The vinyl artwork for Metric’s new album, Formentera, includes a motto that sums up the past few years: This Is What Happened. It’s an understatement that manages to say everything. Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape. Metric’s sound is both genre-defying and genre-defining. Emily Haines, Jimmy Shaw, bassist Joshua Winstead and drummer Joules Scott Key started playing together in NYC in 2001. They are just getting started.
2004 saw the release of Monster Magnet’s sixth studio album Monolithic Baby, the follow-up to 2000’s “God Says No”, which cemented the Red Bank, NJ rockers in the world of space rock and roll. This 14-track journey of masterful hard rock features 11 ripping originals and three cover songs recorded in true classic Magnet style, including covers of The Velvet Underground, David Gilmour and Robert Calvert. Monolithic Baby is being reissued on August 19th via Napalm Records on orange vinyl with white and black splatter, as well as in a limited glow in the dark vinyl variant! Don’t miss the album Ultimate Classic Rock calls “a revitalized, fire-breathing Monster Magnet” and All Music calls “another collection of undeniably Wyndorfian tunes.”
Obscure congregation SPECTRUM MORTIS was formed in somber MMXV and under the sign of Baal. The gates of hell were opened to emerge their malevolent entrails to the black spell of death and destruction. Among the shadows arise Aataa and Aath to celebrate a black mass and closed with the arrival of Sheram and Ta’ao. These four reptiles complete to the perfect black circle for the enhancement to the necrosophia and the arts of the occult sciences.?The band released two mini albums : "Blasphemare Nomen Eius" in 2016 and "??????" in 2018 and a split album with Mexico's Hacavitz. SPECTRUM MORTIS played many live ceremonies as an authentic celebration of the fall of light and the cult of black fire under the sign of Baal. After signing with Listenable records, SPECTRUM MORTIS focused on the writing of their debut full-length album, immersed in ancient worlds between infinite passages buried in the sands of time, going back to the Sumerian saga of Apkallus and Ziggurats. Under that primordial influence, the band entered The Empty Hall studios in Madrid in 2021 and recorded “BitMeseri - The Incantation” scheduled for a September 2022 release. The band elaborates about 'Bit Meseri -The Incantation‘ : "We wanted to recover the essence of both mini albums and translate them into an authentic black celebration to continue enhancing the obscure arts and dimensions that we have managed to create with these works. This congregation will continue to write cold riffs of death under the path of ancestral rites and traditions, always low extreme care and obscure dedication. " SPECTRUM MORTIS transcends the listener with its inspired ceremonial occult death metal and their ‘Bit Meseri - The Incantation’ deeply masters that genre with great atmosphere and conviction. For fan of early MORBID ANGEL, IMMOLATION, NECROS CHRISTOS, DEAD CONGREGATION
Master’s second album recorded by Scott Burns at Morrissound Studios! Classic 1990’s Death Metal! One of the problems with looking back on a musical genre from a perspective years or decades removed from the core of the movement itself is that subsequent developments tend to obscure both a genres origins and threads within a tradition that died out without offspring. As a result, interesting and deserving albums often get lost in the shuffle as reviewers reflect on those albums most “influential” upon later achievements. Death metal pioneers Master are among those who have been shortchanged as a result of that phenomenon, and their 1990 masterpiece “On the Seventh Day, God Created... Master” remains a fascinating exploration both of the genre’s roots and of spaces it might have occupied had different paths been taken. There are a couple of things that leap out immediately to even the casual listener. The first is the seeming primitivism of the music, with songs consisting of relatively brief, bludgeoning pieces driven by relentless rhythms, cyclic riffs and simple melodic hooks. The second is the realization that someone is playing some seriously insane, brilliantly constructed leads. In this case, that someone is Paul Masvidal, far exceeding anything he ever achieved with Cynic. Beneath the surface simplicity, lies a creative spirit that at once recalls the primal birth of death metal (which Master was both present for and very much a driving force behind) and points the way to what the genre might have become. Very apparent are the genre’s hardcore roots, Master here eschewing the Slayer-derived technical architecture that came to dominate most “modern” death metal in favor of structures that would not have been out of place on Discharge’s landmark “Hear Nothing See Nothing Say Nothing” release (there are even a few appearances of the infamous D-beat). Within the unrelenting storm of brutal repetition, the music’s core meaning is encoded, a sheer primal rage dripping from thunderous cycles of power chords and the open throated roar (again the hardcore influence) of vocalist and chief songwriter Paul Speckman.
We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.
Inhaler melden sich mit der Indie-Rock-Hymne „These Are The Days“ am 30. September auch in physischer Form zurück.
Die irische Band hat inzwischen weltweit über 140 Millionen Streams erreicht und ihr Debütalbum war ein zertifizierter britischer Durchbruch (Albumcharts #1), von dem weltweit über 120.000 Stück verkauft wurden. „These Are The Days“ ist der erste Track, der aus den Sessions für Inhalers kommendes zweites
Album stammt.
Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.
The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.
The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.
I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.
Nach der Veröffentlichung von "Acoustic Adventures -
Volume One", besteht der Großteil des zweiten Kapitels
aus schnelleren Stücken wie 'Black Sheep', dem
Allzeit-Live-Klassiker 'FullMoon' und 'Flag In The Ground'.
Aber SONATA ARCTICA wären nicht SONATA ARCTICA,
wenn sie auf Nummer sicher gehen würden: 'San
Sebastian' oder der Abschlusstrack 'Victoria's Secret'
schaffen es, ein völlig neues, erfrischendes Gefühl beim
Hörer zu verbreiten; ein Gefühl, das man natürlich am
besten vor einer Bühne erleben kann! Um diese
besondere Saga zu vollenden und endlich den
Startschuss für ihre nächste, mehrfach verschobene
"Acoustic Adventures"-Tour zu feiern, um die
Corona-geschüttelten finnischen und europäischen
Festland-Gemüter zu erheben. Aber erst einmal: Kommt
ins Wohnzimmer, lehnt euch zurück und folgt SONATA
ARCTICA auf ihrer abgespeckten, aber nicht minder
spannenden Reise in die Welt der akustischen Musik...!
Breathing Tornados is the third studio album by Australian musician Ben Lee, released in 1998. It peaked at number 13 on the ARIA Albums Chart and has sold in excess of gold sales.
Breathing Tornados distinguished itself from Lee’s previous albums for its expanded instrumentation, hip hop inspired beats and its pop polish, which came with the help of producer Ed Buller (Psychedelic Furs).
The album features contemplative but catchy songs like ‘Nothing Much Happens’ (inspired by an early morning conversation with Evan Dando) and ‘Tornados’, as well as the emotional bitterness of ‘Cigarettes Will Kill You’ which came in at Number 2 in the Australian 1998 Triple J Hottest 100.
hey you. yes you. is the fourth studio album by Australian musician Ben Lee, released in 2002. The single, "Something Borrowed, Something Blue", was voted #22 in the Australian Triple J Hottest 100, 2002.
Lee who spends time between Australia and the U.S., collaborated with Josh Radnor (Radnor and Lee), Ben Folds and Ben Kweller (The Bens) and wrote the musical B is For Beer with US author Tom Robbins – soon to become a movie that Ben and actor wife Ione Skye will co-direct. He even collaborated with Lena Dunham on a live tongue-in-cheek tribute to Oasis with the live event “Champagne Superanalysis: Celebrating the Gallagher Brothers through songs and readings” that contained a Brad Pitt cameo.
Die ikonischen Pixies haben während ihrer ersten Ära
den Weg für den Alt-Rock geebnet, während sie nach
ihrer Wiedervereinigung im Jahr 2004 raffiniertere dunkle
Künste entwickelt haben - eine Rückkehr, bei der sie den
drei Top-10-Alben ihres ersten Phase drei weitere in
Großbritannien hinzufügen konnten. Die Pixies sind so
heiß wie nie zuvor und veröffentlichen am 30. September
ihr achtes Studioalbum 'Doggerel' über BMG. Doggerel ist
ein ausgereiftes, aber dennoch emotionales Album mit
schaurigem Folk, Ballroom-Pop und brutalem Rock.
Das erfolgreichste Duo der Musikgeschichte, Daryl Hall &
John Oates, veröffentlicht sein sechzehntes Studioalbum
"Do It For Love", das erstmals 2003 erschien, nach einer
sechsjährigen Veröffentlichungspause neu. Das Album
wird zum ersten Mal als Doppel-LP und in einem
erweiterten CD-Format mit Bonustracks, die auf dem
Originalalbum nicht enthalten waren, veröffentlicht.
"Do It For Love" gilt als eines der besten Hall &
Oates-Alben, auf dem das Duo seinen
unverwechselbaren, anspruchsvollen und mühelos
unterhaltsamen Blue-Eyed-Soul serviert, der sowohl
langjährige Fans als auch Liebhaber der 80er Jahre
anspricht. Das Album enthält die Singles "Do It For Love",
"Man on a Mission" und "Getaway Car".
Wilco setzen ihrem bedeutendsten Album "Yankee Hotel
Foxtrot" im 20. Jubiläumsjahr ein eigenes Denkmal mit
gleich mehreren Deluxe-Reissues, die einen tiefen
Einblick in die wechselvolle Entstehungsgeschichte des
Meisterwerks geben.
Insgesamt gleich sieben Editionen der Platte werden am
16. September veröffentlicht, darunter eine
Super-Deluxe-Version, die aus elf Vinyls und einer CD
besteht. Mit dabei sind Demos, Fragmente und
Instrumentalstücke, die die Entstehung von "Yankee Hotel
Foxtrot" dokumentieren, sowie ein Live-Mitschnitt eines
Konzerts aus dem Jahr 2002, ein Radioauftritt und ein
Interview aus dem September 2001.
82 bisher unveröffentlichte Songs sowie ein neues Buch
mit einem Interview mit Sänger Jeff Tweedy,
Schlagzeuger Glenn Kotche und Jim O'Rourke (der bei
der Abmischung auch entscheidend dafür sorgte, dass
sich die Platte anders entwickelte, als ursprünglich
beabsichtigt war), einem Essay des Autors Bob Mehr und
bisher unveröffentlichten Fotos der Band bei den
Aufnahmen zum Album in ihrem Chicagoer Studio The
Loft sind in der Super-Deluxe-Version enthalten.
The iconic Pixies forged an influential path for alt-rock during their first era, while their post 2004 reunion has seen them alchemize more sophisticated dark arts - a return which has them add another three UK Top 10 albums to the three they achieved on their first run. Now as fired up as ever before, Pixies will release their eighth studio album ‘Doggerel’ on September 30th via BMG, including lead single ‘There’s a Moon On’.
‘Doggerel’ is a mature yet visceral record of gruesome folk, ballroom pop and brutal rock, haunted by the ghosts of affairs and indulgences, driven wild by cosmic forces and envisioning digital afterlives where no God has provided one. And all the while, right there on the news, another distant storm approaches.
Riding the razor’s edge between bristling electroacoustic wizardry and the constrained structures and harmonic interplay of musical minimalism, »Immanent in Nervous Activity« is Die Schachtel’s new release from the creative partnership of Giovanni Di Domenico and Jim O’Rourke.
Comprising a single long-form work, divided into two movements that culminate as a second chapter to the duo’s 2015 LP, »Arco« - an album which endeavored, on visionary terms, after the potential of waiting and patience as means toward musical form - their latest adventure - recorded in Japan with further contributions by Eiko Ishibashi on flute and Tatsuhisa Yamamoto on snare - rolls at a glacial pace, deftly weaving tension into restrained sheets of tonality, texture, and harmonic dissonance that ripple with microscopic detail and a stunning sense of structure.
Andreas Toftemark is a young and talented Danish saxophonist and composer, who has spent the last 8 years of his life making a career for himself abroad; with 1 year in Sweden, 3 years in Amsterdam and 4 years in New York - where he was very inspired and influenced by the capital of jazz. Toftemark has studied with prominent names, such as Joel Frahm, Ben Wendel, Sam Yahel and Eric Alexander. He has performed around the world and he has played with many internationally acclaimed jazz musicians, like Peter Bernstein, Rodney Green, Ethan Iverson and Paul Sikivie. The six tracks on 'A New York Flight' are melodic and driven by the rhythmic open-mindedness that jazz is moving towards today. This is something that can be heard on both the two tracks that Andreas Toftemark has composed himself and on the four jazz standards which the quartet also play. It is swinging and at the same time open to the individual interpretations of both the listeners and of the musicians. The overall subject of the songs are love and passion, whether it's the love for New York - or perhaps the regained love for Denmark...? - or the love expressed on the track, which was the first single from the album, and which also has the most mysterious title of all of the tracks on the album, '2223', which is a row of numbers that seem to follow Toftemark in love and in friendships. Andreas Toftemark Quartet consists of some of the absolutely finest young musicians on the contemporary Danish jazz scene; Felix Moseholm on bass, Andreas Svendsen on drums, Calle Brickman on piano and, of course, Andreas Toftemark himself on sax. Each one of them is an overwhelming joy to listen to, and brought together in a band, they bring music to a both sincere and playful level.
Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!
Aufgenommen in Anjos' Heimstudio in Portland und bei Sessions in L.A., finden sich auf RAC's neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. - EGO ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, wodurch offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins enstanden. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs - Say My Name und bei den diesjährigen Verleihungen gewann er mit seinem Remix für Bob Moses' - Tearing Me Up .
Mit seinem ersten Song, - Hollywood , begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum - Strangers von 2014 seinen Qualitäten als Songwriter. Darauf enthalten waren die Singles - Let Go mit Kele von Bloc Party und MNDR sowie - Cheap Sunglasses mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.
Auf ‚Hurt & The Merciless' bannt das britische Soul/Rock Quartett The Heavy den Spirit ihrer gefeierten Liveperformances auf Platte!
The Heavy haben während der Vorbereitungen zu - Hurt & The Merciless', ihrem nunmehr vierten Album, schwere Zeiten durchlebt. Als wollten sie ihrem Bandnamen alle Ehre machen. Scheidung, Trennungen und alles, was der Alltag sonst noch an Steinen ins Flussbett des Lebens wirft, konnte die Band aus dem englischen Bath jedoch nicht davon abhalten, ihr bislang aufgedrehtestes und aufgekratztestes Album einzuspielen. Kelvin Swaby, Gitarrist Dan Taylor, Bassist Spencer Page und Drummer Chris Ellul hatten für das Album ein erklärtes Ziel: Sie wollten endlich den phänomenalen Furor ihrer Liveshows eins zu eins ins Studio übertragen. Tatsächlich lässt es das Quartett richtig krachen und die pure Rock'n'Roll gewordene Lebensfreude dringt hier bei jedem Song, jeder Performance durch die Poren.
Im Jahr 2009 war der Band mit der monströs guten Single - How You Like Me Now' der internationale Durchbruch gelungen. Wie populär der Song schließlich wurde, zeigte sich auch daran, dass er auf etlichen Filmsoundtracks, in Fernsehserien, Games und Werbespots auftauchte. - Hurt & The Merciless' markiert in seiner nahtlos verzahnten Mischung aus Rock'n'Roll-Klassizismen, Funk- und Soul-Grooves sowie feinen Zusätzen experimenteller Klangelemente den vorläufigen Höhepunkt im Schaffen dieser Band. Das Feuer ihrer Liveshows haben sie in ein knappes Dutzend ihrer bis dato besten Songs infiltriert. Sie klingen fürwahr gnadenlos gut. The Heavy dürften mit diesem furiosen Opus mehr denn je schwer angesagt sein.
Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.
Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.
Fresh from the red carpet, award-winning Matt Berry dusts off another of his many bows to bring us a stunning live album.
To be released on November 20th 2015 through Acid Jazz Records, this record, which sees Matt perform his greatest musical moments, lands on shelves the same month that Matt Berry returns to our screens in his BAFTA award-winning comedy series The Toast Of London, placing him once more at the forefront of the public eye.
This album is the perfect opportunity for fans to prepare themselves for the upcoming Matt Berry & The Maypoles tour in December.
Whether you're familiar with Matt's Live shows or want to understand what they are like, this album takes you there! From the excited audience chatter to the clarity of his pulsing KORG, each element resonates with perfect clarity. Berry and The Maypoles' musical prowess shines through their prog-folk excursions and trombone flairs which are reminiscent of an early Acid Jazz release, all with the a nod to Berry's surreal and panoramic world-view.
Available, on Limited Gatefold coloured vinyl, CD, Standard vinyl and digital download. This release offers a format suitable for every Matt Berry fan. It is the first Acid Jazz release to come with a digital download code.
First Live Album
Limited run of coloured vinyls
Each vinyl with download card
Released in the same month as Matt returns in Toast Of London on Channel 4.
A month before Matt Berry UK tour in December
Arrives in the midst of a heavy marketing and promotion campaign based around Matt's TV, and music and his authorial debut.
LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?
SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching
Debut solo album from Julia Kugel (The Coathangers). Limited edition first LP pressing on heartbeat pink color vinyl, includes DL (1500 copies). If you can’t trust yourself, who can you trust? This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt refection of Kugel's personal growth and journey toward self-acceptance. Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband's home recording studio in Long Beach, CA. “You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character,” Kugel says of her headspace leading up to the creation of Derealization. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.” This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't,” an alluring walk through the winding road of lonely choices. The name for the project Julia, Julia is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning.
Tracklisting 1. I Want You 2. Forgive Me 3. Impromptu 4. Fever In My Heart 5. Words Don’t Mean Much 6. Do It Or Don't 7. No Hard Feelings 8. Big Talkin' 9. Paper Cutout 10. Where Did You Go 11. Corner Town
Modern Rituals have announced their return with the release of upcoming new album, Cracking Of The Bulk. For a band who’ve tended to flesh out songs in the practice room and track live, the writing and recording of Modern Rituals’ third album was a disparate and protracted process. In cramped apartments and a secluded annex, sharing files over the internet and working on parts in solitude, the band introduced subtler tones from their last record, This Is The History. Yet still, this new direction is matched by an explosive frustration that gives it a unique balance of darker and lighter shades. Tour Dates:20th November - The Victoria Dalston, London 21st November - The Prince Albert, Brighton 22nd - The Crofters Rights, Bristol 23rd - Voodoo Daddys Showroom, Norwich 24th - Gorilla Studios, Hull 25th - Hyde Park Book Club, Leeds 26th - The Jericho Tavern, Oxford 27th - JT Soar, Nottingham
1. Mixx3ed 2. The Flow 3. Nails of Love 4. Wastrel 5. Western Cut 6. Scummeth 7. Incipit 8. Sonder 9. Dog Jerky Haiku 10. Perpetual Dawn
DJ Scriby - Izingoma zeGqomu / DJ MARIIO - ZULU MAN / DJ Skothan – Nevegation. Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.
Starter Home was originally released November 2, 2018 on US-based
label, No Quarter
From Pitchfork, at the time: "For a decade, Canadian singer/ songwriter Doug
Paisley has turned quiet, specific moments into inquiries on life's larger struggles.
On his 2010 breakthrough, Constant Companion, Paisley used the inevitability of
endings to explore understanding oneself, the only possible constant companion.
For 2014's Strong Feelings, he mulled death and its uneasy relationship with life,
or how their juxtaposition ripples into every wave of existence. And now, on his
fourth album, Starter Home, Paisley details the chasm that separates what poet
Seamus Heaney described as getting started and getting started again. These
songs examine how the person you are never truly aligns with the person you
want to be, especially when you stumble upon a sticking point that's hard to move
past."
Founded by Markus Siegenhort (Lantlos), Christian Kolf (Valborg, Owl)
and Dirk Stark, Labyrinth of Stars (LOS) present their stunning debut
record entitled 'Spectrum Xenomorph'
Eight tracks of purely dissonant otherworldly Death Metal intertwined with
ancient technologies, cold extraterrestrial steel and xenomorphic entities.
Labyrinth of Stars encapsulate disorientation in deep space and the bright horror
of ethereal beauty in the aural form.
THE LONG-AWAITED FULL-LENGTH RETURN OF THE US DEATH METAL PIONEERS FOR A NEW BOUT OF SUPREME SICKNESS
Since first bursting onto the death metal scene with the now genre classic Severed Survival' back in 1989 & following up with the equally revered 'Mental Funeral' album, the influential US quartet has carved an unwavering legacy over three decades as masters & purveyors of the vile sides of the extreme metal spectrum. And now, Autopsy marks its reinvigorated return, presenting the first new full-length studio opus since 2014's 'Tourniquets, Hacksaws & Graves' with Morbidity Triumphant'; a savage offering of brutal death, showing the US legends still have an unbridled hunger for the sadistic, never reluctant to step beyond the threshold of decency.'Morbidity Triumphant', the band's eighth album, is truly a dark delight for seasoned & new listeners alike, with a raw organic sound perfectly encapsulating what makes Autopsy so distinguishable among its peers, for what could easily be considered one of its strongest offerings to date.
Before New Zealand's Salad Boys, there was T54, also fronted by Joe
Sampson, joined by Matt Scobie on drums and Sam Hood on bass - T54
featured a visceral, sonic guitar sound, perhaps out of step with most of
the Flying Nun bands at the time
Joe describes T54 as being stuck in the wrong era somewhat yet enduring well in
NZ for those who bought the music and saw us live at the time. Originally
released in 2011, Ally is proud to bring you an expanded and remastered limited
vinyl edition of their first ep that also includes several demos and live tracks. Be
prepared to be wowed by this noisy three piece from Christchurch influenced by
classic NZ bands who also have three members (The Clean) or numbers in their
name (The 3Ds) -- like The Clean, The 3Ds, and other NZ greats, T54 will not
disappoint!
Tracks: Birds / Julie K / CR Model / Vehicle / Singer in Mouth / Death Drive / CR
Model / Life Is Swell / O Nina / Fred Gavin / Kill Red / Julie K / Le Snack / Choose
Your Own Ending / Localism / Soon I'll Be Nicking Speed Boats / House Music /
Julie's Last Wish / Nurse Jen / Christian Dale
Ford and Evans have shared the stage in Europe, North America and even
Japan and already released one album The Sun Room together in 2019
(earMUSIC)
With Common Ground they continue their creative relationship as Bill Evans
explains. “Every now and then, like-minded musicians are able to get together in
the studio or on the same stage and create interesting music together. It’s the
blending of each other’s influences and styles, and the will to create something
new and fresh that can turn this ‘creative meeting’ into something special. I
believe myself and Robben share that same ideology. Robben and I both love all
kinds of music whether it’s classic blues, soul, rock and roll, you name it. This
openness to combine different kinds of music and create something musical and
special is what brought me and Robben together in the first place. Robben
composed some of the most inspiring music I’ve played in a long time. Our
writing styles blend seamlessly.”
The title track features the vocals of popular German singer Max Mutzke.
Following on from the success of 2020's deluxe reissue of 'Vienna',
Chrysalis Records are proud to release a 40th Anniversary of the bands
second album with Midge Ure, 'Rage In Eden'
Originally released in October 1981 and like the bands previous two albums, it
was produced by Conny Plank (Kraftwerk, Can, Neu!), this time recorded at
Conny's studio in Cologne during the summer of '81.
This new 6 Disc box set contains 52 tracks, with 22 previously unreleased
recordings. CD's 1 to 5 contain the original 1981 album production master, a new
stereo mix by Steven Wilson, A-sides, B-sides & live tracks along with previously
unreleased cassette rehearsals and a newly mixed concert recorded at
Hammersmith Odeon in October 1981. The DVD (Audio Only) contains a new 5.1
Surround Sound Mix of the Album/B-sides by Steven Wilson along with 24/96 HiRes audio of the new mixes and the original 1980 Master/B-sides.
The set is packaged in a 12"x12" Rigid Slipcase and contains a 20 page 12"
square booklet featuring contributions from the band, unseen photos from Midge
Ure's and Chris Cross' personal collection, reproduction of the Rage In Eden tour
programme, 6 discs in card wallets housed in two 12" gatefold album sleeves.
Following on from the success of 2020's deluxe reissue of 'Vienna',
Chrysalis Records are proud to release a 40th Anniversary of the bands
second album with Midge Ure, 'Rage In Eden'
Originally released in October 1981 and like the bands previous two albums, it
was produced by Conny Plank (Kraftwerk, Can, Neu!), this time recorded at
Conny's studio in Cologne during the summer of '81.
This new 6 Disc box set contains 52 tracks, with 22 previously unreleased
recordings. CD's 1 to 5 contain the original 1981 album production master, a new
stereo mix by Steven Wilson, A-sides, B-sides & live tracks along with previously
unreleased cassette rehearsals and a newly mixed concert recorded at
Hammersmith Odeon in October 1981. The DVD (Audio Only) contains a new 5.1
Surround Sound Mix of the Album/B-sides by Steven Wilson along with 24/96 HiRes audio of the new mixes and the original 1980 Master/B-sides.
The set is packaged in a 12"x12" Rigid Slipcase and contains a 20 page 12"
square booklet featuring contributions from the band, unseen photos from Midge
Ure's and Chris Cross' personal collection, reproduction of the Rage In Eden tour
programme, 6 discs in card wallets housed in two 12" gatefold album sleeves.
Canada's Preoccupations return to the post-punk, post-pandemic world
with Arrangements - Their 4th studio album finds them restoring their
roots with the singular, guitar driven, dissonant yet anthemic washes of
intricate noise that has brought them international acclaim since their
basement beginnings
For lovers of all things Bowie, Branca, Spacemen 3 and MBV, progressive punk,
jangle rock and mangled goth. Arrangements sees Preoccupations finally and
confidently inhabiting the dystopia that they have been carefully creating from
their musical genesis. They are in a room with taped up windows, except for a
tiny pinprick of light beaming from the otherworld onto the far wall, upside down
and blurred, it's recognizable enough to fill you with warm familiarity and
nostalgia of unknown origins.
Please note early release date! Vinyl colour is green with black splatter. Hailing from La Rochelle (France), the band kicks out fun, raw garage punk with a slightly off-kilter-charm that seems to define the current sound coming out of France. Their sound is an absolute burner that features grimy guitar solos and conjures up the smell of sweat and spilled beer. In other words, it’s fuckin’ rock’n’roll. The band is brainchild of songwriter and guitarist Ugo Martinez (Charles Howl / Jerry Tropicano / Skeptics) created in 2014 in La Rochelle. In 2016 came the first 7” from the band release on Frantic City Records - FR, Followed by the band’s first LP SUMMERIZZ released 2017 on Adrenalin Fix Music - Beast Records - Stryckhnine Recordz, the band hit the road on multiple occasions with great returns from the audiences, most notably at the Binic Festival 2017. With two full years of touring the band went back to their favourite studio Swampland - FR and under the supervision of Lo Spider recorded their sophomore album BRAIN DAMAGE released 2019 on US label Dead Beat Records. In 2020 the band now composed of bassist Willy Barre (Ivresse Publique / Boulevard Boys), drummer Hugo Suquet (Thee Maximators), and guitarist / Vocalist Ugo Martinez, recorded their third LP THEE BLACK ALBUM to be released in 2022 on Dirty Water Records (London) and long-time partner and friend Adrenalin Fix Music. For fans of: Thee Oh Sees, Black Sabbath, Jay Reatard, fuzz, and farfisa.
Track list: 1. Mean As Fuck / Intro 2. Bite It 3. Sound Of The Underground 4. Pills And Wine 5. Jail Time 6. Talk, Drink, Bleach 7. The Ants 8. Mash Potatoes 9. Lightnin’ Never Strike Twice 10. HIYW
New one by Montreal singer-songwriter Deb Edison, working once again as The Submissives and willfully unchanged from 2016's Do You Really Love Me? cassette (Fixture). Six years into the most tumultuous period in global history since WWII – a pandemic, right-wing infiltration, attempts at government overthrow, climate catastrophe looming, a near-complete loss of the moral compass, conspiracies lording over facts natural resources running out – and Deb's still here, staring a hole through the floor/your head. "No one ever changes," she coos on "In a Pinch," and these songs are a textbook example of that sentiment, and her artistic embodiment of psychosexual desire, ready to shatter some lives and walk away looking for the next one. "I'm waiting for your signal/I'm several years older," she drones on "Sick Kinda Love," further reinforcing a long-held stance that the obsession, internalization of feelings, and the human power dynamic of The Submissives are on the menu once again. You'll find whatever it is you want to find in here, just dig in. Deb might even be talking about you, though there's a good chance she's not, and if you don't have the goods you can be sure she's gonna be doing all she can to passively drive you away. "Chirp Like a Bird" reads as Deb's bottom-looking-up retort to Whitehouse's "Wriggle Like a Fucking Eel," and might even be more severe, because she doesn't need microphonic feedback and screaming to intimidate. If you're in for surface thrills, scrape up the Shaggs-esque rock stumble, swooping viola, and behind-the-beat bash tapping out each of these eleven tracks. This is how it is; you get what you get, and you might be upset, but that's all on you. You'll never get to the bottom of this sketch. TRACKLIST: A1 Wanna be your thing A2 When it was all new A3 In a pinch A4 Sick kinda love A5 Chirp like a bird A6 I'm a mirror B1 Goodbye Betty B2 Four five B3 Isn't you B4 Think of me B5 Sweetly
Genteel, springlike sounds emanate once more from Paris. Those who live there or have visited will know a joy in this that non-residents or travelers can only imagine, but one senses that there’s a texture to it all that bakes into the human experience when winter finally lifts and trees blossom, warm breezes blow. After being stuck at home for two years, once the weather picks up and the world hopes to shift back in gear without millions of deaths, one’s imagination begins to run. Parisian duo Zusammen Clark have codified this sound of openness and warmth using known goalposts of sound – the subtle drag of these sturdy, easygoing songs, a direct path from Jean-Charles Delarue’s previous outing in Bruit Direct outfit City Band; the descent of chord structures, a deep voice going high and staying louche. Maybe a bit of Felt’s cherry red pastoral, shades of that time in speculative fiction where Pavement signed to Postcard (remember? it was the same year that Dandelion and Les Temps Heureux got out of bed and toured coffeehouses together), the Go-Betweens just before the wheels fell off, or NYC underdogs Plates of Cake. Horns swoop in at the right moments and don’t linger. Hooks lock in and down, lead guitar casually doubles itself. Hair gets done, stubble let fashionably go. Along with bandmate and cousin Jerome Lemee, Delarue constructs a frame, pencils in the outline and begins decorating these songs with all the right touches and a confidence that knows where to place them, not just the value of the objects. This is a world of sound where everything has a story and a place, every room can provide a closet mix. It’s a world that opens into a larger world, a human world, maybe a world these two knew from childhood, maybe one they’ve built for themselves. Earlier is too well-assembled to not have a foundation in profoundly comfortable moments in life, and the knowledge of how to get there, even if one knows they can never stay. It’s a catalogue of delight, impossible to oversell. – Doug Mosurock TRACKLIST: A1 - Magyar A2 - Animals & Evidence A3 - Rest Position A4 - Swim In A Blue B1 - Parallel Lines B2 - Ho Chi Minh B3 - The Postcard B4 - Own Company
‘MOUNTAINOUS WHITE VINYL’ LIMITED TO 500 WORLDWIDE
Devotional is a new collaborative album with Greg Anderson (sunn O))), Goatsnake, Engine Kid) + vocalist and violinist Petra Haden, who first worked with Anderson during his time in Goatsnake, as well as on the second SUNN O))) studio album, ØØ Void.
Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.
Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.
Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.
Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“
Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”
Das Album erschint in 3 Formaten.
Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.
Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.
Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.
Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“
Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”
Das Album erschint in 3 Formaten.
Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.
Chopin, der als Mensch nicht sehr gesprächig war, hat
die Geheimnisse seines inneren Wesens - und nicht etwa
Vertraulichkeiten oder Bekenntnisse - allein dem Klavier
vorbehalten. Es ist, als wäre das Klavier sein
Doppelgänger, der in Harmonie mit seiner Sensibilität
schwingt und seine Gefühle, seine Eindrücke, ja sogar
seine Halluzinationen aufnimmt.
In diesen kurzen Stücken, in denen seine harmonische
Sensibilität es ihm ermöglicht, eine besondere
Behandlung des Klangs zu schaffen, um die zartesten
Schimmer und die feinsten Nuancen hervorzubringen.
Die hier versammelten Klavierwerke werden von
großartigen Pianisten wie Samson Francois, Alexandre
Tharaud, Nikolai Lugansky, Andrei Gavrilov, Nicholas
Angelich u.a. gespielt.
