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LP black vinyl repress, standard single sleeve printed inner but note no download card. The Time Has Come’ is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favourite record of all time.’ Ryley Walker. // "I've never written songs, regularly, because I never considered myself a songwriter. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music.” Anne Briggs // Offering some of her first original compositions, ‘The Time Has Come’ was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged but heightened - the plucked strings providing the perfect foil for her crystalline inflection. ‘The Time Has Come’ is a mix of Anne’s own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne’s playing, with sounds ranging from the breezy ‘Clea Caught A Rabbit’ to the terrible beauty of ‘Wishing Well’ - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.

Another bonafide classic from the all time heavy lifer Scott ‘Wino’ Weinrich. If The Obsessed, St. Vitus, Shrinebuilder, Probot and The Hidden Hand aren’t enough to bring his CV to legendary status, stop reading now. Spirit Caravan’s debut, originally released in 1999, was another massive step in his career, taking his doom-laden guitar work to new heights, with slow ferocity and acidic perfection. Wino, Dave Sherman and Gary Isom weave tight numbers creating a blueprint that is here to stay. Now remastered and released for the first time as a 4 side double LP the album includes beautiful cover art by Daniel Higgs. "Jug Fulla Sun, Spirit Caravan's debut, follows a sonic continuum that began in the late '70s when Scott "Wino" Weinrich emerged from the outskirts of Washington, D.C., with the Obsessed, his stripped-down hybrid of biker rock and metal. That outfit made tremendous strides in bridging the gap between the long-haired metal contingent and the still developing, though already rabid, D.C. hardcore scene. Jug Fulla Sun shows Wino augmenting his trademark brand of doom-laden guitar work and slow-fuse vocal ferocity with greater lyrical depth and overall textural breadth. The songs are rich, refined, articulate, and created by a lifer, a true veteran of the hard music scene. Wino has obviously gone to great lengths here to subordinate his outlaw vision to a more expansive, comprehensive view of mankind, and of greater truths. The somewhat nebulous scope of his lyrics is enhanced by Lungfish vocalist/tattoo artist Dan Higgs' cryptic cover painting. An excellent album

Der großartigen Sängerin Billie Holiday nähert man sich immer sehr respektvoll, behutsam ihrem tragischen Leben gegenüber, aber auch voller Bewunderung der fantastischen Musik, die sie erschaffen hat. Die aktuelle Analogue Productions/Verve Edition in 45rpm, verteilt auf zwei super sauber gepressten Vinyl-Scheiben, unterstreicht dies akustisch mehr als deutlich. Dabei ist die Tatsache, dass die Aufnahmen in Mono sind, ein soundtechnischer Haupt-Gewinn. Der Klang gewinnt dadurch definitiv an Intensität, Tiefe und Druck. Die Scheibe erschien erstmals 1955. Eine geniale Band bannte damals 12 wunderbare Lieder auf die analogen Studiobänder. Neben Sängerin Billie Holiday agieren noch die Schlagzeuger Larry Bunker und Alvin Stoller, Harry „Sweets“ Edison an der Trompete, Barney Kessel an der Gitarre, Jimmy Rowles am Piano und Ben Webster am Saxophon. Den Bass teilen sich Red Mitchell und Joe Mondragon. Der Opener „Do NothingTill You Hear From Me“ ist maximal fesselnd. Holidays Stimme erfüllt den ganzen Hörraum. Kessel spielt dazu wunderschön bluesig-trockene und wohlklingende blue notes. Websters Saxophon ist so unendlich präsent, dass man unschwer meinen könnte, man säße inmitten des Ensembles. Mit Swing und Maxi-Groove kommt „But Not For Me“. Jazz as Jazz can! Herrlich perlen die Klavierfiguren von Rowles. Der Kontrabass kommt dabei so unendlich druckvoll und dynamisch. Das muss man hören, fühlen und spüren. Holidays Stimme hat dabei soviel Klangfarbe, dass man nur noch Schwärmen kann. Die zwei 180 Gramm schweren LPs kommen im ästhetisch gestalteten Klappcover. Dieser audiophile Edelstein gehört in jede gut sortierte Schallplattensammlung, und zwar definitiv schrankenlos Genre-übergreifend. wb

Brownswood Recordings releases the 7th edition of their Future Bubblers Compilation. An expansion of Gilles Peterson's network supported by Arts Council England, the ongoing talent discovery and artist development scheme focuses on developing unsigned talent and building audiences for new left-field music. With support from PRS Foundation as Talent Development Partners, the professional recording, manufacturing and physical release of Future Bubblers 7.0 is made possible. Unlike any other initiatives within music, the compilation acts as a springboard for the musician's careers, with the cooperative model providing direct revenue to the artists by a share of the profits, resulting in a sustainable income to work from. Previous Future Bubblers include artists such as Yazmin Lacey, KinKai, MC Snowy, Forest Law, Victoria Jane, NeOne The Wonderer and Kayla Painter, to name a few.

The 8-track compilation is a musically diverse collection of tracks, fusing genres across Alt-R&B, Dance, Electronic, Jazz, Rap and Trip-Hop. Opening the project, ROMY NOVA flaunts her hypnotic harmonies on a tender offering, 'The Way', whilst Sheffield-born Jackie Moonbather delivers a Funk performance on 'Separate Ways'. Up next, Ney Liqa's 'Blomster' captures a blend of Trip-Hop and Swedish-Pop, fusing her earliest musical influences before Birmingham's very own Landel's cloud-Rap excellence on '2 Many'. Maintaining the ethereal sonic, Petrelli Purple's 'Brisk' is reflective of his ability to curate a "miscellaneous north" sound, followed by MARYSIA OSU's 'Stryder' that highlights her self-coined "harps, beats, and dreams" ethos. Michael Diamond showcases his ability to float between jazz and electronic landscapes on 'Aether' before COEX rounds off the project nicely with 'Reflections'.

As the fable goes: pre-discogs, intrepid disc jocks would often take trips to Italy (many tricking their spouse into believe it was a ‘holiday’!) to source records from the seemingly endless supply of top tier Italo, disco and cosmic record shops across the country. According to legend, the classified sections of local yellow pages and information booklets which would contain the addresses of the record shops and dealers in the area would often be ripped out unscrupulously, thwarting – or at least making it more difficult for – the next vinyl tourist to source out the rare gems amongst the rich seams – a wild west vinyl gold rush if you will.

Such stories are a rarity these days, with youtube making some of the most underground tracks common knowledge, and discogs almost making any record obtainable – at a price of course. Upgrading his digging methodology, Bosco has developed a secret New Technique to side-step the machine and in doing so obtained a clutch of amyl-soaked fluffers that are so rare, that upon writing they aren’t even listed online! Seriously, he must be communicating with some interdimensional, upper echelon Italo overlords; taking us on a primo-thrust tour through the most unexposed recesses of the Italo disco galaxy.

Don’t be hoodwinked by their sheer obscurity however; we wouldn’t give a toss if they couldn’t tear the arse off the dancefloor. But they’re all fuckin rhodium grade tackle peeps! Eight neon-drenched late night roman candles of Italo disco decadence that’ll defo have you jizzing rainbow skittles over the dancefloor as you search desperately through the fog for another huff of poppers off Darren.

Total Discogs market value: as yet undetermined

Pharoah Brunson’s Pyramid Points: 9999999999999

Musique Infinie is the collaborative project of Manuel Oberholzer a.k.a. Feldermelder and Noémi Büchi.Their album »Earth«, released through the Hallow Ground label, is based on a spontaneously composed live score for Alexander Dovzhenko’s groundbreaking 1930 silent movie »Zemlya« (»Earth«) created for the 24th edition of the VIDEOEX festival for experimental film.

Frequently cited as a masterpiece of early 20th century filmmaking, the movie deals with the collectivisation of Ukraine’s agriculture. The Swiss duo complemented it with atmospherically rich electronic soundscapes that are both deeply immersive and highly evocative. As a stand-alone music release, the two-piece »Earth« album captures the essence of Büchi and Oberholzer’s collaboration that is marked by mutual trust and musical versatility that puts them in a state of »togetherness trance,« as they call it.

Oberholzer has been highly productive as a composer, musician, sound designer, and installation artist in recent years, releasing a slew of solo albums as well as a variety of collaboration records with artists such as Sara Oswald and Julian Sartorius. Büchi has recently debuted as a solo composer and sound artist working with electroacoustic techniques to create a »symphonic maximalism for the end of the world,« as she dubs it.

Both are prolific and versatile artists with a penchant for working conceptually, however their collaboration as Musique Infinie is an improvisational and thus by design an intuitive one.

Their sessions start with an exchange on emotions and thoughts rather than theoretical questions or aesthetic debates. When they get to work—often for several hours—they rarely talk.

They approached »Earth« the same way, improvising freely together and using only a few select samples from the film’s original score in the process. Their open-ended approach is marked by an aesthetic ambivalence that perfectly corresponds with the movie’s own inherent contradictions.

Dovzhenko approached his socio-political subject with poetic imagery and philosophical rigour, juxtaposing notions of traditionality with the depiction of modernity.

Büchi and Oberholzer accordingly work with motives that at o ce seem anthemic and elegiac, working with sounds and musical motives that evoke a sense of familiarity in one moment before transforming into something futuristic and uncanny in the next. Their score for »Zemlya« is not to be understood as a mere interpretation of the movie, but rather a re-narration or even re-negotiation of its aesthetic and emotional qualities under their very own terms. »Earth« is an album that concisely depicts what is at the core of the duo’s musical partnership

"Mane Attraction is the fourth studio album from the New York-based glam metal band White Lion. The album featured the singles “Love Don’t Come Easy”, the eight-minute heavy rock epic track “Lights and Thunder”, and a re-recorded version of their debut single “Broken Heart”. It was the last album that featured both Greg D’Angelo and James Lomenzo in the line-up. For the first time since its original release in 1991, the album is getting a reissue. Mane Attraction is available as a limited edition of 1500 individually numbered copies on silver coloured vinyl and includes an insert. "

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

Der britische Superstar Paloma Faith schlägt ein neues Kapitel in der Karriere auf und meldet sich mit einem neuen Song "How You Leave A Man" zurück. Mit der ersten Singleauskopplung "How You Leave A Man", die von Selbstermächtigung und dem Finde seines eigenen Glücks handelt, kündet die Sängerin gleichzeitig die Veröffentlichung ihres sechsten Studioalbums "The Glorification of Sadness" für den 16. Februar 2023 an. Für das kommende Werk arbeitete Paloma Faith mit dem preisgekrönten Produzenten und Komponisten Martin Wave und den Co-Autoren JKash, Andrew Wells, Ellie King und Charlie Puth zusammen.

You just moved to the big city, you end up at a party where you don't know anyone and someone walks up to you and asks: "Hey, are you alone here?". That is exactly the feeling that Porcelain id describes on their debut album Bibi:1, short for the Arabic pet name Habibi. Porcelain id is the pseudonym under which Hubert Tuyishime (they/them/their) has been unleashing unique songs since 2020.

The album - inspired by their move from a quiet provincial town to Antwerp - is the soundtrack to walking into city traffic during rush hour and trusting to get out of the chaos in one piece. It is an ode to exciting encounters with complete strangers and to the friends you can come home to afterwards. A story about being a stranger in a city you've romanticized for so long, the rejection that comes with it, and the false nostalgia with which you look back on it all later on.

At first hearing, the completely English-language Bibi:1 may seem like a brusque farewell to the autobiographical intimacy and lo-fi singer-songwriter music on the previously released EPs Mango and Reprise, and especially on songs like Vlaanderen. But to Porcelain id it feels like an organic evolution. One towards more abstraction, experimentation and electronics, but never detached, and still building on the core of Porcelain id.

The new sound is the result of an intense collaboration with producer and partner in crime Youniss Ahamad, who, despite their different musical backgrounds, immediately felt challenged after Porcelain id's legendary elevator pitch: 'I want to make something that is situated between Nick Cave and the Bad Seeds and Yeezus by Kanye West'.

Together they drew the blueprint for Bibi:1 in Youniss' home studio. Track by track, without looking back. A sporadic, but rigid process that added to the intensity of the album. In the studio, the songs were taken to a higher level. The two invited a pack of talented friends and young musicians to the studio to add parts, a stark contrast to the solitary approach of previous EPs. Aram Abgaryan (recording engineer/synths/vocals), Nard Houdmeyers (guitar), Tim Caramin (drums), David Idrisov (bass), Alban Sarens (sax) and Emma Hessels (vocals) came by. Aram Santy was at the controls during the mixing sessions.

The result sounds like the ultimate symbiosis of Porcelain id and Youniss. Lofi, but ambitious. Fragile, but rough. Poppy, but disruptive. Sometimes challenging. Then welcoming again. Sometimes even danceable. Each song forms a small vignette that is part of a diverse, but coherent unity. Adam Coming Home and Low Poly are closest to the melancholy of Porcelain id's earlier work, while Lights! strikes a new path. First single Man Down, on the other hand, is inspired by the Antwerp students who drown every year and sounds like a wandering nightly stroll through the city. For Brilliant, David Idrisov was asked to 'play bass as if Chet Baker were not a trumpet player, but a bass player', a bizarre assignment that he accomplished with verve. And Cellophane flirts with emo trap and was sung with raspberries between the teeth, to simulate the effect of grills.

Mit "Goldmarie 2.0" präsentieren STONEMAN eine remasterte Neuauflage ihres 2014er Albums "Goldmarie" mit zusätzlichem Cover-Bonustrack "Marie", welcher ursprünglich von Joachim Deutschland performt wurde.
Versteinert ist anders: 10 Jahre nach der ersten Veröffentlichung von "Goldmarie" hat sich die Schweizer Ausnahmeformation um die beiden Traumwandler zwischen Gothic und Metal, Mikki und Rico H immer wieder neu erdacht. Gestrahlt hat man auf den Bühnen in ganz Europa, supportete Größen wie Deathstars, Mono Inc. Xandria, Tiamat und Wednesday 13. Im Gepäck hatte man dabei so manchen provokanten Szene Hit wie "Wer ficken will" und "Mord ist Kunst".
Bittersüße Melodien treffen auf brachiale Härte und auch die eine oder andere lyrische Provokation darf natürlich nicht fehlen!

Energetic Beatlesque ‘68 power pop! With similar melodic stylings as groups like the Merry-Go-Round and the Left Banke, Ellie Pop’s individuality shines through their commonality with superb underground ‘60s pop innovators. Pressed on clear vinyl!

"Ellie Pop" includes the following tracks: "Can’t Be Love", "Seems I’ve Changed", "Oh! My Friend", "No Thanks Mr. Mann" and more.

Nach der überraschenden Rückkehr 2023 für eine Reihe feierlicher, ausverkaufter Konzerte in UK und Europa starten die Post-Rock-DIY-Helden The Boxer Rebellion in ein vielversprechendes Jahr 2024, das noch einmal in die Tiefe geht und ihre neue 'Open Arms' EP einläutet, ein pulsierendes, kristallines Mantra, das in limitierter 500er Auflage auf cremefarbenem Vinyl erscheint. Neue schimmernd-epische Songs wie 'Powdered Sugar' und 'Lightness Out Of Darkness' oder das kathartische 'As Man As Alive As The City' bestätigen, dass die Band nicht nur zurück ist, sondern auch in einem Ausbruch dringender, aktualisierter Kreativität eine klare Linie von ihrer Vergangenheit zur Gegenwart zieht.

With his seemingly endless capacity for creating compositions which have an alluring quality, and which are often wrapped in a mesmerising arrangement that pays homage to those towering sound constructions made by Phil Spector, Shadow Morton, Brian Wilson and the likes, veteran New York polymath Marc Jonson is also deserving of household name status. Involved in making records since the mid-sixties, Jonson's latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on Cornelia St., New York's Greenwich Village, during the years we spend living (and surviving) there. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. Spanning these grooves are such delightfully told stories as 'The Man Who Walks On Air', 'November Paint Brush', the atypical jazz stylings of the instrumental title cut, plus the revealing light that is 'The Moon' and the magical, wide eyed beauty as conjured by 'Ages Of Wonder'. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. "Those who have taken the leap into Jonson's hitherto unknown musical world will be able to tell you that this is not only an experience which is immensely rewarding, but it's also one which needs to be heard to be believed. The captivating layers and mesmerising quality heard throughout lies in the way Jonson's startling array of songs seem to breathe in and exhale from many different, often eclectic elements." Lenny Helsing (Shindig!, Ugly Things Magazine).

Second chapter for the new VA vinyl trilogy on R3volution Records called

In this edition there are the following artists under our attention:

- PWCCA, label owner of the top labels Hardtools and Inducted Waves and acclaimed world-famous Spanish producer, already distinguished with severeal appearances on our label including the latest release "Programming Language EP" last year;
- PUSHMANN, another top Spanish DJ and producer, making his debut on
- PYRAMIDAL DECODE authentic Italian based talent who, with many appearances on our label, has also found the time to make his music recognized around the world thanks to numerous releases on labels that represent milestones in the international techno scene, such as WarmUp, Mord, Dynamic Reflection, Faut Section, Edit Select...
- JOAQUIN RUIZ, the only non-European artist on this release, has already made many appearances on our label both as a solo release and as a remixer. He is a DJ/producer on the West Side of Buenos Aires. Ambitious and always looking for new challenges and opportunities, Joaquin is definitely one of the newest emerging talents from the techno music scene in Argentina. He runs his label West Rules too and also releases his music on respected labels of the scene such as Devotion, Knotweed, Affekt, Selected, Subsist, just to name a few
- MICHELE MAUSI founder & label owner with another amazing track called Waterloop
- MDMP is Michele's 2nd alias in pair with DANIELE PETRONELLI with a pure BOMB track called Under Armor

6 track vinyl-only Ghetto house EP by three producers from the legendary Chicago house label Dance Mania. High energy 130-140bpm bass banging tracks ready to take any dancefloor to the limit.

Leute, bildet Gruppen! Und hört diese Musik dabei. Und davor. Und danach. Unbedingt. (Joachim Hentschel) Ja, Panik bestehen 2021 aus Andreas Spechtl, Stefan Pabst (Bass), Laura Landergott (Keyboards & Gitarre) und Sebastian Janata (Schlagzeug). Als Gast ist hier Rabea Erradi dabei, die offiziell nicht zur Besetzung gehört, als Saxophonistin für die neue Musik jedoch eine absolut tragende Rolle spielt. "Die Gruppe", das nach "Libertatia" von 2014 insgesamt sechste Album, ist zudem das erste überhaupt, das Andreas Spechtl ganz ohne fremde Hilfe produziert hat. Es ist ein Album voller Wunder und Schrecken, Rätsel und Leuchtfeuer, Gewebe und Löcher, fließender Geschichten und Slogans, die man sich auf die Stirn stempeln will. Vor allem: ein Werk, wie man es in der an Höhepunkten nun wirklich nicht geizigen Diskografie von Ja, Panik noch nicht gehört hat, nicht ansatzweise.

Leute, bildet Gruppen! Und hört diese Musik dabei. Und davor. Und danach. Unbedingt. (Joachim Hentschel) Ja, Panik bestehen 2021 aus Andreas Spechtl, Stefan Pabst (Bass), Laura Landergott (Keyboards & Gitarre) und Sebastian Janata (Schlagzeug). Als Gast ist hier Rabea Erradi dabei, die offiziell nicht zur Besetzung gehört, als Saxophonistin für die neue Musik jedoch eine absolut tragende Rolle spielt. "Die Gruppe", das nach "Libertatia" von 2014 insgesamt sechste Album, ist zudem das erste überhaupt, das Andreas Spechtl ganz ohne fremde Hilfe produziert hat. Es ist ein Album voller Wunder und Schrecken, Rätsel und Leuchtfeuer, Gewebe und Löcher, fließender Geschichten und Slogans, die man sich auf die Stirn stempeln will. Vor allem: ein Werk, wie man es in der an Höhepunkten nun wirklich nicht geizigen Diskografie von Ja, Panik noch nicht gehört hat, nicht ansatzweise.

FOR FANS OF: AMON AMARTH, DARK TRANQUILLITY, UNLEASHED
VANIR ist eine der bekanntesten dänischen Melodic-Death-Metal-Bands und hat seit der Gründung der Band sechs Alben veröffentlicht. Nun sind sie
bereit, ihr siebtes Werk "Epitome" zu veröffentlichen. Themenschwerpunkt des neuen Werks ist das dänische Mittelalter, wobei zwei Songs einen
Abstecher in die Renaissance machen ("Wood Iron And Will" und das frühmittelalterliche "Blood Eagle"). Das Kernthema des Albums ist der Thron
und die Kämpfe, die darum geführt werden, ihn zu behalten oder seine Macht zu festigen.
Die erste Single des Albums, "Twisting The Knife", wurde über das Stockholmer Blutbad geschrieben, einen Gerichtsprozess, der zwischen dem 7. und
9. November 1520 zu einer Reihe von Hinrichtungen in Stockholm führte. Die Belagerung von Arkona im Jahr 1169 durch die dänischen und
pommerschen Truppen unter Valdemar I. ist der Ausgangspunkt für "Fall von Arkona". Ein Lied über Stärke, Tapferkeit und Mut ("One Man Army")
rundet die Single-Trilogie des Albums ab.
Das "Epitome"-Albumcover ist ein Abbild der dänischen Königin Sorte Grethe (Schwarze Greta). Zu ihrer Zeit hatte Margaret den Ruf einer
kompetenten und aufgeklärten Regentin. Regentin Margarete sah sich mit dem ungelösten Konflikt zwischen der Krone und dem Erzbischof
konfrontiert. Das Lied "Sorte Grethe" auf dem Album handelt von einer blutigen Schlacht, in der 12.000 Männer getötet wurden, um den Anspruch
ihres Sohnes auf das Königtum zu bewahren.

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

2024 Repress !

The man who gave us countless classics from the Kompakt catalog delivers his latest stroke of genius. “Allein” is based on “Ich war allein,” a schlager song by East German pop icon Ina Martell from 1967, of which there is only a video recording from DFF that never made it onto a record.

Jürgen Paape conjures up two versions from it: a heart-wrenching downbeat pop version and “Allein in Italien,” his most catchy earworm since “So weit wie noch nie.” Caution, highly addictive!

Der Mann, der uns zahllose Klassiker des Kompakt Katalogs schenkte, liefert seinen neuesten Geniestreich. “Allein” basiert auf “Ich war allein”, einem Schlager der DDR Pop-Ikone Ina Martell aus dem Jahre 1967, von dem es nur eine Videoaufzeichnung des DFF gibt, der niemals den Weg auf eine Schallplatte gefunden hat.

Jürgen Paape zaubert daraus zwei Versionen: Eine herzzerreissende Downbeat Pop Version und mit “Allein in Italien” seinen wohl krassesten Ohrwurm seit “So weit wie noch nie”. Achtung, Suchtgefahr!

Best remembered for his partnership with the rapper Will Smith in the duo DJ Jazzy Jeff & the Fresh Prince, the duo won the first rap Grammy as well as scoring some big pop hits back in the day, including their 1987 smash, "A Touch Of Jazz," which famously sampled Bob James' classic track "Westchester Lady."

In a full circle moment, James and Jeff have joined forces on the tune "That Bop," a thumping dance track overlain with elegant piano hooks. "It was fun to work with him so many years after he had sampled me in the past," says James, who reveals they collaborated by sharing music files across the internet during the pandemic.

"We also did a couple of other tunes that may see the light of day soon," discloses James, who is keen to work with the hip- hop legend again. "I hope the next time we'll actually be in the studio at the same time so that we can interact," he says. The B-side features Bob James' original jazz-funk classic and DJ favorite, "Shamboozie", available for the first time on 7" vinyl.

Released by evosound on a 7" Vinyl Single on the 6th of October, 2023. Limited Edition of 1,200 copies worldwide.

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.

As part of our continuing Suede30 campaign, Demon Records will be issuing Suede’s fifth, sixth, seventh and eighth singles as highly collectable 7” picture discs, reproducing the original arresting cover images on the discs. • Released on 14th February 1994, the band’s fifth single was a new song, “Stay Together”. Peaking at number 3 in the UK charts, it remains Suede’s highest-charting single (along with “Trash”). The Bside was “The Living Dead”. • Neither song was included on the “Dog Man Star” album, released in October 1994.

Maya Youssef is a multi-award winning musician and composer from Syria. She is hailed as ‘queen of the qanun,’ the 78-stringed Middle Eastern plucked zither. Maya’s intense and thoughtful music is rooted in the Arabic classical tradition but forges pathways into Western classical and contemporary styles. It explores the emotional and healing qualities of music.

The 'Finding Home' is a journey through memories and the essence of home both within and without in the search of that place of peace, comfort, and healing which manifests in everyone in a unique way.

Maya wrote this album during a time of spiritual awakening. Over time she has come to accept the loss of her homeland and in the process of grieving (which she explored in her Album Syrian Dreams in 2018) Maya has found a much greater sense of home in the most spiritual sense.

“As any Syrian will tell you, there is this overwhelming sense of loss and an overwhelming sense of grief. Because that world which existed before the war started, despite it naturally having problems, was a beautiful world with a booming economy, artistic scene, film festivals and visiting international artists, Damascus was the third safest city in the world. The loss of that world was heart wrenching and, in a way, steered me towards a universal concept of home.

The main trigger that made me create Syrian Dreams was the Syrian war and the loss of my homeland. And it's only by embarking on that spiritual journey of constant meditation and of finding home within God and within myself that I started to feel consolable and started to feel that I have my own home within me. I felt that the world is my home and humanity is my home. With my latest album I want to take people through a transformative journey, where they land in that place of home for them. No matter how that will look like for each person.” Maya Youssef

Der legendäre Rockgitarrist Steve Hackett wird sein neues Studioalbum "The Circus And The Nightwhale" am 16. Februar 2024 über InsideOut Music veröffentlichen. Die 12 Tracks von "The Circus And The Nightwhale" sind ein Rite-of-Passage-Konzeptalbum, in dessen Mittelpunkt eine junge Figur namens Travla steht. Für den Musiker haben die 13 Tracks einen autobiografischen Aspekt, der über sein 30. Solo-Album sagt: "Ich liebe dieses Album. Es sagt die Dinge, die ich schon seit langer Zeit sagen wollte." Aufgenommen zwischen den Tourneen 2022 und 2023 im Siren Studio in Großbritannien - mit Gastbeiträgen aus Schweden, Österreich, den USA, Aserbaidschan und Dänemark - umfasst die Besetzung von "The Circus And The Nightwhale" neben Steve an elektrischen und akustischen Gitarren, 12-saitiger Gitarre, Mandoline, Mundharmonika, Percussion, Bass und Gesang einige bekannte Gesichter. Roger King (Keyboards, Programmierung und orchestrale Arrangements), Rob Townsend (Saxophon), Jonas Reingold (Bass), Nad Sylvan (Gesang), Craig Blundell (Schlagzeug) und Amanda Lehmann (Gesang). Nick D'Virgilio und Hugo Degenhardt kehren als Gäste an den Drumhocker zurück, der hervorragende Tontechniker Benedict Fenner ist an den Keyboards zu hören und Malik Mansurov ist wieder an der Gitarre. Und schließlich ist auch Steves Bruder John Hackett wieder an der Flöte zu hören. Steve fasst "The Circus And The Nightwhale" wie folgt zusammen: "Es ist eine schöne Reise, die schmutzig, kratzig und rauchig beginnt und dann himmlisch und göttlich wird. Wie kann man da widerstehen?" Das Album wird als Ltd CD+Blu-ray Mediabook (inkl. 5.1 Surround Sound & Hi-Res Stereo Mixes), Standard CD Jewelcase, Gatefold 180g LP + LP-Booklet & als digitales Album erhältlich sein.

Der legendäre Rockgitarrist Steve Hackett wird sein neues Studioalbum "The Circus And The Nightwhale" am 16. Februar 2024 über InsideOut Music veröffentlichen. Die 12 Tracks von "The Circus And The Nightwhale" sind ein Rite-of-Passage-Konzeptalbum, in dessen Mittelpunkt eine junge Figur namens Travla steht. Für den Musiker haben die 13 Tracks einen autobiografischen Aspekt, der über sein 30. Solo-Album sagt: "Ich liebe dieses Album. Es sagt die Dinge, die ich schon seit langer Zeit sagen wollte." Aufgenommen zwischen den Tourneen 2022 und 2023 im Siren Studio in Großbritannien - mit Gastbeiträgen aus Schweden, Österreich, den USA, Aserbaidschan und Dänemark - umfasst die Besetzung von "The Circus And The Nightwhale" neben Steve an elektrischen und akustischen Gitarren, 12-saitiger Gitarre, Mandoline, Mundharmonika, Percussion, Bass und Gesang einige bekannte Gesichter. Roger King (Keyboards, Programmierung und orchestrale Arrangements), Rob Townsend (Saxophon), Jonas Reingold (Bass), Nad Sylvan (Gesang), Craig Blundell (Schlagzeug) und Amanda Lehmann (Gesang). Nick D'Virgilio und Hugo Degenhardt kehren als Gäste an den Drumhocker zurück, der hervorragende Tontechniker Benedict Fenner ist an den Keyboards zu hören und Malik Mansurov ist wieder an der Gitarre. Und schließlich ist auch Steves Bruder John Hackett wieder an der Flöte zu hören. Steve fasst "The Circus And The Nightwhale" wie folgt zusammen: "Es ist eine schöne Reise, die schmutzig, kratzig und rauchig beginnt und dann himmlisch und göttlich wird. Wie kann man da widerstehen?" Das Album wird als Ltd CD+Blu-ray Mediabook (inkl. 5.1 Surround Sound & Hi-Res Stereo Mixes), Standard CD Jewelcase, Gatefold 180g LP + LP-Booklet & als digitales Album erhältlich sein.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

Arketip Discs is a Barcelona-based vinyl and digital imprint co-founded by Spear and Makuto that has featured music by Reeko, Truncate, Temudo, ORBE and Eduardo De La Calle.
Makuto is the label head from Spain with a growing reputation and who has kept his productions exclusively to Arketip Discs so far. ''Sfera'' is a hypnotic and atmospheric cut with modular accents and tones that morph and expand in sleek style.
A. Morgan is from Manchester, UK and has been establishing his productions with revered releases on the likes of Jay Clarke's Blackaxon, Joton's New rhythmic, Hans Bouffmyhre's Sleaze and Berlin's BCCO. ''Vogue One'' has a stripped-back style and groove focused rhythm with creative sound design and precise percussion highlights.
VIL is known as a core member of the Portuguese outfit HAYES, and has released music on Ben Klock's Klockworks, Ben Sims' Hardgroove, Shlomi Aber's Be As One, and TWR72's Float amongst others. ''The Reaction'' has a shuffling and quirky rhythm with deep, floating chords and electric elements creating a unique vibe.
Also from Spain, Psyk is the Non Series label owner whose back catalogue includes Tresor, Luke Slater's Mote Evolver, Scuba's Hotflush, Reeko's Mental Disorder and Chris Liebing's CLR to name only a few. Psyk's impressive remix of ''The Reaction'' succeeds in expanding distinct electric fragments from the original into a tapestry of organic, modular soundscapes

Extra Characteristics
Printed Sleeve

In 1994, UK ambient pioneers O Yuki Conjugate recorded their landmark Equator album. To mark the 30th anniversary of this musical milestone, many of the same personnel – Roger Horberry (co-founder of O Yuki Conjugate), Dan Mudford (ex-Sons of Silence and co-creator of the Shaun of the Dead soundtrack), Joe Lamb (ex-Sons of Silence) and Malcolm McGeorge – came together to make New Meridian, reflecting the range of influences they’ve picked up over the intervening years.

Generously described as “almost like normal music”, the eight tracks of New Meridian feature instrumentation ranging from classic analogue to actual wooden logs. The result takes you on a rain-drenched, open-top ride from Electronica Avenue to the drone caverns of Uranus, with various Fourth World ambi-dub diversions along the way. File under: duress.

Ponte Del Diavolo schlägt die Brücke zwischen zwei getrennten Welten. Schließlich ist die Band nach der echten "Teufelsbrücke" benannt, einer steilen Straße, die die Bauern im Mittelalter auf ihrem Weg nach Italien überqueren mussten.
Obwohl die fünf Mitglieder von Ponte Del Diavolo aus einer freundschaftlichen Jamsession hervorgegangen sind, bildeten sie bereits ein ziemlich eklektisches Gespann, als sie sich im Winter 2020 in Turin, der kultivierten italienischen Metropole, offiziell zusammenfanden. Während die meisten Metal-Bands von einem Gitarrenduo angeführt werden, kommen die Italiener mit zwei Bassisten als Basis. Ihr Debütalbum "Fire Blades from the Tomb" verbindet klassischen, kultigen Doom Metal mit modernen Einflüssen aus Post-Punk und Dark Wave. Die Leadsingle und der Eröffnungstrack "Demone" wird von einer tiefschwarzen Bassline gepeitscht. Man könnte Erba del Diavolo leicht mit Siouxsie Soux verwechseln, so cool wechselt sie zwischen hektischem Sprechgesang und düsteren, verführerischenm Raunen. Lassen Sie sich von Ponte Del Diavolo in die dunklen Künste Italiens entführen.

Die legendären Schweizer Industrial-Black-Metaller SAMAEL veröffentlichen ihr Live-Album Passage - Live, am 16. Februar 2024 über Napalm Records!
Aufgenommen während eines ausverkauften Konzerts in Krakau am letzten Tag der europäischen Etappe der Passage 25th Anniversary Tour, lässt
Passage - Live das bahnbrechende 1996er Album in neuem Glanz erstrahlen. "Dieses Album ist eine Feier eines Albums, das einen Meilenstein in
unserer Geschichte darstellt. Das Album, das uns zu der Band gemacht hat, die wir heute sind“, sagt die Band selbst.
Es war das erste Mal, dass das Album komplett und in voller Länge Live gespielt wurde. Die Songs sind die gleichen geblieben, aber eingefangen in der
Dringlichkeit einer Live-Umgebung, erscheinen sie rauer und schwerer als auf dem originalen Album – ein Vierteljahrhundert nach Veröffentlichung
ist Passage jetzt eindringlich wie nie zu hören. Dabei ist Passage - Live die erste offizielle Aufnahme mit der aktuellen Besetzung der Band. Die neuen
Mitglieder Drop und Ales, die beide Fans des Albums waren, bevor sie der Band beitraten, verleihen der Musik eine neue Energie.
Passage - Live ist das Zeugnis eines Albums, das eine ganze Generation von Metal-Fans geprägt hat, als SAMAEL sich in Richtung eines industrielleren
Sounds bewegte, sich von ihren Wurzeln im Black Metal entfernte und gleichzeitig die Band einem breiteren internationalen Publikum zugänglich
machte. Passage hat den Test der Zeit bestanden und ist heute noch genauso frisch wie bei Erscheinen. Mit Passage - Live erweisen SAMAEL einem
der wichtigsten Alben in der Geschichte der Band die Ehre und lassen es in einem nie zuvor auf Platte gehörten Gewand erstrahlen!

You may think you know the story of Jennifer Lopez, one of the most written about women in the world, but This Is Me…Now shares the real story, a piece of her soul, and she is doing it in her own inimitable style. Jennifer Lopez’s long awaited musical experience THIS IS ME…NOW begins with the release on February 16th, 2024 of This Is Me…Now: The Album and This Is Me…Now: The Film inspired by the music.

The album, written and produced by Jennifer Lopez and Rogét Chayed, along with Angel Lopez, Jeff "Gitty" Gitelman, HitBoy, Tay Keith and INK among others, effortlessly blends R&B, contemporary pop sounds and hip-hop beats. Her signature vocals, combined with intricately crafted lyrics delve into the highs and lows of life, love, and relationships with unflinching honesty and introspection, making this Jennifer Lopez’s most honest and personal album yet.

Shades of Yesterday ist ein brandneues Cover-Album des zweifach Grammy-nominierten Produzenten, Musikers und Songwriters DJ Harrison.
DJ Harrison produzierte und spielte fast alle Instrumente auf dem Album selbst, was es zu einer sehr persönlichen Hommage macht.
Shades of Yesterday" besteht aus einigen von Harrisons Lieblingssongs, die seine Erinnerungen an seine Kindheit in Richmond, Virginia, und die Zeit, die er mit Musikern verbracht hat, widerspiegeln.

The theme of the Album, titled "Echoes from the Universe",is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one's own individual life path trough will power. The "Concept Album" is based on the of the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance. The Artwork, interpreted by the artist "Django Nokes", reflects the Concept perfectly. Echoes from the Universe is an evocative soundscapes trip and fresh breeze of groovy beats and psychedelia swaying between sweet moments and massive progressive deliriums.

The theme of the Album, titled "Echoes from the Universe",is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one's own individual life path trough will power. The "Concept Album" is based on the of the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance. The Artwork, interpreted by the artist "Django Nokes", reflects the Concept perfectly. Echoes from the Universe is an evocative soundscapes trip and fresh breeze of groovy beats and psychedelia swaying between sweet moments and massive progressive deliriums.

British singer-songwriter Katherine Priddy releases her much-anticipated sophomore album "The Pendulum Swing" via Cooking Vinyl. This follows her highly acclaimed 2021 debut The Eternal Rocks Beneath, which announced Priddy as a singular new talent on the contemporary roots music scene. Once again recorded in Birmingham by producer Simon J Weaver, guest musicians comprise John Smith (lead guitar), Harry Fausing Smith (strings), Marcus Hamblett (brass/double bass), George Boomsma (guitar, backing vocals, co-writer on track "Ready To Go"), Polly Virr (cello) and even a brief appearance from Priddy"s family members right at the end of the album, in keeping with its themes. With The Pendulum Swing, Priddy has managed to keep moving forward whilst acknowledging and honouring all that has gone before. For fans of Nick Drake and John Martyn.

NYC speed rockers PONS are wound up and hot for skronk on The Liquid Self, a golden spiral into insanity at sea surfacing on cassette and streaming October 6, 2023. Besieged by a lighthouse panopticon of pummeling, engine-room percussion, The Liquid Self rises higher than the tides of destiny. These eleven songs churn like a gluttonous maelstrom consuming everything in its path. The Liquid Self chums indie rock’s murky waters with bloody chunks of Lightning Bolt, Van Halen and King Crimson to lure PONS’ mythical and unhinged rock ‘n roll creation to the surface. Harpoons in hand, the dual drums and guitar trio swing, shuffle and strut across oceanic horizons of playful, unhinged garage-prog-pop inhabited by a cast of unreliable narrators; bottom feeders carrying the entire ocean’s weight on their polyrhythms.

On the single “Coral King,” PONS usurp noise rock’s old guard while pledging fealty to the dystopia under the sea with a foamy, froth-mouthed manic industrial scuzz-prog rant seething with sludgy, dissonant bile oozing from every sour note. Furious violin-fuzz riffs and a chorus of lost souls lead the procession at this brutal coronation of the damned.

“Sinking Feeling” hangs ten with bright and beachy major chords anchored by fleet-flippered guitar solos breaching the surf like suppertime at SeaWorld. Chaos reigns on “Queen Conch,” soaking the splash zone with misty waves of undulating percussion and tsunami force sheets of six-string shredding. Barbed post-punk rager “Hooks” swallows the bait whole—and it turns out PONS fish with dynamite.

This freakbeat jelly belly delight showcases the Bandits’ vaudeville humor, garage rock & catchy psychedelic pop! Considered a cult classic, this mixed bag of candy-coated fuzz is sure to satisfy your sweet tooth! Our favored stereo mix, pressed on yellow vinyl! Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Originally known as “The Mirror,” the band regularly packed area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog.

In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records – however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material to flesh out a full-length LP in the course of a week. Amazingly, their eponymous 1967 debut is excellent, a freakbeat cult classic distinguished by emotive guitar and some innovative production techniques – all the more impressive, the album was recorded in a single 12-hour stretch. Mainstream hated the end result, however, and dropped the Jelly Bean Bandits just as they were commencing work on the follow-up – only one song was completed before the sessions were aborted, leaving just one ‘60s studio album from these confectionary con-artists. – Jason Ankeny

"The Jelly Bean Bandits" includes the following tracks: "Poor Precious Dreams", "Going Nowhere", "Goodtime Feeling", "Neon River" and more.

This version of the album comes as a 1xLP pressed on yellow vinyl.