Buscar:same

35. Jubiläumsfeier von MÖTLEY CRÜEs Nr. 1 in den Billboard Top 200 und 6-fach Platin-Album. Enthält
die Hit-Singles „Kickstart My Heart“, „Dr. Feelgood“, „Don’t Go Away Mad (Just Go Away)“, „Without
You“ und „Same Ol’ Situation (S.O.S.). CD und schwarze Vinyl-LP mit limitierter Auflage, neu gestaltetem
Cover und neu gemastertem Audio.

Mit fünf riesigen Hit-Singles, die die Wunsch-Hotlines von Radio und MTV überlasteten, war MÖTLEY
CRÜE auf der Dr. Feelgood World Tour über 2 Jahre lang mit ihrem eigenen Privatjet unterwegs und in
der Luft. Die erste Single „Dr. Feelgood“ mit ihrem sofort einprägsamen Anfang, dem eingängigen Refrain
und dem düsteren Musikvideo gab den Ton an und erreichte die Top 10 der US Hot 100 Single-Charts.
„Kickstart My Heart“ war bei seiner Veröffentlichung ursprünglich ein Top-30-Hit und entwickelte sich zu
MÖTLEY CRÜEs beliebtestem Meilenstein. Von der Kreissägen-Einleitung über den Cheating-Death-Text
bis hin zum Musikvideo, das bei einer seltenen Rückkehr zu einer Clubshow im weltberühmten Whisky-ago-go in Hollywood gedreht wurde, hat es mittlerweile weit über 1,5 Milliarden Streams verzeichnet und ist
fast täglich in Filmen, Werbespots, Videospielen und Sportveranstaltungen auf der ganzen Welt zu hören!

Nosferatu (1922) is still one of the most highly regarded horror films of all time, F.W. Murnau’s unauthorised adaptation of Bram Stoker’s Dracula, it remains an Expressionist masterpiece of the silent era.

Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997. The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.

Quetzals are strikingly colored birds in the trogon family. Their wings are suited to camouflage under rainy conditions. The name quetzal , from the mesoamerican Nahuatl language, refers to " an upstanding plume of feathers " in terms of standing up. The origin of churros is unclear. One theory suggests the concept was brought to Europe from China by the Portuguese Another theory is that the churro was made by Spanish shepherds to substitute for fresh baked goods. Churro paste was easy to make and fry in an open fire in the mountains, where shepherds spend most of their time. Licasso is a thermodynamic sound world where colors and sounds become the same thing.

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

The first-ever official reissue of the pioneering 1986 ambient work, produced in full cooperation with Hiroshi Yoshimura’s estate !

"If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated.

— Hiroshi Yoshimura

Temporal Drift proudly presents the long-awaited, first-ever reissue of Surround, Hiroshi Yoshimura’s sought-after ambient classic.

Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang.

In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way."

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

Repress!

Techno, Disco, Italo, Electronics, House, Library, Cosmic and Ambient frequencies - These are the bedrocks of the Midnight Drive ethos and sound. A label shining a light on overlooked or unheralded creations and respectfully reissuing them for the contemporary audience.

A label that respects and understands the connection between these disparate and sometimes forgotten forms of musical expression and celebrates them. Midnight Drive are extremely proud to reintroduce the world to the sublime after-hours, cult downtempo sounds of Belgian duo Pieter Kuyl and Jan Van Den Bergh aka Mappa Mundi.

Mappa Mundi's sole release 'Musaics' was released on Belgium's legendary USA Import label in 1990, riding on the wave of early trance and ambient house sounds and exploring the same sonic terrain and worlds as The Orb, The KLF, Sun Electric and other like minded outfits. A wonderful swirling collage or mosaic of breakbeats, samples and new-age synth stylings, 'Musaics' is indeed a real trip.

A spontaneous late night studio concoction borne of endless takes and experimentation between Kuyl and Van Den Bergh who both display a deep knowledge and a shared love of different sounds from around the world. The end result is a meditative, sprawling journey that touches on many different styles from languid widescreen techno to frantic drum machine driven machine-funk, all while retaining a feeling of post-rave atmospherics and psychedelia.

This is a very special record indeed, and is somewhat of a lost gem from a very fertile and interesting period in sample based music. Undoubtedly the perfect soundtrack to numerous late nights and early mornings to come, remastered and spread across 2 discs for maximum sonic playback.

2 years after his critically acclaimed “Ultrachroma” album, Kangding Ray returns to ARA with a decisively dance- floor LP named “ZERO”.

As the artwork suggests, his different explorations and influences converge into one point on this record, where sound becomes a raw vibration, precisely engineered to bring bodies into movement.

This record marks both a return to the source of his sound in its purest shape, with hints of his debuts on the experimental label raster-noton, as well as the hypnotic journeys he is now for with his DJsets.

As an artist who is constantly reshaping his own sound in search of new forms, Kangding Ray offers here a singular take on modern dance music, driven by a visceral and futuristic approach.

“When an audio signal crosses the X-axis, there is an infinitesimal moment of silence.
ZERO is inspired by this quiet instant, a point of inversion where vibrations die and are reborn at the same time” . KR

Finding herself in different emotional and physical spaces over the past years, The Hague-based Seina creates four ambiguous tracks for Juni, her debut EP out on Präsens Editionen. The material, which comfortably sits between ambient, glitch and noise, feels like a long-overdue update of Mille Plateaux and Raster-Noton's golden days. The result, however, is much richer in texture and much more sensual than these dinosaurs of electronic music.
On Juni, Seina, who has a background in electroacoustic music and live performance, layers a range of source material created with different means and techniques—from Supercollider-generated elements, to field recordings gathered in Finland, France and The Netherlands, to analog electronic instruments, digital feedback and manipulated human voices.
The EP, which is partly composed and partly improvised, does not point in one particular direction but in many at the same time, making it an immersive experience and, at the same, a bold debut.

* Edition of 100 copies
* Special artwork by Paris-based visual artist Caroline Ventura in custom snapbox
* Designed by Swiss graphic designers Denise Häberli & Alina Scharnhorst of INTR

imited White Vinyl

Norwegian post punk duo Mayflower Madame return with their 3rd Studio album and we are delighted to welcome them to the Up In Her Room Family!

Norwegian band Mayflower Madame is set to release their highly anticipated third LP Insighton 1st November 2024. The lead singles, "A Foretold Ecstasy" and "Paint It All in Blue," have garnered widespread acclaim and extensive radio support, including airtime on BBC 6 Music. These tracks offer just a glimpse of what the album delivers—an expansive canvas of pulsating post-punk, shimmering shoegaze, and atmospheric psych-noir, masterfully blended with delicate sonic nuances.
Mixed and mastered by Maurizio Baggio (known for his work with The Soft Moon, Boy Harsher, and The Vacant Lots),Insightshowcases the band refining their sound into a sharper and more expansive sonic landscape than ever before. This album sees them exploring greater depths and heights, delivering a hypnotic journey through the shadows, filled with haunting melodies and dreamy melancholia. At the same time, it remains catchy and dynamic, with moments of vibrant brightness.
Insightis dedicated to frontman Trond Fagernes' stillborn daughter and is bookended by two songs—"Ocean of Bitterness" and "Insightfor the Mourning Hours"—that directly address this profound sorrow. Between these somber pieces, the album delves into a wide range of emotions, from nostalgic reflections on lost loves to feverish depictions of escapism and catharsis.
Over the past years, Mayflower Madame have gained a reputation far beyond their hometown of Oslo, Norway. They made their debut with the album ‘Observed in a Dream’ in 2016, which created a buzz in the indie music press and earned them tours across Europe and North America, while 2020s long-awaited sequel ‘Prepared for a Nightmare’ firmly established their position as one of the continent’s leading purveyors of cinematic shoegaze psychedelia swathed in 1980s post-punk and dark romanticism.

Worm Records coming back with a number two. Kicking off with a Boulderhead future classic 'In The Cloud', you will have heard 'Bread, Butter, Noodles, Spice' on a dancefloor someplace somewhere, this one is in the same vein but fresh as f. Frenchman Wooka completes the A side with 'Make Yourself Comfortable' which sounds proper on most chunky dancefloors. The B starts off with a track from the legendary DMX Krew who needs appreciation for helping birth this project / label - 'Half Included' is a unit and you’d expect nothing less. The final track on the record is from Jorg Kuning - 'Imbolc' which is typical froggy business from the new hot shot.

All proceeds will support UK Food Banks through the LIVEFORLOVE campaign.

Big thanks to Prime for their incredible support on this project.

Designs by Jay Vaz & Daniel Lovrinov.

Matthew (son of Winston McCanuff) was one of the rising stars in the reggae scene around the 2010s, when he got cold-blooded murdered in 2012. "Be Careful” appeared on his debut album with the same title. On the B-side we have the original version. Later on an alternate version was recorded, which has a more “live” feel to it and also features a wicked dub.

Less than a year after Botanical Illustration takes patience and Skill EP, Giovanni Natalini aka CO-PILOT, comes back on Simona Faraone’s label, New Interplanetary Melodies, with the Green Machine album, which is its natural prosecution: inside it we also find the three tracks previously published by the same label in audio cassette format only (NIM001- MC).

Green Machine is a concept album, which takes up and develops the ecological issues already treated by the artist in his previous work, namely the increasingly tricky dichotomy between nature and machine and the harmful impact of humans on it.

The A side opens with the already published Botanical Illustration takes patience and Skill (A1), an 8 minutes suite in which the powerful Live drum breaks are perfectly combined with synths and vocal samples, transporting us to the tops of exotic mountains, to continue with the ecstatic Himawari (A2) that sounds like a “desert session” made on Mount Fuji, for a result of pure musical mysticism and finally, Mother Love Nature pt.1 (A3), a track that takes us back to more familiar territories, winking at the most experimental British trip hop of recent memory and Mother Love Nature pt.2 (A4) characterized by a background of modular synths and nature sounds effects that precede Giovanni’s powerful drums, underlining once again this perfect fusion of organic and synthesized sounds.

Side B opens with the psychedelic choruses of Dancing Like Fela (B1) supported by synthetic arpeggios and a frenetic drumline sounds like a breakbeat. Continuing along this side, we come to the unsettling use of vocal samples on the beautiful Halo (B2), the ethereal and danceable art-pop of Lost You - In Translation - (B3) to conclude with the evocative Playing the Zurna in Ulan Bator (B4), a track with a pressing rhythm and elegant arrangements that once again underlines Giovanni Natalini’s mastery in mixing sounds and suggestions that are apparently far away but that always find the right place.

Green Machine sounds like a valid attempt to finally find a “solid” balance between humans and nature, but it also demonstrates how the continuous mixing of sounds is the most effective way to escape from the homologation that is increasingly widespread in contemporary society.

Repress!

You know it's going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track 'Curls’ on his Madvillain album!

Taken from Waldir Calmon's 'Waldir Calmon E Seus Multisons' album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn't expect it to become the fabric to one of the songs from the iconic 'Madvillain’ album. But… like many things in life, you shouldn’t judge a book by its cover. 'Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feel-good music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard.

'Afro Son' taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition. This quirky 60's-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey's 'E.V.A.', also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism.

Waldir Calmon had an active career in music working from the '50s right up until his passing in 1982. His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early '50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, João Gilberto and Doris Monteiro.

• Next installment in BRAZIL 45 Series.
• Sampled by Madlib on the track ‘Curls’ from his ‘Madvillain’ album.
• Quirky, cinematic, breakbeat-laden exoticism.

"When you wish upon a star… that turns out to be Saturn.

Previously unheard Ra culled from the archives and compiled based on their association to that children's film corporation with the cartoon rodent.

Jazz aficionados and Disney nerds alike will marvel at how seamlessly Sun Ra and his Arkestra put their own unique twist on both well-known and overlooked Disney songs. Pink Elephants on Parade takes nine songs from Disney’s storied catalog and recontextualizes them as beautiful, fun, and sometimes terrifying pieces of Afrofuturist jazz. The collection also shows further proof of how Ra was always willing to transcend conventions of jazz. Listen to the full album and you will likely never look at the Disney music catalog the same way ever again.

Originally known for accompanying Dumbo and Timothy’s colorful alcohol-induced hallucinations, this song is given a whole new life by Ra and the Arkestra in more ways than one. It also feels faithful to the original at the same time, with the cacophony of horns, drums, percussion, and cowbell resembling that of a marching band. However, the demented grandeur of the song is turned up to eleven with zany vocal lines (hence the high-pitched “What’ll I do” inflections) and other performances that somehow sound more evil and gruff here than they did on Oliver Wallace and Ned Washington’s version. Though the Sportsmen’s vocals from that particular arrangement had a certain creepiness to it, the Arkestra takes a previously innocent sounding song and makes Pink Elephants On Parade sound even more terrifying."

Askkin's latest release, 'NECH027' marks his debut on Nastia's NECHTO. A former resident of techno nights at Faktice in Nantes, Askkin has found his footing in the Brussels techno scene. His work at Faktice, now a label co-founded with producer Exal, has garnered
attention across the European scene. With collaborations alongside artists like Hadone and releases on labels such as TWND and Maison Close, Askkin continues to develop a distinctive sound.
For Askkin, producing music serves as an expressive outlet, capturing a range of emotions and reflections. 'NECH027' conveys both introspective and uplifting moments, especially the
track "Social Medication" exemplifying his approach to blending light and darkness while maintaining a strong groove and energy.
The EP features five tracks: "Keep Your Chin Up", "Not All Silences Sound The Same", "Social Medication", "Tick", and "Yes". Each track showcases Askkin’s focus on deep emotions with a touch of hope, making 'NECH027' a notable addition to his growing discography.

Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark


Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.

Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.

The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.

Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.

Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.

Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.

Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.

Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”

2024 Repress!

“You Are Safe” – a title illustrating the safe haven, Keinemusik has built itself over the last years. This self determined action space of the DJ/producers Rampa, &ME and Adam Port; Reznik who’s favouring the DJ booth to the studio and painter/visual artist Monja Gentschow. At the same time it makes an offer to every listener: put your headphones on, boogie around your living room, let go, forget everything around you. When this is on – you are safe.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.