Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.
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Im September und Oktober 2021 begaben sich Steve Hackett und seine Band auf ihre erste Tour seit fast zwei Jahren. Dieses Mal brachten sie das legendäre Genesis-Live-Album 'Seconds Out' in vollem Umfang zum Leben, neben einer Reihe von Solo-Favoriten und Titeln aus Steve Hacketts jüngstem Studioalbum 'Surrender of Silence'. Aufgenommen und gefilmt in Manchester am 24. September 2021, zeigte sich die Band in unglaublicher Form, als sie Tracks wie 'Squonk', 'Supper's Ready' & 'The Lamb Lies Down on Broadway', sowie Solostücke wie 'Every Day' & 'The Devil's Cathedral' zum Besten gaben. 'Genesis Revisited Live: Seconds Out & More' ist ein brillantes Dokument der triumphalen Rückkehr der Band auf die Bühne. Erhältlich als Ltd. 2CD + Blu-ray sowie als Ltd. 2CD + 2DVD im Digipak, jeweils mit Bonusmaterial und 5.1 Surround Sound. Auch erhältlich als Ltd. Gatefold black 180g 4LP+2CD & LP-Booklet.
Sarathy Korwar returns with new album KALAK. The follow up to the politically charged, award-winning More Arriving is an Indo-futurist manifesto - in rhythmic step with the past and the present, it sets out to describe a route forward. It celebrates a rich South Asian culture of music and literature, which resonates with spirituality and community, while envisaging a better future from those building blocks. Recorded at Real World studios with meticulous production by New York electronic musician, DJ and producer Photay, who translates these communal rhythms and practices into a timeless and groundbreaking electronic record. There"s a spirituality and warmth at play in the polyrhythms, group vocals and melodic flourishes. The KALAK rhythm is the fulcrum upon which the 11-track project balances. After an intense lockdown induced period of reflection and meticulous note-making, Korwar boiled this down to the circular KALAK symbol which he then presented to his band before recording began. With the symbol projected on the walls in order to de-code and improvise around, Korwar had utter faith in the musicians he"d assembled and conviction in the concept.
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One Day I'm Going to Soar is the 2012 album by Dexys, formerly known as Dexys Midnight Runners.
It was the band's fourth studio album, but its first in 27 years. The album features, alongside Dexys' lead singer (and leader) Kevin Rowland, 1980s Dexys members Big "Jim" Paterson, Pete Williams and Mick Talbot, as well as new recruits Neil Hubbard, Tim Cansfield and Lucy Morgan, and guest vocalist Madeleine Hyland, who duets with Rowland on several songs.
The album struts from different themes and genre’s, including '70s string-soaked disco ("I'm Always Going to Love You"), lounge bar jazz-soul ("Me"), and seductive Al Green-esque funk ("She Got a Wiggle").
Previously described as an ‘idiosyncratic & brave record’ this fan favourite is being reissued on vinyl for the first time since its initial release in 2012.
Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.
ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.
Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.
ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.
The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.
Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.
Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?
The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.
We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.
The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.
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Als Al Di Meola Anfang der 90er Jahre in Kooperation mit
Gibson die Al Di Meola Jazz Guitar kreierte, war es nur eine
Frage der Zeit, bis der einzigartige Klang dieser Gitarre auf
einem Studioalbum zu hören sein würde. "Orange and Blue"
war 1994 dieses Album. Di Meolas virtuose Gitarrenläufe
und Solos verbinden seine einmalige Technik mit einer
neu-entdeckten Leidenschaft für Swing. Kompositionen wie
'Chilean Pipe Song' und das wilde 'Casmir' prägen diesen
Meilenstein. Die Reissue ist nun erstmals überhaupt auf
Vinyl verfügbar und erscheint zudem als CD Digipak.
Vinyl-Wiederveröffentlichung des 2017 erschienen Albums als limitierte Doppel-LP in weißer Farbe
„Für Immer“ – traumhafte Ballade, Über-Nummer, Mega-Hit und für immer und ewig mit DORO Pesch verbunden, die diesen wunderschönen Song 1987 der Musikwelt schenkte.
Doro‘s erster deutscher Song überhaupt – und wohl auch der Erste in der Geschichte des harten Rock, der deutsche und englische Text-Passagen miteinander verknüpfte.
„Für Immer“ feiert dieses Jahr 35-jähriges Jubiläum – und passend dazu erscheint nun eine limitierte Vinyl Edition in weisser Farbe.
»Hallway Waverider« is Mikko Singh’s second album for Morr Music under his Haleiwa moniker. Blending the washed-out aesthetics of dream pop with a lo-fi take on modern psychedelia, it is a fuzzy record in more than one sense. The ten songs see the multi-instrumentalist explore the sonic idiosyncrasies of analogue recording equipment while also expressing a self-assured statement by a musician who has carved out a niche for himself and feels perfectly at home in it. “This record is like me telling my teenage self that I am OK,” says Singh. “Back then, I was recording my song ideas on cassette players but held the belief that music should be recorded in an expensive studio with expensive gear in order to be real.” As it turns out however, Singh had been right from the start, having come full circle as an established artist some twenty years later.
After exploring the affordances of vintage equipment for 2019’s »Cloud Formations« LP, Singh worked with a Tascam 244 4-track cassette recorder and Tascam 388 8-track reel-to-reel recorder to transform the sounds of his vintage synthesizers, bass, the occasional guitar part, and drums supplied by Svante Karlsson for »Hallway Waverider«. By experimenting extensively with the machines’ unique sonic qualities and constantly reworking the pieces in regards to their sound signature over the course of two years, Singh has found the perfect equilibrium of electronic music and lo-fi aesthetics while navigating with ease through styles like driving surf rock, gritty garage punk and ethereal dream pop. On his new record, he seamlessly integrates these influences into anthemic yet soothing songs.
The title of the album refers to Singh’s halcyon days as a teenager spent listening to punk music and—in wintertime—skateboarding in his own bedroom. The lyrics refer to surfing as a nod to both his own experiences with riding the waves and the music genre that has provided him with inspiration throughout his career as a prolific recording artist with three solo albums under his belt. However, surfing primarily serves as a metaphor for something bigger. “It’s about things in life that are important to me; things that make me feel good and soothe the mind,” he explains. It comes as no surprise then that »Hallway Waverider« is also dedicated to a key figure in his life. “The album is an ode to my mother who passed away in 2015,” says the artist. “She made it possible for me to have a good childhood and to be able to do what I love.”
This sense of closure and being at peace with himself is also expressed in lyrics like "A sea stroll. Going slower. Feeling featherlight,” expressing a calm that perfectly mirrors the music’s steady grooves and welcoming overall feeling. Starting with the upbeat »River Park/ Sleeping Pill«; to the almost ambient, synthesizer-heavy »A Bottomless Pit«; or short, punk-inspired and bassline-driven outbursts like »Watered Down« or »Halulu Lake«; to the blissful title track that closes the album, Singh opens up a whole panorama of different moods across a broad variety of musical styles. They are connected by that rare thing: a unique musical vision expressed by an instantly recognisable sonic signature.
The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.
Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.
On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.
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The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.
Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.
On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.
Damiano von Erckert’s ‘The Past, The Present The Future’ lands on Aus music this November perfectly in time for the winter season. TPTPTF is Damiano’s third studio album and sees him perfectly balancing rave euphoria with more cuddly intimate moments moving effortlessly from deep Detroit techno to the spacious kraut sounds associated with his homeland. ‘The Past The Present The Future’ has depth substance and timelessness all packaged beautifully by design and art legend Eike Koenig
'The Past, The Present, The Future is for all independent thinking romantics and specialists looking for urban melancholy and the feeling of freedom and security. It is for those who find themselves in the dust and rain of the night darkness. It serves people who are determined to conquer their inner fears and readjust the orientation of their minds to banish stress, anger and despair from their lives. Finally, it is the soundtrack for lovers and fighters who want to slow down time and create new patterns to open up new dimensions in their lives as ravers, dancers and people of the night. It is about forgotten fragments of past sounds and the simplicity of clubbing'
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Repressed! Illmatic, the 1994 studio debut of Nasir "Nas" Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G.,it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography. The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel "JoJo" Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur. Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking "Street Dreams", and the Grammy-nominated "If I Ruled The World (Imagine That)", and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more.
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Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.
For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.
On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!
Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.
For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.
On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!
Goodbye, Asshole is the first studio album by San Francisco scuzz-wave merchants Fuckwolf—its a rat’s nest of deep grooves, lost ’70s rock riff intentions and art punk damage. These conundrums of time inform Goodbye, Asshole, but they are hardly romanticized in its music. The band, Eric Park (bass, vocals), Simon Phillips (drums) and Tomo Yasuda (guitar) sound blazing and scuzzy, a tight low-fi energy blasted onto tape at renowned Bay Area indie studios summarizing the last twenty years of San Francisco’s wild artistic soul – one that is now hard to find much evidence of in the city itself, but impossible to miss in the band’s sound. Fans of OSEES, Pink Fairies, late ’70s NYC, Emotional Rescue-era Stones, trashy post-punk dub and solvent-huffing rejoice!
1976 planten ex-Yardbirds-Sänger Keith Relf und seine Schwester Jane, Jim McCarty, Louis Cennamo und John Hawken, die ursprüngliche Besetzung der Band Renaissance, eine Wiedervereinigung. Doch der damalige Sänger und Gitarrist Keith Relf verstarb, bevor das Projekt in dieser Form umgesetzt werden konnte. In der Folge übernahm Jim McCarty, die akustische Gitarre und einen Teil des Gesangs. Schlagzeuger der neuen Band wurde Eddie McNeill, dazu kam noch John Knightsbridge an der Gitarre. Da die Band Renaissance jedoch in komplett anderer Besetzung fortbestand, musste ein anderer Name gewählt werden. Die ursprünglichen Renaissance waren nun Illusion. Illusion veröffentlichten 1977 und 1978 zwei sehr schöne Alben auf Island Records. Sie werden nun erstmalig als LP wiederveröffentlicht.
Das Mastering von den original Tapes wurde im renommierten AIR Studio von Paul Samwell-Smith (für 'Illusion') bzw. Phil Kinrade überwacht. Beide Alben kommen mit teilweise Spotlack im Artwork sowie bedruckten Inner Sleeves!
1976 planten ex-Yardbirds-Sänger Keith Relf und seine Schwester Jane, Jim McCarty, Louis Cennamo und John Hawken, die ursprüngliche Besetzung der Band Renaissance, eine Wiedervereinigung. Doch der damalige Sänger und Gitarrist Keith Relf verstarb, bevor das Projekt in dieser Form umgesetzt werden konnte. In der Folge übernahm Jim McCarty, die akustische Gitarre und einen Teil des Gesangs. Schlagzeuger der neuen Band wurde Eddie McNeill, dazu kam noch John Knightsbridge an der Gitarre. Da die Band Renaissance jedoch in komplett anderer Besetzung fortbestand, musste ein anderer Name gewählt werden. Die ursprünglichen Renaissance waren nun Illusion. Illusion veröffentlichte 1977 und 1978 zwei sehr schöne Alben auf Island Records. Sie werden nun erstmalig als LP wiederveröffentlicht.
Das Mastering von den original Tapes wurde im renommierten AIR Studio von Paul Samwell-Smith (für 'Illusion') bzw. Phil Kinrade überwacht. Beide Alben kommen mit teilweise Spotlack im Artwork sowie bedruckten Inner Sleeves!
Mit ihrem 6. Studioalbum nehmen uns Kadavar mit auf eine Reise zu ihren musikalischen Wurzeln und zurück in die Zukunft. Gedankenverändernde Songs über Isolation, Transformation und spirituelles Wachstum, die allesamt im ersten Corona-Lockdown entstanden - 'The Isolation Tapes'.
Während es in KADAVARs musikalischer Entwicklung immer um Befreiung und das Überschreiten von Grenzen des Retro-Rock-Genres ging, ist dies noch ein größerer Schritt in einen Kosmos, in dem das Dogma des klassischen Trio-Ansatzes völlig hinter sich gelassen wird.
Dies ist KADAVAR, im Mittelpunkt der Gegenwart. Und ein weiteres Mal so, wie Du sie noch nie gehört hast.
Dilated Peoples is the Los Angeles hip hop trio that achieved great success in the underground hip hop community during the Nineties and Zeroes. The trio consisted of Evidence, Rakaa Iriscience and DJ Babu. Their fourth studio album 20/20 was originally release in 2006. The album’s lead single “Back Again” made a strong impact, partly due to MTV refusing to play the video, due to a scene in which Rakaa wore a bulletproof vest. “Back Again” and the title track were both produced by acclaimed producer The Alchemist. In addition, the album features guest performances by Dr. Greenthumb, Talib Kweli, Krondon, Defari and Capleton.
Running Back regular Feater aka Daniel Meuzard puts his newly-transplanted studio through its paces for the first time since relocating from Vienna, swapping out the bustle of the city for the fresh mountain breeze of the West Alps. The Positive People EP proves that a change is as good as a rest, as the wide open nature not only had some rejuvenating effects on the creative process - it also gave Feater some room in his head to ponder questions about nature, nurture, and whether our inner morality is externally programmed.
The taut jazz funk of opening track Coding springs into action like the montage music of a lost ‘70s TV show, while the title track Positive People plays on the ambiguity of its title, with cascading synth notes, tastefully dubby 303 stabs, and an afro-cuban drum figure that forms the foundation for a spaced-out dancefloor workout. It's a combo of tracks that should appeal to chat room moderators and serotonin programmers alike.
Expensive Zeit kicks off sounding like grime maverick XTC had been brought up on Murder Capital electro rather than East London garage - before it morphs into a bumpin electrofunk and percussion session, with its sights set firmly on an aquatic worm hole. The EP rounds out with Decline All Cookies, which breaks out of a flanged-out half-time drum 'n' effects intro to reveal a lush chord progression, flipping a soul jazz piano mood into a trippy slice of modern instrumental funk.
Can man be the master of his own destiny? It seems with this change of location and musical direction, Feater might just have figured out the answer.
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Thirty-five years since the release of their landmark debut album This Is The Story, and 34 since the release of Sunshine On Leith, the second album that made them international stars, The Proclaimers are back with their 12th studio album. And, at the ripe young age of 60, the fire and ire of Craig and Charlie Reid remain righteously undimmed. Dentures Out is a record of the times, for the times, the twins at their political, observational, satirical and fist-punchingly tuneful best.
Dentures Out is 13 songs clocking in at a lean, tight, focused 34 minutes. Only one number, the closing What The Audience Knew, busts the 180-second mark. The rest are sub-three-minute miniatures of polemical pop perfection, recorded at Rockfield in Wales in three quick weeks in spring 2022, lent six-string wings by guest guitarist James Dean Bradfield and produced by Dave Eringa (Manic Street Preachers), his third consecutive album with the Scotsmen.
After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.
Tom Jenkins hails from the high country of the South Wales Valleys, surrounded by the ex-coal mining communities and rugged landscape where he works on a sheep farm. Having previously been signed to Xtra Mile with his rock band Straight Lines (released two albums and toured with Motörhead, The Presidents of the USA and many more) he’s back with his second solo album. Written and recorded during lock down Jenkins worked alongside life-long friend and producer Todd Campbell between an old barn on the farm and Todd’s studio in the local area. The album features guest appearances from Phil Campbell (Motorhead), Marc Ford (The Black Crowes) and Paul Mullen (YOURCODENAMEIS:MILO, The Automatic) , Elijah Ford ( Gary Clark Jnr) and a few others that he has shared the road with over the years. Various singles from the album to be released throughout the year.
Based on original 1967 BYG sampler. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Introduction by surviving BYG co-founder Jean-Luc Young. Track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Based on original 1967 BYG sampler. Expanded with 5 additional tracks exclusive to CD. Digitally mastered from original BYG tapes by Nick Robbins. Introduction by surviving BYG co-founder Jean-Luc Young. 16-pages booklet with track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. *** BYG were a pioneering independant record company, one of the first labels to actively promote diversity and support black African-American musicians and multi-cultural artists worldwide during the 1960’s and 1970’s. Beginning in March 2022, BYG will reissue their now rare and collectable original albums. Newly remastered from the original BYG tapes, each album will be released on LP facsimile-edition & CD with exclusive sleeve notes by Kevin Le Gendre and John Masouri, in high-definition digital audio, downloads and streaming formats. “BYG were passionate in supporting diversity, against prejudice and narrow-mindedness so I am proud we fought for all our artists and their music, no matter what they were, who they were or where they were from ... This sampler is a testament to their creativity...” Jean-Luc Young, 2021
BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1973 BYG album. Expanded with 2 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Vocalist-multi-instrumentalist Areski and singer Brigitte Fontaine are a legendary French musical couple that rose to prominence in the ‘60s, making a series of albums that showcased a boldly unorthodox approach to the art of song. While their defiantly esoteric style, which could veer from North African folk to Brazilian samba to subversive takes on French chanson, was striking their lyrics were no less provocative, broaching anything from mental health to social injustice. “This re-mastered version of a timeless work is a must-hear for open minds and open ears ...” Kevin Le Gendre, 2022
BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Also available as expanded CD edition in deluxe gatefold sleeve with 6 original single-version tracks. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1970 BYG album. Expanded with 6 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Formed in the late 1960s Alice was arguably the most interesting of the crop of French bands that put their own spin on the blues rock scene born in Britain and America. Playing a gaggle of instruments, including woodwinds and vibes, the combo had a sound that often departed from guitar-led grooves to incorporate European classical music and South American folk. “This re-mastered version of Alice’s auspicious BYG debut provides an opportunity to reassess a band that deserves wider recognition ...” Kevin Le Gendre, 2022
Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.
Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.
Nachdem sich Tocotronic nach ihrem erfolgreichen 7. Album Pure Vernunft darf niemals siegen, eine 2-
jahrelange Studio-Auszeit nahmen um zu touren, sich zu sammeln und an anderen Projekten außerhalb der
Gruppe zu arbeiten, schlossen sich Dirk, Rick, Jan und Arne im Jahr 2007 im angemieteten Tonstudio in
Berlin wieder zusammen und richteten die Kompassnadel auf ein großes, kollektives Ziel aus. Die Aufnahmen zu Album Nummer 8: Kapitulation.
Stilistisch eingeordnet als „Punk Album ohne Punk Musik im Genre-Sinne zu sein“, gelingt Tocotronic
mit Kapitulation der nächste Erfolg und weiterer Einstieg in den Charts. Nach der Veröffentlichung im Juli
2007 über Vertigo Records, konnte es sowohl in der Schweiz als auch in Österreich über mehrere Wochen
in den Bestenlisten verweilen, während es in Deutschland sogar in den Top 3 landete und sich dort für
insgesamt 10 Wochen halten konnte.
Nun, genau 15 Jahre später, erscheint das von Fans und Kritikern gleichermaßen gefeierte Album als
Jubiläums-Neuauflage auf hochwertigem orangefarbenen Doppel-Vinyl, natürlich mit dem legendären OriginalAlbumcover, welches basierend auf dem Öl-Gemälde des amerikanischen Malers Thomas Eakins von 1889,
das Porträt des Douglas Morgan Hall abbildet.
On November 18th, Rural Tapes is back with a follow-up to the highly acclaimed debut album "Rural Tapes" from 2021. A year and a half ago, Arne Kjelsrud Mathisen was declared a genius by Mojo, who described his music as a hybrid between Kraftwerk, Air, Tortoise and Serge Gainsbourg. While the debut album was created over a period of almost 10 years, the music on "Inner space music" has been composed and recorded during one intense month in January 2022 in Mathisens own studio in the countryside of Grimstad, Norway. Again, a number of high-profile musicians have left their mark on Rural Tapes' music, including The Dream Syndicate frontman Steve Wynn, PJ Harvey saxophonist Terry Edwards and REM guitarist Peter Buck and Scott McCaughey, both of whom are Mathisen's bandmates in the psychedelic jangle pop group The No Ones. ACCLAIM FOR RURAL TAPES: “A level of its very own” MOJO "Rural Tapes delights in the unexpected. At every turn, you encounter something new, something to be marvelled over. Kjelsrud Mathisen has said he wants this music to stand the test of time. It will." The Independent “A dreamy self-titled debut full of broad soundscapes... Melding smooth jazz with floaty puffs of synth, the album is both meditative and uplifting, the sort of soundtrack you might expect from a dream sequence in a 1970s film." GQ Magazine “From the first notes of this debut album from respected Norwegian producer Arne Kjelsrud Mathisen, you know you’re in for a treat. As Rural Tapes he makes rich, warm technicolour soundtracks… it really is delightful stuff.” Electronic Sound "This is an excellent debut album." Prog Magazine "Mathisen’s musical pedigree makes Rural Tapes an intriguing musical journey of an album that takes in pulsating Krautrock, neo-classical moods and dreamy, proggy pop, all formed through an intuitive composition process." Shindig Magazine
Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain
Last 30 copies in stock now. The album is now in the Scottish album of the year shortlist. LP on very Limited HILL FOG CLEAR vinyl. Co-produced by Stephen McAll and Shimmy-Disc founder Kramer. First pressing on “Hill Fog” Colored Clear Vinyl, limited to 500. RIYL: Mazzy Star, The National, Will Oldham / Bonnie “Prince” Billy, Nick Drake. Constant Follower’s debut album "Neither Is, Nor Ever Was" was borne out of a respect for change, and the inevitable passing of time that frightens, comforts and humbles every one of us at once. It is a haunting testimonial to the temporary joys and fleeting moments that define the human experience no matter the individual passages it takes. The name of the outfit itself is a reflection of those things that we carry through life, for better or worse, that ultimately make us who we are. The current band consists of Stephen McAll (vocals, acoustic guitar, electric guitar, synth, bass), Andrew Pankhurst (electric guitar), Amy Campbell (backing vocals and synth), and McAll’s partner Kessi Stosch (backing vocals, synth and bass). "Neither Is, Nor Ever Was" co-produced by Scottish singer-songwriter Stephen McAll and the legendary record producer Kramer. The recording for the album began in early 2020 at La Chunky studios in Glasgow with engineer Johnny Smillie. This was interrupted by the birth of McAll’s daughter. If you listen closely, her cries are just audible during some of Kessi’s backing vocals, and shortly afterwards by Covid 19 restrictions. McAll began recording the rest at his own CFFC studio in Stirling. The recording was then beautifully mixed by Kramer. Once the LP was complete Kramer also did the final mastering. The videos for the release are truly short films that have been submitted to film festivals. They are enchanting, ethereal and immersive, the band’s visuals are as moving and cinematic as their sound. Martin J Pickering, who is renowned for his work with Dua Lipa, Paloma Faith and Lethal Bizzle, is behind their latest music video for “Set Aside Some Time”. The result - intense pangs of emotion interspersed with moments of reflection and acceptance, an ephemeral ode to the passing of time. Tracks: Side A 1. I Can’t Wake You 2. The Merry Dancers On TV 3. Set Aside Some Time 4. Spirits In The Roof Tree 5. Altona Side B 6. Weave of the World 7. One Word Away 8. Little Marble 9. What’s Left To Say 10. WEICHA
Omochi, (honorific “O” before mochi) in daily parlance is a rice cake, a dense glutinous product suited to many recipes, sweet or savoury. Stick one under the grill, watch it burst open, wrap it in crisp seaweed and dip it in soya sauce - a healthy snack, and a staple around Japanese New Year. Like everything, Omochi also has its dark side - each year it kills off a small section of the aged community, the gluey bolus a hard act to swallow - the unwary can quickly choke to death.
This Omochi is in fact Tadaki Matsunaga, of early 2000s Tokyo three piece Femini Flyers. The original Feminis were Tadaki (bass), Sachie (vocals) and Koji (drums) that was it, no guitars, no synths, Tadaki's bass being the rhythm and lead, and boy could he make it sing. Their 7” single Like You See / Masterbed was an early Ethbo release was the most requested track from Japan Blues’ Boiler Room Collections video - now pulled off the internet by The Powers That Be - since it was first aired, way back in 2014. Now the single trades for a collector's premium with those in the know. Since that recording, Omochi has built, and been working in, his home studio. The first release being his Ethbo 7” Devil, in 2019.
The follow-up is a roller-coaster ride, his own take on several genres in his forage bag, marinated to his own recipe. You'll hear his expert bass in amongst the fungii, some slick R'n'B guitar styling, several dollops of glitch-tronics, some falling-down-the-stairs drum'n'bass, a slice of kraut, Omochi's louche voice, and a spot of Sachie, the lead singer of the legendary Feminis.
This modern psychedelic omnibus, flying in the face of logic (an Ethbo template) was pressed by Omochi at Toyo Kasei, the last independent Japanese pressing plant, housed it in a tip on sleeve and shipped it to the UK, grill-ready for release. Itadakimasu!
Not content to redo the same old festive standbys, Buck's first holiday
album features a new batch of Christmas classics - Reissued on LP for
the first time since its 1965 release, this all analog edition is stuffed with
Yuletide boot stompers, ballads and more!
For fans this is the perfect genesis of a globally acclaimed guitarist and songwriter. A blend of youthful enthusiasm and innocence that never quite resurfaced again in his work, especially as he developed his jazz-folk fusion and became known for both immense skill on the guitar and his activism in support of social causes. Fans know this album as Bruce Cockburn's happy-go-lucky years, before the weight of his success encouraged him to use his songwriting for a purpose, never again having this much whimsy in the studio. The opening number, "Going to the Country," evokes the era's hippie back- to- the- earth movement, and as all good things come back around again, is just as fresh in today's enviro-movements. His hit song "Musical Friends" remains a fan favorite to this day.
Bruce Cockburn has written more than 400 songs on 35 albums over a career spanning 50 years, of which 23 have received gold or platinum certification. He has sold more than nine-million copies worldwide, is a member of the Canadian Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30 nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".
Originally formed in 1989 by mastermind Snorre Ruch, Marius Vold, & B
Yard Faust (Emperor), Norwegian band Thorns' has inspired a great
number of acts such as Satyricon, Mayhem, Dissection, & Emperor,
mainly due to Snorre's highly influential style of playing & creating riffs on
the early Thorns' demo tapes
So impressed was Euronymous of Mayhem, that Snorre became second guitarist
in the band for a while & his riffs were used in classic Mayhem tracks. Thorns'
was the band's debut (& only, thus far) full-length studio album. It was released in
2001 & is a cult slice of highly individual Norwegian black metal, including
experimental & sometimes industrial influences along with synth passages to
create a chilling yet clinical slice of extremity. The album was notable for
featuring Satyr of Satyricon on vocals, a duty shared between songs with the
vocal talent of Aldrahn (ex-D dheimsgard) & the recording line-up also featured
Hellhammer of Mayhem on drums. The outcome was a unique & original album
which is today considered a cult classic release by critics.This edition of 'Thorns'
is presented on single black vinyl, including printed inner sleeve with lyrics.
Trashcan Sinatras glorious third album "A Happy Pocket" now remastered and re-released for the first time since 1996 - The album was recorded at the band's own 24 track studio, Shabby Road Studios
The album will also feature the bonus tracks: No Gasoline, Save Me, Claw, Jane's Estranged, A Boy and a Girl, Aberration.
