Поиск:the institution

ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, Noosphere. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as The Adven- ture Of The Empty House (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schaus- piel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.

Noosphere is a compendium excerpting from theatrical scores WUT (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), Ödipus and Antigone (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), Der Zauberberg (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), Hass Tryptichon (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), Wonderland Ave. (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), Die Verdammten (after Visconti ́s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and Roi Ubu (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018).

The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather histor- ic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.

Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourn- ing a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.

Noosphere conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unim- peded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title Noosphere speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, Nexus II On The Beach refers to both Roberto Musci’s Water Messages On Desert Sand as well as the film Bladerunner, invoking the image of an android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.

This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

The MENZINGERS are an absolute institution. The Philadelphia punk legends’ multi-decade reputation as road warriors with an unbeatable catalog is cemented as hard truth—and their seventh album, Some Of It Was True , stands as their most immediate-sounding and energetic record to date. The follow-up to 2019’s sensational Hello Exile accomplishes the daunting task of capturing The MENZINGERS’ distinctive live energy in the confines of the studio, resulting in a sound that’s both rich, raw, and complementary to the group’s increasingly prismatic songwriting approach. More than 15 years in, the MENZINGERS are still holding their listeners square in the immediate present, and Some Of It Was True documents that power in thrilling fashion. “We wanted to make a fun record and write songs that we wanted to play live, and that’s exactly what we did,” co-vocalist/guitarist Greg Barnett says “We’ve always said that we want every album to sound live, but we never recorded an album live before. This was the first time we committed to that idea. We wanted to sound like how our band sounds onstage.” Making the process easier: Grammy-nominated producer Brad Cook (Bon Iver, the War on Drugs, Waxahatchee), who joined The MENZINGERS in El Paso’s legendary Sonic Ranch studios and lent his incredible ear for raw, immediate sound to help the band achieve Some Of It Was True‘s in-the-room live feel. “ T H E M E N Z I N G E R S are as real as it gets,” Cook says on his time in the studio with the band. “I had an absolute blast working with these guys and was moved to tears many times. They are truly dedicated to artistic growth, and to each other, in ways I found both refreshing and beautiful. I am now a lifer.”

The MENZINGERS are an absolute institution. The Philadelphia punk legends’ multi-decade reputation as road warriors with an unbeatable catalog is cemented as hard truth—and their seventh album, Some Of It Was True , stands as their most immediate-sounding and energetic record to date. The follow-up to 2019’s sensational Hello Exile accomplishes the daunting task of capturing The MENZINGERS’ distinctive live energy in the confines of the studio, resulting in a sound that’s both rich, raw, and complementary to the group’s increasingly prismatic songwriting approach. More than 15 years in, the MENZINGERS are still holding their listeners square in the immediate present, and Some Of It Was True documents that power in thrilling fashion. “We wanted to make a fun record and write songs that we wanted to play live, and that’s exactly what we did,” co-vocalist/guitarist Greg Barnett says “We’ve always said that we want every album to sound live, but we never recorded an album live before. This was the first time we committed to that idea. We wanted to sound like how our band sounds onstage.” Making the process easier: Grammy-nominated producer Brad Cook (Bon Iver, the War on Drugs, Waxahatchee), who joined The MENZINGERS in El Paso’s legendary Sonic Ranch studios and lent his incredible ear for raw, immediate sound to help the band achieve Some Of It Was True‘s in-the-room live feel. “ T H E M E N Z I N G E R S are as real as it gets,” Cook says on his time in the studio with the band. “I had an absolute blast working with these guys and was moved to tears many times. They are truly dedicated to artistic growth, and to each other, in ways I found both refreshing and beautiful. I am now a lifer.”

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

This is one of the most obscure records ever released in Venezuela in the 60s and the only recording of The Pets. This 1967 album shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original "El Entierro De Un Hombre Rico Que Murio De Hambre", one of the finest garage tunes to emerge from Latinamerica. It followed the global triumph of the Beatles that made the wave of beat groups gets bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. Originally, they were not called The Pets, but The Playboys, and basically the group was formed to liven up the parties and gatherings at Casa Italia, a very important institution in Los Teques, near Caracas, where they formed. At one of these parties, they were heard by a representative of the Discomoda label who insisted on recommending the group to the company, completing the signing of their contract almost immediately. First time reissue, audios remastered from the original tapes and pressed on 180g vinyl.

EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!


Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.

By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.

The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.

Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.

1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.

Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.

Top-rated West Coast garage sounds from the vaults of maverick genius Gary S Paxton. Acknowledged classics, tantalising obscurities and several previously unheard gems, all from the original master tapes, including tracks by Limey & The Yanks, The Avengers, The Whatt Four, The Buddhas_ among many others. Vintage garage rock is only one of the many tributaries of popular music that the maverick Gary S Paxton recorded and produced in his 1960s heyday, and compared to other genres, the off-kilter genius behind 'Alley Oop' and 'Monster Mash' was hardly prolific with it. But for a producer-engineer of his repute, it was inevitable that Paxton would cross paths with the sudden surge of teenaged rock groups that emerged in the wake of the British Invasion. We've gathered the best of them on "Lost Innocence", and for any aficionado of the genre, a treat is in store. As well as a brace of acknowledged Californian punk classics present and correct for the first time direct from master tape, this rockin' little disc also shares further booty from the Garpax vaults, including some obscurities well worthy of re-appraisal, along with completely unreleased nuggets of note. Counting among the well-known are the Avengers, Bakersfield's top dogs in the punk bracket thanks to snot-nosed missives such as 'I Told You So' and the controversial 'Be A Cave Man'. Ken & the Forth Dimension and Limey & the Yanks serve up the highly regarded items 'See If I Care' and 'Guaranteed Love' respectively, with a trio of ear-opening unissued tracks from the latter as a bonus. Riverside's Whatt Four weigh in with the popular ear-burners 'Our Love Should Last Forever' and 'You're Wishin' I Was Someone Else'. And the Buddhas' title cut is still the most eloquent ode to carnal knowledge in the entire 60s punk pantheon. Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

Red Marbled Vinyl

Berlin, Funkhaus based electronic record label and music studio Bright Sounds enters their 10th year of business in 2023. And this marks the perfect occasion to team up with another long going techno institution, Skudge. Starting as a record label curated by two Swedish gearheads releasing their own studio jams in the late 00's, Elias Landberg is now recognized as one of the most steady techno producers of modern times.

Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind

Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind

Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind

Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind

Parallel zur Singleveröffentlichung hat die Band aus Los Angeles auch erste Details über GODMODE bekanntgegeben. Das achte Studioalbum von In This Moment, das in den Hideout Recording Studio in Las Vegas aufgenommen wurde, vereint insgesamt 10 Tracks. Produziert wurde es von Kane Churko (Ozzy Osbourne, Papa Roach, Five Finger Death Punch) und Tyler Bates (John Wick, Jerry Cantrell, Bush). „Wir können es echt kaum noch abwarten, bis alle hören, was wir dieses Mal aufgenommen haben“, so Howorth.

In This Moment sind Maria Brink (Leadgesang), Chris Howorth (Gitarre), Travis Johnson (Bass), Randy Weitzel (Rhythmusgitarre) und Kent Diimmel (Schlagzeug)


Über In This Moment:

Seit der Gründung im Jahr 2005 haben sich In This Moment aus Los Angeles eine riesige internationale Fanbase erspielt. Unterstützung bekommen die „Mother“-Figur und Sängerin Maria Brink und der Leadgitarrist Chris Howorth (ebenfalls ein Gründungsmitglied) aktuell vom Bassisten Travis Johnson, dem Gitarristen Randy Weitzel und dem Schlagzeuger Kent Diimmel. Besonders ihre gefeierten Live-Shows bescherten den Kaliforniern eine gewaltige Fanbase, weshalb sie ganz beiläufig zu einer der einfluss- und erfolgreichsten Bands des 21. Jahrhunderts avancieren konnten: Inzwischen gehen mehr als 1,3 Milliarden kombinierte Streams aufs Konto der US-Metalcore-Institution.



Nachdem ihnen schon das 2012 veröffentlichte Album Blood US-Gold beschert hatte, konnten zwischenzeitlich neben einem halben Dutzend Gold- und Platinsingles gleich drei Alben in Folge die Top-25 der US-Albumcharts aufmischen: Nach Blood und Black Widow (2014) stieg auch Ritual (2017) direkt auf Platz 23 in die Billboard-200 ein. Auch künstlerisch auf einem ganz neuen Level angekommen, sollten allein die Songs von Ritual seither mehr als eine Viertelmilliarde Streams generieren.



Neben ausverkauften Headliner-Tourneen rund um den Globus füllten sie die größten Stadien auch schon zusammen mit Disturbed und traten dazu bei den größten Festivals auf (u.a. Rockville, Sonic Temple).



Unterwegs zwischen den größten Bühnen war zuletzt das siebte Studioalbum Mother (Roadrunner Records) entstanden, das die US-Band mit dem angestammten Studiopartner Kevin Churko (Ozzy Osbourne, Five Finger Death Punch) aufgenommen hatte. Waren bei Ritual auch Blues-Elemente in ihrem knallharten Sound aufgetaucht, zog einen Mother schon mit der ersten Single unweigerlich in seinen Bann: Die Auskopplung „The In-Between“ wurde hinterher auch für einen GRAMMY Award nominiert. Im Jahr 2022 veröffentlichten In The Moment die EP Blood 1983 (BMG), ein musikalisches Update zum 10. Jubiläum des Blood-Albums. Außerdem war der Exklusivtitel „I Would Die For You“ auf dem Soundtrack zum Kinofilm John Wick: Chapter 4 zu hören.

Parallel zur Singleveröffentlichung hat die Band aus Los Angeles auch erste Details über GODMODE bekanntgegeben. Das achte Studioalbum von In This Moment, das in den Hideout Recording Studio in Las Vegas aufgenommen wurde, vereint insgesamt 10 Tracks. Produziert wurde es von Kane Churko (Ozzy Osbourne, Papa Roach, Five Finger Death Punch) und Tyler Bates (John Wick, Jerry Cantrell, Bush). „Wir können es echt kaum noch abwarten, bis alle hören, was wir dieses Mal aufgenommen haben“, so Howorth.

In This Moment sind Maria Brink (Leadgesang), Chris Howorth (Gitarre), Travis Johnson (Bass), Randy Weitzel (Rhythmusgitarre) und Kent Diimmel (Schlagzeug)


Über In This Moment:

Seit der Gründung im Jahr 2005 haben sich In This Moment aus Los Angeles eine riesige internationale Fanbase erspielt. Unterstützung bekommen die „Mother“-Figur und Sängerin Maria Brink und der Leadgitarrist Chris Howorth (ebenfalls ein Gründungsmitglied) aktuell vom Bassisten Travis Johnson, dem Gitarristen Randy Weitzel und dem Schlagzeuger Kent Diimmel. Besonders ihre gefeierten Live-Shows bescherten den Kaliforniern eine gewaltige Fanbase, weshalb sie ganz beiläufig zu einer der einfluss- und erfolgreichsten Bands des 21. Jahrhunderts avancieren konnten: Inzwischen gehen mehr als 1,3 Milliarden kombinierte Streams aufs Konto der US-Metalcore-Institution.



Nachdem ihnen schon das 2012 veröffentlichte Album Blood US-Gold beschert hatte, konnten zwischenzeitlich neben einem halben Dutzend Gold- und Platinsingles gleich drei Alben in Folge die Top-25 der US-Albumcharts aufmischen: Nach Blood und Black Widow (2014) stieg auch Ritual (2017) direkt auf Platz 23 in die Billboard-200 ein. Auch künstlerisch auf einem ganz neuen Level angekommen, sollten allein die Songs von Ritual seither mehr als eine Viertelmilliarde Streams generieren.



Neben ausverkauften Headliner-Tourneen rund um den Globus füllten sie die größten Stadien auch schon zusammen mit Disturbed und traten dazu bei den größten Festivals auf (u.a. Rockville, Sonic Temple).



Unterwegs zwischen den größten Bühnen war zuletzt das siebte Studioalbum Mother (Roadrunner Records) entstanden, das die US-Band mit dem angestammten Studiopartner Kevin Churko (Ozzy Osbourne, Five Finger Death Punch) aufgenommen hatte. Waren bei Ritual auch Blues-Elemente in ihrem knallharten Sound aufgetaucht, zog einen Mother schon mit der ersten Single unweigerlich in seinen Bann: Die Auskopplung „The In-Between“ wurde hinterher auch für einen GRAMMY Award nominiert. Im Jahr 2022 veröffentlichten In The Moment die EP Blood 1983 (BMG), ein musikalisches Update zum 10. Jubiläum des Blood-Albums. Außerdem war der Exklusivtitel „I Would Die For You“ auf dem Soundtrack zum Kinofilm John Wick: Chapter 4 zu hören.

The Avengers remains one of the great institutions of British television, a landmark series and the epitome of the swinging 60s.

This debut release on vinyl features highlights of music from the Tara King era series of The Avengers by composer Howard Blake,

taken from the CD release (2011). Following on from Johnny Dankworth and Laurie Johnson (whose classic theme opens this release),

Blake delivered his own distinctive musical style to the hippest show on TV. He was awarded the OBE in 1994,

after a music career covering everything from choral works and ballet to film and TV. His music for the Christmas perennial

The Snowman, with its magical Walking in the Air theme has become a seasonal standard.

AN ABRASIVE POST-PUNK WITH A HINT OF PSYCHE GARAGE, PRODUCED BY SYD KEMP. After a short briefing on the steps of the Saint-Etienne Cathedral of Toulouse, the band chose the name Cathedrale. A simplicity that can also be found in their sound: sharp and abrasive guitars, nervous rhythm and a touch of pop in the vocals. Cathedrale draw their influences mostly from British punk and American power pop, bands such as the Buzzcocks, Wire, Parquet Courts or Protomartyr. To follow up their two previous EPs, recorded locally at Swamp Land Studios, the quartet chose to cross the channel to record their third album in London at Haha Sound Studios. Under the supervision of producer Syd Kemp, their sound gained both in clarity and scale, whithout losing any of the urgency that made their previous recordings so endearing. The 13 tracks of Houses Are Built The Same will undoubtedly confirm Cathedrale as one of the most exciting rock bands in the French indie scene.

Was als Lockdown Homerecording Projekt von Lars Schmidt Subterfuge begann, ist mittlerweile zu einer passablen Band aus alten Bekannten herangewachsen durch Christoph Schneider Klee, Clayton Farlow, Soccer, Philipp Breuer [Pale] und Mark Specht [ehem. Subterfuge]). Mit Don'ts and Dos liegt nun das Debut-Album vor, welches am 25. August digital sowie als CD und Anfang Oktober auf Vinyl über Subjangle und Less Records erscheint und über Cargo vertrieben wird. Nach der hochgelobten Simple EP im letzten Jahr (drei dieser Tracks sind als neue Versionen auf diesem Album zu finden) ist The Radio Field zurück, um uns mit ihrem Debüt "Don'ts and Dos" eine Art musikalische Archäologie des Jangle-& Twee-Pop der 80er und 90er Jahre zu liefern, mit herrlich knackigen, klaren, hochmelidiösen Riffs plus des den einehmenden Vibes des College-Rocks, welcher nie weit entfernt anklingt. "Die Songs von The Radio Field bohren sich wie ein kleiner fieser Alien-Wurm durch meinen Gehörgang direkt in das Wohlfühlzentrum meines Gehirns - und bleiben dort für immer! Schon das Debüt 'Simple EP', die Lars (man kennt ihn von der institutionellen Düsseldorfer Band Subterfuge) noch ganz alleine eingespielt hat, war grandios, jetzt kommt endlich das erste Album. Die zehn im Domblick Studio von Bassist Christoph in Köln eingespielten und mit einigen prominenten Gästen (Robert Stadtlober, Stefanie Schrank, Phantom Handshakes, Bukahara) veredelten Stücke sind durch die Bank weg Hits! Und Ohrwürmer! Und Meilensteine! Oder wie nennt Ihr denn Songs, die ihr sofort mitsingen und niemals vergessen könnt?" MARK KOWARSCH (ANTIKÖRPER AUF BYTE FM, SHARON STONED)

Prika Amaral am Mikrofon und doppelte Riffpower - NERVOSA läuten mit Jailbreak ein neues Zeitalter der Bandgeschichte ein!

Die Thrash Metal Institution NERVOSA kehrt mit unaufhaltsamer Power, neuem Line-Up und ihrem neuen Studioalbum Jailbreak zurück, das am 29. September 2023 über Napalm Records erscheint.

Mit ihrem Vorgänger Perpetual Chaos (2,8 Mio. Plays auf Spotify) sicherten sich NERVOSA nicht nur ihre ersten Chartplatzierungen (#18 der offziellen Deutschen Albumcharts, #6 US Hard Music Albums, #9 US Top New Artist Albums Charts), sondern traten auch auf einigen der größten Festivals Europas auf, wie z.B. Copenhell, Resurrection, Metal Days, Summer Breeze, Wacken Open Air, und vielen mehr. Jailbreak steht mit seinen insgesamt 13 Tracks nicht nur für eine rasende Thrash Metal Attacke, sondern läutet auch ein neues Kapitel in der Geschichte der Band ein. Es ist die erste Veröffentlichung mit Gründungsmitglied Prika Amaral an den Vocals. Darüber hinaus geben NERVOSA mit der talentierten und erfahrenen Helena Kotina als zweite Gitarristin, Hel Pyre am Bass und Michaela Naydenova am Schlagzeug weitere spannende Neuerungen im Line-Up bekannt. Mit Jailbreak senden die vier Frauen die Botschaft, sich von allem und jedem zu befreien, das einen daran hindern könnte, den eigenen Weg und die eigenen Vorstellungen zu verfolgen und umzusetzen. Es geht darum, stolz auf sich selbst zu sein und auf die eigenen Stärken zu vertrauen.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer