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Exotic Creatures of the Deep is the 21st studio album by Sparks and was originally released on 19th May 2008.

The album has been newly remastered for this LP reissue, which will be released on 180g heavyweight vinyl.

Für ihr zweites Album 'TORSCHLUSSPANIK!' wählte die Liverpooler Psychedelia-Band The Fernweh einen schlankeren, direkteren Ansatz für das Songwriting. Statt Eindrücke oder Abstraktionen zu malen, werden Botschaft und Songs in kräftigen, primären Farben schnell auf den Punkt gebracht. 'TORSCHLUSSPANIK!' bringt Frustration und Verwirrung über den Zustand der Dinge zum Ausdruck, bekräftigt aber auch seinen Glauben an die reiche und komplizierte Erfahrung der Menschheit.

L.J. Reynolds was the ex-singer of the US soul group The Dramatics. In 1982 he released his second solo album Travelin’, which was a split production between Reynolds and Don Davis. This classic soul album includes “Trust In Me”, “Say You Will” and “Call Me”, the latter being written by Aretha Franklin. Travelin’ features guest performances by Bernie Worrell and William “Bootsy” Collins.

Modest techno for mindful people, second edition. Luise is glad to present Arutani‘s newest album, a true evolvement of its prodecessor. Still true to the artist‘s handwriting, with a minimal and subtle character, hinting details and bold elements. However even more a unique listening experience and a sta- tement on its own.

After releasing their 'Kerrang Top 50 Album of 2020' & seething debut
album 'Paradise', Scotland's Rock'n'Roll 3-piece Cold Years were about to
reap the fruits of their labour touring the world spreading their 'fist in the
air' punk rock anthems when the world came to a holt
While for many this kind of obstacle would have stopped them in their tracks but
not Cold Years, the time for pissing & moaning is done.
With singer/guitarist Ross Gordon relocating to Glasgow, never making any secret
of his frustrations with feeling trapped in the suffocating environs of his native
Aberdeen, inspiration for album 2 'Goodbye To Misery' was born.
Written remotely throughout the first 3 months of 2021, Cold Years found a fresh
approach to create using daily Zoom sessions to write emailing ideas back and to
throughout the second lockdown. With a change of scenery and this fresh
approach to writing, 'Goodbye To Misery' is 12 tracks born out of the want for a
more positive future rather than the self-destruction & misery of 2020's 'Paradise'.
Recorded in May 2021 the band yet again travelled south to The Ranch Studios in
Southampton to work with long-time collaborator Neil Kennedy (Creeper, Boston
Manor, Milk Teeth).
"This record is us saying you can break away from those things that are bringing
you down. It's about standing up for yourself and not letting anybody tell you what
you should or shouldn't be doing. It's a defiant statement."
Press ads in Visions, Classic Rock, Piranha (POS), Start (POS), Slam, Rocks,
Eclisped Covermount tracks in Classic Rock, Visions, Rocks Press features in
Visions, Classic Rock, Piranha, Start, Slam, Rocks, Eclipsed Radio: #6 German
Rock Charts for Home (single)

Pass Out of Existence is the debut studio album by American heavy metal band Chimaira, released on October 2, 2001. According to vocalist Mark Hunter, as of 2003, the band has sold 44,000 copies of the album in the United States alone. Pass Out of Existence features an altogether different sound when compared to the band's later albums, leaning more towards nu metal rather than the groove metal style featured in later material. Its heavy use of electronics has also been noted.

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

Gongs have played an integral role in the mythogeography of Asia. This is not music that aligns with national borders or ideas of homogenous populations, let alone racial stereotypes and exotic clichés. What connects all of these tracks is a simultaneous feeling of entrancement and social cohesion. Communal and collaborative, its form is hypnotically repetitious, melodies and rhythms spread out among the players using the technique of hocketing in which a flowing line is distributed among all the musicians. The effect is mesmerising, immediately intoxicating to anybody who loves Chicago footwork, free improvisation, Sun Ra or young hip hop producer Jetsonmade. The music is simple yet mysterious and enveloping, a sound world in which to disappear. A theory exists but this is not explained. - David Toop (extracts from the liner notes)

This project, Massif and Archipelago, is a field recording project initiated by Japanese sound artist Yasuhiro Morinaga, documenting traditional gong music by different Southeast Asian ethnic groups. The project aimed to examine the impact of the natural and social environment on the gong music culture of Southeast Asia. During the project, he visited over 50 different ethnic groups and made hundreds of recordings. This album presents a selection of the unique gong music from different ethnic minorities. The selected music has been divided into two broad sections: one focussing on the music from the Massif, i.e. mainland Southeast Asia (Central Highland of Vietnam and Northeast Cambodia), the other on music from the Archipelago, maritime Southeast Asia (the Luzon Islands of the Philippines, Borneo, Sulawesi, and the Flores Islands of Indonesia).

Venom is the 2018 superhero film which features the Marvel Comics characters Eddie Brock and Venom. It’s the first film in Sony’s Spider- Man Universe (SSU) and is directed by Ruben Fleisch. Venom follows the story of failed reporter Brock (Tom Hardy) who is bonded to an alien entity, giving him superpowers as long as they share the same body. The being takes a liking to Earth and decides to protect it. The film was a box-office success and in 2021, the sequel Venom: Let There Be Carnage was released.

Its score is composed by Ludwig Göransson, who worked before with Ruben Fleisch on the successful Black Panther, for which he received the Grammy Award for Best Score Soundtrack For Visual Media and the Academy Award for Best Original Score. The Swedish composer has also scored films such as Tenet and the Rocky franchise entries Creed and Creed II. As a record producer, he has received an equal amount of acclaim, having produced for Adele, Chance The Rapper, Travis Scott and Childish Gambino, including Gambino’s iconic hit “This Is America”.

Venom is available as a limited edition of 1500 individually numbered copies on “Black Clouds” coloured (crystal clear & black marbled) vinyl. The album is housed in a deluxe gatefold sleeve with a silver foil finish, includes a printed innersleeve and an exclusive fridge magnet.

A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik

"Would it sound just as bad if you played it backwards?" assembles a collection of audio experiments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the millennium. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain important artifacts in the recent history of the Polish avant-garde, presenting them together in one release may not seem like an obvious choice. There are, of course, some historical intersections-he most notable being a shared interest in Polish artist and architectOskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants to ??????????????..Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room", a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?

Polish Radio Experimental Studio - PRES (Polish: Studio Eksperymentalne Polskiego Radia) was an experimental music studio in Warsaw, where electronic and utility pieces were recorded. The establishment of the Polish Radio Experimental Studio was conceived by W?odzimierz Sokorski, head of the Radio and Television Committee. Between 1952 and 1956 he was a Minister of Culture, and as a strong supporter of socialist realism he fought against any manifestations of modernity in music. The Polish Radio Experimental Studio was founded on the 15th of November 1957,1 but only in the second half of the following year was it adapted for sound production.23 It operated until 2004.4
Until 1985, for 28 years the studio was headed by its founder - Józef Patkowski - musicologist, acoustician, and the chairman of the Polish Composers' Union. The second most important person in the Studio was Krzysztof Szlifirski, an electro-acoustics engineer. Before founding the studio Józef Patkowski visited similar hubs in Cologne, Paris, Gravesono and Milan.5 Though the studio was a place where autonomous electronic pieces were recorded, this wasn't its main purpose. It was launched as a space for the creation of independent compositions, sounds illustrations for radio dramas, and soundtracks for theatre, film and dance.

The four members of Sad Daddy; Brian Martin, Joe Sundell, Rebecca
Patek, and Melissa Carper, all conspired and united in the sudden spare
time of 2020 to create their third album, 'Way Up in the Hills'
Convening at Brian's cabin in Greers Ferry, Arkansas to write and record the album
together, the collective decided on a down-home, back-to-the-country theme--a
refection on the state of the world and the desire to go back to simpler ways and
self- sufciency, goin' way up in the hills and letting the chaos settle. Recording
engineer Jordan Trotter brought his equipment into the cabin and the band
recorded the 14 original tunes live and in a circle. Half of the tracks were only a
week old and the other half had grown to be Sad Daddy standards since the
band's last album. The feeling of being at a lakeside "home" studio in the serene
Arkansas woods was distilled into sound as Sad Daddy explored using porch
stomps, hamboning, the sounds of insects buzzing and bacon sizzling to create a
picking-on-the-porch vibe into the fun and refreshing creation of 'Way Up in the
Hills'.
Forming in the spring of 2010, Arkansas outft Sad Daddy has traveled down
many a road--together and separately-- at times focusing on their solo projects
and then reuniting for a band project.

Recorded back in 1999, 'Half a Dove in New York, Half a Dove in Buenos Aires' is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.

As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast - a series of very early online live improvisations - to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance - a remarkable slab of omnidirectional drone bearing traces of Miguel Tomasin's vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.

Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.

The album's first side, titled 'Micro Macro Wind Dance', puts Oliveros' accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds' arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.

'Astral Netcast Pigeon' expands the dissonant drones to widescreen, submerging Oliveros' trills and drones beneath layers of dirt and grit. It's time-altering music that dissasembles yr head before you've completely worked out what's happening >> basically the perfect mid-point between Oliveros' deep listening practices and Reynols' wildly inspirational free-noise-drone freakouts.

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

Der aufstrebende Indie-Singer-Songwriter und Künstler Avi Kaplan hat die bevorstehende Veröffentlichung seines Debüt-Soloalbums „Floating On A Dream“ für den 20. Mai 2022 über Fantasy Records angekündigt.Mit Country, Blues, Soul, Tribal Drums und einem Hauch von Gospel untermauert er seinen elementaren, akustisch getriebenen Rock und erkundet in den 11 Original-Tracks des Albums Herzensangelegenheiten, Wahrheit, Moral und die Suche nach Relevanz. Im Mittelpunkt steht jedoch seine Stimme. Von einem
eindringlichen Falsett bis hin zu den tiefsten Basstönen ist Kaplans Instrument mit nichts anderem in der modernen Musik vergleichbar. Während einige dieser Songs kurz nach Kaplans Ausstieg bei Pentatonix im Jahr 2017 entstanden sind, wurden die meisten speziell für dieses Projekt geschrieben. Was sie zusammenhält, ist der Reichtum und die Flüssigkeit seines Stimmumfangs, der selbst langjährige Fans überraschen dürfte. „Floating On A Dream“ vertieft eine musikalische Entwicklung, die mit der 2020 erschienenen „I’ll
Get By“ EP begann und sich in der letztjährigen Single „Song for the Thankful“ fortsetzte, und erforscht Kaplans breite Klangpalette und seine rootsigen Einflüsse. Das Album ist als CD und LP erhältlich.

Flock is a brand new collaboration between five leading musicians from London's open-minded jazz and experimental scenes: Bex Burch (Vula Viel), Sarathy Korwar, Dan "Danalogue" Leavers (Soccer96, The Comet Is Coming), Al MacSween (Maisha) and Tamar Osborn (Collocutor).

Mit seinem neuen Album „Glücklich Unzufrieden“ schlägt Bozza einen Bogen von seinem Karrierebeginn bis ins Jetzt. Er nimmt seine Hörer mit auf seine ganz eigene emotionale Reise, indem er auch den Kampf
mit den inneren Dämonen über all die Jahre thematisiert. „Es fühlt sich an, als würde mit jedem Song eine riesengroße Last von meinen Schultern fallen. Ich musste mir ein letztes Mal das Leid von der Seele
schreiben“. Dabei holte er sich großartige Feature Gäste wie Sido, Bausa, Clueso, Montez, Selmon, Azet und auch Gini an Board. Gänsehaut garantiert.

Bestellt euch jetzt die Vinyl zu „Glücklich Unzufrieden“ vor.

Mobys neuestes Album Reprise - Remixes ist jetzt verfügbar. Das Doppelalbum enthält persönliche Zitate aller beteiligten Remixer, sowie von Moby selbst. Reprise – Remixes erobert ein Grenzland, in dem elektronische und akustische Klänge aufeinandertreffen. Das Album erscheint am 20. Mai 2022 bei Deutsche Grammophon, pünktlich zum Jubiläum von Mobys erster Scheibe, die 1992 erschien.
Zwölf Künstler:innen – zwölf Stimmen: Bambounou, Biscits, Max Cooper, Efdemin, Anfisa Letyago, Mathame, Planningtorock, Topic, Felsmann + Tiley, Peter Gregson und Christian Löffler kommen auf Reprise

– Remixes zusammen. Und auch Moby selbst ist mit vier Remixes dabei.

Trust is a testament to resilience. The past two years have been tough for just about everyone, and while it would have been easy for Catnapp to let feelings of despair soak into her creative process, she refused to succumb to darkness. The Berlin-based Argentinian was determined to make something bright, energetic and uplifting, and nothing—not even a global catastrophe—was going to stop her from rallying people to the dancefloor.

Her new LP is loaded with futuristic pop hooks, yet Trust offers so much more than a simple sugar rush. This a record that defiantly smashes through genre boundaries, hoovering up high-octane bits of hip-hop, R&B, rave and even numetal along the way. Catnapp—an accomplished shapeshifter who’s never been afraid to get weird—is just as comfortable throwing down brash rhymes as she is singing dreamy ballads or unleashing a primal scream, and on Trust, all of those things (and more) frequently happen within the confines of a single song. Call it hyperpop if you must, but pop concentrate might be a more accurate term.

Released for the first time in CD and Digital format in 2017 this is the sixth album by Luca Trevisi LTJ Xperience.

It contains some of his most played songs such as Get Down, Let There Be Groove, Put Me Down and the one that gives the title to the album Beggar Groove here in its two versions.

The release is in a limited edition double album on White vinyl. Luca LTJ Trevisi (LTJ Xperience) trained as a producer DJ in the late 1980s. Resident first at the Kinki Club in Bologna and then at Cap Creus in Imola, he is one of the first Italian DJs to program house and above all to re-propose Black Music, Jazz and Latin Bossa, all the genres that then over time gave way to Acid Jazz and Nu Jazz.

He began his work as an artist and producer with Irma Records and in the 90s also his activity as an international DJ who saw him play at the Blue Note and the Jazz Café in London, at the Giant Steps in New York and at the Jazz Festival in Montreux.

In 1999 he released his first solo album under the name LTJ Xperience. To date he has released 7 albums all on Irma Records, several compilations, many singles and remixes also collaborating with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R., Music For Dreams, Apersonal Music.

After more than two decades flexing his muscles on the local underground scene and gaining a legendary cult status on his Tenerife home turf, the island’s most famous postman, as he’s affectionately known by his consorts, Tomás de la Rosa aka Postman breaks radio silence to bulldoze his way through the canyons surrounding his hometown of Santa Cruz into an unknown and unsuspecting world. We present thus, Postman’s first ever album of original bangers, micro chopped two steppers and rage induced breakbeat anthems.

Constructed over the course of global confinement, Seeds of Light marks a return to creative activity from the man who regularly delivers your post (its not just a random artist name). Postman aka Tomás de la Rosa has taken his time, compiling sketches and unfinished songs, rummaging through the deep ends of his hardrive, stitching early production sketches with recent compositions, revising, reediting and rebuilding with a more mature and concise attitude, eventually completing, almost unintentionally, the perfect self referential retrospective album. Far from being just a compilation album, Tomás managed to create an explosive document, suspended in time, in which styles are intertwined regardless of fashions and fads – letting go of the ‘modern’ or ‘up to date’ burden - so common these days in electronic music.

It is not an easy album, like many of his previous work it demands extra attention to experience the full crystallization of his complex sound structures. We find ourselves in front of a truly surgically precise work of art whose result comes as a waterproof war machine, refined and incisive, resonating deep with soul and groove.

Postman develops his sound palette throughout the album from very basic sound snippets into a concrete dance world of synthetic sounds eventually creating a parallel reality where J. Dilla could be living in Chemnitz instead of Detroit and releasing records for a label called Raster-Throw. Glitch sampladelics!

Incursions into Grime are also abundant with nods to the ineffable East Man, reunions with his beloved Funkstörung or many other stimulating revisions of lifelong genres and breaks populate this multidimensional sound space, see soul, dancehall, breakbeat, two step and the UK hardcore continuum.

Special mention to the magnificent fluid artwork by the very talented Catalan visual artist Alba de Corral. A still photo from one of her kinetic AI systems programmed directly in code, which matches perfectly the essence of Postman's brutalist alien sound.

Vinyl limited to 200 copies

The 8 tracks on this LP capture the guitar hero at his creative best; Jingo from the 1969 album Santana grabs our attention with a flurry of conga drums and snare drum rhythms. Carlos leaps into the fray with an anguished cry from his Gibson SG, displaying the sustained, melodic blues notes that became his signature sound. Carlos then does that voodoo that he does so well, on a studio version of Soul Sacrifice where he launches his cosmic guitar into outer space.
While Let’s Get Ourselves Together is a nicely constructed arrangement. Side 2 features As The Years Go By, a tasteful blues ballad, that has Santana caressing the strings with expertise and passion. Followed by a live performance of Evil Ways, one of Santana’s greatest hits that reached Number 9 in the U.S. Billboard chart in February 1970.

Studio album number 10 is now ready, and the anniversary is marked by what the band itself refers to as 'The Dogs 2.0'

They have recruited the star producer Chips K, who, in addition to producing
bands such as The Hellacopters, Sahara Hotnights and Millencolin, has played in
both Sator and Thåström. Locked up in the venerable Athletic Sound for a few
weeks last summer, they gave Chips free rein to manage the song material they
had given him 18 months prior. During the past years, via numerous releases and
massive touring, The Dogs have established themselves as one of Norway's
hardest working and most critically acclaimed bands. They have played sold-out
gigs all over Norway, supporting the likes of Bruce Springsteen as well as
Kvelertak on their European tour. The Dogs serve up intense, flat-out rock 'n' roll,
with A- list celebrity and TV and radio personality Kristopher Schau's ferocious
voice leading it all. The Dogs will embark on a massive release tour in Norway,
Sweden, Denmark, Germany, The Netherlands, Belgium and The Czech Republic
in March and April 2022.

Funny to think there was a time not so long ago when Stiff Richards was a name that required explanation - but not to you, of course, o punk connoisseur. This is your territory, after all. Music is your oxygen and the sound of the underground is your clarion call. You can explain the distinction between ‘Know Your Product’ and ‘No, You’re Product’. Hey, you’re probably pretty good-looking too. You know your shit, either way. So no wonder you’re drawn to this relative holy grail of modern garage rock - the 2017 self-titled debut album by the aforementioned Stiff Richards. Originally released on their own Stiff Records (and again by Legless in 2020), it lays down all the elements that made last year’s mighty ‘State of Mind’ LP such an instant classic. OK, we’ve established you know the drill, but let’s recap: scintillating Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It sounds like Royal Headache covering Motörhead, or maybe the other way around. It’s a full-on riot in 30 minutes - the rawest of rock’n’roll bleeding into the grimiest of power chords with hooks for days. You already know you’re gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping - like on sub-three-minute highlight ‘Strung Out’ - or sludgin’ their way through groovier cuts like ‘Bustin’ Out’, they’re never less than a treat that’s guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond). As a certain similarly-named record label once said, if it ain’t Stiff, it ain’t worth a fuck. Frightfully rude, but that’s rock music for you, I suppose. Get it in your ears.

Bazan got his start playing to the Christian rock scene, but the narrative
arc of his albums has traced his crisis of faith and his questioning of the
Evangelical Christian world in which he was raised
Yet, this record is not a final statement, not a "breakup letter to G_d." It's the
deepest and most explicit exploration of his struggles to date, and a meditation
on all things passed between the generations, and for the first time in a while,
Bazan seems actually interested in re- engaging in conversations with the
Evangelical community about his doubts (for example, for the first time in years,
he'll be playing huge Christian music festival Cornerstone this summer). Curse
Your Branches is a masterwork by a modern American poet (Paste called him one
of the "100 best American songwriters" in a piece that followed the release of his
solo EP Fewer Moving Parts) at the height of his powers.

New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre.

Double black vinyl LP format of the 1994 OST from one of the all time classic films. Features 32 songs including Elvis Presley, Aretha Franklin, The Four Tops, Bob Dylan, The Beach Boys, The Mamas & Papas, Simon & Garfunkel, The Byrds, Lynyrd Skynyrd, The Supremes, Willie Nelson, Joan Baez and more. Marketing activity.

"This Is A Photograph", MORBYs siebtes Album, ist ein Loblied auf die Americana, das Leben und Tod und Blut auf der Leinwand zum Ausdruck bringt. Der kreativ gestärkte Songwriter hat es geschafft, seine besten Songs, seine besten Gesangsleistungen, seine prägnantesten Texte und seine üppigsten Arrangements auf "This Is A Photograph" zu vereinen. Dies ist zweifellos sein bisheriges Hauptwerk. Die Geschichte beginnt im Januar 2020, als MORBY im Keller seines Elternhauses in Kansas City geistesabwesend in einer Kiste mit alten Familienfotos blättert. Nur Stunden zuvor war sein Vater bei einem Familienessen vor seinen Augen zusammengebrochen und musste ins Krankenhaus gebracht werden. In dieser Nacht spürte MORBY noch immer den Schock und die Angst, die ihm in den Knochen steckten. Also sah er sich die Bilder an, bis ihm eines davon ins Auge sprang: sein Vater als junger Mann, stolz und stark und voller Selbstvertrauen, der mit freiem Oberkörper auf einer Wiese posiert. "In the photo he looks young and full of confidence, puffing his chest out at the camera as if he were looking for a fight," erklärt MORBY. "It was not lost on me that this was the same chest, just hours before, I had seen the ambulance put a stethoscope against as he lay on the kitchen floor of my sisters house." Während sein Vater wieder zu Kräften kam, grübelte er über diese Gedanken nach. Und dann machte er sich auf den Weg nach Memphis. Er zog in das Peabody Hotel und verbrachte seine Tage damit, den Träumern, die er bewunderte, Tribut zu zollen und sich vor ihnen zu verneigen; er ging hinunter zum Ufer des Mississippi, zu der Stelle, an der JEFF BUCKLEY sein Ende fand. Er schlenderte durch das Viertel, in dem JAY REATARD seinen letzten Tag verbrachte, und fuhr dann am Stax-Zelt vorbei, um seine Stimmung kurz aufzuheitern. Dann fuhr er an Graceland vorbei, bevor er den Highway 61 überquerte und die Geister zu sich rufen ließ, um seine eigenen Träume zu gestalten. Abends kehrte er in sein Zimmer zurück und hielt seine Ideen auf einem behelfsmäßigen Aufnahmegerät fest, das nur aus seiner Gitarre und einem Mikrofon bestand. Die schwermütigen Songs, die zu all dem passen, was er gesehen hatte, sprudelten nur so aus ihm heraus. Wiederum leitete Sam Cohen (der "Singing Saw" und "Oh My God" produziert hatte) das Projekt. Sie begannen in Cohens Studio im Bundesstaat New York, das sich noch im Bau befand, zusammen mit dem Schlagzeuger Nick Kinsey, und arbeiteten langsam an den Songs, da die Reise der Aufnahme der Start-Stopp-Qualität von 2021 selbst entsprach, mit magischen Momenten, die in die prekären Navigationen eingestreut waren. Mit der Zeit füllte sich die Besetzung. Der ehemalige Tournee-Pianist Oliver Hill sowie seine Mutter Meg und seine Schwester Charlotte sorgten für die Streicher. Die Tourneeleute Cochemea Gastelum (Saxophon), Jared Samuel (Orgel) und Alecia Chakour (Gesang, Tamburin) stießen zu den Sessions hinzu, ebenso wie Eric Johnson (Banjo). Und neue Mitstreiter*innen wie Schlagzeuger Josh Jaeger (Schlagzeug, Perkussion), Brandee Younger (Harfe), Makaya McCraven (Schlagzeug), Cassandra Jenkins (Gesang) und sogar Tim Heidecker und Alia Shawkat (die schrägen Lacher auf "Rock Bottom") fügten sich in das entstehende Bild ein. Und passenderweise fanden die letzten Sessions live in Memphis in Sam Philips Recording Co. statt, das von seinem Sohn Jerry Philips geleitet wird und das Erbe des ursprünglichen Sun Records Studios fortführt.

"This Is A Photograph", MORBYs siebtes Album, ist ein Loblied auf die Americana, das Leben und Tod und Blut auf der Leinwand zum Ausdruck bringt. Der kreativ gestärkte Songwriter hat es geschafft, seine besten Songs, seine besten Gesangsleistungen, seine prägnantesten Texte und seine üppigsten Arrangements auf "This Is A Photograph" zu vereinen. Dies ist zweifellos sein bisheriges Hauptwerk. Die Geschichte beginnt im Januar 2020, als MORBY im Keller seines Elternhauses in Kansas City geistesabwesend in einer Kiste mit alten Familienfotos blättert. Nur Stunden zuvor war sein Vater bei einem Familienessen vor seinen Augen zusammengebrochen und musste ins Krankenhaus gebracht werden. In dieser Nacht spürte MORBY noch immer den Schock und die Angst, die ihm in den Knochen steckten. Also sah er sich die Bilder an, bis ihm eines davon ins Auge sprang: sein Vater als junger Mann, stolz und stark und voller Selbstvertrauen, der mit freiem Oberkörper auf einer Wiese posiert. "In the photo he looks young and full of confidence, puffing his chest out at the camera as if he were looking for a fight," erklärt MORBY. "It was not lost on me that this was the same chest, just hours before, I had seen the ambulance put a stethoscope against as he lay on the kitchen floor of my sisters house." Während sein Vater wieder zu Kräften kam, grübelte er über diese Gedanken nach. Und dann machte er sich auf den Weg nach Memphis. Er zog in das Peabody Hotel und verbrachte seine Tage damit, den Träumern, die er bewunderte, Tribut zu zollen und sich vor ihnen zu verneigen; er ging hinunter zum Ufer des Mississippi, zu der Stelle, an der JEFF BUCKLEY sein Ende fand. Er schlenderte durch das Viertel, in dem JAY REATARD seinen letzten Tag verbrachte, und fuhr dann am Stax-Zelt vorbei, um seine Stimmung kurz aufzuheitern. Dann fuhr er an Graceland vorbei, bevor er den Highway 61 überquerte und die Geister zu sich rufen ließ, um seine eigenen Träume zu gestalten. Abends kehrte er in sein Zimmer zurück und hielt seine Ideen auf einem behelfsmäßigen Aufnahmegerät fest, das nur aus seiner Gitarre und einem Mikrofon bestand. Die schwermütigen Songs, die zu all dem passen, was er gesehen hatte, sprudelten nur so aus ihm heraus. Wiederum leitete Sam Cohen (der "Singing Saw" und "Oh My God" produziert hatte) das Projekt. Sie begannen in Cohens Studio im Bundesstaat New York, das sich noch im Bau befand, zusammen mit dem Schlagzeuger Nick Kinsey, und arbeiteten langsam an den Songs, da die Reise der Aufnahme der Start-Stopp-Qualität von 2021 selbst entsprach, mit magischen Momenten, die in die prekären Navigationen eingestreut waren. Mit der Zeit füllte sich die Besetzung. Der ehemalige Tournee-Pianist Oliver Hill sowie seine Mutter Meg und seine Schwester Charlotte sorgten für die Streicher. Die Tourneeleute Cochemea Gastelum (Saxophon), Jared Samuel (Orgel) und Alecia Chakour (Gesang, Tamburin) stießen zu den Sessions hinzu, ebenso wie Eric Johnson (Banjo). Und neue Mitstreiter*innen wie Schlagzeuger Josh Jaeger (Schlagzeug, Perkussion), Brandee Younger (Harfe), Makaya McCraven (Schlagzeug), Cassandra Jenkins (Gesang) und sogar Tim Heidecker und Alia Shawkat (die schrägen Lacher auf "Rock Bottom") fügten sich in das entstehende Bild ein. Und passenderweise fanden die letzten Sessions live in Memphis in Sam Philips Recording Co. statt, das von seinem Sohn Jerry Philips geleitet wird und das Erbe des ursprünglichen Sun Records Studios fortführt.

If you are looking for nostalgia and rocksteady at its finest, all in one package, then this vinyl by Keith & Tex offers a good blend of both.



Born in the rocksteady era, Keith & Tex made their mark with a slew of hits and classics that have lasted over 50 years. From their haunting rendition of "Hypnotic Eyes" to the iconic guitar intro and solo of Lynn Taitt on "Stop That Train", you are treated to a unique style that still lives on after five decades. Since 1967 many of their songs have enjoyed great success and continue to be played and sung by a new generation of rocksteady lovers. This duo has a style that still seems surprisingly engaging and refreshingly innocent.





So lean back, turn up the stereo or plug in the earphones, and enjoy!

28. Januar 2022 – Gut drei Jahre nach seinem letzten Album erfreut Michael Bublé seine weltweite Fangemeinde mit der Ankündigung eines neuen Werkes: „HIGHER“ wird am 25. März 2022 über Warner Records / Reprise Records erscheinen und ist das insgesamt 11. Studioalbum des mehrfachen Grammy-Gewinners, vielfachen Juno-Preisträgers und weltweiten Multiplatin-Superstars. Die erste Single „I’ll Never Not Love You“ erscheint bereits heute und zeigt den Kanadier stimmlich und kreativ in Bestform. Der neue Track wurde von Greg Wells und Bob Rock zusammen mit Allen Chang, Jason „Spicy G“ Goldman und Sir Paul McCartney produziert.

Zu den Highlights des Albums gehören ein magisches Duett mit Willie Nelson für dessen Song „Crazy“, Bublés gefühlvoll gesungene Interpretation von Sir Paul McCartneys Song „My Valentine“ (produziert von McCartney) und der Bob-Dylan-Klassiker „Make You Feel My Love“, außerdem die drei von Bublé neu geschriebenen Titel, zu denen auch die erste Single „I'll Never Not Love You“ zählt. Absolut gelungen sind auch Bublés Interpretation des Sam-Cooke-Klassikers „Bring It On Home To Me”, „You're The First, The Last, My Everything” und das beschwingte „A Nightingale Sang in Berkeley Square". Den Abschluss des Albums bildet eine dramatische und atemberaubende Version von „Smile“, bei der Bublé von einem Gospelchor begleitet wird.

Bublé kommentiert: „Ich habe mich diesmal komplett geöffnet, um neue Dinge auszuprobieren. Ich wühlte mich tief in die Materie ein, umgeben von einigen der großartigsten musikalischen Vordenker, die wir auf diesem Planeten haben – Menschen mit einer gigantischen Vorstellungskraft. Ob ich mich mit Ryan Tedder und Greg Wells für Songwriting-Sessions zusammensetzte, mit meinem Kumpel Bob Rock drei Songs an einem Tag aufnahm – zusammen mit 40 fantastischen Studiomusikern, die seit 15 Monaten nicht mehr musiziert hatten –, oder einfach nur in Unterwäsche lachend und weinend durch mein Homestudio tanzte, weil ein Song genau richtig klang – jeder Moment fühlte sich magisch an. Als hätte sich das Universum verbündet, um mich nach 20 erstaunlichen Jahren genau an diesen Punkt zu bringen. Ich war noch nie so aus dem Häuschen, nachdem ich ein Album fertiggestellt hatte.“

„Michael Bublé ist ein großartiger Tanzpartner“, kommentiert Greg Wells. „Er zollt mir viel Anerkennung, doch der wahre Respekt gebührt ihm – dafür, dass er das Vertrauen hatte, mit einem neuen Team zu arbeiten. Er ist ein phänomenaler Hitmaker.“

Bublés langjähriger Produzent Bob Rock sagt: „Ich habe Michael noch nie so fokussiert und inspiriert erlebt. Er hatte eine ganz bestimmte Vorstellung von dem Album, das er machen wollte, eine klar umrissene Vision. Als wir uns ans Werk machten, hängte er sich bei jedem Song so lange rein, bis er so klang, wie er ihn in seinem Kopf hörte.“

Vor vielen Jahren entdeckte ein damals vierjähriger Michael Bublé im heimischen Elternhaus in Burnaby, Kanada seine Liebe zum Singen – und ließ sie seitdem nie mehr los. Sein selbstbetiteltes Debütalbum bei Reprise Records erschien 2005, gefolgt von einer Serie an Multiplatin- und #1-Erfolgen, darunter „Call Me Irresponsible“, „Crazy Love“, „To Be Loved“ und „Christmas“. Sein letztes Album „Love“ (2018) erreichte u.a. Platz 1 in den USA und UK und Platz 6 in Deutschland. Im Laufe seiner erstaunlichen Karriere hat Bublé über 75 Millionen Alben verkauft, sein Weihnachtsalbum wird auch zehn Jahre nach der ursprünglichen Veröffentlichung weiterhin millionenfach gekauft und gestreamt und seine Stimme ist der Inbegriff von Weihnachtszeit. Auch live hat Bublé in den letzten Jahrzehnten herausragende Erfolge gefeiert und ausverkaufte Shows in über 30 Ländern gespielt. Seine jüngste Tournee „An Evening With Michael Bublé“ (2019 bis 2022) wurde von über einer Million Fans auf der ganzen Welt besucht. Michael liebt Eishockey, Fantasy Football, TikTok und – na klar – Singen. Er ist der stolze Vater von Noah, Eli und Vida.

Classic 1987 album is one of the band’s most beloved releases. Includes a cover of Crime’s “Hot Wire My Heart”. “Let’s get something straight. There is no album in the entire corpus of indie rock not Loveless, not Surfer Rosa, not Psychocandy that reaches the heights of invention, joy, and magic of Sonic Youth’s sublime fifth album.... The haunted reveries of Sister remain with you for years, even if you only hear them once” Stereogum // 1987’s Sister was another notch in the band's move away from No Wave, yet still maintained their experimental approach. Gordon, Moore, Ranaldo and Shelley were coming into their own at this point, combining elements of noise, punk and pop. They had also become better songwriters since their previous album, providing better context for their noisier elements and incorporating the dissonance of their earlier releases into more traditional song structures. To quote Stereogum once again, “Sister is the sonic manifestation of refracted light. It’s a record that changes you.”

Hinter CoreLeoni verbirgt sich Namensgeber und Saitenhexer Leo Leoni, Hauptamtlich in Lohn und Brot bei den Schweizer Hard Rock Giganten von Gotthard.

»Core« steht dabei für dessen musikalischen Wurzeln, seine Leidenschaft für kraftvollen Hard Rock sowie den frühen Sound von Gotthard auf deren ersten drei Studioalben. Speziell dem Debüt aus dem Jahre 1992 wollte der Tessiner Tribut zollen und rief mit befreundeten Musiker, wie Igor Gianola (ex-U.D.O.) sowie Frontmann Ronnie Romero (Rainbow, MSG) eben Coreleoni ins Leben, die auf den ersten beiden Alben »The Greatest Hits Part 1« sowie »II« vor allem den härteren Gotthard Klassikern neues Leben einhauchten.
Auf ihrem kommenden, dritten Album stehen vorwiegend brandneue Eigenkompositionen im Vordergrund und sollen Coreleoni endgültig als eigenständige Rockformation etablieren. Sein Debüt darauf gibt der gebürtige Albanier Eugent Bushpepa (exˇSunrise, Darkology), der Leoni anno 2018 als Teilnehmer beim Eurovision Song Contest in Lissabon (Song »Mila«) auffiel, wo er den siebten Platz belegte.

»Er ist ein großartiger Sänger und ein wahnsinnig toller Mensch. Er hat unfassbar viel Seele und Emotion in seiner Stimme und seiner Weise, Musik zu machen. Das fasziniert mich sehr und ich hoffe, euch da draußen ebenso«, adelt Leoni seinen neuen Vokalisten.

Hinter CoreLeoni verbirgt sich Namensgeber und Saitenhexer Leo Leoni, Hauptamtlich in Lohn und Brot bei den Schweizer Hard Rock Giganten von Gotthard.

»Core« steht dabei für dessen musikalischen Wurzeln, seine Leidenschaft für kraftvollen Hard Rock sowie den frühen Sound von Gotthard auf deren ersten drei Studioalben. Speziell dem Debüt aus dem Jahre 1992 wollte der Tessiner Tribut zollen und rief mit befreundeten Musiker, wie Igor Gianola (ex-U.D.O.) sowie Frontmann Ronnie Romero (Rainbow, MSG) eben Coreleoni ins Leben, die auf den ersten beiden Alben »The Greatest Hits Part 1« sowie »II« vor allem den härteren Gotthard Klassikern neues Leben einhauchten.
Auf ihrem kommenden, dritten Album stehen vorwiegend brandneue Eigenkompositionen im Vordergrund und sollen Coreleoni endgültig als eigenständige Rockformation etablieren. Sein Debüt darauf gibt der gebürtige Albanier Eugent Bushpepa (exˇSunrise, Darkology), der Leoni anno 2018 als Teilnehmer beim Eurovision Song Contest in Lissabon (Song »Mila«) auffiel, wo er den siebten Platz belegte.

»Er ist ein großartiger Sänger und ein wahnsinnig toller Mensch. Er hat unfassbar viel Seele und Emotion in seiner Stimme und seiner Weise, Musik zu machen. Das fasziniert mich sehr und ich hoffe, euch da draußen ebenso«, adelt Leoni seinen neuen Vokalisten.

Hinter CoreLeoni verbirgt sich Namensgeber und Saitenhexer Leo Leoni, Hauptamtlich in Lohn und Brot bei den Schweizer Hard Rock Giganten von Gotthard.

»Core« steht dabei für dessen musikalischen Wurzeln, seine Leidenschaft für kraftvollen Hard Rock sowie den frühen Sound von Gotthard auf deren ersten drei Studioalben. Speziell dem Debüt aus dem Jahre 1992 wollte der Tessiner Tribut zollen und rief mit befreundeten Musiker, wie Igor Gianola (ex-U.D.O.) sowie Frontmann Ronnie Romero (Rainbow, MSG) eben Coreleoni ins Leben, die auf den ersten beiden Alben »The Greatest Hits Part 1« sowie »II« vor allem den härteren Gotthard Klassikern neues Leben einhauchten.
Auf ihrem kommenden, dritten Album stehen vorwiegend brandneue Eigenkompositionen im Vordergrund und sollen Coreleoni endgültig als eigenständige Rockformation etablieren. Sein Debüt darauf gibt der gebürtige Albanier Eugent Bushpepa (exˇSunrise, Darkology), der Leoni anno 2018 als Teilnehmer beim Eurovision Song Contest in Lissabon (Song »Mila«) auffiel, wo er den siebten Platz belegte.

»Er ist ein großartiger Sänger und ein wahnsinnig toller Mensch. Er hat unfassbar viel Seele und Emotion in seiner Stimme und seiner Weise, Musik zu machen. Das fasziniert mich sehr und ich hoffe, euch da draußen ebenso«, adelt Leoni seinen neuen Vokalisten.

"'AYII' is a collection of roadside Souvenirs on the rural highway of our
inevitable evolution," shares Jon Stone.
"Polaroids
Storms. Open fields. Tears. Therapy. Burning of fields to make way for new
growth. We've attempted to open personal doors that have been patiently waiting,
annoyingly, stubbornly waiting for a sliver of truth. Hopefully we've delivered."
Kristy Osmunson adds, "Parenthood. This album was created during the most
pivotal time in life made while creating two humans. If I could capture the
process this music brought about in five words I would say, sobriety, health,
growth, responsibility and joy. This last five years has been a massive transition.
Playing festivals, weddings, funerals, therapy sessions, and music lessons has
become the soundtrack of life. 'Gonna Be You' landed on this planet the same
weekend as my first son so I will love that song through eternity. As she always
does, this music brought about a full revolution in my existence as a human." The
11-track project was produced by American Young, Kyle Schlienger, Lee Brice, and
John Vesley.

French finest synth-pop band Bon Voyage Organisation release his second opus after a feature on Cocktail d'Amore 10 Years compilation.

"La Course" is a cinematic, synthesized and library-esque journey that could be a mixed-up between Italian early 80's productions and french 00's disco.

"This record marks the beginning of a new attitude towards recording," says Bon Voyage Organisation's Adrien Durand. "Switching from a busy studio that I shared to having my own very quiet cabin in the North West of Paris has inspired me to adopt a more meditative approach."

Whilst it's fair to say Durand has been constantly on the move for some time - be it touring or producing records for the likes of Amadou & Mariam, Papooz and Bagarre - there's a sense of new momentum, as well as stillness, that hangs over this record. One that's fully instrumental and as he describes being more free.

The band's trademark glistening production, disco flair, shimmering electronics and incandescent melodies still remain but a more intuitive and striped back approach was favoured this time around. Some of this attitude stemming from an evening opening for Kamasi Washington. "Because of the constraints of being an opening act we played as an instrumental quintet instead of our usual 9-piece band," says Durand. "We rehearsed the day before, our set opened with John Coltrane's 'Naïma' followed by a hard-bop ish version of Kraftwerk's 'Trans Europe Express'. It felt so good to perform that repertoire in that configuration that I had the vision of bringing this aspect of the band in the studio."

There was also a removed sense of pressure with this record - no major label expectation of a radio friendly record, combined with a deconstructed approach to songwriting. "Since 2014 I've been working mostly on projects involving a lot of conventional songwriting," Durand says. "I was keen on producing a record based on performance and atmospheres more than repertoire." He also sought inspiration from a perhaps unlikely source: The Arctic Monkeys. "I was really encouraged by them going out of their comfort zone on their last album - it really caught my attention in a Bowie / Berlin period way."

The result of the album is one that oozes the natural momentum of experimentation, texture, mood and intuition while managing to retain a sonic coherence. In a none-obvious and zeitgeist clichéd way, there is perhaps a more jazz-leaning approach to the record that weaves between soft subtle moments to the more atonal and experimental, all underpinned by sweeping, engulfing soundscapes and the usual touch of non-Western musical flourishes. This vibe came from a distinct lack of editing, says Durand. "In the studio we had everyone sitting in the same room - sometimes up to 6 players - and I never edited the playing. I just went on to record some additional synth and percussion, insert the soundscapes, and mix the record."

This less is more approach, avoiding indulgence and superfluousness, is something Durand can't help but feel is an artistic response to the pace of modern life. "There is a frenetic approach to everything," he says. "People want to binge on everything, expect ultra fast changes on any political cause etc. The response is a big comeback of things like the practice of meditation, yoga and ambient music." There are times when this record falls into the territory of meditative ambience, as on the immersive plunge one takes swimming through the beautiful 'Un Am Ricain En Danger'. It's an album to bathe in and to be carried along by, it's gripping by being so rather than fighting for your attention

Ultimately the record is one that feels it's been allowed room to breath, a sonic sphere in which musicians have been allowed to roam as freely and thoughtfully as the listener. "This record is about welcoming the music and being able to let each musician express themselves during the recording process," says Durand. "This is a valuable trade that takes time."

Vinyl is limited to 500 copies on black vinyl, no download card. Sunzoom have been making a stir from their Liverpool base and this highly anticipated debut is not to be missed. Lo-fi and DIY in equal measure, the record was only conceived of 4 weeks into the first lockdown when songwriter Greg McVeigh decided that recording music was the only way to stay sane. Building a makeshift studio in the kitchen of his North Liverpool home (and deciding to name the new project SUNZOOM after a favourite Captain Beefheart track) Greg set about learning the processes of home recording from the ground up. The album theme draws upon the peculiar aspects of lockdown; isolation, spiritual introspection, longing to be somewhere else, weird dreams, drinking too much and takes the listener on a journey of escape. The songs move the record through fields, countries, time, space, memories and longings to finally end back at home in the reality of the four walls. Digging into some past unreleased recordings, poems, unfinished snippets of tunes and writing new songs (usually sung into his phone during months of daily beach walks with his dog) Greg began to build a record within the claustrophobic environment of summer 2020. Friends were able to collaborate (by the magic of old recordings and new parts sent via email) and in early 2021 Sunzoom entered ARK Recording Studios in Liverpool to add live drums and vocal parts subsequently spending a month mixing the record back home in the familiar surroundings of the kitchen where the concept first began. The result is a snapshot of the period that magically transforms personal and public strife into glorious pop-folk psychedelia.

The British shoegaze pop band Engineers was formed in London in
2003 by Mark Peters, Simon Phipps, Andrew Sweeney and Dan MacBean. MacBean is also known as the guitarist in The Shining. After being signed to Echo Records, the band released their self- titled debut album in 2005. The album features the acclaimed tracks “Home”, “Forgiveness” and “Waved On”. The latter was produced by Tim Holmes, who worked with The Chemical Brothers, Primal Scream and multiple albums for Death In Vegas.

Engineers is available as a limited edition of 1500 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve.

Like a book club - only with albums.A simple, but beautiful concept

MJ McArthy (Zoey Van Goey) asked a small group of his pals to gather at The Laurieston – that mystical voodoo Glasgow boozer…that adored bar that defies all reason and logic – and they would talk about a record, track by track, and see what happens.They didn't know each other. There were theatre people:, Playwrite Douglas Maxwell, Isobel McArthur (actress and writer, the genius behind smash hit Pride and Prejudice Sort Of) and Cathy Forde (acclaimed YA novelist and playwright) and Rhona NicDhughaill who works for Gaelic arts company Theatre Gu Leor, as well as being an old band buddy of MJ's from their student days. Peter Geoghegan, award- winning firebrand political journalist and writer of the wonderful Democracy For Sale was there. And lastly - and slightly freaking them out on that very first night - were two actual Delgados: Emma Pollock and Paul
Savage.

And then…MJ had songs. MJ always has songs. And he started to wonder if this particular group of humans could, as well as talk about an album, make an album? For the musicians I don't suppose that was a particularly weird notion, but for the rest of the band it was quite a leap. However, MJ was adamant…let Album



Club become ALBUM CLUB. The Band!