Dass sich Rap vermehrt persönlichen und melancholischen Themen widmet, ist nicht neu. Was den Wiener Bountydave jedoch vom Großteil sogenannten Emo Raps unterscheidet, ist der überraschend optimistische und konstruktive Spin, den er in seinen Songs finsteren Themen wie Depression, Traumata oder Liebeskummer zu geben vermag. Dabei überzeugt er mit einer pop-sensibility, die manchmal an den späten Mac Miller erinnert.
"Alles ist nur Übergang": So heißt das neue Album Max Riegers. Man kann dies als künstlerisches Credo betrachten, als Selbstbeschreibung, als ästhetisches Programm. Bei Max Rieger war es schon immer so; es ist immer schon alles im Übergang gewesen: im Werden, im Fluss. Seit über einem Jahrzehnt gehört er zu den prägendsten Künstlern im deutschen Pop, wandlungs- und erfindungsreich wie kaum einer sonst. Mit seiner Gruppe Die Nerven hat er dem elektrisch verstärkten Gitarrenrock hierzulande eine neue Gestalt und neue Schärfe geschenkt. Fünf Alben haben Die Nerven seit 2012 herausgebracht, zuletzt 2022 ihr schwarzes Album, finstere, harte, zugleich nihilistische und ironische Musik, getragen von großer Weisheit und dem Wissen um die Weisheit des Primitiven. Max Rieger ist auch ein großer Klangschöpfer, er ist jemand, der Musik und Ideen zu veredeln versteht, der sich ebenso inspirieren lässt wie er inspiriert. Für eine ganze Generation junger Künstlerinnen und Künstler ist er zu einem wichtigen, prägenden Partner und Mentor geworden, als Produzent und als unterstützender Songwriter. Er hat für Casper 2022 das Album "Alles war schön und nichts tat weh" produziert, Mia Morgan, Stella Sommer, Ilgen-Nur, Jungstötter und Drangsal gearbeitet und zuletzt mit den legendären Noise-Pionieren Swans. Wer die wahre Größe Max Riegers ermessen will, der - freilich - muss seine Soloalben anhören, die er unter dem Namen All diese Gewalt veröffentlicht. "Kein Punkt wird mehr fixiert" hieß das Solo-Debüt 2014, seither sind zwei weitere Alben erschienen, das majestätisch-weiche "Welt in Klammern" 2016 und das kühle "Andere" von 2020. "Alles ist nur Übergang" ist nun sein viertes Werk als All diese Gewalt, es führt die großen Linien des Rieger"schen Schaffens fort und hebt seine Kunst doch auf eine neue Ebene: So organisch, so schwebend hat seine Musik noch nie geklungen, so scheinbar anstrengungslos dahingespielt und zugleich intensiv, mit einem unwahrscheinlichen Gespür für Dramaturgien, für das rechte Maß zwischen dem Treibenlassen der Klänge und dem plötzlich alles ändernden Break.
"Alles ist nur Übergang": So heißt das neue Album Max Riegers. Man kann dies als künstlerisches Credo betrachten, als Selbstbeschreibung, als ästhetisches Programm. Bei Max Rieger war es schon immer so; es ist immer schon alles im Übergang gewesen: im Werden, im Fluss. Seit über einem Jahrzehnt gehört er zu den prägendsten Künstlern im deutschen Pop, wandlungs- und erfindungsreich wie kaum einer sonst. Mit seiner Gruppe Die Nerven hat er dem elektrisch verstärkten Gitarrenrock hierzulande eine neue Gestalt und neue Schärfe geschenkt. Fünf Alben haben Die Nerven seit 2012 herausgebracht, zuletzt 2022 ihr schwarzes Album, finstere, harte, zugleich nihilistische und ironische Musik, getragen von großer Weisheit und dem Wissen um die Weisheit des Primitiven. Max Rieger ist auch ein großer Klangschöpfer, er ist jemand, der Musik und Ideen zu veredeln versteht, der sich ebenso inspirieren lässt wie er inspiriert. Für eine ganze Generation junger Künstlerinnen und Künstler ist er zu einem wichtigen, prägenden Partner und Mentor geworden, als Produzent und als unterstützender Songwriter. Er hat für Casper 2022 das Album "Alles war schön und nichts tat weh" produziert, Mia Morgan, Stella Sommer, Ilgen-Nur, Jungstötter und Drangsal gearbeitet und zuletzt mit den legendären Noise-Pionieren Swans. Wer die wahre Größe Max Riegers ermessen will, der - freilich - muss seine Soloalben anhören, die er unter dem Namen All diese Gewalt veröffentlicht. "Kein Punkt wird mehr fixiert" hieß das Solo-Debüt 2014, seither sind zwei weitere Alben erschienen, das majestätisch-weiche "Welt in Klammern" 2016 und das kühle "Andere" von 2020. "Alles ist nur Übergang" ist nun sein viertes Werk als All diese Gewalt, es führt die großen Linien des Rieger"schen Schaffens fort und hebt seine Kunst doch auf eine neue Ebene: So organisch, so schwebend hat seine Musik noch nie geklungen, so scheinbar anstrengungslos dahingespielt und zugleich intensiv, mit einem unwahrscheinlichen Gespür für Dramaturgien, für das rechte Maß zwischen dem Treibenlassen der Klänge und dem plötzlich alles ändernden Break.
"Alles ist nur Übergang": So heißt das neue Album Max Riegers. Man kann dies als künstlerisches Credo betrachten, als Selbstbeschreibung, als ästhetisches Programm. Bei Max Rieger war es schon immer so; es ist immer schon alles im Übergang gewesen: im Werden, im Fluss. Seit über einem Jahrzehnt gehört er zu den prägendsten Künstlern im deutschen Pop, wandlungs- und erfindungsreich wie kaum einer sonst. Mit seiner Gruppe Die Nerven hat er dem elektrisch verstärkten Gitarrenrock hierzulande eine neue Gestalt und neue Schärfe geschenkt. Fünf Alben haben Die Nerven seit 2012 herausgebracht, zuletzt 2022 ihr schwarzes Album, finstere, harte, zugleich nihilistische und ironische Musik, getragen von großer Weisheit und dem Wissen um die Weisheit des Primitiven. Max Rieger ist auch ein großer Klangschöpfer, er ist jemand, der Musik und Ideen zu veredeln versteht, der sich ebenso inspirieren lässt wie er inspiriert. Für eine ganze Generation junger Künstlerinnen und Künstler ist er zu einem wichtigen, prägenden Partner und Mentor geworden, als Produzent und als unterstützender Songwriter. Er hat für Casper 2022 das Album "Alles war schön und nichts tat weh" produziert, Mia Morgan, Stella Sommer, Ilgen-Nur, Jungstötter und Drangsal gearbeitet und zuletzt mit den legendären Noise-Pionieren Swans. Wer die wahre Größe Max Riegers ermessen will, der - freilich - muss seine Soloalben anhören, die er unter dem Namen All diese Gewalt veröffentlicht. "Kein Punkt wird mehr fixiert" hieß das Solo-Debüt 2014, seither sind zwei weitere Alben erschienen, das majestätisch-weiche "Welt in Klammern" 2016 und das kühle "Andere" von 2020. "Alles ist nur Übergang" ist nun sein viertes Werk als All diese Gewalt, es führt die großen Linien des Rieger"schen Schaffens fort und hebt seine Kunst doch auf eine neue Ebene: So organisch, so schwebend hat seine Musik noch nie geklungen, so scheinbar anstrengungslos dahingespielt und zugleich intensiv, mit einem unwahrscheinlichen Gespür für Dramaturgien, für das rechte Maß zwischen dem Treibenlassen der Klänge und dem plötzlich alles ändernden Break.
In apartheid-era South Africa, gospel music provided solace and served as a tool for covert communication to circumvent the censorship of the settler regime. By the 2010s, South African gospel, deeply ingrained in the soul of Soweto, assumed a new role—as a heartfelt cry against persistent failures and shortcomings, a cry mourning a South Africa that never materialized.
A new South Africa needed a new gospel sound.
In 2016, nine young men from different parts of Diepkloof, a celebrated neighbourhood brimming with talent within Soweto's sprawling township, came together to form the sound of a new South Africa under the name Diepkloof United Voice.
Diepkloof United Voice's music has gone viral multiple times on TikTok, YouTube, and Facebook, garnering between 60,000 to 2 million views. The comments section displays flag emojis from Brazil to India, showcasing the global reach of their music.
This album was recorded on site in Soweto, in an abandoned classroom of Lebowa Elementary School in Diepkloof Zone 3, where the choir rehearsed for years. Amid rolling blackouts, Diepkloof United Voice poured their heart, soul, and vocal chords into their debut record, combining classic South Africa gospel, Soweto's own kasi soul, American blues, and Zulu flavor, to present the contemporary gospel sound of a changing South Africa.
The promise of a new South Africa might finally be realized, as Diepkloof United Voice guarantees the country's future is guided by the truth, uttered with each gasp of breath from their inimitable voices.
In apartheid-era South Africa, gospel music provided solace and served as a tool for covert communication to circumvent the censorship of the settler regime. By the 2010s, South African gospel, deeply ingrained in the soul of Soweto, assumed a new role—as a heartfelt cry against persistent failures and shortcomings, a cry mourning a South Africa that never materialized.
A new South Africa needed a new gospel sound.
In 2016, nine young men from different parts of Diepkloof, a celebrated neighbourhood brimming with talent within Soweto's sprawling township, came together to form the sound of a new South Africa under the name Diepkloof United Voice.
Diepkloof United Voice's music has gone viral multiple times on TikTok, YouTube, and Facebook, garnering between 60,000 to 2 million views. The comments section displays flag emojis from Brazil to India, showcasing the global reach of their music.
This album was recorded on site in Soweto, in an abandoned classroom of Lebowa Elementary School in Diepkloof Zone 3, where the choir rehearsed for years. Amid rolling blackouts, Diepkloof United Voice poured their heart, soul, and vocal chords into their debut record, combining classic South Africa gospel, Soweto's own kasi soul, American blues, and Zulu flavor, to present the contemporary gospel sound of a changing South Africa.
The promise of a new South Africa might finally be realized, as Diepkloof United Voice guarantees the country's future is guided by the truth, uttered with each gasp of breath from their inimitable voices.
Der Rotterdamer DJ/Produzent Jochem Paap begann 1990 unter dem Pseudonym Speedy J - als Anspielung auf seine DJ-Skills - Techno-Tracks zu kreieren. 1993 erschien sein Debütalbum 'Ginger' mit der Absicht, 'seine Musik aus dem Rave in die Hörumgebung zu Hause zu bringen' (allmusic), was seinen minimalistischen, aber melodischen Produktionsstil einem breiteren Publikum zugänglich machte. Kritiker lobten seine akribische Aufmerksamkeit für das Audiodesign, den geschickten Einsatz von Interludes und eine sorgfältige Balance von Four-to-the-Floor-Grooves mit Ambient-Texturen. 'Ginger' wurde in zahlreichen Retrospektiven von Trendsetter-Magazinen wie Pitchfork, The Wire und FACT als wegweisender Release hervorgehoben. Die 2021 remasterte Reissue kommt im Originaldesign der langjährigen Warp-Begleiter The Designers Republic.
Cultural power house Jazz Montez is back with the second edition of its compilation series "Jazz Montez Presents". The album comprises nine tracks by artists from around the world: Àbáse, Bokoya, Debmaster, FloFilz, J.Lamotta, Karaba, King Owusu, Liraz, MC Yallah, The New Love Experience, Wolf Müller & Niklas Wandt and Zeitgeist Freedom Energy Exchange. Inspired by the tradition of jazz, they collectively channel the power of music to transcend all borders and push the boundaries of pre-conceived genres. Each track was recorded in the analogue sanctuary Lotte Lindenberg in Frankfurt, Germany, mixed by D&B legend Kabuki and mastered by renowned producer and audio technician Wolfgang Gottlieb. The vinyl cover was designed by artist Clara Sipf and includes a booklet featuring texts by all participating artists as well as a picture story on music as a universal connecting force.
If Blue Could Be Happiness is the second full-length album from soft-synthesizer-folk band Florist.
Recorded by the band during May of 2017 in an Upstate New York schoolhouse very near to where
songwriter Emily Sprague spent her childhood and where the band originated.
New Zealand indie trifecta Mermaidens, are set to make a resounding splash in the music scene yet again with the announcement of their fourth self-titled album and release of the project's first single ‘I like to be alone’. The trio, comprising of Gussie Larkin (guitar/vocals), Lily West (bass/vocals), and Abe Hollingsworth (drums), has been on an impressive journey of musical excellence, boasting three critically acclaimed albums, international tours, and a slew of accolades to their name. With a sound that is both bold and adventurous, Mermaidens' music is a testament to their unwavering creativity and relentless work ethic. Their upcoming self-titled album, a product of the band's tireless efforts between 2019 - 2022, promises to be a captivating sonic journey, delving into themes of self-awareness, introspection, long-term love, and even channelling political anger and frustration. Recorded mainly at Surgery Studios in Wellington, with the engineering prowess of Lee Prebble and produced by Samuel Flynn-Scott of The Phoenix Foundation fame, the album also saw the band stepping up their production game with Gussie and Lily working their magic with Protools in their DIY home studios, showcasing their growth and versatility as artists. “Working with Sam has really been a round-trip in our creativity,” as Lily explains, “we grew up listening to Sam’s early records and here we are getting the inside scoop on how to make that kind of magic. Listening to Pegasus today still transports me to a time when I listened to music on a Walkman. In the best possible way - sometimes it felt like we’d added an evil genius to the mix, we’d be working on a song and he’d come in like a mad scientist with fresh ideas to try.” To give fans a taste of the upcoming album's brilliance, Mermaidens have released new single 'I like to be alone.' The song has been part of the band's live repertoire for a while and explores the fulfilling contentment of being alone and the struggle to convey this sentiment to a partner. Its relatable lyrics capture the essence of cherishing solitude while navigating the complexities of human connections. Gussie's candid and honest approach to self-discovery is complemented by the song's, Michel Gondry inspired video, as Gussie explains: “The giant jean pocket and denim world were created by Hannah Webster, a textile designer and illustrator based in Wellington. Hannah took all the wild ideas for props and made them come true! I’m still in awe of how she managed to sew a 6x6 metre backdrop for the denim world out of whatever scraps she could find. The video captures our playfulness and sense of humour, and is a hint of what’s to come for the rest of the music videos. I love the way the story wraps up with the three of us together, literally playing “in the pocket”. Mermaidens' self-titled album will be released on Friday 3 November 2023 and is available for pre-order now. UK listeners will be able to pick up an exclusive Rough Trade vinyl pressing in transparent red, along with an A3 poster and jumbo bumper sticker. Having released their last two albums through iconic local label Flying Nun, Mermaidens will be released independently. Creative control is an important pillar for the band, who are hands on in every facet of their projects. Mermaidens gather their community close via their hugely popular multi-city boutique festival Mermgrown, hosting peers including Womb, Hans Pucket, Vera Ellen (Girl Friday) and Kōtiro from 2021 onwards. They've been invited to share the stage with Death Cab For Cutie, Sleater-Kinney, Gang of Four, Parquet Courts, Lorde and The Veils, and have toured extensively in Europe, the UK, and Australia.
For over a decade, Dean Johnson’s rustic tenor and simply strummed acoustic guitar have been perking up ears around the Pacific Northwest and beyond. Johnson has gradually built a devoted fan base — strictly through live performances and word of mouth — singing existential cowboy waltzes, ballads about wishing one could find a way out of heaven, honest confessionals, and other heartbreakers from a unique perspective. The phrase “hidden gem” would seem appropriate here, but it’s a misnomer when talking about Dean Johnson. He shines bright, in plain sight, and it was only a matter of time before people stopped to take a look. Dean’s gentle and passionate approach to songwriting has inspired many, and his work provides the listener the opportunity to believe once more that a song can be more than the sum of its parts. If you catch even a phrase of his melodies or the sobering tone of his voice, it waltzes its way into your heart like a letter written, signed, sealed, and delivered just for you. His debut album 'Nothing for Me, Please' (Mama Bird Recording Co.) was recorded at Mashed Potato Records in New Orleans with the help of Sam Gelband and Charlie Meyer, Dean’s bandmates in The Sons of Rainier; as well as Mashed Potato regulars Sam Doores (The Deslondes), Duff Thompson and Steph Green. The record is a hazy, relaxed daydream – anthems for those who know the sweetness and coldness of quiet moments, the power and the pain of love. Whether you’ve been waiting patiently these many for Dean to release these songs, or you’re just now coming across his work for the first time, the name Dean Johnson, much like his songs, won’t soon leave your mind.
Acclaimed synthpop trio A-Ha are teasing their latest album, not to mention independent film, 'True North', in what might just be the band's most crowning career achievement thus far. Their first project since 2015's 'Cash In Steel', it's high time they reined in on their success to do some good; the album and project is a relentless paean for the frozen magnetic north, and its ecological importance in connecting us to the environment.
Raw Materials Records’ back with their second V.A. showcasing an all italian lineup of local heroes, revered masters and talented newcomers.
Soundwise, the E.P. kicks off with Sicily’s finest Manuold serving a 90’italo house flavored rocket, keeps on banging with Curl’s Mpc craftsmanship skills, then going harder and darker with the acid tinged sounds of LSZ.
On the flipside, maestro Dj Soch serves another pure italian sounding house jam, followed by Davide Del Vecchio’s melodic lines and closed by the downtempo oddball by DJ Rou to complete the wide sound panorama journey suited for house enthusiasts and djs.
Have a listen, this one will stick in your bag for quite a while!
Weighing in with more of the deadly payloads that make systems weep, Alan Johnson return to Sneaker Social Club to finish what they started on 2022’s The Stillness EP.
Gareth and Tom’s sharp instinct for the fundamentals of crushing half-step pressure remain undiminished on this latest EP. Their sound palette reaches across contrasting strands of music culture, and every bar is teeming with micro details of sound design which give the tracks a living, breathing quality.
Ten Year Tonnage splits the EP open in whipcrack snares, DMZ flutes and a thick bed of sub, constantly shifting and teasing roots drops before opening up the mids and letting the low end snarl.
The chord hook on ‘Shapeshifter’ nudges towards some bold rave shapes, but there’s restraint and poise in the way the sounds get deployed. The Johnson way is one of suffocating space and uneasy tension, which obviously creates the best kind of dancefloor drama. As ‘Muay Size’ ably demonstrates, the likely lads are happy to pare a tune back to a skeletal framework and keep dancers waiting. When the pay-off comes, it’s not what you might expect, and that’s precisely why their sound is fresher than yours.
‘People Of The World’ goes even further out as it staggers and stumbles through skewed jazz samples and snatches of drums being thrown across the room. For all the splaying angles, there’s still a rock solid weight to the tune which proves Alan Johnson are more than comfortable taking things out to a weird fringe without losing their swagger.
Acclaimed synthpop trio A-Ha are teasing their latest album, not to mention independent film, 'True North', in what might just be the band's most crowning career achievement thus far. Their first project since 2015's 'Cash In Steel', it's high time they reined in on their success to do some good; the album and project is a relentless paean for the frozen magnetic north, and its ecological importance in connecting us to the environment.
Orange colored vinyl[36,09 €]
Anniversary Edition 2xLP in 25th-Anniversary-Pot-At-The-End-Of-The-Rainbow Gold, in a gatefold jacket.
When Los Amigos Invisibles first released "The New Sound" - exactly a quarter of a century ago!) - it was the ultimate party album. Time has passed, but the party has kept on- and this party music, full of non- stop funked out grooves - traveling through house, funk, acid jazz, and bossa nova, to name a few musical avenues - is a journey deep into the pants of rhythm. (We won"t even mention the old sound of the Venezuelan Gozadera).
Polish artist Satl is one of the most diverse and prolific artists to break through in the Drum & Bass realm in the last decade. After a multitude of music on Amsterdam label The North Quarter he is now set to release his most ambitious and eclectic project: Gloom.
This is a project that sees a more mature artist, one that has developed and refined his sound. In what is a clear departure from his previous material, Satl has managed to craft his own exciting take on dark electronic music taking influences from UK Bass music, Techno and beyond.
“I never wanted to be boxed in to one style/genre, but I think I just wasn’t brave enough as an artist to really push this agenda forward until now,” Satl explains. “I think this collection represents where I am at the moment, a ‘new me’, and I’m definitely planning to stay here for a little while, while always looking to the future.”
Gloom has been a mostly solitary creative undertaking for Satl, who explored the boundaries of his Waldorf Blofeld, Elektron Digitakt, FL Studio, Reason, VCV Rack and a handful of plugins over the course of about two years. The album is entirely produced by him and sees just a handful of vocal collaborators: Tru Thought’s own Rhi, New York’s Frank Carter III and L.A.-based vocalist Saigo.
A coming-of-age project, Gloom is the end product of Satl honing his craft and exploring the limits of his own creativity.
Introducing the 2nd Volume of Super Biton of Segou’s Afro.Jazz.Folk collection, led by Malian conductor Amadou Bah, also known as “The Armstrong Malian”.
Deviation Records is thrilled to present this collaboration with The Mieruba Label Team, showcasing the diverse musical roots of 1970s Mali, combining Afro-Latin percussion, Mandingo songs, jazzy brass, and funky guitar. The album also features the captivating ArtCollage of Emma Margo incorporating visuals of Segou, Mieruba Art Center, and Françoise Huguier.
The graphic design is conceived by Les Mouches Graphic Design, with a selective varnish made from traditional Bogolan fabric of the Segou area. The audio was remastered by Raphael Jonin and cut by MB Mastering Studio in Aubervilliers.
Get ready for a full sensory experience!
