Search:the jazz rock band

This is quite a unique release , as expected with genre-defying label Subsound Records. From a mystical frontier where the East meets the West comes a psychedelic wonder called The Cyclist Conspiracy This musical collective consisting of ten men and women creates unique sonic escapism for the soul that embark any listener onto a long-haul voyage without further ado. New album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs. The Cyclist Conspiracy, The (Anti) World Orchestra is the musical output of The Little Brothers dedicated to The Mysteries of The Last Age. Started as an informal project within the Society For The Development Of Alchemical Studies "Vasko Popa" in 2014, it is now a musical troupe consisting of ten male and female souls. The orchestra draws infuences from various parts of the world while trying to avoid superfcial, "new age" eclecticism and direct its creative efforts towards the synthesis of the given elements. Whether it's the Byzantine Empire or secret nomadic paths of the desert, the smokey cafe crowded with manges and frivolous women, or the steppe with the sky for shaman only, psychedelic or turkce rock, Middle or Far East, the journeys the cyclists taking are never the quest for the heart of this world. Sometimes they appeared as a symbolic quest for Constantinople, the heart of The Cycling of Byzantium, but they are always the quest for the heart of the only true light Agape. The Cyclist Conspiracy have played numerous concerts in Serbia and neighboring countries, whether as headliners, support for other bands (Acid Mothers Temple, King Dude, Hayvanlar Alemi), or a part of festival lineups (Haywire Festival (RO), INdirekt (CRO), Zelenkovac Jazz Festival (BH), The Music of the Secret Society that Owns Belgrade (SR)). Their new album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs.The band comments: "Mashallah Plan" is a story about a spiritual journey on a bicycle. This simple device reveals its profound symbolism only through the path of most resistance and thus represents a perfect esoteric vehicle for The Dark Age we are living through".

Million Seller is the new electro-acoustic album and project led by Matt Calvert, one of the founding members of the underground alt-rock sensation Three Trapped Tigers The inspiration for the project originated as Matt revisited his collection of early 70s releases by Herbie Hancock's Mwandishi group - some of the pianist's most overlooked and least understood albums. "The concept of Million Seller was to create a contemporary sound with similar elements to the Mwandishi band, putting the electronics and percussion at the forefront, merging organic and synthetic." Mwandishi (originally a sextet, later a septet with added electronics) had three horn players: Million Seller has none, instead using three synth players: Calvert himself is joined by Stale Storlokken of free- form experimental legends Supersilent, and by the unclassifiable improvisor Matthew Bourne. The line-up is completed by drummer Dave Smith, who brings his comprehensive knowledge of the Gambian tradition of Sabar drumming alongside his extensive jazz background, and a trio of guest musicians: Mamadou Saar on sabar and djembe drums, Kadialy Koudate on kora, and Sam Wilson on contemporary percussion. The results are a striking fusion of ancient and modern sounds, of heavy yet playful synth interactions topped by driving acoustic percussion, of wild improvisation mixed with moments of ambient beauty, all creating a sonic identity that's every bit as unique, wide-ranging and unforgettable as its inspiration.

After almost 25 years a new studio album of the German prog rock legend in original lineup! Agitation Free was one of the leading representatives of German experimental rock
music in the early 1970s. The Berlin band developed long, for that time unusual, free
instrumental improvisations from the end of 1967. They achieved cult status as early as
1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and
trance elements.
Extensive live activities gave the band a steadily increasing level of recognition throughout
Europe. For example, the group performed in the cultural program of the Olympic Games
in Munich in the summer of 1972, toured France for two months in early 1973, performed
at the "German Rock Super Concert" in Frankfurt in May, produced the second album "2nd"
and then went on tour through France and major German cities. In 1974, the band began
to show signs of fatigue, which led to their temporary breakup at the end of the year after
a farewell concert.
Although a number of albums (with recordings from 1972 to 1974) were released after the
group's breakup and the studio album "River of Return" was released in 1999, it took
almost 35 years for the original band to reunite for concerts. In February 2007, Agitation
Free, with the original lineup from 1974, gave a series of concerts at Tokyo's "Shibuya
O'West."
In retrospect, it became clear that the experimental circle Agitation Free was one of the
important bands of the "Berlin School" and furthermore a career springboard for several
German musicians. Christopher Franke, for example, helped the band Tangerine Dream
achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine
Dream before he became known as a film composer in Hollywood after a solo album
(among other things, the film music for the blockbuster "9 1/2 Weeks" with Kim Basinger
and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a
founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later
found a large audience with his new age band Living Mirrors, especially in the USA. Lutz
"Lüül" Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced
solo records in addition to theater music, and has enjoyed success with the 17 Hippies since
the late 1990s.
In the line-up Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz GrafUlbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) and Daniel Cordes (b, syn) the
new studio album "Momentum" was recorded.

After almost 25 years a new studio album of the German prog rock legend in original lineup! Agitation Free was one of the leading representatives of German experimental rock
music in the early 1970s. The Berlin band developed long, for that time unusual, free
instrumental improvisations from the end of 1967. They achieved cult status as early as
1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and
trance elements.
Extensive live activities gave the band a steadily increasing level of recognition throughout
Europe. For example, the group performed in the cultural program of the Olympic Games
in Munich in the summer of 1972, toured France for two months in early 1973, performed
at the "German Rock Super Concert" in Frankfurt in May, produced the second album "2nd"
and then went on tour through France and major German cities. In 1974, the band began
to show signs of fatigue, which led to their temporary breakup at the end of the year after
a farewell concert.
Although a number of albums (with recordings from 1972 to 1974) were released after the
group's breakup and the studio album "River of Return" was released in 1999, it took
almost 35 years for the original band to reunite for concerts. In February 2007, Agitation
Free, with the original lineup from 1974, gave a series of concerts at Tokyo's "Shibuya
O'West."
In retrospect, it became clear that the experimental circle Agitation Free was one of the
important bands of the "Berlin School" and furthermore a career springboard for several
German musicians. Christopher Franke, for example, helped the band Tangerine Dream
achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine
Dream before he became known as a film composer in Hollywood after a solo album
(among other things, the film music for the blockbuster "9 1/2 Weeks" with Kim Basinger
and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a
founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later
found a large audience with his new age band Living Mirrors, especially in the USA. Lutz
"Lüül" Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced
solo records in addition to theater music, and has enjoyed success with the 17 Hippies since
the late 1990s.
In the line-up Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz GrafUlbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) and Daniel Cordes (b, syn) the
new studio album "Momentum" was recorded.

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

Vecchio's Afro-Rock is one big horn-heavy, bass-blasting, Latin groove funk-rock party. Only now, you're all invited because this, ladies and gentleman, is officially...a grail no more. With copies currently starting at 400 Euros for an original, this beautifully presented reissue, part of Be With's fresh campaign with Music De Wolfe, is well overdue. A magnificent and somewhat obscure library set that's just a total, cohesive joy from start to finish, this here is the soundtrack to all your smokin' summer BBQs and communal cookouts.

Afro-Rock is the debut album by Argentine keyboardist Luis Vecchio. Recorded for the sound library label De Wolfe, the album is frequently mentioned in hushed reverence among the beat digger DJ collecting crowd. It features fiery brass charts, funky bass lines, fluttering flute, choppy organ and additional hand tribal percussion. The band let loose too and jam hard; yet there's a certain thread of solidity that runs throughout, the tracks just belong together, not disparate sound and rhythm experiments like some library records; this is just straight up, no messin', consistent funk-rock FIRE! Hips will sway, heads will nod to the steady vibes. It's insanely good.

The humid, building funk of the appropriately titled "Megaton" is a dramatic explosion of swirling, dazzling organ lines, ferocious beats and heavy horns throughout. It just don't stop. The tempo slows slightly for the deep and deeply addictive "Renegade". It's all heavy jazz horn refrains, always triumphant, coupled with devastating percussive breakdowns and killer guitar riffing. It's an insistent organ-led juggernaut. The frenetic "Facade", up next, is no less driving, horns high up in the mix over rattling percussion and brilliant organs lines. Just sensational. The bright "Chabati" is another glorious extension of the optimistic Vecchio sound, the organs wilder than ever before. The moody "Green Hell" is a real highlight and closes out the A-Side with some outrageously funky refrains - be it horns, organ or guitars - and is complimented by gorgeous flute work that galvanises the piece, elevating it to downright heavenly status.

Knowing full well that he's on to a surefire thing, Vecchio opens the flipside in much the same vein. Indeed, "Boss" is yet another uptempo highlight, a sensual orgy of proud horns, hand percussion and melodic flute playing over driving organ and guitars. It's followed by "Nsambei", which is rightly adored for its briefly open drum break, fantastically propulsive percussion breakdowns throughout and the jazzy, loose organ and guitar shreds. The bright "Waboco" ups the tempo and the pressure, hanging on one hell of a guitar hook and infectious horn refrain. Perhaps foreseeing how this album would come to be viewed, the aptly-titled "Cult" is possibly the finest song on the record. Which is saying something, because this record is insanely good. Riding a steady, confident organ groove straight out the gate, the kinda melancholic flute line over the top serves as a beautiful counterpoint which the horns often come in and imitate/riff off. Goddamn this is so so good, it needs to be played everywhere. The overwhelmingly mighty 7-minute jam "Ngoma-ku" rounds out this quite staggering record brilliantly in its heavy, mid-tempo blues with countless extended solos.

The audio for Afro Rock has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Jordsjø ist ein Duo aus Oslo, inspiriert vom französischen Composer Olivier Messiaen über Popol Vuh, Anthony Braxton, skandinavische Folklore und Jazz bis hin zum frühen britischen Prog. Jordsjø steht in der Tradition einiger der besten nordischen Rockmusiker des letzten Jahrhunderts und schafft es, Progressive Rock mit fantastischen Melodien und einem folkigen Touch zu verbinden. 'Salighet' ist das vierte Studioalbum der Band. Die sieben neuen Tracks ergeben eines der wohl besten Prog-Alben des Jahres 2023. Sie erforschen durch Kompositionen und Texte unterschiedliche Formen der Ekstase. Sei es in Form von Tanz, einer Bergwanderung, einem Märchen, religiösen Grübeleien oder anderen inneren Reisen, zu einem farbenfrohen symphonischen Folk-Rock-Sound. Die Musik ist ein Kontrapunkt zum alltäglichen Leben und sehnt sich nach Geheimnissen und alternativen Realitäten - mit großer Dynamik und Dramatik, immer auf der Suche nach einer guten Melodie. Das Album lässt sich von nordischem Jazz und Volksmusik, klassischer Musik des 20. Jahrhunderts und Rock der 60er und 70er Jahre inspirieren und kreiert so eine eigene starkes musikalische Identität.

Atack’s founder member and lead guitarist Keith Atack has a long pedigree in the rock music scene. He grew up during the sixties and was influenced from an early age by bands like The Beatles, Rolling Stones, Yardbirds and then on to Jimmy Page and Ritchie Blackmore. He has also toured with many pop acts like Bonnie Tyler, Rick Astley and many others. He has a rock / funk / soul style as well as a jazz and blues influence. He is joined by band members that also have strong roots in the rock scene such as Bob Richards on drums who has rubbed shoulders with members of bands like Iron Maiden, Survivor, Asia and Shy. Bassist Chris Childs is well respected and is the bass player with UK stalwarts “Thunder/ Lonerider/Tyketto”, he is an ideal addition to the line-up along with seasoned vocalist Lee Small (Shy/Phenomena/Lionheart and many more). Finishing off the quintet is Nick Foley whose keyboard prowess is ever present throughout the album. The sound of the Hammond for which he is known gives the whole album a feel of Deep Purple and Rainbow with a true classic British Rock sound. “Nine Lives” is an exciting addition to the escape music roster and available in limited edition vinyl and CD formats, something very much to look forward to.

Experimental rock quintet from Los Angeles for fans of Unwound, Duster, Slint, and Lowercase. Mixed and engineered by Tim Green at Louder Studios (Unwound, Melvins, Jawbreaker). Live appearances with Flenser labelmates, Have a Nice Life, Chat Pile, Midwife, and tour dates planned throughout 2023. Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain's evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band's artistic and conceptual essences. The most extraordinary of art isn't created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album's fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line. Clocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent's dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

The drums of fire scorch the age. With his young and talented Sound Limited, Takeshi Inomata heralds the arrival of the golden age of jazz rock in high spirits. Drummer Takeshi Inomata, who led the Japanese jazz scene with his precise stick work and musicality with an eye on the times, formed Sound Limited at the end of the 1960s, influenced by the brass rock music that was flourishing at the time. He said, “I wanted to fuse jazz and rock and bring together young musicians to play music with vitality. I want this group to be a group with a large scale that is not confined to the small frame of modern jazz,” he said, launching a new axis. Their first album, “The Sound of Sound Limited” (1970), became their masterpiece. It is a masterpiece that is full of energy and enthusiasm throughout the album, starting with “Theme~Mustache,” which has become one of the most beloved and iconic songs of the band.

Drums, Music Director – Takeshi Inomata

Electric Bass – Jun Suzuki

Electric Guitar – Ryo Kawasaki, Shigenori Kamiya

Flute – Toshiaki Yokota

Mixed By – Eiji Uemura

Organ – Yusuke Hoguchi

Tenor Saxophone – Takao Uematsu

Trombone – Shigemichi Domoto, Takashi Imai

Trumpet – Shunzo Ohno, Takashi Kumagai

Fresques sur les parois secrètes du crâne is the second album by french duo Cheval de frise, one of the most paradoxical bands rock has ever produced. This striking, enigmatic, baroque masterpiece, was recorded at Black Box studio in 2002, and released in CD format on RuminanCe (Paris), in 2003. The album is now being reissued by New York label Computer Students™, and pressed to vinyl and cassette tape for the first time, with the original track list remastered by Carl Saff. Evoking the cubist digressions of expert jazz, as well as the paroxysms of flamenco with a nylon guitar flexing its muscles on the anvils of the darkest metal, Cheval de Frise creates a frightened rock'n'roll, highly aesthetic yet half ugly, with a transfigured ugliness. Transfigured by what? The question remains unanswered. As does almost every other question that repeated listening to Fresques sur les parois secrètes du crâne raises

When Black Pumas made their self-titled debut in 2019, the Austin-bred duo set off a reaction almost as combustible and rapturous as their music itself. Along with earning a career total of seven Grammy Award nominations (including Album Of The Year) and winning praise from leading outlets like Pitchfork and Rolling Stone, singer/songwriter Eric Burton and guitarist/producer Adrian Quesada achieved massive success as a live act, touring large theatres all over Europe and North and South America and delivering a transcendent show Burton aptly refers to as “electric church.” As they set to work on their highly awaited sophomore album, the band broadened their palette to include a dazzling expanse of musical forms: heavenly hybrids of soul and symphonic pop, mind-bending excursions into jazz-funk and psychedelia, starry-eyed love songs that feel dropped down from the cosmos. Wilder and weirder and more extravagantly composed than its predecessor, Chronicles of a Diamond arrives as the fullest expression yet of Black Pumas’ frenetic creativity and limitless vision.

The soundtrack features orchestral, big band, rock, and hip-hop compositions, the score was recorded at Abbey Road and Air Studios and evokes both the intensity and the sardonic humor found within the main themes of the film. Speaking of the music, Nicholas Britell says, “When I first began working with Adam McKay on the score for VICE, Adam’s initial instinct was that the score should have a symphonic scope to match the size of the story we were telling. Over the course of more than one year of composing, I wrote a score which utilizes a full symphony orchestra, while also exploring the sounds of big band jazz, rock, and hip-hop. There is a subtle – and at times not-so-subtle – dissonance in the music which weaves in and out of the themes, harmonies, and textures. This idea of dissonance became a central element within the nature of the score.”

Die Psychedelic Porn Crumpets sind mit ihrem sechsten Studioalbum zurück. Das australische Psych-Rock-Fünfergespann hat seit der Veröffentlichung von "Night Gnomes" im Jahr 2022 an "Fronzoli" gearbeitet - ein Titel, der so viel bedeutet wie "etwas Unnötiges, das als Dekoration hinzugefügt wurde". Dilemma Us From Evil" ist die neueste Singleauskopplung aus dem Album und ein Paradebeispiel für Psychedelic Porn Crumpets' verblüffende Mischung aus schweren, melodischen Gitarren, harmonischen Texten und exzentrischem Songwriting. Es folgt auf die Singles "Nootmare (K-I-L-L-I-N-G) Meow!" und "(I'm a Kadaver) Alakazam", die Anfang des Jahres veröffentlicht wurden. Das Album strotzt nur so vor dem überdrehten, glitzernden Sound der Band aus Perth, der Einflüsse von klassischen Rockgrößen wie Black Sabbath, Led Zeppelin und den Beatles sowie experimentellen elektronischen Jazz enthält. Diese Rockeinflüsse sind auf "Fronzoli" deutlich zu hören, mit thrashigen Grunge-Tracks wie "Sierra Nevada" und dem frenetischen "Hot! Heat! Wow! Hot!", in denen die hyperaktiven Gitarren und die schrägen Texte der Band zur Geltung kommen. Die Band, die als Freunde begann, bevor sie sich zusammenfand, ist stolz auf ihre fröhliche und ungeschliffene Unordnung, wenn es um Songwriting und Produktion geht. "Diese Platte ist mein bisheriges Lieblingswerk", sagt Songwriter und Frontmann Jack McEwan, "jede Nuance wurde diskutiert, verleumdet und sorgfältig in die richtige Position gebracht, es wird sporadisch außerhalb der Linien gemalt, so dass diese extravertierten Schnörkel übrig bleiben." Jede LP-Farbe ist auf nur 250 Exemplare limitiert. Die CD ist ein aufklappbares Digipack, 500 Stück gepresst.

Perth-born, Naarm-based duo Special Feelings, aka Naomi Robinson and Poli-Pearl, are stepping up on Bradley Zero’s Rhythm Section label with their first long player – released on November 10, 2023. Across its 9-tracks, Special Feelings combines the electrically improvisational feel of live performances, with snappy broken beat-esque percussions and house-inspired looping synth hooks. Tapping into the infectious collaborative spirit of Naarm’s jazz community, Special Feelings are joined by a crew of the city’s rising artists.

Early iterations of Special Feelings’ music drew on psychedelic sun-dappled rock, with Naomi playing guitar and singing alongside Poli-Pearl on the drums. Over the years, this has shapeshifted into Naomi on bass and rhythms, with Poli-Pearl helming synths and keys – rooted in the sounds of Perth’s and London’s jazz of the moment, intertwined with Brainfeeder-nodding electronica. Today, Special Feelings’ influences span from the deep grooves of Moodymann to the freewheeling horns of Emma Jean Thackray to the stepping drums of Kaidi Thatham, and beyond.

Both Naomi and Poli-Pearl are self-taught multi- instrumentalists and producers; Naomi got her start playing in high school dream pop bands, before moving to Naarm to immerse herself in its musical communities, and study classical guitar at the University of Melbourne.

Jamie Lenman made his name as the singer, guitarist and songwriter in alt rock outfit Reuben, who toured and released relentlessly during the 2000s as part of the so-called “British post-hardcore renaissance” along with bands like Hundred Reasons, Biffy Clyro and Frank Turner’s Million Dead.
After the band’s dissolution in 2008, Lenman took a long break from music only to return in 2013 with the colossal double album ‘Muscle Memory’, combining elements of jazz, folk and thrash. Over the next ten years he continued to tour with various backing bands and released a string of records via indie label Big Scary Monsters, including the acclaimed ‘Devolver’ in 2017 and career highlight ‘The Atheist’ in 2022.
He continues to balance his musical efforts with his work as a journalist and illustrator for publications such as The Guardian, Rocksound and Doctor Who Magazine. He lives in Surrey, UK.

The sound that swallows jazz rock, mode jazz, and free jazz is serious and profound.

A magnificent concept album that will remain in the history of Japanese jazz with the theme of global anti-war and peace

Hiromasa Suzuki, a rare pianist/composer/arranger who showed his skills in the groups of Terumasa Hino and Akira Ishikawa. Collaborating with Big Soul Media, led by Jiro Inagaki, one of the best jazz rock groups of our time, this work is unusual for a Japanese jazz work, and the concept is based on the theme of “global anti-war and peace.”

The sound that swallows jazz rock, mode jazz, and free jazz is serious and solid, but at the same time, it is full of overwhelming dynamism.

Suzuki’s ability to manage a big band and create a masterpiece sound is also splendid, and Big Soul Media, which listened to Suzuki’s intentions and responded to his request, is also splendid.

Both Suzuki and Inagaki’s activities in the jazz-rock era are at their peak, and this work is also important in that it captures the overlap.

text by Yusuke Ogawa (universounds/Deep Jazz Reality)

Composition/Arrangement/Conductor: Hiromasa Suzuki
Performed by Jiro Inagaki and Big Soul Media
Jiro Inagaki (S.Sax, T.Sax)
Shigeo Suzuki (A.Sax)
Tadayuki Harada (B.Sax)
Takehisa Suzuki (Trumpet)
Tetsuo Fushimi (Trumpet)
Takeshi Nomura (Trumpet)
Shigemichi Domoto (Trombone)
Tadataka Nakazawa (Trombone)
Kazuo Usui (Trombone)
Tsunehide Matsuki (Guitar)
Masaru Imada (Piano, Organ)
Hiromasa Suzuki (Piano, Organ)
Yasuo Arakawa (Bass) / Gen Ishimatsu (Drums)

Assegai is an instrumental rock outfit consisting of saxophone, bass, guitar, and drums. Each member of the group brings a variety of musical influences to the eclectic entanglement that is Assegai’s distinct sound. No matter where you place yourself musically you will always find something to grab your attention in their odd type of instrumental rock. The album Water Worlds and Dry Spells is the product of a mutual pile of ideas; written sketches, memorized conversations, and cell phone recordings which were all collected in a joint cloud folder, and eventually laid the foundation of the compositions. Continuing from their 2020 album Kraal and their 2022 album 53, this release is a further development of the unity that the band have found themselves in, where jazz phrases fuse with krautrock repetition, traditional folk themes, and polyrhythmic structures. The compositions on Water Worlds and Dry Spells showcase the intensity that the band has cultivated during the last couple of years of live performances. On Water World and Dry Spells Assegai acts as the perfect live band for a future abandoned water world

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

Neo Noir Swing! The modern Les Paul from the Dark Side! PO and his band catapult you right into a ball room filled with misfits and goons and smack you with 12 songs including the terrific cover version of Niagara's 80's disco hit L'amour a la plage Pierre Omer was born in London of an Indian father and a Swiss mother. He is a founder member of the legendary Swiss funeral Rock'n'Roll band The Dead Brothers (guitars and accordion). In 2009 he started several solo projects along with Robert Butler (the Shit, the Miracle Workers), Roland Bucher and Christian Aregger (Blind Butcher) in 2013 the Swing Revue was born, along with: Pierre Omer: vocals, guitar Julien Israelian: drums, Géraldine Schenkel: Fender Rhodes, Christoph Gantert: vocals, trumpet, and the one and only Lalla Morte: Sings Fakir and Dances. They played many shows and festivals such as: Binic Folk Blues Festival, Montreux Jazz Festival, Buskers Bern, Festival Les Athénéennes, Pod'Ring Biel, Vinelz, Le Cirque Electric Paris etc. This new album is recorded by the band itself in true DIY-style - Pierre already produced some Voodoo Rhythm Records (mama rosin) in the past - and was mixed in Berlin's Big Snuff Studio with Nene Baratto (movie star junkies, black lips, Heat, Jimi Tenor, King khan, Black Mass Rising. The whole album Stands out with Pierre's amazing song writing skills, the lazy laid back dark vocal and his irritating guitar playing, along with Christop Gantert's devil possessed trumpet playing. The Music of the swing era of the 30's and 40's, combined with a garage spirit and an eye for everything else make for a special album. Classic black vinyl with dlc and printed inlay, CD as gatefold wallet with 12page booklet.

During the peak of Australia's post-punk scene, Melbourne's The Wreckery captivated with their darkly atmospheric rock, combining swamp blues, noir-jazz, and deadpan rock. Fast forward 35 years, and "Fake is Forever" resurrects The Wreckery's signature sound, featuring Charles Todd's baritone sax, Hugo Race's poignant lyrics, and Clayton-Jones' angular guitars. With Nick Barker and Frank Trobbiani providing a solid rhythm, this iconic band delivers an album that ranges from sarcastic and provocative tracks like "Smack Me Down" to romantic melodrama in "The Devil in You," all with a quieter yet equally menacing and intoxicating presence compared to their '80s brashness.

Zum ersten Mal auf Vinyl. Richie ist einer der meistverehrten Gitarristen der Rockgeschichte, der Rock, Blues, Hardrock, Funk, R&B, Jazz und Soul auf berüchtigte Weise miteinander verschmolzen hat und noch immer auf den renommiertesten Live-Bühnen der Welt unterwegs ist. Richie hat sich sowohl in Bands wie Poison, Mr. Big und The Winery Dogs als auch als Solokünstler einen Namen gemacht.

Sein Songwriting und seine Gitarrenarbeit zeigen oft brillante instrumentale Virtuosität gepaart mit unwiderstehlichem Groove. Die Veröffentlichung seines bahnbrechenden Studioalbums Mother Head’s Family Reunion aus dem Jahr 1994 gilt als herausragender Beweis für Richie Kotzens einzigartigen Ansatz in der Rockmusik.

Echolocation is the astonishing debut album from Mendoza Hoff Revels,
an electric & formidable new unit led by Ava Mendoza (electric guitar,
compositions) &Devin Hoff (electric bass, compositions) and featuring
James Brandon Lewis(tenor sax) & Ches Smith (drums)
A super-group of our time, all profound creative artists in their own right, rocking
mightily together, in their prime. 21st Century progressive rock played by punk
rockers with serious improv skills & jazz feel. And non-stop wicked catchy tunes,
riffs & grooves.
Strong sonic references are The Stooges' Funhouse, rendered by a band readily
adept at rapidly swinging rhythmic & harmonic shifts, (plus tenor sax on every
track!) and also Minutemen, both their whole body of music & their fundamental
egalitarian punk ethos.

"These sides from 1970s band Smith & Gordera are prototypical for the ""Sounds Like Santana"" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

""Evil Deeds"" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

""Time and Space"" starts with a nod to the classic Dave Brubeck ""Take Five"" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side."

"These sides from 1970s band Smith & Gordera are prototypical for the ""Sounds Like Santana"" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

""Evil Deeds"" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

""Time and Space"" starts with a nod to the classic Dave Brubeck ""Take Five"" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side."

Ltd Black & White Splatter Vinyl, DL Karte. 500 Stück gepresst. Zum 10. Jahrestag der Wiederveröffentlichung von "Peace on Venus" von Bardo Pond, Philadelphias führenden Vertretern des psychedelischen Rocks, auf schwarz-weißem Splatter-Vinyl. Enthält 'Kali Yuga Blues', ein wahres Ungetüm von einem Song und ein leuchtendes Beispiel für die ekstatische Intensität der Band. Die Band taucht tief in ihr Unterbewusstsein ein, um es ins Bewusstsein zu bringen, und glänzt auf ihrem 2013er Werk mit ihrer Gabe für schwere Riffs, die mit hochfliegenden Vocals und Klangschwaden verwoben sind. Bardo Pond hat die äußerlichen Merkmale einer Rockband, aber die Flüsse, die in den oneirischen Fluss der Band münden, haben ihr Quellgebiet in den Gefilden des ekstatischen Jazz, des Free Noise und der Avantgarde. Bei der Aufnahme von "Peace On Venus" wurde das Prinzip der Quintessenz angewandt, ein Prinzip, das der Arzt Paracelsus im 16: "Nichts von wahrem Wert befindet sich im Körper einer Substanz, sondern in ihrer Tugend, und dies ist das Prinzip der Quintessenz, die, sagen wir, 20 Pfund einer gegebenen Substanz in eine einzige Unze reduziert, und diese Unze übertrifft die 20 Pfund bei weitem an Potenz. Je weniger es also von einem Körper gibt, desto größer ist seine Tugend im Verhältnis. "Obviously, Bardo Pond are the greatest band in the world" Vice.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

"Frontiers", zu deutsch Grenzen, haben die Mitglieder von Journey stets durchbrochen: Revolutionär "mixte" die Band aus San Francisco härteste Rockklänge mit Jazznoten und gefühlvollsten Melodien. U.a. mit "Faithfully" aus dem Longplayer "Frontiers" (1980) konnten Journey neben einer fulminanten Tour wieder höchste Chartplatzierungen verbuchen.

Im Rahmen der aktuellen Sommer-Europa-Tour erscheint der Journey-Klassiker "Frontiers" in brandneuer geremasterter Version. Für alle Alt-Rocker und Jung-Begeisterte ein Muss!

Am 27. Oktober erscheint ihr neues Album "Chronicles of a Diamond" bei ATO Records. Produziert von Quesada und hauptsächlich abgemischt vom sechsfachen Grammy-Preisträger Shawn Everett (Alabama Shakes, The War on Drugs), übernimmt Burton auf den zehn Songs die Rolle des Co-Produzenten und lässt seine freigeistige Musikalität in jeden Track einfließen.

“It felt like a metamorphosis in a way that was both beautiful and difficult, but in the end feels more true to who we are as collaborators“, erzählt der Sänger. Die Songs entstanden zwar im Studio, fangen aber definitiv auch die verrückte Energie ein, die während den Live-Shows der beiden entsteht. Das endet in einem besonderem Hybrid aus Soul und symphonischem Pop, der verrückter und extravaganter als sein Vorgänger komponiert wurde. Inklusive unerwartete Ausflüge in Jazz-Funk und psychedelische Gefilde samt hypnotischen Rhythmen, wilden Gitarrenriffs und stimmungsvollen Mellotron-Melodien, die eine tranceartige Euphorie ausstrahlen. „With this album I felt very free in my vocal performance, which has a lot to do with Adrian hearing something in my voice and helping me to explore that”, ergänzt Burton.

Als Black Pumas 2019 ihr selbstbetiteltes Debüt veröffentlichten, löste das Duo aus Austin eine Reaktion aus, die fast so außergewöhnlich und mitreißend war wie ihre Musik selbst. Gefeiert von den Medien, hagelte es insgesamt 6 Grammy Award-Nominierungen (darunter Best New Artist und Album of the Year). Neben Live-Auftritten bei den genannten Grammy Awards, spielten die Black Pumas außerdem bei der Übertragung des NFL Drafts sowie zur Amtseinführung von Joe Biden. Sie tourten durch ganz Europa sowie Nord- und Südamerika und waren bei bekannten Late-Night-Shows wie Jimmy Fallen, Jimmy Kimmel, Ellen DeGeneres oder Stephen Colbert zu sehen. Ihr Album verkaufte sich über eine Millionen Mal, alleine ihre Single "Colors" steht inzwischen bei über 450 Millionen Streams. Nun ist es an der Zeit, das zweite Kapitel der Band aufzuschlagen.

Der prägende Sound von Martin Rev, der vor allem im Zusammenspiel mit seinem langjährigen musikalischen Partner Alan Vega und der gemeinsamen Band Suicide in seiner Radikalität und Einzigartigkeit zu einem Einfluss für mehrere Generationen von Musikern werden sollte, findet seinen Ursprung insbesondere in der essentiellen Energie des Rock"n"Rolls, der Rev als Teenager prägte und so etwas wie die musikalische Entsprechung der urbanen Atmosphäre seiner Heimatstadt New York war. Nachdem Rev zunächst im Free Jazz und freier Musik nach neuen musikalischen Ausdrucksformen suchte, entwickelte er rasch eine Faszination für die elektronische Klangerzeugung, die es ihm ermöglichte, völlig alleine und autark zu arbeiten. Er experimentierte mit einfachstem Equipment, kombinierte verschiedene Geräte und Effekte und übersetzte so die Wurzeln des Rock"n"Rolls in einen neuen, bisher ungehörten elektrisierenden Sound, der sowohl der Beginn von Suicide als auch einer spannenden Solo-Karriere sein sollte. Die vorliegende Sammlung "The Sum of Our Wounds" umfasst verschiedenste Aufnahmen, die zwischen 1973 und 1985 entstanden. Dabei ist die Zusammenstellung weitaus mehr als nur eine Kollektion von Demos und Outtakes; vielmehr hat man das Gefühl, ein in sich geschlossenes Album zu hören und sich selbst Kompositionen, die einem bereits bekannt sind, gänzlich neu zu erschließen. Die Kassettenstücke besitzen in ihrer spröden Brüchigkeit eine große Sensibilität, eben wie eine Sammlung von Verwundungen.

Appleton, Wisconsin’s Dusk may seem to have fallen from the sky. Surrounded by a music climate of destination festivals and instagram celebrity, they’ve remained reclusive, yet focused on the proverbial
carrot on the end of the stick that’s hard for so many working musicians to define. For the past four years, they’ve maintained a steady schedule of recording and “hitting the dirt,” as they say: spending weeks on the road playing dives and basements. The group was conceived in 2014 as a casual recording project between vocalist and bassist Amos Pitsch and drummer Colin Wilde. Amos had just
completed recording Predatory Headlights, the critically acclaimed double album by his other group, Tenement, and with the new found down time, he and Colin arranged their own versions of vintage
soul songs. The intention was to treat the project like a revolving door for collaborators, but soon the permanent additions of vocalist/pianist Julia Blair, lead guitarist Tyler Ditter, and Ryley Crowe on pedal steel, rhythm guitar, and vocal duties would cement the band into a connsistent rock and roll ensemble; informed by soul music, country, jazz, and beyond.

Das Debütalbum von GENN, dem Quartett aus Brighton mit maltesischen Wurzeln, ist ein hart erarbeitetes Statement der Entwicklung aus den unterschiedlichen Einfluss- und Identitätssträngen der Band, von Post-Punk über Psychedelic- und Prog-Rock bis zu Jazz und Blues, ein fesselndes Geflecht voller Ambitionen. Es knüpft an ihre Debüt-EP Liminal (2021) an, die allen Widrigkeiten der Pandemie zum Trotz triumphierte (BBC Radio 6, DIY, Gigwise, Spotify Shockwave-Playlist). Erfolg besteht für GENN darin, den Sturm zu meistern und gleichzeitig einen Fluchtweg zu finden. UNUM ist ihr Fluchtauto und jetzt sind sie bereit, den Motor zu starten.

In his childhood home among the Bavarian Alps, where the loudest sounds were the ringing of church bells and the mooing of cows, he discovered the power of music via his sister's collection of rock records: Jimi Hendrix, The Red Hot Chili Peppers and Nirvana. Improvised music and the double bass were revelations that spurred his next voyages of discovery - first to the Richard Strauss Conservatory in Munich, then north to the Jazz Institute in Berlin, then across the ocean to New York at the Manhattan School Of Music. Since returning to Berlin, he has released two acclaimed albums as part of the band SCOPES. Now we are invited to join him for Journey, his debut album as a leader & composer. With him is a select crew of his peers from among the brightest young stars of the thriving Berlin scene - Ben Kraef on tenor sax, Carl Morgan on guitar, Simon Seidl on piano and drummer Fabian Rosch - Tom has embarked on a fascinating journey of musical exploration; producing a superb culmination of all he has learned along the way and venturing to another level.

Post-war musical history was written in Germany with the MPS label: noble music productions with many international greats come from the Black Forest and are timelessly legendary. Some treasures from the label's archive are released by HGBSBlue on highquality vinyl.

More than 20 top-class jazz musicians met in July 1965 for a jazz workshop at the Ruhr Festival in Recklinghausen and recorded a total of 17 pieces. Nine tracks from the live recording were to be released the same year as the first double LP on the young Villingen jazz label SABA (the forerunner of MPS). Everything was prepared for this, but it never happened.

It is not really clear why, because everything was technically ready for release.

With Hans Koller, Rolf Kühn, Leo Wright, Benny Bailey, Tubby Hayes, Ronnie Ross, Stuff Smith and others, many leading players of the jazz scene at the time were involved. However, the two music tapes were not pressed onto record and slumbered unheard for many years in the MPS archive in Villingen. In 2018, on the 50th anniversary of the MPS label, this was made up for: the double LP, which was to be released as "Junges Forum 65" by SABA, was released by HGBSBlue in a limited edition and is now also available here. The music of the workshop formation is still full of sparkling creativity today, almost 60 years after it was recorded.

You can hear first-class jazz on a bebop basis, which was played in Europe at that time by an immensely creative generation of musicians full of commitment. A listening pleasure for every jazz fan on the one hand, but also a wonderful documentation captured on this double LP.

The eponymous debut disc from German-Swedish supergroup 4
Wheel Drive went straight to the top spot as Best-Selling Jazz Album
In Germany For 2019. And the media didn’t hold back with their
praise either: “Four first-league jazz musicians with pure joy of playing
and a love of good pop music,” said ZDF’s ‘heute-journal’ about this
spirited and enjoyable group that combines trombonist / singer Nils
Landgren, pianist Michael Wollny, bassist / cellist Lars Danielsson
and drummer Wolfgang Haffner.
 For ‘4 Wheel Drive II’, it is evident that things have shifted up a gear
right from the start, with the rocky, pulsating opening track, ‘Chapter
II’, straight from Wollny’s compositional workbench. Landgren likes to
let his trombone roar like a sports car engine. In similarly dynamic
vein are pieces like Danielsson’s final track of the album, ‘The
Wheelers’, which, thanks to Haffner’s nimble brushwork, makes you
think you’re on a high speed train.
 Compared to the first album, there has been another change, an
increase in the proportion of original compositions written by all of the
participants, as Lars Danielsson, who has contributed a sensitive,
poppy ballad to the new album, ‘Just Another Hour’, remarks.
“Interpretations of worldwide hit songs were a factor behind the huge
success of the debut album, but the ratio to original compositions
here is getting closer to 50:50. That said, the fuel powering 4 Wheel
Drive has remained the same: this band is all about creating music
from deep within, and with like-minded people whom you can
absolutely and implicitly trust to be in the driving seat.”
 “It just flows,” enthuses drummer Haffner, “we’re a group of close
friends with nothing we need to prove, we can just go for it. I've had
so many magic moments with this band, it really is incredible!”
 On the new album, listeners are treated to several new moments of
pure magic, continuing 4 Wheel drive’s illustrious story. For example,
their new instrumental version of the Simon & Garfunkel classic,
‘Sound of Silence’, has something mysteriously Nordic about it. Or
their newly-cast version of the surprisingly infrequently covered
Genesis ballad, ‘Hold On My Heart’, putting it into a jazz context. The
courage to approach pop tunes that have become so ingrained in
many people’s minds from a completely different perspective pays off
in full. Within 4 Wheel Drive are four originals at work, each of whom
can be recognised from the very first note they play or sing.

For more than a decade, Bert Dockx has been one of the most prolific and versatile musicians in Belgium. A masterful guitarist, gifted songwriter, and innovative composer, crossing boundaries between avant-garde rock, customized blues, and instrumental jazz, with bands such as Flying Horseman, Dans Dans, and Ottla, singing in his native Dutch as Strand, or solo under his birth name, and now as the Bert Dockx Band. Ghosts is his fifteenth (!) album on the Ghent-based label Unday Records.

Two years after the crash, Bert Dockx presents his new Bert Dockx Band and Ghosts, an album of rebirth and transgression, one of many firsts. Dockx never dedicated this much time to meticulously crafting each song. For the first time, he entrusts a finished record to a complete outsider. Never before has he reached out so far into the outside world.

The relaxed and positive atmosphere during the recordings is magnified in what Dockx calls 'my best guitar playing ever', and the deep, powerful use of his voice in its natural range. 'I had fun making this album,' says Dockx, 'and I really hope it shows'.
'There's no escape now/ I'm inside of the storm', Bert Dockx sings on his new album, the first with the Bert Dockx Band. 'I smile, I cry/ I die, I'm born/ I'm in love'. Ghosts is the culmination of a two-year odyssey, from hitting rock bottom to flourishing into new heights. An album of rebirth and transgression, a record of milestones and many firsts. Never before has Dockx turned so deep inside in order to reach out to a world beyond himself.

The album is mastered by US producer Philip Weinrobe. Weinrobe previously worked with Arianne Lenker, Indigo Sparke, and Kings of Convenience, and is praised by Dockx for his 'infallible intuition and great inventiveness'. This occasion marks the first time he hands over a finished record, permitting an outsider's perspective during the final mix.