Cerca:the oh no s

Brigid O'Neill's new album The Truth & Other Stories, recorded at Skinny Elephant Studios in Nashville with Neilson Hubbard in the producer's chair, cannot help but be influenced by the times which informed it, 'very few people escaped being affected by the pandemic, writers included.

Somehow the experiences of it seeped through onto our work and I feel The Truth and Other Stories is no exception in that regard.'
That said, this is not specifically an album about Covid or the pandemic, 'I was fascinated by the concept of 'truth' and intrigued by the concept of everyone having a different version of their truth....a personal viewpoint, their own narrative, their own story. The title plays a bit with shades of meaning - a 'counter positioning' if you like. The 'other stories' may challenge the truth, but 'the truth'
retains that sense of the absolute. In the songs I hope to present the realities of different characters through short stories. As I moved through the pandemic however, different stories came to light and sometimes the focus would shift.

Ultimately though, I have been living with these stories and these characters for some time now.'
Neilson Hubbard as producer was an obvious choice for O'Neill. A growing relationship with Nashville had seen her writing, playing and developing relationships with the many truly great musicians available across Music City.

"Being in Nashville with a producer like Neilson who has such an intuitive feel for that music, and with access to musicians who simply live and breathe it, seemed like a good idea. I'd met Neilson a few times through our mutual friend and musician Ben Glover, and it was quickly clear we would get along and had a similar attitude to the music production process. When choosing a music
producer, listening to their catalogue of works is crucial, but so too I think is that 'gut feeling' and knowledge that you can connect. When I sent Neilson my music, I knew he 'got it' and I knew I was in safe hands." Recent years have seen Brigid O'Neill gaining a deserved reputation as one of Ireland's finest songwriters. Reviews of her critically acclaimed latest releases
have reaffirmed that the gifted artist is one of the most versatile, unique and fearless storytellers on the island. Her genre-spanning music appeals to multiple generations, effortlessly weaving elements of folk, country and jazz into relatable tales of happiness, heartbreak and the human condition.

The live recordings included here are among the very best from Billie Holiday's final years
Part of the motivation behind the 1956 Carnegie Hall concert was to promote Billie's autobiography, Lady Sings the Blues.

The music was attuned entirely to Billie's character part, reinforced by readings from her book by Gilbert Millstein. Although recorded in 1956, the LP was only issued in 1961, almost two years after Billie's passing on July 17, 1959, at the age of 44.

Billie Holiday, vocals
Roy Eldridge, trumpet
Coleman Hawkins, tenor sax
Carl Drinkard, piano
Tony Scott, clarinet (piano on Lady Sings the Blues only)
Carson Smith, bass
Chico Hamilton, drums
Gilbert Millstein, readings from the book Lady Sings the Blues Live at Carnegie Hall, New York, November 10, 1956.

Three years after the release of his critically acclaimed album "Salone",
Bai Kamara Jr returns with "Traveling Medicine Man", a 13-track
collection of blues songs portrayed in Bai's unique style
In a descriptive, provocative and sometimes suggestive way, the tales of love, life,
relationships, politics and innuendo are meticulously explored by the
raconteur.''Traveling Medicine Man is the continuation of my introspective journey
through my roots and my perpetual quest to make my two homes, Africa and
Europe, coexist within me. The title was inspired by my maternal grandfather
Tinka Tanner Kargbo, born in 1901 in the Northern Province of Sierra Leone. He
was educated by the Wesleyan Missionaries and later traveled with them across
the country to help provide medical care to villagers and townspeople. I was
fortunate enough to have spent some time with my grandfather when I was still a
child, and one of the things that fascinated me the most about him was his ability
to reconcile his Christian beliefs with his traditional African beliefs and
customs.'' (Bai Kamara Jr)For the making of this album Bai brought his touring
band, The Voodoo Sniffers, into the studio; these exceptional musicians
contributed to Bai's unique and evolving sound. With a percussive nature at the
heart of the arrangements this rootsy blues is spiced up with an afro vibe, making
you want to get up and dance more often than not. May your listening experience
be soothing and pleasurable with a healing effect

Oceanhoarse mag ein Neuling auf dem Gebiet des Heavy Metal sein, aber schnell und laut werden sie die Szene im Sturm erobern! Die Helsinki-Band mit Ben Varon (ex-Amoral) an der Gitarre, Bassist Jyri Helko (Warmen, ex-For The Imperium), Oskari Niemi am Schlagzeug und Sänger Joonas Kosonen tourte bereits in Finnland, Tokio, Japan und ganz Europa.
Zweifellos macht die Heavy-Metal-Gruppe ein Statement gegen computerisierte Metal-Musik, bei der es schwer zu wissen ist, was real ist und was nicht: Mit Oceanhoarse, gelobt für ihre wilde Energie auf der Bühne, bekommst du, was du siehst, ohne Backing-Tracks; aber pur, roh und wild - eine Seltenheit in der Heavy-Musik-Welt heutzutage.
Im Juni 2020 veröffentlichten Oceanhoarse The Damage Is Done - LIVE!, ein Album mit 11 Straight-in-Your-Face-Heavy-Metal-Hymnen, die auf einer ausgedehnten Tournee mit Nightwish-Sänger und -Bassist Marko Hietala aufgenommen wurden. Die Singles von Oceanhoarse, die auch auf dem Soundtrack des beliebten Videospiels Wreckfest enthalten sind, wurden bereits fast zwei Millionen Mal allein auf Spotify gestreamt.
Im Jahr 2021 ging die Band mit dem deutschen Label Noble Demon einen Gang höher, das erste Studioalbum der Band veröffentlichte und das Follow-up ist bereits für Anfang 2023 geplant!


Mit ehemaligen und aktuellen Mitgliedern bekannter Bands wie Amoral, Warmen und anderen haben sich Oceanhoarse zu einer Band entwickelt, die bereit ist, die Dinge in ihrem eigenen Stil zu erkunden, anstatt sich an irgendeine Art von Durchschnittsformel zu halten. Nachdem sie 2021 ihr Debütalbum "Dead Reckoning" (Noble Demon) veröffentlicht haben, gefolgt von mehreren Single-Veröffentlichungen und ausgedehnten Tourneen, sind die aus Helsinki stammenden Vierer vielleicht einer der bemerkenswertesten und hart arbeitenden Newcomer. Also macht euch bereit für "Heads Will Roll", ein Album, das ihr im Jahr 2023 nicht verpassen solltet!
Als Bonus gibt es das Live Album von "The Damage is Done" als 2te CD dazu.

Kalita are proud to unveil the second volume in their "Borga Revolution!" compilation series, focussing on the phenomenon of "Burger Highlife", a crossover of West African melodies with synthesizers, disco and boogie that took over Ghanaian airwaves during the 1980"s and beyond. Featuring both highly sought-after recordings by artists including Atta Frimpong and D.J. Lawyer Okyere, as well as seminal performances by greats such as Pat Thomas, A.B. Crentsil and Alan Cosmos, Kalita once again come to the rescue of audiophiles, DJs and music-lovers alike with "Borga Revolution! - Volume 2". Spread over a double-LP housed in a gatefold sleeve. Accompanied by a 12-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.

Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.

Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.

Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.

Lovesick – everyone knows it, everyone hates it. Everyone feels alone. Everyone questions the previous relationship and what has been said during it. Everyone tries to numb the pain of this all-encompassing suffering with alcohol and drugs. Everyone calls at four in the morning and leaves embarrassing love confessions on the answering machine that will be never heard. Everyone feels alone and tries to find solace in casual acquaintances in bars, only to be turned away for being pushy. Everyone lays up for weeks stalking the likely reason this relationship ended, oh! It didn’t have to end, it was all so nice and this new one can’t be good and he/she won’t be good if the plans I’ve been making here for nights come true…oh how nice would this be! Oh it can’t be, maybe I just can’t be loved… maybe I just should…

Everybody knows it.

But from now on you never have to go through all that heartbreak alone again because we Herzschmerz Versicherungen have the solution! We are a band from Stuttgart, somehow only classified as dilletantic strange in the genre. We are at your side and take care of you when your heart hurts!

Book one of our numerous insurance packages today, or just listen to our songs – that helps too!

“Denn wenn du dir nicht sicher bist und deine Liebe bald zerbricht: Komm, schöner Mensch und kauf doch eine Versicherung bei mir, Bei Herzschmerz bin ich dann immer da, bei dir!”

Iassen Markov & Jannik Haller

Bllack Vinyl Version / 2x12'' / mokum printed sleeve.

Uncomon Mokum sound ?
oh no...
this is the original start again vibe.
Limited 150 Autoprod.

Tears are in the eyes of Xabiib Sharaabi, nicknamed the Somali King of Pop when he entered the stage of Berlin’s HKW. It is a mix of nostalghia, pain and joy. Like many Somalis he had been deprived overnight of both glamour and friends, the war in his homeland had sent him into exile. The glamorous discos and beachfront stages Mogadishu had once been famous for, had disappeared as the city was bombed to the ground. The King of Somali pop found himself stranded in Sweden, others like the members of Dur-Dur Band Int. ended up in London which until today has the largest Somali diaspora in Europe.

In the last decade many early recordings of Somalia’s funk, soul and disco era have been reissued. This record is not a reissue. The Berlin Session – is the first studio album of its kind since the golden days of Mogadishu came to a halt three decades ago. It is the living proof that Somali music is hot, funky and (!) well alive.

The record captures a historic reunion which took place in 2019 in Germany’s capital Berlin. London-based Dur-Dur Band Int. an eight-piece powerhouse of Somali live- music unites with three legendary Somali singers: Xabiib Sharaabi, Faduumina Hilowle and Cabdinur Allaale for a concert at Berlin’s HKW. Fueled with a restored sense of pride, the freshly reunited musicians decided to get together in a Neukölln studio for two amazing days of recording.

Female vocalist Faduumina Hilowle opens the album with an invitation to kickass: “Let’s shake off the dust, boys!” (Inta ka hurguf). Grooving with such a strong accent on the off-beat, any non-Somali listener may think of Reggae. But when you ask the musicians, they tell you: “They took it from us! It’s Dhaanto! It’s our rhythm”. Originating from the Ogaden region (now in neighbouring Ethiopia’s borders), Dhaanto dates back to the era of “clap & chant”. Some say it is an imitation of the camel’s bounce. Xabiib Sharaabi was once nick-named Somalia’s King of Pop for the body language and magnetising voice with which he incorporated the latest global musical trends - even recording two disco albums entirely in English. On the album Xabiib chooses to sing his Somali adaptation of “Lady” originally by Afrobeat pioneer Fela Kuti. Not unlike the Motown Sound of Detroit and Kingston’s Studio One: a small scene of musicians were fueling that new Somali Disco scene in Mogadishu. Cabdinur Allaale, the third vocalist on the album comes from neighbouring Djibouti. In the heydays the leader of then famous Sharaf Band was a frequent visitor, flying back and forth between Mogadishu, Hargeisa, Kismayo & Djibouti entertaining his fans on the Horn of Africa.

Dur-Dur Band Int. ‚The Berlin Session‘ brings the spirit, joy and hope of this era back: In the last decades Somalis stars have lived among us, spread all over the world, it is time to see them step into the limelight again.

Nicolas Sheikholeslami:
In 2015 Berlin-based Nicolas Sheikholeslami became fascinated by Somali music and ended up compiling a mixtape to share his passion. He did not know that his tape Au Revoir, Mogadishu Vol. 1 - Songs From Before The War would spark a massive international interest for Somali music. Soon later Nicolas co-compiled Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa for Ostinato records which got a Grammy-nomination in 2017. Berlin’s venue HKW took notice and asked him to set up a show with a selection of Somali artists from the golden era. This lead to this remarkable reunion. A studio was booked and within 2 days this album was recorded. The Berlin Session captures this emotional moment. In 2021/22 Nicolas Sheikholeslami finally sat down and mixed the recorded material. This record is the living proof that Somali music is hot, funky and well alive.

Slade were unstoppable throughout the seventies becoming one of Europe's biggest bands, releasing 6 smash hit albums, including three UK No-1’s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era.
First released in 1983, this splatter vinyl of ‘The Amazing Kamikaze Symdrome’ hears the band smash through a series of hits including Run Runaway, My Oh My and Ready To Explode.

Slade waren in den siebziger Jahren unaufhaltsam und
wurden zu einer der größten Bands Europas. Sie
veröffentlichten sechs Hit-Alben, darunter drei britische
Nr.1-Hits, und 17 aufeinanderfolgende Top-20-Singles,
und ihre Hits sind ein Synonym für die Glam-Ära. "The
Amazing Kamikaze Symdrome" ist ursprünglich 1983
erschienen und zeigt die Band mit einer Reihe von Hits
wie "Run Runaway", "My Oh My" und "Ready To
Explode". Das Album erscheint jetzt als limitierte orange
und rote Splatter-Vinyl.

2023 REpress
A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across seventeen open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records.

From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardley’s poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illnois, Arkansas, Nevada, Massachussets, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid.

A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’.

Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Ganebin-de Bons and an aptly penned forward from Sonic Boom.

In late 1996, after two years of persistent touring, Chisel was eager to document its quickly evolving sound. Decamping from their native D.C. to Brooklyn's Rare Book Room, the power trio of Ted Leo, Chris Norborg, and John Dugan teamed with engineer Nicolas Vernhes and came away with Set You Free, a remarkable, but largely overlooked, classic of the era. Originally issued on the venerable Gern Blandsten imprint in April 1997, Set You Free presaged the turn of the century 60s rock revival, providing a counterpoint to second-wave emo. This deluxe 25th anniversary edition has remastered and expanded the original's 17-song track list with five period alternates and rarities, plus a booklet of lyrics, photos, and an essay by Jes Skolnik. Get ready for the invasion.

In late 1996, after two years of persistent touring, Chisel was eager to document its quickly evolving sound. Decamping from their native D.C. to Brooklyn's Rare Book Room, the power trio of Ted Leo, Chris Norborg, and John Dugan teamed with engineer Nicolas Vernhes and came away with Set You Free, a remarkable, but largely overlooked, classic of the era. Originally issued on the venerable Gern Blandsten imprint in April 1997, Set You Free presaged the turn of the century 60s rock revival, providing a counterpoint to second-wave emo. This deluxe 25th anniversary edition has remastered and expanded the original's 17-song track list with five period alternates and rarities, plus a booklet of lyrics, photos, and an essay by Jes Skolnik. Get ready for the invasion.

With her hypnotizing voice and vivid lyricism, Jackie Mendoza makes fantastical, intimate electro-pop propelled by ukulele-based dance grooves. Having grown up between her birthplace of Chula Vista, California and Tijuana, Mexico, the 29-year-old singer-songwriter and multi-instrumentalist bridges these two worlds with dynamic soundscapes that pull from Latin pop, electronic music, and indie pop. She creates a musical universe that exists beyond strict borders of genre and geography, giving her the space to traverse the vast expanse of her interiority. Mendoza first started performing in 2014 as the vocalist for Brooklyn dream pop bands Gingerlys and Lunarette. She then broke out as a solo artist with her 2016 pop hits "Islands" and "La Luz," which showcased her imagery-packed, yet deeply introspective lyrics. On LuvHz, her 2019 adventurous debut EP that was initially inspired by a painful breakup, she turned her personal experiences into songs that observe greater truths about the world around her. As a result, the project became a broader reflection on varying forms of love, in relationships with your partner, your culture, and the natural environment. Mendoza expands this approach on her debut album, Galaxia de Emociones (Galaxy of Emotions), which sees her exploring a great range of feelings, from depression, celebration, outrage, numbness, hopelessness, and thrilling love. She uses each emotion as a portal to convey the intricacies of her experience as a queer, first-generation Mexican American woman, who actively defies and criticizes machismo and the Christian culture she was surrounded by. Brought up in the suburban border town of Chula Vista, she recalls being told by her parents to not mix English with Spanish, but speaking "spanglish" quickly became inevitable. It wasn't until high school, that learning to play ukulele and singing in school musicals allowed her to authentically express herself. "This album is about finding the courage to not only face my emotions, but also sharing them by singing them out loud." Mendoza says. The project was co-written and co-produced by Mendoza and Rusty Santos (Animal Collective, Panda Bear), with a contribution from Grammy winning producer and accordionist Ulises Lozano. As Galaxia de Emociones cruises from shimmering indie pop to accordion-laced electronic norteño, Mendoza proves there is both power and tenderness in embracing the fullness of your being and not doubting your instincts that might have been discouraged by society. She says it all in the opening song, "Natural," which blooms with spacey synths and twinkling ukulele plucks. "There is no use in controlling what comes natural to you," she sings in Spanish in a spellbinding loop. With her new album, she hopes that listeners can connect with her words and look within to explore their own galaxy of emotions.

As Deutsche Grammophon celebrates its 125th birthday this year 2023, the Yellow Label marks the occasion by releasing a selection of vinyl LPs for the first time ever.
Nadine Sierra’s childhood intuition – that she was born to sing opera – has proved correct in every way and is reflected in the title of her second solo album for DG. The dramatic presence, searing passion and technical brilliance for which the American lyric soprano regularly scores rave reviews are captured in Made for Opera, which trains the spotlight on three of the most demanding roles in the repertoire – Verdi’s Violetta, Donizetti’s Lucia and Gounod’s Juliette. Recorded with the Orchestra Sinfonica Nazionale della Rai and Capella Cracoviensis under Riccardo Frizza, the album not only reflects Nadine Sierra’s command of bel canto technique and rich range of vocal colours, but also documents her insights into the psychology of the ill-starred heroines of La traviata, Lucia di Lammermoor and Roméo et Juliette.

"Bernhard von Siluh Records hat mich gebeten, einen Hype-Text über die neue BAD WEED-Platte zu formulieren, und ich fühlte mich zunächst geschmeichelt, hatte dann aber doch Zweifel... Wie kann ich euch dieses Powerpop-Juwel in wenigen Worten erklären und näher bringen? Es ist nicht nur das übliche Jangle-Pop-Ding oder noch schlimmer, nicht etwas, das man heutzutage "Garage-Punk" nennt, nein, Sir! Es ist echter Powerpop im Stil der 70er Jahre, aber wie mein Chef immer zu sagen pflegt: Man kann den Leuten nicht erzählen, wie großartig eine Powerpop-Platte ist - man muss sie sich anhören, am besten mit einem Getränk der Wahl in der Hand, und bald wird sie ihre Besonderheit enthüllen (oder auch nicht). Was liebe ich an BAD WEED, außer der Tatsache, dass sie die hübschesten Jungs der Welt sind, die - nachdem sie 20 Jahre lang in verschiedenen Bands gespielt haben - endlich gelernt haben, ihre Instrumente zu spielen? Es sind die Songs! Es geht nur um die Songs! Die erste Single aus dem Jahr 2015 war etwas anderes, man kann es sogar Garagenpop nennen, ihr Debütalbum vor ein paar Jahren und etwa 100 Shows später war nur der Anfang, hier ist ihr zweites Album mit dem schlichten Titel "II", das Talent, Songwriting-Fähigkeiten und Pop-Handwerkskunst zeigt! Einige dieser 12 Originalsongs erinnern mich an Alben/Bands, die längst vergessen sind, wie z.B. "If you ever pt. 1" könnte eine frühe THE FRESHIES-Single sein, "Breaking Lines" könnte von einer RUDI-Setlist sein oder "Who's gonna love me" klingt wie einer dieser THE COLD-Ohrwürmer. Die meisten Songs haben diesen 80er-Jahre-UK-Indie-Punk-Vibe, der direkt in mein Gehirn und mein Herz geht! Sie haben sogar die Frechheit, TOWNES VAN ZANDT zu covern - und schaffen es, dass es nicht so deprimierend klingt wie das Original, nur ein bisschen traurig vielleicht. Zu behaupten, dies sei ein Wohlfühlalbum, ist nicht ganz richtig, so einfach ist es nicht. Es ist eine Platte, die Lust macht, die Band in einem kleinen Club live zu sehen, eine Platte, die einen einfach lächeln lässt und an gute Zeiten erinnert. BAD WEED ist eine Band für die Hosentasche, eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen_" (Elmar / Bachelor Records) "Debüt-Scheiblette von Wiens Blitzpopgroup. Mitreißender Powerpop-Punk mit ganz viel early UK- vs semi-modern Texas-Sound in den Venen. Buzzcocks , Exploding Hearts, The Jam, Bad Sports, Marked Men, .... Schweine-tight gespielte, tolle Melodien, die einen sofort abholen, bissi Saxophon hier und Orgel da!! Die Platte strotzt vor Energie und Spielfreude, findet einen steilen Breakeven zwischen Witz, Charme und Klassenbewusstsein. Stark!" (FLIGHT13)