Killers Of The Flower Moon is an album by Robbie Robertson, released in 2023. Killers Of The Flower Moon includes a.o. the following tracks: “(intro) The Sacred Pipe”, “My Land... My Land”, “Insulin Train”, “Tulsa Massacre Newsreel” and more. The album is a High Quality, Gatefold Sleeve original soundtrack LP.
The wait for HULKOFF's forthcoming folk-metal album "Hersir" will soon be over. The album will be released on December 15, which is the official release date. Hersir is HULKOFF's fourth album and is preceded by "KVEN" 2017, Pansarfolk 2020 and Ragnarök 2021. With a dash of Scandinavian melancholy, ancient instruments and acoustic violins, Hersir offers an assortment of rockhard, earthy, melodic and furious folk-metal - a throwback in time accompanied by familiar and ancient Nordic tones. HULKOFF's sound is a seamless fusion of melody and aggression, forged to resonate with the ancient echoes of the North. His lyrics are a gateway to the distant past, delving into the ancestral tales and beliefs of the Kvens, Scythians, Goths, Celts, Finns, and the later Norse, all of which from which influences can be glimpsed through HULKOFF's rich repertoire. Songwriter, composer, and guitarist Pär Hulkoff stands apart from other artists with his uniquely deep voice and thunderous folk-sound - that are impossible to imitate. Unusual but familiar tones surround the ancient source material of Hersir, resulting in highly varied songs that range from aggressively uplifting to gnarly and determined folk-metal. Hersir comes with eleven tracks, blended with both English and Swedish lyrics.
Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year – a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, Seven Steps to Heaven marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the expressive, well-played albums in the jazz canon.
Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of Seven Steps to Heaven adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of Seven Steps to Heaven is what great-sounding hi-fi is all about.
And there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. "The toughest critic I got, and the only one I worry about, is myself," Davis wrote in the liner notes. "The music has to get past me."
Davis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. Seven Steps to Heaven acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter.
That line-up gels for half of the six songs on Seven Steps to Heaven. Captured in Los Angeles April '63, the quintet stretches out on a luxurious reading of the late '20s New Orleans staple "Basin Street Blues"; lays on the romance for a candlelit stroll through the '40s standard "I Fall in Love Too Easily"; and explores the rounded contours and melodic crevices of the early blues "Baby Won't You Please Come Home." The performances are refined, elegant, emotional; the band lets the feelings linger and gives the listener time to absorb the colours and textures.
A month later, Davis returned to New York City with Coleman and Carter, and partnered them with Hancock and Williams. Tellingly, the quintet tried its collective hand at the title track and "Joshua" – Feldman-penned songs already recorded in Los Angeles – as well as the yearning "So Near, So Far." Those are the tunes that comprise the other piece of Seven Steps to Heaven, with the revised quintet's liquid pulse, articulate dynamics, and timing shifts a harbinger of things to come.
It's also worth mentioning that the interpretations of the bounding "Seven Steps to Heaven" – a showcase for Davis' trumpet – and interlocking "Joshua" netted considerable radio airplay and attracted the attention of other contemporaries who covered the songs. Keeping Carter and Williams as the rhythmic engine, and Hancock as the anchor between solo flights and structural motifs, Davis would soon soon welcome Wayne Shorter into the family and transform jazz. Again. The aptly – and, in hindsight, perhaps prophetically titled Seven Steps to Heaven – is how he got there.
Indie darlings Peaness are aiming high once again with charming, harmony-driven pop perfection in the form of two original Christmas classics this festive season. Both songs “Kiss Me Sweet Pea” and “Sad Season” will be released on their own label Totally Snick Records.
Lead single “Kiss Me Sweet Pea” is an unapologetic pop-produced single embracing many of the Christmas cliches - including sleigh bells, a key change, and a nod to the classic Noddy Holder scream. B side and second single “Sad Season” follows a more sombre style with its stripped-back jazz standard approach to production and songwriting, which gives a more intimate piece of work from what we’ve come to expect from Peaness, with front person Jess Branney featuring alongside a piano and a string arrangement.
"In 2005, Linkin Park’s Mike Shinoda released The Rising Tied, the platinum debut album from his hip-hop side project, Fort Minor. The record showcases his collaborations with artists like Common and John Legend and includes the quadruple-platinum single “Remember The Name” that Shinoda recorded with Styles of Beyond. The album also includes “Where’d You Go” (featuring Holly Brook, and Jonah Matranga), the album’s highest-charting single, which peaked at #4 on the Billboard Hot 100.
On December 15th, Warner Records will reissue The Rising Tied as a limited-edition Apple Red Double LP that includes four bonus tracks that will be on vinyl for the first time. “Be Somebody,” “There They Go,” and “The Hard Way” first appeared in 2005 on CD and Digital Deluxe Editions of the original release. The fourth bonus track, “Welcome,” was originally released in 2015 as a standalone single."
Released via Columbia Records, "Sunburn" is Dominic Fike's highly-anticipated sophomore full-length album, and the follow up to 2020's What Could Possibly Go Wrong. This 14-track collection finds the artist going back to Naples, Florida, as he sets to explore his childhood, family history & the meaning of home. The album has production credits for Dominic Fike, as well as Jim-E Stack and Kid Harpoon, alongside a collaboration with Weezer. Standard Black LP Vinyl. Limited stock. Marketing.
To celebrate the 25th anniversary of LA the Darkman’s Heist of the Century LP, Coalmine Records has partnered up with the Brooklyn native for a special edition vinyl reissue, marking the first time that the record’s been repressed since its original release. This album is widely regarded as one of the strongest and most underrated releases from a Wu-Tang Clan affiliate, and it’s easy to understand why once you hear its dynamic 18 tracks. The Killer Bee embodies the raw spirit of the Wu while adding his own signature gritty flavor throughout Heist of the Century. He shines whether he’s spitting solo on standouts like “Shine,” “Street Life,” and the title track, and when he’s joined by rap heavyweights like Raekwon, Ghostface Killah, Havoc, and Masta Killah. Rae actually delivers two show-stopping guest performances on”Az the World Turns” and “Spring Water.” The production lineup is just as serious, which boasts credits from the likes of RZA, DJ Muggs, Havoc, 4th Disciple, as well as Carlos “Six July” Broady who produced 10 tracks among others. Whether you were there day one, only started diving into the Wu’s vast discography recently, or somewhere in between, you’d be hard-pressed to find a better representation of their sound than Heist of the Century. “Heist of the Century undeniably continues in the vein of the surrealistic, orchestral sound that branded the Wu-Tang Clan as one of the most revolutionary hip-hop groups of the decade.” MTV.
NOW Music is proud to announce NOW Presents…Disco, a stunning 5LP boxset featuring 80 of the greatest Disco classics ever!
Kicking off with the genre defining #1 from Donna Summer ‘I Feel Love’ followed by Earth, Wind & Fire with The Emotions and their timeless hit ‘Boogie Wonderland’, this boxset features the most enduring tracks from dance-floor legends, including Chic, Sister Sledge, Gloria Gaynor, Village People, and Grace Jones - together with Saturday Night Fever gems - ‘Disco Inferno’, ‘More Than A Woman’, and ‘If I Can't Have You’.
LP 2 opens with Amii Stewart’s stunning version of ‘Knock On Wood’, followed by Candi Staton’s ‘Young Hearts Run Free’ and Chaka Khan’s hugely successful debut solo single ‘I'm Every Woman’. Other massive debuts include ‘Boogie Oogie Oogie’ from A Taste Of Honey, Alicia Bridges’ ‘I Love The Nightlife (Disco 'Round)’, and Cheryl Lynn’s ‘Got To Be Real’. Up next is the often-covered ‘Lady Marmalade’ together with Diana Ross’ ‘Love Hangover’ which lead into #1s from Frankie Valli & The Four Seasons, (‘December, 1963 (Oh, What A Night)’), Tina Charles (‘I Love To Love’), Odyssey (‘Use It Up And Wear It Out’) and Irene Cara (‘Fame’).
LP 3 Side A is packed with groovy and romantic chart-toppers from Elton John (‘Are You Ready For Love’), George McCrae (‘Rock Your Baby’), Barry White (‘You're The First, The Last, My Everything’), and The Spinners with their ‘Working My Way Back To You / Forgive Me, Girl’ medley. Flipping over to the other side, we have the timeless smash from Baccara ‘Yes Sir, I Can Boogie’, Boney M. with ‘Daddy Cool’, and Village People’s ‘In The Navy’. Viola Wills’ Hi-NRG cover of ‘Gonna Get Along Without You Now’ and Gloria Gaynor’s ‘Never Can Say Goodbye’ bring LP 3 to a close.
Lipps Inc., Kool & The Gang, Frantique, and KC & The Sunshine Band keep the dance-floor energy levels high on LP 4 with ‘Funkytown’, ‘Ladies Night’, ‘Strut Your Funky Stuff’, and ‘That's The Way (I Like It)’. The disco-mania of the late-70s also saluted the late-70s craze for Space themed movies & tv with early Electro-pop-dance, and included here from Space and Dee D. Jackson, before Sarah Brightman’s debut with Hot Gossip, ‘I Lost My Heart To A Starship Trooper’, and Meco’s remake of the ‘Star Wars Theme / Cantina Band’ as a dance-floor classic… Giorgio Moroder productions for Sparks with ‘Beat The Clock’ and The Three Degrees with ‘Givin’ Up Givin’ In’ lead the side to a close with ‘Souvenirs’ from Voyage.
LP 5 is filled with truly monster sized dancefloor-fillers, beginning with a run of Nile Rodgers & Bernard Edwards productions: ‘Le Freak’, ‘We Are Family’, ‘Spacer’ and ‘Upside Down’ from Diana Ross. It wouldn’t be a Disco album without Earth, Wind & Fire’s ‘September’, the Bee Gees-written ‘Nights On Broadway’ covered by Candi Staton, and the Grammy award-winning ‘Best Of My Love’ from The Emotions, before another hit cover from Amii Stewart, ‘Light My Fire’. Side B features some fabulous European Disco, including Belle Epoque and Amanda Lear, and signature hits from Patsy Gallant and Vicki Sue Robinson before drawing to a close with Rose Royce’s celebrated ‘Car Wash’, and Cher’s biggest disco hit ‘Take Me Home’ – and the last dance is left to Thelma Houston with her defining anthem ‘Don’t Leave Me This Way’.
NOW Presents…Disco – the perfect collection and collector’s item for every 70s Disco lover.
Following an inspiring moment during a back-to-back live appearance at Fool’s Gold Presents: A-Trak & Friends in Oasis Wynwood during this year's Miami Music Week, The Magician and long-time friend A-Trak have collaborated on the captivating new single 'Love On You' (ft. Griff Clawson).
The Magician - known for his seminal Magic Tapes compilation series - heads up Potion Records and is a veteran of high-profile collaborations with Kolombo and Samaran, amongst many more. He has a mystic touch and spellbinding sound full of emotion and has taken it to places like Ushuaia Ibiza, Tomorrowland, and CRSSD festival in San Diego while also holding down his influential residency at Elsewhere Brooklyn. Here, he works with A-Trak, a.k.a. Alain Macklovitch, a legendary talent on the decks, president of Fool's Gold Records and a quintessential cultural connector. His 25-year career has seen him take turns as an internationally renowned DJ and World Champion turntablist, as well as being one half of the Grammy-nominated duo Duck Sauce and The Brothers Macklovitch, all of which have meant he continues to reshape the very role of the DJ as tastemaker and storyteller.
Their sublime 'Love On You' (ft. Griff Clawson) is an uplifting dance track that radiates positive vibrations. The rhythm section is married to tender piano chords and plenty of subtle synth details that bring it to life. The standout feature is the well-treated vocal that sounds fresh and futuristic but comes laden with a bittersweet sense of emotion that hooks you in and is sure to be sung back by vast crowds worldwide.
Support from: Purple Disco Machine, Junior Sanchez, Feenixpawl, Swanky Tunes, Olugbenga, ROOG (Hardsoul), Mr. Belt & Wezol, Judge Jules, Sugarstarr, Keanu Silva, Dots Per Inch, DJ Phantasy, Micha Moor, Patric La Funk, Borgore, Don Diablo, Claptone.
Marbled[27,69 €]
House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.
LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where he was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record that Lytton was obsessed with around the time of this release - Sounds of the Junkyard - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, but also his own home made assemblages, including one dubbed the ‘Dopplerphone’ - a length of soft rubber tubing (activated by a saxophone mouthpiece and manipulated to alter the rate of airflow) attached to a longer length of clear plastic tubing (whirled around the head whilst being played) ending in a plastic funnel. Thickening the brew even more, Parker would also add a cassette recorder, on which he would play back collected sounds and previous recordings of the duo. Imagining the set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in the corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years
Thomas Bartlett ist ein Grammy- und Oscar-nominierter Pianist, Produzent und Sänger, der bereits mit Yoko Ono, Norah Jones, Florence & The Machine und vielen anderen zusammengearbeitet hat. Sein neues Album mit dem Titel Standards besteht aus intimen Solo-Piano-Aufnahmen von Jazz-Klassikern.
"Tenderly" ist natürlich ein Jazz-Klassiker, der von allen Großen interpretiert wurde - aber Bartlett macht dieses Stück zu seinem ganz eigenen: zart, intim und ein wenig melancholisch. Allein mit seinem Klavier zaubert Thomas Bartlett berührende, universelle Momente.
Die Wiederveröffentlichung eines Klassikers: Deer Ticks Debüt-Meisterwerk War Elephant jetzt erhältlich auf "heavy metal grey" Zweifach-Vinyl mit einer Ätzung auf Seite D und dem Original-Cover-Artwork. Ein bedruckter Einleger liegt bei.
John McCauley III hat das Album im zarten Alter von 21 Jahren geschrieben, arrangiert, eingespielt und aufgenommen. Es ist voll von Liedern, die weiser und nuancierter sind, als man für einen jungen Mann in seinem Alter vermuten könnte. Die Texte sind nachdenklich und warmherzig, ganz im Stil von Johns Singer/Songwriter-Helden wie Townes van Zandt, Neil Young und Richie Valens. Das Album endet mit einer Coverversion des 1962 mit dem GRAMMY? ausgezeichneten Songs des Jahres "What Kind of Fool Am I" von Sammy Davis, Jr.
Ein Debütalbum das sich der Genrekategorisierung entzieht und schon jetzt als Klassiker gilt. Ein Barroom-Rock-Album voller Hooks, das mit der eingängigen Düsternis der 90er Jahre in Seattle ebenso verbunden ist wie mit dem Honky Tonk der späten 80er Jahre in Minneapolis und den 70er Jahren in Austin.
Double Vinyl : full set of the finale concert of their 1985 'Kick Over Apartheid!' tour + BBC broadcast tracks from their 1986 concert at the Town And Country Club. 2 x 140 grs Black LP , 25 tracks. Printed inners. introduction by Redskins founding member Martin Hewes + liner notes.
SHORT INFOS
In the mid '80s, in the midst and direct aftermath of the era defining Miner's Strike, the Redskins, as political activists, delivered their electrifying and radical Socialist Workers Party missives and broadsides through the ministry of their music - a unique post-punk rock/soul hybrid that gained their lead singer, Chris Dean, the sobriquet 'Tamla Motormouth'.
The Redskins were taking a stand for the working man and by standing up, they stood out - and never so forcefully as in the live arena! With their stellar musicianship and crack brass section honed through a never ending whorl of 'fighting fund' benefit gigs, they were the furious flames that kept the anti-Thatcher fires of dissent burning throughout those challenging years marked by her seeming unassailability.
'These Furious Flames!' is a 25 track documentation of the energy, commitment and drive of the Redskins as that campaigning live act. Issued in 2xCD capacity wallet, double vinyl and digital editions, each format couples together a recording of the full set of the finale concert of their 1985 'Kick Over Apartheid!' tour - including guest appearances from Jerry Dammers and Billy Bragg - with the BBC broadcast tracks from their 1986 concert at the Town And Country Club.
The double CD edition comes with a 40 page booklet that compiles new and period quotes by band members Martin Hewes, Chris Dean, Paul Hookham and Kevin Robertson as well as thoughts by an array of associates and celebrity fans including poet Atilla The Stockbroker, Billy Bragg, Colin Revolting, their studio album producers Pat Foley & Chris Silagyi and DJ Gary Crowley. The booklet also contains gig reviews, photographs and a condensed digest of media quotes about the band.
The double vinyl LP format has printed inner bags replete with evocative archive photographs and a written introduction by Redskins founding member Martin Hewes, with whose co-operation and input this celebratory release has been curated.
Introducing Biel Solsona: A Barcelona pianist with a vibrant musical background. His debut solo album, "· i · ", showcases a fusion of jazz, electronic, and cinematic sounds. Featuring Ferran Puertas on double bass and Eudald Font on drums, they weave a mesmerizing tapestry of original compositions where piano harmonies blend seamlessly with synthesizers and rhythmic beats, revealing a unique musical landscape. Their rendition of "Sunday Disco Dawn", an original composition of spanish disco dons Fundación Tony Manero, stands out, taking things into a more spacy direction. Experience the synergy of melodies, discover new textures, and immerse yourself in Biel Solsona's musical universe.
Percolating in the same watery diner coffee that spawned American Football and Hum, C-Clamp shrugged on and off the '90s slowcore and emo scenes in a hurry. Compiled here are the band's two albums for the venerable Ohio Gold label - Longer Waves and Meander + Return, plus a third LP of singles and compilation tracks, and a meticulously annotated book stuffed with lyrics, photos, flyers, and ephemera from their all-too-brief existence. This one's colder than a Chicago winter - better plug in that space heater.
Percolating in the same watery diner coffee that spawned American Football and Hum, C-Clamp shrugged on and off the '90s slowcore and emo scenes in a hurry. Compiled here are the band's two albums for the venerable Ohio Gold label - Longer Waves and Meander + Return, plus a third LP of singles and compilation tracks, and a meticulously annotated book stuffed with lyrics, photos, flyers, and ephemera from their all-too-brief existence. This one's colder than a Chicago winter - better plug in that space heater.
