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Als Nathan Salsburgs Tochter ein Baby war, sang er sie oft in einem Schaukelstuhl in den Schlaf. Irgendwann erinnerte er sich an ein Lied, das er sich als Teenager beigebracht hatte: "The Evidence" von Lungfish, der Band aus Maryland, die Post-Punk in den 90er und 00er Jahren prägte. Salsburg erkannte, dass er den Gitarrenpart mit einer Hand spielen und dabei singen konnte, während er Talya in seinem anderen Arm hielt. Obwohl die Originalversion von "The Evidence" nur fünf Minuten lang ist, ist es ein sich wiederholendes Mantra, so dass Salsburg es nach Belieben verlängern konnte - 10 Minuten, 20 Minuten, sogar eine Stunde. "Es war therapeutisch und beruhigend und einfach schön für mich", sagt er. "Und es wirkte bei ihr." Schließlich beendeten Nathan und Talya ihr Ritual, aber sein Wiegenlied-Cover blieb in seinem Kopf. Also überzeugte er seine Kollegen aus Louisville, Bonnie "Prince" Billy (alias Will Oldham) und Tyler Trotter vor, dass sie eine Version mit Salsburg an der Gitarre aufnehmen sollten, während Oldham singt und Trotter Drumcomputer und Synthesizer hinzufügt. Sie beschlossen neben"The Evidence" noch einen anderen Song von Lungfish zu covern, "Hear the Children Sing", und spielten jedes Stück so lange, dass pro Song eine Albumseite gefüllt würde. Das Ergebnis ist das betörende "Hear the Children Sing the Evidence", ein Album, das die Stärken und Visionen der drei Musiker zeigt, während es gleichzeitig vor Augen führt, wie kraftvoll die Lieder von Lungfish sind.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

Turman first came onto the industrial scene in the late 70’s as the ominous ‘other half’ of legendary noise outfit NON. Shortly after recording the classic 1977 single Mode of Infection, Turman went on to pursue his own unique vision as a solo artist. Fusing every possible influence at his disposal while laying his ideas down on self-released cassettes like Flux (1981), Spirals of Everlasting Change (1987), Way Down (1987) and the massive Chapter Eleven cassette box set (1988). After a hiatus Turman resurfaced in 2005 to team up with seminal noise musician Aaron Dilloway. Since then, he has been gradually adding new titled to his already impressive discography.

For this archival release Turman selected 7 tracks that were recorded between 1980 and 1984. A welcome supplement to his library of avantgarde music that was released in the 80s. This album fits in nicely between the early industrial noise, the long-form minimalism of Flux and the rhythmic industrial of Way Down. Focusing on slowly shifting hypnotic loop-based layers of sound, it covers a specific side of Turman. It feels like there’s a direct link to his earliest works but it’s also a precursor to some pieces that were recorded much later. A missing link that finally gives us the opportunity of a complete overview of his early audio work.

All 7 tracks on this album have a connection to the written word in the form of a poem. Scans of the original typewriter poems are included together with collages and drawings from this specific time frame to create an essential and singular piece of art.

Dieses Album ist wie aus einem Guss. Perfekt produziert. Grosse Melodien, Hymnen gar – opulent und doch so zart. Getragen von dieser einzigartigen sanft weich und doch so kraftvoll und bisweilen rauhen Stimme. Untermalt von den stimmigen Arrangements des Haseland Orchesters. Hier wächst ein Steiffen über sich hinaus. Er selbst sagt auf die für ihn so berühmte schüchterne und zurückhaltende Art:

Dies ist mein bestes Album seit „Arbeiter der Liebe“! Und recht hat er!
Auf seinem 2. Studioalbum wirkt der „Arbeiter der Liebe“ reifer, nachdenklicher, hinterfragt Beziehung, seziert Persönlichkeitsstrukturen und beschreibt dabei Typen und Situationen, die wir alle kennen. Und zwar so klar und präzise und stellt sich damit ungefragt auf eine Stufe mit Goethe, Nietzsche oder Heine. Ist hier vielleicht der grösste Philosoph des 21. Jahrhunderts am Werk? – Wahrscheinlich nicht. Aber er kennt die Menschen und spricht ihre Sprache. An Christian Steiffen scheiden sich die Geister. Die einen lieben und verehren ihn, die anderen vergöttern ihn schlichtweg. Und sollte der eine oder die andere auch überfordert sein im Angesicht der Fülle und des Reichtums dieser Tonaufnahmen, Christian bringt es wie immer auf den Punkt:
“Diese Platte ist wirklich zuviel des Guten!“

Tyr aus Tórshavn, Färöer, ist eine einzigartige Metal-Band: Sie hat sich weltweit einen Namen gemacht und begeistert Fans mit ihrer kraftvollen Musik und den epischen Texten, die von der färöischen Kultur und Mythologie inspiriert sind. Und jetzt ist es endlich soweit - das lang ersehnte Best-Of-Album von Tyr ist endlich da!

Auf diesem Album findest du die stärksten Songs der Band, aus ihrer Zeit unter Napalm Records. Von mitreißenden Hymnen bis hin zu epischen Balladen deckt die Band ein unglaubliches Spektrum ab. Die kraftvolle Stimme des Sängers Heri Joensen und die virtuosen Gitarrenriffs entführen in eine andere Welt und ziehen von Anfang bis Ende in ihren Bann.

Die Band Tyr hat es geschafft, die traditionelle färöische Musik mit modernem Metal zu verbinden und dadurch einen einzigartigen Sound zu kreieren, der sie von anderen Bands abhebt. Mit ihrer eindrucksvollen Bühnenpräsenz und ihrer leidenschaftlichen Performance begeistern sie ihr Publikum bei jedem Auftritt und hinterlassen einen bleibenden Eindruck.

"ANNO DOMINI picks up Black Sabbath’s story in 1989, two decades and multiple lineup changes into the band’s groundbreaking career as metal originators. At the time, membership had solidified around riffmaster and founding member Tony Iommi, legendary drummer Cozy Powell (Jeff Beck, Rainbow, Whitesnake), singer Tony Martin, and longtime Black Sabbath collaborator and keyboardist Geoff Nicholls (Quartz, Bandy Legs).
The group originally released Headless Cross in 1989 on I.R.S. Records, the first of five albums Sabbath recorded for the label. Praised by fans and critics alike, the band’s 14th studio release produced three singles: “Devil And Daughter,” “Call Of The Wild,” and the title track. Bassist Neil Murray (Whitesnake, Gary Moore) joined for the “Headless Cross Tour” and stayed to record Sabbath’s next album, 1990’s Tyr. Named for the Norse god of war, the album explores similar mythological themes in songs like “The Battle Of Tyr” and “Valhalla.” On “The Sabbath Stones,” the band channels Old Testament fire and brimstone into a classic bruiser.
In 1992, following a successful world tour, this incarnation of Black Sabbath was put on hold when the band reunited temporarily with Ronnie James Dio. Two years later, Martin and Nicholls were back in the studio with Iommi to record 1994’s Cross Purposes. The band was completed with the addition of founding Sabbath bassist Geezer Butler and drummer Bobby Rondinelli of Rainbow.
The Tyr-era Black Sabbath lineup reunited in 1995 when Powell and Murray returned to record Forbidden. It was the band’s 18th studio album, and its last for nearly 20 years.
Contents:
Vinyl box set includes:
• Newly Remastered Versions Of :
- Headless Cross
- Tyr
- Cross Purposes
• Brand New Remix By Tony Iommi Of Forbidden
• 1989 Headless Cross Tour Replica Concert Book
• 40 Page Book with Photos, Artwork and Liner Notes
• 1989 Headless Cross Replica Colour Poster"

Upchuck are experiencing a moment. The Atlanta punk collective just came off multiple tour runs with their good friend Faye Webster. Their Ty Segall-produced second album Bite The Hand That Feeds, with all its buzzsaw guitars and high-speed rippers and headbanging sludge, arrived in October. Later this year, they’ll make appearances at multiple festivals including Coachella. In the midst of relentlessly barreling ahead, the band and their label Famous Class are taking a beat to revisit how they got here. After working with Segall on Bite the Hand That Feeds, the band floated the notion that they wished they could hear what their collaborator could do with the songs on their 2022 debut album Sense Yourself. Holed up in his studio over Christmas with COVID and nothing else to do, Ty Segall began toying with Sense Yourself, sifting through folders of unlabeled stems to find the best guitar parts, emboldening the drum sound, and bringing greater clarity to KT’s vocals, all while bolstering the urgency of the band’s overall attack. With Segall’s new mix, Upchuck’s intense and righteous debut now impossibly overflows with even more fuzz and fury. In Segall, they found a kindred spirit whose studio approach made sense for just how hard they wanted this music to hit. “When we first went to record with Ty for Bite the Hand That Feeds, Mikey and I walked into the guitar room and Ty said, ‘Don’t touch the EQs.’ We looked at the amp and everything was on 10 except the master volume,” Hoff said. Previously, the band had been encouraged to capture the unvarnished sound of the studio. They’d toured with Segall’s band Fuzz, so everybody had the same goal while recording together: Capture the electricity of their intense live set. The band’s shows have a reputation for coming unglued, and there’s no greater document of that than Sense Yourself’s iconic album artwork. With no text, it’s a candid photo of a moment from a show shot on film without editing: blood streaked across KT’s face as they shout into the mic. In the middle of their EP release show, KT was in the pit as a fan started crowd surfing inside a shopping cart. A loose piece of metal near a wheel caught the singer right near the eyebrow and blood was everywhere, an instant piece of iconography snapped by probably every camera phone in the room. When Hoff revisits the message of this first album and Upchuck’s first songs, he thinks back to the year before the band even started when he and KT were hanging out. “We were sitting around talking for eight hours like ‘fuck, that's fucked up, that's fucked up.’” Upchuck became a vehicle for these five people to process how fucked up everything it is—to digest these formative hours-long conversations and put them to bludgeoning, intense rock music. The music is also fun as hell, and that’s part of the point. “There's a lot we need to do as people and a lot of things we need to fix in society but also like come on man like have your fun, wild out, have your drink,” KT says. “But be on your shit at the same time. Check your folk.”

Tyler Hubbard beweist auf seinem zweiten Album ”Strong” erneut, warum er zurecht zu den angesagtesten und besten neuen Künstlern der Countryszene zählt. Mit mehr als 1 Milliarde Streams als Solokünstler enthält Tyler Hubbards zweites Soloalbum 13 brandneue Songs, darunter “Back Then Right Now“, “Turn“ und “Wish You Would“. Das Album ist jetzt auch erhältlich als limitierte Vinyl nur solange der Vorrat reicht!

Citadel of Stars" ist ein bahnbrechendes Album. Eine einzigartige Mischung aus epischem Pagan Metal und traditionellem Blackened Metal. "Citadel of Stars" ist sowohl ein wehmütiges Klagelied für ein sterbendes Zeitalter als auch ein hoffnungsvoller Blick auf eine Wiedergeburt zwischen den Sternen. Der kanadische Ein-Mann-Act SIG:AR:TYR ist mit "Citadel of Stars" zurück. Das erste neue Album seit dem 2016 erschienenen "Northen"

kehrt zu den dunklen Atmosphären früherer Werke zurück und verwebt Vergangenheit, Gegenwart und Zukunft zu einer bahnbrechenden Veröffentlichung, die die epischen Themen von 20 Jahren SIG:AR:TYRs musikalischem Erbe widerspiegelt. Von den frühen Jahren mit Akustikgitarren und Ambient-Klängen bis hin zu einer Reihe von Alben, die epischen Pagan Metal mit introspektiven Instrumentalstücken nahtlos verbinden, ist "Citadel of Stars" der Höhepunkt von zwei Jahrzehnten musikalischer Entwicklung, die den Hörer auf eine spirituelle Reise zu den Sternen und wieder zurück mitnimmt - eine Erfahrung, die man so noch nie gehört hat und die man nicht so schnell vergessen wird. Es ist schwer, einzelne Songs herauszugreifen oder hervorzuheben, denn "Citadel of Stars" schwebt, nimmt einen mit auf eine Reise und bevor man sich versieht, merkt man, dass man wieder auf "Play" drücken muss: Das ist die Stärke dieses großartigen Albums.

These recordings come from the same sessions that produced 1961's My Favorite Things. This is one of the least well-known Coltrane albums, partly because it is an all blues format and partly because it was released at the end of his association with Atlantic records.

Plays The Blues features the talents of McCoy Tyner, Elvin Jones and Steve Davis. It is the beginning of his work with Tyner and Jones in quartet form. For that alone this recording would be important. Although this album is called Plays The Blues, this is by no means the only blues which Coltrane plays. There are blues elements, moods and feelings in all of his best-known recordings. Listen to "Slowtrane," "Blue Train," "Bessie's Blues" among others and one can't help but hear the blues vibe.

The original six tracks are fantastic and have that same blues vibe. They hit the listener right in the heart and soul and don't let go. All six are superb, but "Blues To Bechet," "Mr. Day," "Mr. Knight" and "Blues To Elvin" are absolute classics.

Cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

“Not a lot of people talk about the true origins of bluegrass music,” says Swamp Dogg, “but it came from Black people. The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name.” Blackgrass, Swamp Dogg’s remarkable new album, is no history lesson, though. Produced by Ryan Olson (Bon Iver, Poliça) andrecorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. The tracklist is an eclectic one—brand new originals and vintage Swamp Dogg classics sit side by side with reimaginings of ’70s R&B hits and timeless ’50s pop tunes—but the performances are thoroughly cohesive, filtering everything through a progressive Appalachian lens that nods to tradition without ever being bound by it. Special guests like Margo Price, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement here, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. The result is a record that’s as reverent as it is raunchy, a collection that challenges conventional notions of genre and race while at the same time celebrating the music that helped make Swamp Dogg the beloved iconoclast he’s known as today.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

witching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was written through three years of cold winters, sweaty summers and a period where the world stood still during the pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view, abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes felt like an impossible obstacle. Ultimately, though, this would provide inexpected inspiration and influence the sound and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages, challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new place.

Er war einer der ersten Tenorsaxophonisten, der modernen Jazz nach dem Big-Band-Stil spielte, was ihn zu einer Quelle der Inspiration für viele machte. Im Juli 1979 spielte er beim North Sea Jazz Festival mit seinem Trio, bestehend aus dem Pianisten Kirk Lightsey, dem Bassisten Rufus Reid und dem Schlagzeuger Eddie Gladden. Auf “North Sea Jazz Concert Series Dexter Godon 1979” sind ihre Performances von 'It's You Or No One' und 'More Than You Know' zu hören. Außerdem enthält das Album eine Aufnahme des „Tenorkampfes“, der am Abend während "Flying Home" mit Hank Jones am Klavier, Gene Ramsey am Bass und Gus Johnson am Schlagzeug, sowie Dexter Budd Johnson, Illinois Jacquet, Arnett Cobb und Buddy Tate am Saxophon, stattfand. Nachdem mit Ella Fitzgerald die North Sea Jazz Concert Series erfolgreich startete, folgt nun die zweite Veröffentlichung der Vinyl- Serie, die Ende letzten Jahres von Bertus Distribution in Zusammenarbeit mit NTR, AVROTROS und MOJO präsentiert wurde. Es ist eine neue Vinyl-Serie, bestehend aus Live-Aufnahmen von legendären Künstlern aus den Jahrzehnten des renommierten North Sea Jazz Festivals. Die North Sea Jazz Concert Series umfasst offiziell lizenzierte Veröffentlichungen, die standardmäßig auf weißem 180-Gramm-Vinyl in einer Hülle aus hochwertigem Papier zusammen mit einem Liner Notes kommen. Die Veröffentlichungen erscheinen mit schwarz-weißem Artwork von Hans Pol, der sich am typischen Stil des Festivals orientiert. Die Gestaltung ist von den Cover-Klassikern älterer Jazz-Veröffentlichungen des Labels Blue Note inspiriert. Die Liner Notes wurden von dem Journalisten und Jazz-Experten Jeroen de Valk verfasst. Das besondere Merkmal der Serie: Alle Aufnahmen sind erstmalig auf Vinyl verfügbar.

Co-founded by Detroit natives Rahill Jamalifard and Lenny Lynch, Habibi got its start in Brooklyn in 2011, earning early raves every- where from Pitchfork and NME to All Things Considered and The New Yorker, who praised the band for infusing “the Colgate-white glisten of sixties-girl-group pop with an uncensored edge.” Dreamachine, Habibi’s mesmerizing new record releasing on Kill Rock Stars, marks a major sonic evolution for the band, rising beyond the critically acclaimed five-piece’s garage rock roots to arrive at a singular swirl of analog and digital elements that underpin their search for spiritual and physical transcendence. Produced by Tyler Love and longtime collaborator Jay Heiselmann and featuring MGMT multi-instrumentalist James Richard-son, the collection draws on a mix of post-punk, experimental pop, and vintage disco, calling to mind Tom Verlaine, Diana Ross, Kate Bush, and Kim Deal, all filtered through the band’s shared love of Middle Eastern psych music. The songs here are their own distinct worlds, each an immersive quest in pursuit of something greater, and the band’s performances are relentless and hypnotic to match, driven by lush synthesizers, sinewy guitars, and a muscular rhythm section. The result is a record as fearless as it is enthralling, an alternatingly fierce and joyous work that ascends to new heights as it reckons with desire and escape, love and surrender, rebellion and reality.

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

Only 100 numbered copies of black 180g vinyl were made.

LUMBAGO is a duo of two renowned musicians - Paweł Stachowiak (bass) and Tymek Papior (drums). Their shared fascination with music on the border between jazz, hip-hop and electronic music led to joint recording sessions, from which LUMBAGO was born. The project is focused on playing live and does not intend to be pigeonholed.

Defenitly this is the D-Day for Oppression 002...

Considering the Weekend of War Insoumis sound System just lived...


We are not supposed to take care of the Water (Condamnation against Sainte-Soline activists)
Not supposed to take care of the nature (Condamnation against A69 demonstartion)
Not supposed to think that one more airport is not really that wicked... not supposed to think...

And... not even supposed to party.

Tyrants are rising...

May music help us to go through this....

Some songs are so ingrained in our consciousness that they are immediately identifiable upon hearing one or two notes. Featuring one of the most indelible riffs ever played, Foghat's air-guitar anthem "Slow Ride" is such a tune. The hit single turned the British band into stars and catapulted 1975's Fool for the City up the charts. And what a ride it is.

We hear a lot of yearning today about the good-old, glory days of rock and roll, the simple kind that just locked into a good beat, turned out a raunchy groove, and simply kicked you in the butt. The no-pretense type meant for kicking back, letting loose, and surrendering to the melody. Bare-bones music that doesn't need image or looks as a crutch.

Well, this is it, friends, classic meat-and-potatoes 70s rock that comes with killer slide-guitar solos, crunchy leads, driving rhythms, and soaring vocals. No need for any further instructions or explanations. The pact between artist and audience is understood. Here, the band trusts that you know what to do and is ready to rock out with anyone in earshot.

Pressed at Fidelity Record Pressing, Mobile Fidelity's remaster of this Foghat gem bring to the surface the band's marble-solid sturdiness and bluesy structures like never before. Bass notes are thicker and richer, the dual guitars bite and snap, and Lonesome Dave Peverett's singing comes across with realistic grit. This LP invites you to hear and feel the energy Foghat brings to the boogie-infused title track, great cover of the Righteous Brothers' "My Babe," and, of course, the everlasting "Slow Ride."

Sophie Lloyd is one of the most prolific guitarists on the world wide web, a trailblazer who is redefining the concept of a "bedroom" guitarist. A talented composer and accomplished musician, Sophie graduated from the prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music Performance, honing and refining a talent she has nurtured since childhood. Since then, she has amassed the kind of following that even the guitar gods she grew up idolizing would be envious of, with a reach surpassing 3 million followers across her social channels, built through a steady stream of sharing her talent via guitar "shredleys", covers and her own original material. In addition to her own content, Sophie's talent and popularity has led to collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation and Harley Davidson, her own Guitar course on Truefire and a stunning performance at Paris Fashion Week for Redemption Brand Clothing. She has also released her own signature guitar, becoming the first female artist to do so for exclusive Californian Guitar maker KIESEL.

Most recently, Sophie could be seen shredding on stage as guitarist for multi-platinum recording artist Machine Gun Kelly on his recent Mainstream Sellout World Tour, which included sold out shows at legendary venues such Madison Square Garden in New York and Wembley Arena in London.

At 27 Years Old, Sophie Lloyd is just getting started, with the upcoming release of her debut solo album. The first few songs have already been released to rapturous reception, including "Fall Of Man (Feat. Matthew K Heafy)", "Do Or Die (Feat. Nathan James)", "Lost (Feat. Cole Rolland)" and "Runaway (Feat. Michael Starr)" with some more exciting names including Lzzy Hale (Halestorm), Chris Robertson (Black Stone Cherry), Tyler Connolly (Theory Of A Deadman) and Brandon Saller (Atreyu) all appearing.

Produced by Boo Hewerdine and recorded by Jamie Savage at Chem-19. The album features an array of talent; Emma Pollock (The Delgados), Louis Abbott (Admiral Fallow), Adam Scott (Album Club), John Rooney (Starry Skies), uber fiddler John McCusker, cellist Pete Harvey and Swedish multi- instrumentalist Gustaf Ljunggren. The album is inspired by the experiences of women; "I immersed myself in the life stories of some incredible women, not just to share them with others, but to connect with them myself. Each story is a journey shaped by adversity and challenges often unique to women with them all, in their own way, arriving at a place they were seemingly destined for." - Xan Tyler. Released on CD by Last Night From Glasgow.

BLOODORN, eine neue Power-Metal-Band des Lead-Gitarristen von SIRENIA, Nils Courbaron. Die Band wurde im Jahr 2020 während der Pandemie gegründet. SILENT WINTER-Sänger Mike Livas, FREEDOM CALL-Bassist Francesco Saverio Ferraro und SIRENIA-Schlagzeuger Michael Brush traten der Band bei, nachdem sie die ersten Demos des Albums gehört hatten. Beeinflusst von Bands wie GAMMA RAY, ANGRA und BEAST IN BLACK, greift die Band auch auf einige Elemente aus der extremen Metalszene zurück. Die Musik von BLOODORN ist sehr schnell und technisch, manchmal sogar brutal, aber auch sehr melodisch und eingängig: Extreme Power Metal! Der Name BLOODORN ist ein Wortspiel aus der Wikinger-Foltermethode "Blôdörn" (besser bekannt als "Blutadler") und "Blut". Im Universum der Band ist der BLOODORN wie ein REAPER - ein Monster, das bereit ist, alles zu töten und zu zerstören, was sich ihm in den Weg stellt. BLOODORN handelt vom Kampf gegen Unterdrückung, Autorität und Tyrannei, aber auch von düsterer Gothic-Fantasy, Schattenkulten, Krieg, innerer Stärke, Ehre, nordischer Mythologie und sogar einigen Videospiel-Referenzen. All diese Konzepte werden durch das Erscheinungsbild und die Kleidung von BLOODORN noch verstärkt.

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. "It's a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O'Malley's sparse, deeply sustained guitar chords. Vocalist Alan Dubin's anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate's plodding pace keeps the BPM soundly within the single-digit range." (Tiny Mix Tapes).

A new album from the masters of exotica! Mix up a mighty rum typhoon and emerge yourself in this excitingly dazzling audio fantasy! Experience the fearsome Jungle Chase. Behold the secret world of the majestic Moonflower or lose yourself for a while inside the Hookah Parlor. What’s your pleasure? Ìxtahuele continues to develop their sound and song writing while exploring the heart, nuances, and boundaries of classic exotica. Venture into the unknown with the music for noble savages and urban primitives.

A new album from the masters of exotica! Mix up a mighty rum typhoon and emerge yourself in this excitingly dazzling audio fantasy! Experience the fearsome Jungle Chase. Behold the secret world of the majestic Moonflower or lose yourself for a while inside the Hookah Parlor. What’s your pleasure? Ìxtahuele continues to develop their sound and song writing while exploring the heart, nuances, and boundaries of classic exotica. Venture into the unknown with the music for noble savages and urban primitives.

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. “It’s a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O’Malley’s sparse, deeply sustained guitar chords. Vocalist Alan Dubin’s anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate’s plodding pace keeps the BPM soundly within the singledigit range.” (Tiny Mix Tapes).

Largely recognized as their breakthrough album, Khanate was confident enough by the two-song, forty-minute Capture & Release (2005) to peel back its layers of thick mossy droneand reveal the minimalist underpinnings, a change either interpreted as maturity or an implied threat. “It’s a grim, avant-garde exercise in tension and paranoia. Dense, leaden drones fill up the spaces between O’Malley’s sparse, deeply sustained guitar chords. Vocalist Alan Dubin’s anguished vocals seem to convey the tortures of the damned as if there were not a shred of hope left for existence in this world. Capture & Release is not dissimilar to black metal in how it so violently conveys such a bleak and ultra-nihilistic world outlook. But while the standard tempo on a black metal album typically strays into the triple digits in terms of beats per minute, Khanate’s plodding pace keeps the BPM soundly within the singledigit range.” (Tiny Mix Tapes).

Der neueste Titel in der Veröffentlichungsreihe der Steve Hackett-Vinyl-Editionen ist sein 15. Studioalbum "Feedback 86". Das Album erscheint hiermit zum allerersten Mal auf Vinyl! Es ist eine Sammlung von Songs aus dem Jahr 1986, von denen einige ursprünglich für ein zweites GTR-Album gedacht waren, und enthält Auftritte von Brian May (Queen), Bonnie Tyler, Chris Thompson (Manfred Mann's Earth Band) sowie den Marillion-Mitgliedern Ian Mosley und Pete Trewavas. Diese Veröffentlichung wurde speziell für Vinyl neu gemastert und kommt als Gatefold 180g Black LP.

In the Merry Month of May is the final studio recording of the late, great Tony Conrad, and the first duo release with Jennifer Walshe, one of Conrad"s most important collaborators in the final decade of his life. A wild, improvisatory flaying of song; the sheer sonic force recalls the ecstatic charge of Conrad"s Slapping Pythagoras, with Walshe"s clarion voice at the heart of it. A one-of-a-kind concoction whipped up by two fearless and often peerless souls. It"s a joy to hear their manifest mutual regard and commitment to busting a gut.

wieder auf Lager Wenn immer es um das beste deutschsprachige Album aller Zeiten geht, sind die Fehlfarben mit "Monarchie und Alltag" vorn dabei. Es erschien 1980. Seitdem ist viel Wasser den Rhein hinabgeflossen, und Peter Hein hängt "das Frühwerk am Hals wie ein Mühlstein". So zumindest singt er im Stück "TCM (Polychemie)" vom Album "Xenophonie". Hein klagt zu Recht. Denn auf "Xenophonie" klingen die Fehlfarben ungemein frisch. Der Opener "Dekade 2" stellt sich mit einem Wahnsinnsriff vor; kurze Zeit später erklingt Peter Heins Stimme mit eben jenem typischen Ausdruck, diesem Gesang, den nur er beherrscht: dringlich-konkret und doch voller Poesie und Melancholie. Bei aller Ernsthaftigkeit kommt die Lässigkeit nicht zu kurz, seit "Resistance" von Family 5 war Hein nicht mehr so locker. Und im Schlussstück, dem fast zehnminütigen "Herbstwind", verwandeln sich die Fehlfarben in Riders on the Storm, ehe ein Fortuna-Düsseldorf-Schal den schönen Spuk vertreibt. Produzent der im Berliner Hansastudio live aufgenommenen Stücke war Moses Schneider (Beatsteaks, Tocotronic).

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.