After a long hiatus Klaus Benedek comes back on his own mothership Fortunea Records with a brand-new production. ‚Tombstone’ heralds the autumn. You can feel the melancholy that brings the end of the warm and bright days with it. Although the subject matter is dark and eerie, the track wanders with its epic instrumentation through pensive optimism. The remarkable chopped hookline and the concise and soft bassline are casted in a flowing deep sounded carpet full of hope. An epic excursion that you definitely should give a try.
A considerable move into a different sound sphere goes Berlin-based artist and Tieffrequent-founder Siggatunez. He has had an outstanding array of vital productions this year and with his remix he lets you „feel the unknown“. In a very detailed way he made a serious dancefloor intended track, in the signature style of his current output, where beats and groove take the lead, but keeping the soul of the
original with the use of its pads, strings and bass.
Tombstone will come out on limited 200 copy vinyl and in its digital form onstreaming services and download stores on the 27th of october. There will be no repress!ö
Cerca:tombstone
Black Vinyl[30,21 €]
Amber-Black Smoke Vinyl[29,37 €]
- A1: Boom Boom (Feat. Jimmie Vaughan)
- A2: I'm Bad Like Jesse James
- A3: Same Old Blues Again (Feat. Robert Cray)
- A4: Sugar Mama
- A5: Trick Bag (Shoppin' For My Tombstone)
- B1: Boogie At Russian Hill (Feat. Albert Collins)
- B2: Hittin' The Bottle Again
- B3: Bottle Up And Go
- B4: Thought I Heard (Feat. Charlie Musselwhite)
- B5: I Ain't Gonna Suffer No More
- B6: Dimples (Bonus Track)
- B7: Ain’t No Love In This House (Bonus Track)
Nach seinem Comeback mit „The Healer“ (1989) begab sich John Lee Hooker zu Russian Hill Recording in San Francisco und The Record Plant in Sausalito, um einige seiner bekanntesten Songs neu zu
interpretieren, darunter „Boom Boom“, das diesem Album seinen Titel gibt. Eine Starbesetzung zeitgenössischer Bluesgrößen nahm an den Sessions teil, darunter Charlie Musselwhite, Jimmie Vaughan, Robert
Cray und Albert Collins.
- A1: Commando
- A2: The Wolfpack
- A3: Black Crow On A Tombstone
- A4: Die By My Hand
- B1: My Skin Is Cold
- B2: The Sign Of The Trident
- B3: Last Man Standing
- B4: Den Siste
Gatefold sleeve Insert Seventh studio album by black metal band Satyricon Includes the single "Black Crow n A Tombstone" and “My Skin Is Cold” Originally released in November 2008 through Roadrunner Records, The Age of Nero is the seventh studio album by black metal band Satyricon. Most of the album was written in a forest cabin, with the collaboration of Snorre Ruch (Thorns).
It was recorded in part at Sound City Studios in Van Nuys, California. In this studio bands like Metallica and Nirvana had also recorded. In support of the release The Age of Nero the band did a full European headlining tour in November /December 2008. The album includes the single "Black Crow on a Tombstone" and “My Skin Is Cold” (also released as 5 track EP prior to album release). Available on black vinyl housed in a gatefold sleeve and it includes an insert.
- A1: Born On The Bayou, Written-By – John Fogerty
- A2: Green River, Written-By – John Fogerty
- A3: Tombstone Shadow, Written-By – John Fogerty
- A4: Travelin' Band, Written-By – John Fogerty
- A5: Fortunate Son,Written-By – John Fogerty
- A6: Commotion, Written-By – John Fogerty
- A7: Midnight Special, Arranged By – John Fogerty, Written-By – Traditional
- B1: Bad Moon Rising, Written-By – John Fogerty
- B2: Proud Mary, Written-By – John Fogerty
- B3: The Night Time Is The Right Time, Written-By – Lew Herman
- B4: Good Golly Miss Molly, Written-By – John Marascalco, Robert Blackwell
- B5: Keep On Chooglin', Written-By – John Fogerty
- A1: Don't Take Your Guns To Town - Johnny Cash
- A2: Big Iron - Marty Robbins
- A3: (Ghost) Riders In The Sky - Eddy Arnold
- A4: The 3:10 To Yuma - Frankie Laine
- A5: Gunslinger - Katie Lee
- A6: The Streets Of Laredo - Don Gibson
- A7: The Old Chisholm Trail - Tex Johnson
- A8: Tennessee Stud - Eddy Arnold
- A9: The Pony Express (I've Got To Carry The Mail) - Jimmie Driftwood
- B1: El Paso - Marty Robbins
- B2: Jesse James - The Kingston Trio
- B3: Wanted Man - Frankie Laine
- B4: Death Valley - Glen Campbell
- B5: Lost On The Desert - Johnny Cash
- B6: When It's Springtime In Alaska (It's Forty Below) - Johnny Horton
- B7: Sam Bass - Tex Ritter
- B8: Nineteen Men - Johnny Western
- B9: The Long Black Veil - Lefty Frizzell
The Wild West cowboy occupies a symbolic and central place in
popular culture. The lone rider, out on the range… The whitehatted hero facing up to a gang of outlaws in a gunfight… The
wagon train heading out over the horizon… Celebrated in cinema
since the beginning of movies, the cowboy has also found a
regular home on record, as this vinyl LP compilation testifies.
Listen to these songs and, with just a little imagination, you can
picture the solitary cowboy on his trusty steed, watching a cattle
round-up, or making his way into a town like Tombstone… A
timeless myth, captured forever in these Songs Of The Wild
West…
- Forever Merciless
- Steel
- Revenge
- Tombstone
- Terrorized
- Smoke Of Doom
- Into The Grave
- Floods Of No Return
Ende Mai 2025 veröffentlicht das schwedische Powerhouse Caregah sein mit Spannung erwartetes Debütalbum »Osmium«. Nachdem es 2023 von der Band noch in Eigenregie erschien, war die Nachfrage nach diesem Metal-Juwel im Untergrund so massiv angewachsen, dass sich ROAR der Band und dem Album angenommen hat.
- 1: Copycat League
- 2: 6/9
- 3: Poetry From Pain (Feat. Nothing, Nowhere.)
- 4: Mascot
- 5: Roses (Feat. Mike "Truck" Ryan)
- 6: Army Of None
- 7: Talk Real
- 8: Best Served Cold
- 9: Tombstone
- 10: Paydirt
- 11: Still Playin' For Keeps (Big Umbrella Remix)
- 12: Heavy Metal Money (Seen It All Before)
Magenta-Canary Yellow-Black A Side/B Side Colourway
Pushing every boundary to a breaking point, GRIDIRON will go to any extreme and then some. They follow quite possibly the most unpredictable playbook in the game. The band might flood the zone with a corpsepaint-smearing death metal barrage only to double back around for a victory lap narrated by blinged-out and braggadocios bars. Their hybridization of metal, hardcore, and hip-hop wouldn’t be out of place at either OZZfest 1997 or Rolling Loud 2027. It’s why the quintet—Matthew Karll vocals, Will Kaelin [guitar, vocals], Xavier Wilson [guitar], Lennon Livesay [bass], and Tyler Mullen [drums]—have bulldozed their own path as a phenomenon with millions of streams and acclaim from Stereogum, Brooklyn Vegan, NO ECHO, and more. GRIDIRON was born out of a series of COVID-era marathon Call of Duty sessions, which led to writing and recording together. Their musical pedigree spoke for itself with Will also in Never Ending Game, Xavier in Simulakra, and Tyler and Lennon in Scarab. Given their individual experiences, the guys instantly locked into a creative groove. Following the Loyalty At All Costs EP [2020] and Worldwide Brotherhood EP [2021], they dropped their first full-length, No Good At Goodbyes [2022]. The title track reeled in over 851K Spotify streams followed by “25-8” with 560K Spotify streams. Along the way, they also shared stages with everyone from Missing Link to Trapped Under Ice. Now, GRIDIRON continue to smash through walls on their second full-length offering and Blue Grape Music debut, Poetry From Pain.
[k] 11. Still Playin' For Keeps (Big Umbrella Remix) [feat. Daniel Son, Pro Dillinger, Jay Royale]
[l] 12. Heavy Metal Money (Seen It All Before) [feat. Big Body Bes]
Tribunal kehren mit ihrem zweiten Album "In Pentinence and Ruin" zurück, einer Elegie voller Trauer und Verlorenheit, die immer tiefer in den feierlichen Abgrund des Kummers hinabsteigt. Das Debüt "The Weight of Remembrance" von 2023 legte die Messlatte für die Kanadier hoch und wurde zu einer der bemerkenswertesten und am meisten gelobten Doom-Veröffentlichungen des Jahres, was Decibel Mag dazu veranlasste, das neue Album der Band in ihre jährliche Liste der am meisten erwarteten Veröffentlichungen aufzunehmen. Tribunal haben sich Zeit genommen und ein Werk von enormer Tragweite geschaffen, das in längst verlassenen Hallen noch lange nachhallen wird.
In Penitence and Ruin" hat sich zu einer vollwertigen fünfköpfigen Band und Live-Einheit entwickelt und bietet einen größeren Zusammenhalt und eine größere Reife, die das Wehklagen der Witwe mit düsteren Streichern, schaurigen Tasten und Schlagzeug, das wie die eiserne Glocke des Schicksals läutet, miteinander verwebt. Diese Elemente schmücken das monolithische Fundament aus erdrückenden Klageliedern und funeralen Melodien, die aus dem Mark der Trauer selbst gehauen sind. Die Dualität zwischen dem wehmütigen, leidenschaftlichen Gesang des Sängers/Cellisten Soren Morne und den gequälten Knurrlauten des Gitarristen/Sängers Etinne Flinn verbindet sich mit entschlossenem Schritt und schreitet voran in die Dunkelheit, auf einem Pfad, der nur durch das fahle Glühen einer fernen Klage erhellt wird.
Tribunal hath wrought a requiem most dire where beauty and ruin become one and in doing have forged a second album beyond expectations, progressive in its embrace of the penitent and eminently listenable as a scripture of loss. Like ivy upon the tombstone, 'In Penitence And Ruin' winds slowly but inexorably towards spectral grandeur and eternal oblivion.
- Incarnadine
- A Wound Unhealing
- Angel Of Mercy
- The Sword Of The Slain
- Ruin
- The Penitent
- Armoured In Shadow
- And The Thorn-Choked Flowers Grow
- Between The Sea And Stars
Neon Violet/Mint Green Merge Vinyl[26,01 €]
Tribunal kehren mit ihrem zweiten Album "In Pentinence and Ruin" zurück, einer Elegie voller Trauer und Verlorenheit, die immer tiefer in den feierlichen Abgrund des Kummers hinabsteigt. Das Debüt "The Weight of Remembrance" von 2023 legte die Messlatte für die Kanadier hoch und wurde zu einer der bemerkenswertesten und am meisten gelobten Doom-Veröffentlichungen des Jahres, was Decibel Mag dazu veranlasste, das neue Album der Band in ihre jährliche Liste der am meisten erwarteten Veröffentlichungen aufzunehmen. Tribunal haben sich Zeit genommen und ein Werk von enormer Tragweite geschaffen, das in längst verlassenen Hallen noch lange nachhallen wird.
In Penitence and Ruin" hat sich zu einer vollwertigen fünfköpfigen Band und Live-Einheit entwickelt und bietet einen größeren Zusammenhalt und eine größere Reife, die das Wehklagen der Witwe mit düsteren Streichern, schaurigen Tasten und Schlagzeug, das wie die eiserne Glocke des Schicksals läutet, miteinander verwebt. Diese Elemente schmücken das monolithische Fundament aus erdrückenden Klageliedern und funeralen Melodien, die aus dem Mark der Trauer selbst gehauen sind. Die Dualität zwischen dem wehmütigen, leidenschaftlichen Gesang des Sängers/Cellisten Soren Morne und den gequälten Knurrlauten des Gitarristen/Sängers Etinne Flinn verbindet sich mit entschlossenem Schritt und schreitet voran in die Dunkelheit, auf einem Pfad, der nur durch das fahle Glühen einer fernen Klage erhellt wird.
Tribunal hath wrought a requiem most dire where beauty and ruin become one and in doing have forged a second album beyond expectations, progressive in its embrace of the penitent and eminently listenable as a scripture of loss. Like ivy upon the tombstone, 'In Penitence And Ruin' winds slowly but inexorably towards spectral grandeur and eternal oblivion.
- A1: Searchin' Ft. Jem Cooke
- A2: Falling Down - Totally Enormous Estinct Dinosaurs & A-Trak
- B1: Y Don't U
- C1: Alive Ft. Bloom Twins
- C2: R U Dreaming? Ft. Mathew Jonson
- D1: So Low Ft. Zoe Kypri
- D2: La Hija De Juan Simon Ft. Mëstiza
- E1: Warrior Dance Ft. Jojo Abot
- F1: Sunrise Generation Ft. Fink
- F2: Force Ft. Jojo Abot
Audio alchemist Damian Lazarus continues to redefine the boundaries of electronic music with his fifth studio album, ‘Magickal’.
Renowned for his unparalleled ability to craft transformative sonic journeys, Damian Lazarus is a master of rhythm, melody, and vibration—a true pioneer among his generation’s visionary artists. Damian’s broad depth of experience encompasses a variety of disciplines: tastemaker, selector, label owner, A&R and a Grammy-nominated artist in his own right - each informed by his unique ear for sound. He is chief wizard of the hugely influential and culture-defining Crosstown Rebels label, a globally renowned DJ with a penchant for exotic outdoor locations and a highly regarded recording artist with four albums and a plethora of solo cuts, collaborations and remixes in his sprawling discography.
With his fifth album, ‘Magickal’, Damian steps into his next evolutionary phase, combining his newly found sobriety with a more mature outlook while still pushing boundaries and creating unforgettable moments. At the root of it all is the magical power of togetherness and human connection that only music can facilitate. Driven by this core ethos, Damian continues on his mission to share his heartfelt music, taking the dance floor into unexplored realms of experience, facilitating moments of transcendence, bliss and pure, unadulterated magic.
Damian Lazarus, the avant-garde architect of spiritually nourishing sounds, is joined by a stellar lineup of collaborators on his latest excursion. It’s imaginative and mystical, rhythmically captivating and daring in its own way, as is typical of Damian’s approach. Taking consideration of his past, the album references his previous work to create a tapestry of compositions that tap into the energy of key moments from his discography. Drawing on his existing catalogue creates cohesive through lines and thematically serves as a continuation of previous stories. November’s single, ‘Sunrise Generation’, for instance, works as a companion to ‘Vermillion’, which was recorded by Damian with his band The Ancient Moons and vocalist Moses Sumney back in 2015. ‘Sunrise Generation’, featuring the beautiful vocals of Fink, was Damian’s first major release since his Grammy-nominated 2021 collaboration ‘Don’t Be Afraid’ with Diplo and Jungle, and continues to take inspiration from global gatherings at solstice and those moments of collective awe at sunrise.
Indeed, the album’s themes of mental elevation and psychedelic sonic journeys are evident throughout. Damian channels this energy through tracks like the soulful ‘So Low’, featuring the incredible Zoe Kypri, and the luminous ‘Searchin’, with Jem Cooke, whose collaboration with Damian dates back to ‘Flourish’ (2020) and lead single ‘Into The Sun’. Uplifting is the operative word here, as Damian aims straight for our hearts and inner selves, stripping away the layers to take us on a trip inwards, and out into the ether all at once. There’s a clear nod to Damian’s appreciation of amapiano when he teams up with Ghanaian interdisciplinary healer Jojo Abot on ‘Warrior Dance’. Old friend and inspirer Mathew Jonson brings his virtuoso touch to ‘Are You Dreaming?’, while TEED and A-Trak form an awesome alliance for ‘Falling Down’ with its heartrending vocals. ‘Alive’ features the Bloom Twins, and also additional production from acclaimed producer Mark Ralph, who incidentally worked on Damian’s debut album ‘Smoke The Monster Out’ in 2009 and forms another throughline to the past. ‘Alive’ blends pop sensibilities and song structure with Damian’s inimitable sound - and could become one of Damian’s biggest moments to date. ‘La Hija De Juan Simon’ delves into the Latin energy synonymous with vibrancy and self-expression as Damian teams up with acclaimed Spanish flamenco-influenced duo Mëstiza. On a solo tip, he rolls out with the eight-minute-plus soulful funk flex ‘Why Don’t U’.
In a suitably aligned instance of serendipity, the arrival of ‘Magickal’ comes at a pivotal period in Damian’s life, just as it has been with previous album concepts. Albums made and released during big shifts in his life speak to the correlation between growth, personal evolution, creativity, catharsis and sharing that process musically. The last album ‘Flourish’, for instance, was recorded and released in the space of a few months during the first summer of the global pandemic. As a result, there’s a kind of vulnerability in the music, a subtle story that’s being told with emotional touchpoints that will be relevant to anyone listening. The universal human experience and spectrum of emotions are things almost everyone can relate to. With the enhanced clarity of his sobriety, Damian’s compositions embody the uplifting nature of simply being alive, connected and unified in our love for music and one another.
Day Zero, Damian’s iconic annual festival, is intrinsically linked to ‘Magickal’. It’s the setting for his imagination when producing the music, it’s the launchpad for each year’s kaleidoscopic adventures around the world, and this year’s edition will be the backdrop to the release of ‘Magickal’. As the pinnacle of Damian’s annual experiences, Day Zero marks a vital milestone for his artistry, an extension of his inner realm, carefully curated and created for his global family of lovers and dancers to revel in the awe-inspiring beauty of Mother Nature. Central to the ethos of Day Zero is its sustainability practices and deep consideration for the locality within which it is held. Connections with local elders embolden its depth, cultivating a strongly aligned purpose with the ritual, customs and energy of the land and its people.
‘Magickal’ will be released in the same week as Day Zero, tying the two projects together in a neat dovetail. 12 years since it started, Day Zero continues to play a significant role in the music Damian makes, curates and plays. For him, it’s the epitome of his vision: a stunning natural setting, the very best party people from around the world, an unparalleled lineup of friends and family, high production values, eco-centric policies and music from another dimension. With these interdimensional transmissions, Damian channels his inner alchemist, which, in turn, permeates into the vibrational framework of ‘Magickal’.
Never one to adhere to convention, Damian has opted for a disruptive album release. ‘Magickal’ is to be kept under wraps and then announced and released on Crosstown Rebels on 8th January 2025, bypassing the modern trend of prolonged single drops and ‘tombstone’ album releases. ‘Magickal’ is the embodiment of Damian and his intentional, against-the-grain approach and reinforces the album as a complete artistic statement, offering listeners the full cohesive experience from the very beginning. This is a return to the album as the pinnacle moment and not the afterthought. Singles, edits and remixes will follow the ‘Magickal album’ release, and, of course, there will be a world tour to promote the album (including Glastonbury and Coachella) and a chance to present the album in exciting, innovative and unique ways.
Forever dreaming, a sincere student of magic, new and old, social sorcerer, lover of nature and master of musical wizardry, Damian Lazarus is a potent force. With ‘Magickal’, he reaffirms his place as one of electronic music’s most influential figures, taking listeners on a profound journey into sound, spirit, and connection.
- Pony
- At The Movies
- Buyer Beware
- Fire Sermon
- Po Box 96
- Charm
- Black Heart Blue
- Nothing Wrong
- Control
- Dry Cycle
- The Path
- Tombstone
- Get My Soul
„When you gonna stop running?“ fragen The Men in der ersten Zeile von „Pony“, dem ersten Song und der ersten Singleauskopplung aus dem
kommenden Album „Buyer Beware“ des New Yorker Rockquartetts. Machen Sie keinen Fehler - dies ist kein Zeichen einer existenziellen Krise,
sondern eher ein Aufruf zu den Waffen für eine Band, die noch nie lange stillgestanden hat. Nach eigenen Angaben ist „Buyer Beware“ ihr 15. Album
seit ihrem Debüt „We Are The Men“ (2009) und ihr viertes für Fuzz Club.
The Men haben eine Arbeitsmoral, die so altmodisch ist wie ihre Rockwurzeln, doch trotz der Hektik scheinen sie nie in Eile zu sein - ein Widerspruch,
der sich in ihrer Musik auf natürliche Weise auflöst, indem sie die rohe Wut des Punkrock mit der minimalistischen Strenge eines Steve Reich (oder,
außerhalb der Musik, Mark Rothko) in zenartiger Ausgewogenheit in Einklang bringen. "Buyer Beware“ ist die fünfte Zusammenarbeit von The Men
mit dem Tontechniker Travis Harrison (Guided by Voices, Built to Spill), der die Nuancen der Gruppendynamik - Nick Chiericozzi (Gitarre/Gesang),
Kevin Faulkner (Bass), Mark Perro (Gitarre/Gesang) und Rich Samis (Schlagzeug) - sehr gut einfängt. Durch die direkte Aufnahme auf Band fängt
Harrison das rohe, konfrontative Fieber ihrer Bühnenshows ein, ohne dabei ihre introspektiven Untertöne zu opfern. Das Ergebnis ist zweifelsohne ihr
aggressivstes Album seit „Leave Home“ (2011) und ihr psychedelischstes seit „Immaculada“ (2010)
Black Vinyl[16,43 €]
After a well-received debut via Tombstone, the band reached greater heights with Curse Of The Coffin for Nervous Records.
- A1: The Smoke
- A2: Going Home
- A3: The Devil To Pay
- A4: King Of The Blues
- B1: Gonna Dance On Your Tombstone
- B2: Good Morning Little Schoolgirl (Live)
- B3: Pork Pie Hat (Live)
- C1: The Game
- C2: It’s Coming Back Around
- C3: I Grew Up On Muddy Waters
- C4: She’s Got The Mojo
- D1: I'd Love To Change The World (Live)
- D2: Love Like A Man (Live)
- D3: I’m Going Home (Live)
- Edge Of Chainsaw
- The Door
- Imagine Devils
- The Devil Hunter
- Rain
- Nail-Biter
- Black Despair
- That's A Dream Come True
- Special Division 4
- Livingroom
- Side B
- Looking For Something
- Chainsaw Attacks!
- The Devil Appears
- Destroy Them All
- Good Night,Boy
- Sweet Dreams
- Eat.sleep.play
- 100: % Sales Tax
- Kick Ass!
- The Golden Bowlers
- Search And Destroy
- Death Cluster
- Humans Are Fools
- Side C
- Buddy
- Song For Unbirthday
- Verge Of Death
- Nmgeai
- Dream... Come True?
- You Were Here
- Ave Xxxxxx
- Sepia
- In The Bullet Train
- Brutal Life
- He's On The Back Foot
- Arg
- Pain In The Ass
- Side D
- Stranger In Paranoid
- Pong Pong Pong
- Stay In The Darkness
- Crawler
- Brotherhood
- Gun,Knife
- A Tombstone
- Tear Off
- Run
- Metal Riser
- Sword Of Hunter
- The End Of Childhood
- Confront
From the studio of Attack on Titan, comes a new show - CHAINSAW MAN. This vinyl includes score highlights by Kensuke Ushio from the hit series The soundtrack album by Kensuke Ushio taps into different styles whilst at the core reflecting the action-gore story with lots of electronic & industrial beats and fast-paced melodies. As a contrast, the focus track "that's a dream come true" is a slow-vibing piano track with electronic beats that shows the rare but intense emotional scenes in the show. Kensuke Ushio started his solo career in 2007 under “agraph”. and creates electronic music. He has worked on music for animation TV series, music in advertising and movies such as: A Silent Voice, Devilman Crybaby, Space Dandy, Liz and the Blue Bird, Japan Sinks 2020, Heike Story and now Chainsaw Man.
This publication combines an artfully designed book (design: Martin Stiehl) and a USB-Stick with high-quality audiovisual recordings of the three parts of the project. The book offers an introduction to the project as a whole but also expands it with articles from the past and the future (co written by Marko Ciciliani and Nicolas Trépanier), as well as a link to online content. Published by MILLE PLATEAUX (MP70) and Galerie der Abseitigen Künste, 2023
"In 1833, Sieglinde Stern, a professional weaver and amateur engineer, invented the first
electromagnetic pickup and thus the first electrically amplified stringed instrument. One hundred years later, in 1933, her invention enabled the production of the first electric guitar, which became one of the most popular and widely played instruments in the history of Western music. Yet today, another 150 years later, no one plays this instrument anymore! What led to the rise and fall of the electric guitar? What is it about this instrument that had its suppressed origins in the craft of weaving and that in its final evolution mutated back into a loom? And who was its inventor Sieglinde Stern, erased from history and only resurrected as David Bowie's Ziggy Stardust?" Why Frets? consists of three works - an audiovisual performance, a mixed-media installation and a performance-lecture - that illuminate different aspects of this fictional history of the electric guitar from various angles. The story is based on speculative fabulation - a deliberate reinvention of the past. Rather than pursuing the idea of creating novelties as an envisaging of the future, speculative fabulation and the rewriting of history proceed from an examination of the conditions under which society and culture arrived at their present state. In this way, the three individual works Why Frets? - Downtown 1983, Why Frets? - Tombstone and Why Frets? - Requiem for the Electric Guitar complement each other in the sense of transmedia storytelling: Each is a self-contained entity, but taken as a whole, the three works shed different lights on the electric guitar, focusing on aspects such as technocultural developments, inscriptions of gender, and social values
- A1: When I Paint My Masterpiece
- A2: Most Likely You Go Your Way (& I'll Go Mine) (& I'll Go Mine)
- A3: Queen Jane Approximately
- A4: I'll Be Your Baby Tonight
- B1: Just Like Tom Thumb's Blues
- B2: Tombstone Blues
- B3: To Be Alone With You
- B4: What Was It You Wanted?
- C1: Forever Young
- C2: Pledging My Time
- C3: The Wicked Messenger
- C4: Watching The River Flow
- C5: It's All Over Now, Baby Blue
- C6: Sierra's Theme
Gatefold, 2 x black Vinyl, Special Cover vanish, printed Innersleeves
Das Album SHADOW KINGDOM präsentiert Dylan mit einigen Songs aus seinem legendären Backkatalog in neuen Interpretationen - darunter Fan Favorites wie "Forever Young" und "It's All Over Now, Baby Blue" sowie ausgesuchte Katalogperlen wie "Queen Jane Approximately" und "The Wicked Messenger". Ursprünglich für ein exklusives Streaming-Film-Event eingespielt, das im Juli 2021 lediglich in einem begrenzten Zeitraum von einer Woche ausgestrahlt wurde, ist SHADOW KINGDOM nun erstmals auf Vinyl, CD und digital erhältlich. Die Setlist des Albums umfasst 13 Originalsongs, die Dylan für seinen Auftritt in "Shadow Kingdom" persönlich ausgewählt hat, sowie das abschließende Instrumental "Sierra's Theme". "Dylan zeigt immer wieder, wie sehr man selbst als notorische lebende Legende auf der Höhe der Zeit bleibt." (Joachim Hentschel, Süddeutsche Zeitung). "Die für diesen Anlass halbakustisch umarrangierten Songs sind dabei geradezu betörend. 'Tombstone Blues' als entschleunigtes Rezitativ ist einer der Höhepunkte, ein geisterhaftes 'What Was It You Wanted' ein anderer." (Maik Brüggemeyer, Rolling Stone).



















