums “The New Sissies” and “The Shellfishes in Gold Wrappers” (the last one is also considered lost). Due to Sergii Myasoyedov's efforts, the performance was documented: he saved a lot of photos and fragments of soundboard recordings on reel-to-reel tape.



Later, Oleksandr Kohanovs’kyi and Tamila Mazur left Sugar – White Death: Oleksandr founded his own project Pan Kifared, and Tamila became a bass player of Shake Hi-Fi (whose co-founder was Eugene Taran). Sugar became a duo of Svitlana and Eugene. They started to focus on their next work: “Antinoy Is Leaving” in late 1990.



In 1992, they were also invited by Sergii Myasoyedov for a studio session in Kharkiv, where due to the efforts of Oleksandr Vakulenko, Sugar recorded the new album called “All Secrets Of A Poem”. Some tracks from the work (“Dead Ceremony,” “Vienna Is Sleeping,” and “Untitled”) were released on their next and last album, “Selo” (“The Village”). The rest compositions were published as a part of the compilation for the first time.



In the autumn of 1992, the musicians went to Poland, where Vlodek Nakonechnyj, who wanted Sugar to come to a “real” studio, organized their last recording session. Although the journey’s beginning was unsuccessful (Eugene’s guitar was taken away by a customs officer when crossing the border), the musicians worked fast during the session at the Arek Was studio at Marki on an 8-track reel-to-reel machine. Boleslav Blazhchyk took part as a cellist, playing the parts created by Svitlana. The album was completed in three days – the musicians spent two days recording and one-day mixing, mostly done by Eugene Taran. In 1993, this work was released as “Selo” (“The Village”) album on cassette tapes by Koka Records (remastered by Tadeusz Sudnik). Later, Sugar – White Death was disbanded.



Credits:



Cukor Bila Smert’: Svitlana Okhrimenko (lyrics, keyboards, piano, vocals), Eugene Taran (lyrics, keyboards, guitar), Oleksandr Kohanovs’kyi (piano, A1-B2), Tamila Mazur (cello, A1-B2), Boleslaw Blaszczyk (cello, C5-D6)

Cover photo by Vlad Urazovs’kiy

Photo archive courtesy: Vlad Urazovs’kiy, Vlodek Nakonechnyj (Koka Records),

Oleh Yuhrinov, Sergii Myasoyedov

Audio archive courtesy: Vlodek Nakonechnyj (Koka Records), Guido Erfen,

Sergii Myasoyedov

Liner notes: Vlad Yakovlev

Compiled by Dmytro Nikolaienko, Dmytro Prutkin and Sasha Tsapenko

© ? Shukai / Cukor Bila Smert’

2024

Die "Gothics" glaubten an das Do-it-yourself-Punk-Ethos, dass jeder ein Instrument in die Hand nehmen könne. Graue Wolken zogen auf, und in der unwahrscheinlichen Stadt Hamburg gründete eine dreiste und eindringliche Bande von fünf Frauen, Caro May, Rita Simon, Manuela Rickers, Fiona Sangster und Anja Huwe, Xmal Deutschland. Und wie es sich für einen echten Punk gehört, taten sie dies ohne musikalische Vorkenntnisse. Die 7“ Single "Schwarze Welt" wurde 1981 auf dem lokalen Punk-Label ZickZack veröffentlicht und stellte die Band als einen beunruhigenden Schwarm von Intensität vor. Die Dringlichkeit des repetitiven Klagelieds, die wirbelnde Manie, die sich auf der B-Seite mit "Die Wolken" und "Großstadtindianer" fortsetzt, deren krude Synthesizer-Geräusche die Spannung noch steigern. Vor allem der einzigartig giftige deutsche Gesang von Huwe wurde schnell in die ungezügelte und aufkeimende Szene der glamourösen Düsternis eingebettet. Die Unabhängigkeit des Punks vom starren Griff der Tradition erlaubte es der Band, Trost in einer Anti-Establishment-Kunst und -Musik zu finden, weit entfernt von den Konventionen der Vergangenheit. Mit ihrem Pfauenhaar und den dick mit Kajal umrandeten Augen bewahrte sich die Musik von Xmal Deutschland sowohl eine Unruhe als auch eine Zartheit, die mit der Veröffentlichung der Single "Incubus Succubus" im Jahr 1982 die Grenzen der "Neuen Deutschen Welle" (ähnlich wie ihre Kollegen und Freunde DAF und Einstürzende Neubauten) überschritt. Sie wurde sofort zu einem Post-Punk-Klassiker. Die Gitarre wühlt sich durch die Melodie, während die schaurige Primitivität von Huwes Stimme andeutet, dass sie vielleicht, nur vielleicht, die alptraumhafte Kreatur ist, vor der man sich in Acht nehmen muss. Die B-Seiten, "Zu Jung Zu Alt" und "Blut Ist Liebe", halten sich an strenge militaristische Tanzbeats, während sie in Aufregung wimmeln. Im selben Jahr trat die Band in London als Support für die Cocteau Twins auf; das war die Plattform, die sie brauchten, um in die Arme der zerrissenen Netzmassen zu stürzen. „Early Singles 1981-1982“, ist eine Karte der grundlegenden Bewegungen von Xmal Deutschland, nur Sekunden vor dem Abheben. Die Bonustracks auf der Compilation, "Kaelbermarsch" und eine düstere Live-Version von "Allein", unterstreichen die Verschmelzung von Härte mit der quixotischen Dekadenz atmosphärischer Synthesizer. Das Streben der Band nach etwas Größerem ist spürbar, zu einer Zeit, in der nach dem Aufkommen von Punk neue Möglichkeiten des Musikmachens offenstanden.

Dark Entries flashes back to the grimy streets of New York City circa 1982 to bring us an unreleased album from cult outfit Ike Yard. Comprised of Stuart Argabright, Michael Diekmann, Kenneth Compton, and Fred Szymanski, Ike Yard sits between the sinewy proto-body music of the Neue Deutsche Welle and the shattered grooves of their No Wave peers in New York. The band’s initial run was short but blinding. They released an EP for Les Disques du Crépuscule in 1981, which was followed by their legendary self-titled LP for Factory in 1982. They disbanded within a year, frustrated by the slow pace at which the industry was able to release their increasingly challenging music. 1982 features 10 tracks which likely would have become the band’s second LP - only four of these songs have previously seen release on 2006’s 1980-82 Collected via Acute Records. Following the release of Ike Yard, they continued down their tortured path of hybrid electro-acoustic music with an arsenal of now-classic analog instruments, including the Korg MS-20 and the Roland TR-808. Skittering rhythms teeter on the verge of collapse while seasick synth warbles threaten to push us overboard. Electronic washes devolve into waves of feedback. Sneering basslines threaten dancers to move, but how can the body obey? This is dangerous music, gliding along the brink. The album features a live photo of the band by Makoto Iida and includes an insert with liner notes from Stuart Argabright. 1982 is essential for fans of post-punk and caustic electronics from Liaisons Dangereuses to Beau Wanzer.

Dry Cleaning will reissue their first two EPs, Boundary Road Snacks and Drinks / Sweet Princess, on 8 March 2024. Remastered to celebrate the release, Boundary Road Snacks and Drinks and Sweet Princess will be pressed as one single vinyl. The former will be available on cassette for the first time and include an exclusive bonus single, a demo of New Long Leg single, "Strong Feelings", recorded during the sessions for Boundary Road Snacks and Drinks. Today, the band has shared a new visualiser for the song "Sit Down Meal", the first in a series of new visualisers created for all tracks across the EP by original "Magic of Meghan" video collaborator Lucy Vann. To coincide with the reissues, Dry Cleaning will head back on the road this March and April for headline sets that will lean heavily on songs from Boundary Road Snacks and Drinks and Sweet Princess. The tour will offer fans the chance to see the band play in more intimate venues like Leeds" Brudenell Social Club and East London"s EartH theatre, and honour US shows that were postponed in 2020 (including SXSW and Treefort festivals). Tickets will go on sale this Friday 19 January - full tour dates are listed below and for tickets and information, head HERE.

In July of 2022, just one month before jaimie branch"s death sent shockwaves around the world, the trumpet player and composer was in Chicago at International Anthem (IARC) studios putting finishing touches on an album. It was a suite of music she had composed and then recorded with her flagship ensemble, Fly or Die, over the course of a residency at the Bemis Center for Contemporary Arts in Omaha, Nebraska. In her wake, the album was near complete, with only mixing tweaks, final titles, and artwork to be fully realized. In the months following, her family (led by sister Kate Branch), her band (Jason Ajemian, Lester St. Louis, and Chad Taylor), and her collaborators at IARC (engineers Dave Vettraino and David Allen, comrades Alejandro Ayala and Scott McNiece) banded together to gather memories, texts, emails, photographs, artwork and fragments belonging to jaimie to light the path forward. The goal was always to do what jaimie would have done. Packaged in stunning artwork by John Herndon, Damon Locks, and branch herself, Fly or Die Fly or Die Fly or Die ((world war)) is jaimie"s final album with the quartet.

As its title suggests, Stornoway"s 2010 debut album, Beachcomber"s Windowsill, is something of a treasure. Featuring singles "Fuel Up", "I Saw You Blink" and "Zorbing", it showed just why so many were excited by the Oxford indie-folk quartet"s arrival - a DIY guitar band unusually rooted in folk tradition. They stood out further with their deft ability to try their hand at most instruments, never shy to experiment while their pure pop harmonies soared. Warmly received on release, Beachcomber"s Windowsill quickly attained Silver status in the UK and among the many positive reviews, The Observer praised it for having a "real emotional depth that transports their music from throwaway sunny songs to something altogether more poignant and enduring", while the NME called it "beautifully rendered and melodically magnifi cent; a Constable landscape of a record." The album is complemented by a stunning sleeve by designer Chris Bigg, who has played on the album"s title and their songs about nature by working with illustrations of shells, aquatic life and old maps.

Nils Økland is interested in the journeys and dialogues of music across time and space, a music without national and traditional borders. At the same time, he is also very inspired by local music from many places and often prefers old fiddlers and singers who have a unique personal playing style. The first concert with Nils Økland Band took place in 2014, and since then, they have released the Norwegian Grammy nominated "Kjølvatn" on ECM and "Lysning" on Hubro, which won the award. It has been seven years since their last release. On March 1st, the highly anticipated album "Gjenskinn" (Gleam) is set to be released. The band has been working on the album for a long time, resulting in a genre-defying, cohesive work inspired by influences from around the world. Nils Økland, known for his innovative playing style on the Hardanger fiddle, violin, and viola d'amore, comes from the folk music tradition and is internationally recognized. He has collaborated with major orchestras, composed music for various mediums, and played on albums with notable musicians. Additionally, he is a member of the rock trio Lumen Drones (ECM), their latest release (Umbra) was released on Hubro, and he was a member of the improvisation band 1982 (Hubro), bridging folk, classical, and improvisational music. The Nils Økland Band consists of several of the foremost musicians in Norway: Rolf-Erik Nystrøm (saxophone), Sigbjørn Apeland (organ), Håkon Mørch Stene (percussion), Mats Eilertsen (double bass). These are musicians who, individually, have collaborated with Økland for a long time, but many of them had not played together before Økland formed the band. Rolf Erik Nystrøm has played in the genre-crossing contemporary music trio Poing for several decades, in addition to being a soloist with large orchestras, playing with world and folk musicians, and in various jazz bands. Sigbjørn Apeland has a long history of collaboration with Økland. They play a lot as a duo and have also played in the band 1982 for ten years, along with drummer Øyvind Skarbø. Percussionist Håkon Mørch Stene plays in the contemporary ensemble Asamisimasa and has also released critically acclaimed albums featuring music by Laurence Crane, Gavin Bryars, and Michael Pisaro on Hubro. Mats Eilertsen is the leading jazz bassist of his generation. He has played with a number of prominent jazz musicians such as Tord Gustavsen, Trygve Seim, Bendik Hofseth, and has released several albums under his own name on both Hubro and ECM. The Band - Nils Økland: Hardangerfiddles and violin, Rolf-Erik Nystrøm: Alto and baritone saxophones, Sigbjørn Apeland: Harmonium and Fender Rhodes, Håkon Mørch Stene: Percussion, vibraphone and electronics, Mats Eilertsen: Double bass.

Dez Dare ventures further into the void than ever before on his 4th album and the 1st to be released via God Unknown Records, ‘A Billion Goats. A Billion Sparks. Fin.’. On past records Dare has fought beasts and beats alike, waging a fuzz war and tackling the biggest topics the world has to face; Doom scrolling, capitalist demagogues, a passionate dislike of the beach in summer. On this record he leaves the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence. Piling up the synths, noise boxes and guitar pedals, Dez set about building a soundscape of noise and ideas around the nature of reality, time, and how we interact with them. From the music you would play in your last moments, to the reverse Darwinism of modern society, to arguing with time itself, and very boring people talking at you, all is covered here for the aspiring existentialist. The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career. This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy Soundgarden + Monster Magnet) and will be producing a deluxe version of the release that will include a 12 page comic illustrated by long time collaborator Mike Keane. Across the drone of noise and washed out guitars of the final track, ‘A Billion Voices Screaming, Hello Void!’, the chant repeats “We all return to where we begun...” which encapsulates the message that Dare delivers. We are all made from the same stardust and we all return to the universe that spat us out, we just need to enjoy the many shards of nonsense on that swift descent into the void...with wizards painted on the side." MAXIMUM ROCKNROLL "Early 90s-inspired take on DEVO punk... high energy sucker punches on your ear." Weirdo Shrine "Sludgey-grungey-fuzzed psychedelic-noiserock... I like the fact that despite all the edgy complexity, catchy songs emerge again and again."

Carribean, Jazz, Afro, Reggae - das ganze Spektrum der Weltmusik, raffiniert und genial verschmolzen mit Electronica. A08 ist das Brainchild der beiden Berliner Dirk Leyers und DJ Nomad. Früher bekannt als "AFRICAINE 808" - das Studio/Live-Musikprojekt mit einem Album und verschiedenen EPs auf NYC's Golf Channel Recordings und Vulcandance.

AFRICAINE 808 begann als ein Experiment, bei dem es den beiden gelang, das rhythmische Erbe der Weltmusik mit dem Zeitgeist und der Ästhetik der elektronischen Tanzmusik zu verschmelzen. Nach zehn erfolgreichen Jahren, in denen sie als Live-Musikprojekt rund um den Globus tourten, einem hochgelobten Doppelalbum, fünf EPs und Remix-Arbeiten für Legenden wie Tony Allen, Amadou & Mariam und viele andere, beschlossen die beiden, ihren Sound für ein neues Album neu zu erfinden und dabei Jazz und karibische Musik neben ihren "klassischen" Arbeitsgenres der elektronischen Welttanzmusik zu erkunden. Für die Produktion holten sich A08 eine illustre Schar von Gästen in die Bandbesetzung, darunter Künstler aus Kolumbien, Ghana, Kenia, Trinidad und Deutschland. Das Ergebnis ist "Waiting For Zion", ein Doppelalbum, das im Winter 2023 auf Compost Records erscheinen wird. Als Live-P.A. treten A08 entweder als Soundsystem mit Dirk Leyers und DJ Nomad auf, die live spielen und auflegen, oder als Live-Act mit Live-Percussion.

Der amerikanische Musiker Bobby Keys war langjähriger Weggefährte und Saxophonist der Rolling Stones. Mit einer Pause in den 80ern war er seit 1969 bis zu seinem Tod in 2014 festes Mitglied der Live-Band und spielte auf Alben wie „Let It Bleed” (1969), „Sticky Fingers“ (1971) und „Exile on Main Street“ (1972). Neben den Stones spielte er u.a. auch für Eric Clapton, John Lennon und B.B. King. 1972 erschien sein einziges selbst-betiteltes Solo-Album unter der Mitwirkung von Ex-Beatles George Harrison und Ringo Starr. In den frühen 80ern nahm Bobby Keys über mehrere Jahre hinweg zusammen mit Ronnie Wood und Keith Richards unter der Leitung von Produzent Clive Hunt dieses Album auf, das über Jahre in dessen Archiv verschwand, jetzt wiederentdeckt wurde und nun endlich erscheint!

Nobu welcomes Japanese sound artist Doltz to his Bitta imprint for a full pack of hypnotic techno. Doltz started his musical career in 1998 as a drummer in a hardcore punk band, and had a fateful encounter with DJ Nobu, who shares the same musical roots, when they were billed alongside each other at a party called 'Broad' in Fukuoka-city in the winter of 2022. Impressed by Doltz's live performance, DJ Nobu immediately booked him for his residency party 'reprise' at Womb Tokyo. Set the stage for Doltz's sensational debut in Tokyo. The two hit it off and began exchanging tracks, with DJ Nobu actively playing out Doltz's tracks while touring across the world and receiving a good response. This first EP on Bitta consists of four of such tracks that were tested and proven. Doltz has already released several deeper techno and ambient works under the alias, but his encounter with DJ Nobu has allowed him to show his new potential on trippy and powerful tracks that are more dancefloor-oriented, and he has made rapid progress as an electronic music producer over the past year. More to come.

Synthesizerklänge im modernen Dance-Gewand - das war das Rezept der seinerzeit ungeheuer beliebten Band „Koto“, die mit ihrem unvergessenen Hit „Jabdah“ Musikgeschichte schrieben. Die flächigen, spacigen Koto-Sounds sind auch auf dem hervorragenden Album „Koto - Plays Science Fiction Movie Themes“ zu hören. Nicht nur für Fans von Koto, sonde für alle Science-Fiction-Freunde! Jetzt endlich wieder als farbige Vinyl erhältlich

THEODOR is a psychedelic sweet soul band formed by members with diverse musical backgrounds.

Whilst on a road trip to Italy Rob and Lui were listening to tapes of contemporary soul music. The idea was born to record an album channeling a moody and relaxed soundscape. „Right after our trip we called up our good friends Max and Greg, who were immediately on board. We wrote and recorded deep in the pandemic. Those weekend sessions captured this peaceful solitude“ The outcome was their self-titled debut album which will be released in February 2023 on the french label Broc Recordz.

The rich sonic texture and unconventional arrangements of their very first single SHEPARD’S LULLABY gives a hint on what is to be expected on their forthcoming LP. THEODOR created a perfect soundtrack for a hot and humid summer day having a magic dash in your twelve o’clock tea. Playful melodic bass lines and the soulful acoustic drums build the playground for the warm and dreamy keys such as farfisa organs, fender rhodes and 80's synths. The lush instrumentals are spiced by the very different yet complementary voices of Max and Lui.

Stunning outernational funk for the psych breaks dancefloor featuring the mesmerizing vocals of Ukrainian jazz singer Mona. Sung in her mother language, "Moya Vode" is about the "ancient ritual to put a spell on water and remove all negativity through its power".

Mona and MC Fame, a well-known Ukrainian hiphop producer and activist, both left their hometown Kyiv last year and found a new home in the Hammerbrook district of Hamburg, Germany, where they quickly connected with the lively funk scene of the city. Together with the Mocambo crew they set off to work out some magic by combining universal funk grooves and Ukrainian folklore.

Mona's mystical soulful vocals are backed by the "Hammerbrook Sound Machine", a group featuring members of Bacao Rhythm & Steel Band and the Mighty Mocambos, with instruments like the Tsymbaly or Drymba added on top. The "folk-funk" continues more electronically on the instrumental flip side when MC Fame takes over the lead on Moog synthesizer. Dive into this spell!

Elite Controller’ c/w ‘Softness on the Other Side’ is the second 7” single containing two of four tracks produced by transcontinental duo ‘Gruuel’, featuring James Vinciguerra and Beau Wanzer, between 2019 and 2023. The duo appear here in an expanded form with third member and Vinciguerra ‘Act Now’ collaborator Tarquin Manek, heard as multi instrumentalist jack-of-all-trades performing guitar, bass guitar, synthesiser and bass clarinet to accompany Wanzer’s hazy drum machine patterns and Vinciguerra’s mutated vocals.

The single is the first release on Elations Recordings’ ‘Deviations’ imprint, focusing on the outer realms of experimentation and fringe expression. Two subterranean, science-non-fiction snapshots capturing the spirit of the forward looking art-experimental groups of the late 1970s and early 1980s that were lumped in with the punk movement.

The a-side ‘Elite Controller’ is the more immediate of the two tracks; a paranoid fever dream of raw, psychedelic guitars underpinned by dub bass and Vinciguerra’s deranged mutant vocals; while the b-side ‘Softness on the Other Side’ takes a more self-reflective turn. A passive, spoken word cautionary telling of the dangers while searching for personal nirvana accompanied by Manek’s tortured bass clarinet impressions. Recommended for fans of Chrome, Tuxedomoon or K. Leimer’s experimental “artificial” band ‘Savant’.

Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born. Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7” series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7” vinyl.

Vinyl release of the album from 2023. Black vinyl in a standard sleeve. Shadowgraphs is the new self-titled album from the Portland, Oregon based band. Representing a turning point, the album was created in the spirit of true collaboration. Written and recorded in the shadow of the global pandemic and the social justice movements that sprung up in its wake, the album finds the band grappling with the changing world and their place in it. Equally inspired by classic psychedelic pop and modern indie rock, the new album finds the band branching out and incorporating shoegaze, post-punk, and dream pop influences into their sound. Highly anticipated third album from Shadowgraphs. Press coverage includes reviews and features in New Commute, Psychedelic Baby, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “…sends the group’s holographic psychedelia into a deeper realm of tryptamine alchemy.” - New Commute

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson