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Enough Is Enough - auf deutsch: Genug ist genug! Clara Louise verarbeitet in ihrem neuen Album alte Erinnerungen und Glaubenssätze, die sie umprogrammieren möchte. In der Bridge der gleichnamigen Single singt sie „I am enough“ und diese Message zieht sich durch das ganze Album. Songs, die Mut machen, für sich selbst einzustehen und dabei trotzdem zart und zerbrechlich wirken. Musikalisch betritt Louise durchaus neue Pfade, denn insgesamt ist der Sound des Langspielers wuchtig und kraftvoll und vermittelt das Gefühl von „Aufbruch“, so auch ihr Song „Goodbye Little Old Town“, in dem sie Abschied von ihrer alten Heimat nimmt, die sie mit 16 Jahren zurückgelassen hat.

Die 29-Jährige ist eine erfolgreiche Tausendsasserin. Im letzten Jahr schrieb Clara Louise den Song „Haven“ für die Sängerin Cassandra Steen, mit der sie bereits auf Tour war, und den WWF. Kurz vor Beginn der Pandemie war Louise mit dem US-Singer-Songwriter Joshua Radin auf der Bühne zu sehen. So „ganz nebenbei“ ist Clara Louise auch noch Mitgründerin und Designerin einer nachhaltigen Schuhmarke in Nordamerika und Ideengeberin für eine internationale vegane Molkerei, von der Bryan Adams Gründungsmitglied ist. Außerdem engagiert sie sich gemeinsam mit der „Stiftung Deutsche Depressionshilfe“ für die Aufklärung des Krankheitsbilds „Depressionen“. Sie macht sich für ein Umdenken in der Modeindustrie, fairer Löhne und einem besseren Umgang mit Ressourcen stark.

Clara Louise ist wahrhaftig ein Synonym für tiefgründige Lyrik, für Veränderung, Durchhaltevermögen und Wachstum. Sie gehört heute zu den beliebtesten und erfolgreichsten Dichterinnen der aktuellen Zeit (über 50.000 verkaufte Gedichtbände im Eigenverlag), gibt Menschen auch in schweren Zeiten Mut zur Veränderung, zum Aufbruch und Fortschritt, zur Zuversicht und Hoffnung. Sie möchte als Beispiel vorangehen, was ein Mensch mit dem Fokus auf die einem wichtigen Dinge im Leben, einer unbändigen Leidenschaft und notwendigen Disziplin erreichen kann.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Das Trio "Girls In Synthesis" wurde treffend als "eher eine Terrorzelle als eine Rockgruppe" beschrieben. Textlich befassen sie sich mit den Erfahrungen der Arbeiterklasse in Bezug auf fragile geistige Gesundheit, soziale Unbeweglichkeit, Gefühle der Machtlosigkeit, Unsicherheit, Angst und die zersetzenden Auswirkungen einer feindseligen Gesellschaft. John Linger bringt es auf den Punkt, wenn er "I've seen a glimpse of the future" in sein Mikrofon bellt. Das Londoner Trio "Girls In Synthesis" ist eine Band, die sich einer Kategorisierung entzieht. Seit ihrer Gründung hat die Band Anarcho-Punk, Noise-Rock, Post-Punk und elektronische Einflüsse aufgenommen, ohne in einem dieser Genres zu verweilen. Der definitive GIS-Sound ist mehr als die Summe dieser Teile. Die Band ist eher ein Kollektiv als eine traditionelle Musikgruppe, da alles (Aufnahmen, Artwork, Fotos und Videos) intern mit den Mitgliedern der Band und ihren Verbündeten kreiert wird. Mit einer unvergleichlichen Live-Show hat sich die Band durch ihre kultige Hingabe an ihre Kunst eine treue Fangemeinde in Großbritannien erspielt, von denen viele die Band auf ihren Tourneen durch das ganze Land begleiten. Ihre neue Veröffentlichung "Konsumrausch", ein exklusives, eigenständiges Mini-Album für das deutsche Label Hound Gawd!, erkundet verschiedene klangliche Territorien und erweitert die bisherigen Veröffentlichungen der Gruppe um weitere Experimente.

- Format: Schwarze 140G Vinyl

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.

Certain Sound Records and DJ Jazz T announce the second in a series of DJ mixtapes from the World-Famous Steel Devils Turntablist Crew.

When he is not touring the world with Jehst or High Focus Records artists or running his own legendary label Boot Records. You will find Jazz T laying down cuts or mastering some of the UK’s finest hip hop releases. So, it was an honour that he wanted to drop a brand-new mixtape for us. Spurred on by his counterparts in the Steel Devil’s crew, Jazz put together this outstanding collection of rarely or never heard beats and collaborations and distilled it into 60 mins of mixtape glory. The track listing says it all.

"Released in May 1986 on SST Records and Blast First! in the UK, EVOL was the third studio album by Sonic Youth and showed the first signs of the band transforming their No Wave past into a greater alt-rock sensibility. “EVOL … marks the true departure point of Sonic Youth’s musical evolution,” noted Pitchfork, “In measured increments, Thurston Moore and Lee Ranaldo … bring form to the formless, tune to the tuneless, and with the help of Steve Shelley’s drums…, impose melody and composition on their trademark dissonance.” ""If Daydream Nation is Sonic Youth’s opus, EVOL was crucial research. There’s a directness that makes everything feel close. It is pure tension with little release. The entire record is a shadow." Stereogum likewise praised the album as one, “full of suspense…, the cornerstone [Nico-evoking] monotone [by Kim Gordon]. ‘In The Kingdom #19,’ featuring Mike Watt on bass and … vocals [by Ranaldo]…, is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by … live firecrackers in the vocal booth.” For Popstache, “EVOL slithers into the unconscious. Once the....detuned melodies and haunting riffs and final whispers of feedback depart from the speakers… the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.” // “The seeds of greatness…” Pitchfork (who placed the album #31 of the Top 100 Albums of The 1980s) // “A near-masterpiece.” Trouser Press // “A stunningly fluent mixture of avant-garde instrumentation and subversions of rock’n’roll.” All Music Guide"

The groundbreaking 2015 PlayStation® 4 game Everybody’s Gone to the Rapture tells the story of the inhabitants of a remote English valley who are caught up in world-shattering events beyond their control or understanding. Made by The Chinese Room - the studio responsible for the hauntingly beautiful Dear Esther - this tale of how people respond in the face of grave adversity is a non-linear, open-world experience that pushes innovative interactive storytelling to the next level. This story begins with the end of the world. The game has already won GameSpot’s Best of E3 and was nominated for Best in Show and Best PS4 game by IGN.

The soundtrack features the music by Jessica Curry, who is also joint Studio Head of the developer The Chinese Room. The music was recorded at the famedAIR Studios in London and features solo vocal performances by renowned Welsh soprano Elin Manahan Thomas, ethereal choir, and a tragically beautiful orchestral accompaniment. With her compelling soundtrack, Curry took home the BAFTA Games Award for Best Music.

Everybody’s Gone To The Rapture is available as a 2LP limited edition of 500 individually numbered copies on translucent red coloured vinyl and includes a
4-page booklet.

After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with Lasse Marhaug. An esteemed avant-noise artist, Marhaug envisioned making music that would fall loosely in line with Throbbing Gristle. Kelly, on the other hand, had planned to create something inspired by Enya, an artist who has had an enduring impact on her creative being. They met each other halfway, pairing tough, industrial sounds with ethereal celtic mysticism, and creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her `eighth album'.

For fans of Blue Öyster Cult, Blue Coupe, and Classic Rock! Albert Bouchard is best known as one of the founding members of Blue Öyster Cult. The original band sold millions of albums for Columbia Records with such classic songs as “Don’t Fear the Reaper” and the #1 hit on the Billboard Mainstream Rock chart “Burnin’ For You”. As a songwriter, he wrote many BÖC songs including the very popular “Astronomy” (which was covered by Metallica on their 1998’s release Garage Inc) and the live staple “Cities on Flame with Rock and Roll”, which he also sang lead vocals. “Imaginos 2 – Bombs Over Germany (minus zero and counting)” sees Albert continuing the Trilogy of Imaginos, a concept album about an alien conspiracy that is brought to fruition during the late 19th and early 20th century through the actions of Imaginos, an agent of evil. The album weaves scripts and poems by the late Sandy Pearlman. It features guests Ross The Boss (Dictators), Joe Cerisano (Silver Condor, TSO), and reunites original Blue Öyster Cult members Eric Bloom, Donald “Buck Dharma” Roeser and Joe Bouchard, as well current BOC member Richie Castellano, who all contribute to this latest installment. The album also features reworks of classics like “Cities on Flame with Rock and Roll”, “The Red and the Black”, and “Dominance and Submission”. Due to the overwhelming response to Imaginos II, we are now releasing a Double LP gatefold version which includes an extended version of “Independence Day”, plus the bonus “When War Comes (Instrumental Mix)”.

3rd album by Have You Ever Seen the Jane Fonda Aerobic VHS? Artist: Have You Ever Seen the Jane Fonda Aerobic VHS? Genre: Garage pop Formats: Digital + vinyl (Black Vinyl + Ltd Edition Yellow Vinyl) Finnish“flower-garage”3-pieceHave You Ever Seen the Jane Fonda Aerobic VHS? have carved out a unique sound for themselves, opting to use keyboards instead of guitars. This is after songwriter Ekku Lintunen and drummer Janne-Petteri Pitkälä, on seeing the film Drive, instantly decided to form an 80ssynth-pop band as a side project to the garage-rock act they were in at the time. When Susse Stemma-Sihvolacame in on vocals, bringing her scuzzed out bass tones with her, it ended up being garage-rock with a twist. They are further shaped by the aesthetic and sonics of the underground cassette culture punkbands in their small town of Kouvolarely on, as well as the thread of styles that have tied the towns musical history together through the decades. Amish-mash of 60s girl-groups, punk, glam, grunge and NYC/Manchester indie coming together generates their electrifying style that has given rise to one of the most exciting and infectious bands to come out of the Nordics in recent years. Lintunen likens his songwriting to crafting surreal movies. Starting with a picture in his mind, he throws out lyrical phrases to create this image for the listener. Enough is held back though that there are more questions than answers. Like all great films, the listener interprets as they do. After their debut album Teenage Sweetheartwas released in autumn 2015and following with their sophomore album Jazzbelle 1984 / 1988the trio have been praised in the international music media, and gathered fans around the world.

3rd album by Have You Ever Seen the Jane Fonda Aerobic VHS? Artist: Have You Ever Seen the Jane Fonda Aerobic VHS? Genre: Garage pop Formats: Digital + vinyl (Black Vinyl + Ltd Edition Yellow Vinyl) Finnish“flower-garage”3-pieceHave You Ever Seen the Jane Fonda Aerobic VHS? have carved out a unique sound for themselves, opting to use keyboards instead of guitars. This is after songwriter Ekku Lintunen and drummer Janne-Petteri Pitkälä, on seeing the film Drive, instantly decided to form an 80ssynth-pop band as a side project to the garage-rock act they were in at the time. When Susse Stemma-Sihvolacame in on vocals, bringing her scuzzed out bass tones with her, it ended up being garage-rock with a twist. They are further shaped by the aesthetic and sonics of the underground cassette culture punkbands in their small town of Kouvolarely on, as well as the thread of styles that have tied the towns musical history together through the decades. Amish-mash of 60s girl-groups, punk, glam, grunge and NYC/Manchester indie coming together generates their electrifying style that has given rise to one of the most exciting and infectious bands to come out of the Nordics in recent years. Lintunen likens his songwriting to crafting surreal movies. Starting with a picture in his mind, he throws out lyrical phrases to create this image for the listener. Enough is held back though that there are more questions than answers. Like all great films, the listener interprets as they do. After their debut album Teenage Sweetheartwas released in autumn 2015and following with their sophomore album Jazzbelle 1984 / 1988the trio have been praised in the international music media, and gathered fans around the world.

Für sein neues Album "Time" hat sich Dirk Maassen in eine abgelegene Berghütte zurückgezogen, um in der Einsamkeit und Stille seine innere Melodie und sein wahres "Ich" zu finden.Das Zur-Ruhe-Kommen von Körper und Geist sieht der Pianist und Komponist, der auch als Software-Entwickler arbeitet, als Schlüssel zur Entstehung neuer musikalischer Ideen. "Die Arbeit an neuer Musik braucht Zeit und Raum und man muss geduldig sein und auf sich selbst hören", erklärt Dirk Maassen. Auf der Suche nach Ruhe verbrachte er mehrere Wochen in Südtirol, wo er zur Inspiration nur von seinem Klavier und den atemberaubenden Ausblicken auf die Wildnis der Berge Gesellschaft hatte. Auf ausgedehnten Spaziergängen fand Dirk Maassen zu sich selbst. "Das Leben in den Bergen reduziert alles auf seine wahre Essenz und diese einfache, grundlegende Welt eröffnet so viel Raum, um sein wahres Selbst zu finden" erklärt er. In dieser Umgebung konnte Maassen seine "innere Melodie" finden und sie auf natürliche Weise ins Bewusstsein aufsteigen zu lassen: "dann kommt alles zusammen, und es geschieht etwas Magisches". Diese Magie bildet die Grundlage für alle vierzehn Klavierstücke auf "Time". Dirk Maassen zeigt sich dabei abermals als Meister musikalischer Stimmungen und wechselt von trauriger, sanfter Melancholie zu strahlendem Optimismus. Gelegentlich werden seine berührenden Klavierlinien von subtilen orchestralen Verzierungen begleitet, etwa im titelgebenden Stück "Time". Darin erklingt das Ticken einer Uhr als Taktgeber für die akzentuierten Pizzikati der Streicher, die gemeinsam mit den auf- und absteigenden Klavierlinien eine Spannung erzeugen, die nie aufgelöst wird. "Landscapes" mit seinen sanften Crescendi ist dagegen langsam, nachdenklich und meditativ angelegt. Ebenso wie "Ethereal", dessen reduzierte Melodie von der Ehrfurcht vor der majestätischen Kulisse der Berge inspiriert wurde. Dieses stille Gefühl der Ehrfurcht zieht sich durch das gesamte Album "Time", von der eindringlichen, zerbrechlichen Schönheit von "Ascending" bis zum kargen, aber hellen "Mountains".

Enraptured Records presents a Limited Edition RSD Coloured vinyl LP titled 'Coldharbourstores Remixed', it's an exclusive LP of remixes all appearing on vinyl for the first time ever, released especially for RSD 2022. All remixes were commissioned especially for this album (except L-Shape's remixes of Castle and ZERO) and are outstanding with each guest remixer adding their individual flavour to the mixes.

The team at Diskotopia are extremely proud to present London via Tbilisi producer Sseq's debut self-titled LP. Sseq has been honing his craft over the past several years releasing music as part of the Body Thrills duo as well as DJing and playing live at Georgian clubs and festivals before making his move to the UK. Here on his stunning self-titled debut LP, Sseq materializes twelve abstracted and microcosmic jewels of interdimensional techno alchemy. The compositions bend and weave, flutter and spiral across synthetic textures and abstract rhythmic expressions that at once beguile and inspire. Sseq's sound is like an interstellar interpretation of what a sentient Buchla synth might dream of in zero gravity. RIYL Actress, Beatrice Dillon, Patten, Drexciya, Pole, and Björk-era Mark Bell productions. Sseq's debut LP was mastered by Dominic Clare at Declared Sound and will be available as a limited-edition cassette.

Die 26-jährige Ravensburgerin lässt uns mit ihrem mittlerweile dritten Studioalbum hören und spüren: Nicht nur die Welt hat sich drastisch verändert. Auch LOTTE hat künstlerisch sowie persönlich eine grundlegend-extreme Metamorphose durchlaufen.Auf "WORAN HÄLTST DU DICH FEST, WENN ALLES ZERBRICHT?" macht LOTTE ihre Gefühlswelt so greifbar wie nie - und damit auch angreifbar. Es ist eine akustische Reise zu sich selbst, zurück zum Ursprung, zu dem, was bleibt. Eine Geschichte übers Friedenschließen mit dem, was ist. Eine Einladung, sich selbst anzunehmen, mit all seinen Schwächen und sich selbst ein:e gute:r Freund:in zu sein, weil man sich selbst am Ende doch immer mitnimmt, egal wohin man geht.Es ist ein Album, in dem die Geschichte ganz vorne steht. Mit den bereits veröffentlichten Singles "SO WIE ICH", "ANGST (IRGENDWANN WIRD ES BESSER)" und "LASS DIE MUSIK AN", beweist LOTTE bereits, wie mutig Musik sein kann. Sehr stimmlastig produziert, hört man die Interpretin den Text fühlen, atmen und merkt: Hier haben Worte noch Gewicht.

Demon Music is proud to bring together a selection of popular and exciting classic Northern Soul Anthems on a new 2LP thirty-three track collection. These are the original recordings by some familiar names and one or two that may have passed you by.

As the Sixties came to a close and the initial success of labels like Atlantic and Motown began to wane, there remained a dedicated fanbase of Soul devotees who would rather be out on the floor than wearing flowers in their hair. They continued to seek out new and previously overlooked releases, many on small labels that had never enjoyed chart success, making surprise hits of a few in the process.

Northern Soul could easily have passed into music history as a fad, something on the fringes of mainstream popular music; instead its popularity has remained and even grown. It is no longer the preserve of venues in the north of England (who had always attracted coachloads of devotees from across the nation), with Soul clubs opening in Europe, Asia, Australia and even - in perhaps the ultimate example of "coals to Newcastle" – America

Every few years Northern Soul enjoys a resurgence in popularity and welcomes a new generation of younger fans, keepers of the faith. This collection is for those with a passing interest and fans both old and
new - music fashions may change but the quality, the infectious excitement and the urge to get up and dance has endured in these fantastic records.

Japanese artist Yama Warashi releases new album "Crispy Moon" via PRAH Recordings. The first material to come out of her relocation to London is a bold advancement of her sound. Much of the move and Yoshino's experiences of being in the capital have made their way into the themes of the record. There are new contributing members, including Cathy Lucas of Vanishing Twin (with whom Yama toured with in 2021), Aletta Verwoerd on drums and Mermaid Chunky's Moina Walker on sax. Compared to the more lo-fi, homespun feel of early releases such as Moon Zero and Moon Egg, there's larger brush strokes at play, a bigger sound and an understated but self-assured grandeur.

Die Rock-Legenden Def Leppard kehren mit ihrem zwölften Studioalbum Diamond Star Halos zurück und zeigen der Welt erneut, dass sie ihren Platz in der Rock and Roll Hall of Fame mehr als verdienen! Die fünfzehn neuen Songs finden ihre Inspiration bei David Bowie, T. Rex oder Mott The Hoople und featuren unter anderem die legendäre Künstlerin Alison Krauss. Seit über 40 Jahren feiert die Gruppe rund um Joe Elliott, Rick Savage, Rick Allen, Phil Collen und Vivian Campbell zahlreiche Erfolge: Über 110 Millionen verkaufte Alben, zwei US-Diamant Zertifizierungen und drei #1 Chartalben in Deutschland. Diamond Star Halos erscheint als 2LP und CD.

2022 Repress

Third album (1981) by the Belgian band Univers Zero. The title alludes to the short story of the same name
by H.P. Lovecraft; the players read the story in studio, then proceeded to record the piece. A key release
for the band. Ceux du Dehors sometimes suggests a darker and more complex version of the motorik minimalism of classical music contemporaries Philip Glass and Steve Reich.

This album finds the group continuing to evolve and return to the more general and varied chamber music sound of their first release, except with more precision and skill. The tricky charts of percussionist Daniel Denis and new keyboardist Andy Kirk are executed with great panache. The labyrinth-like compositions are typically filled with unexpected twists and turns, and angular repetitions of jagged riffs that accelerate, decelerate and mutate in passages of acute tension or quiet but ominous dread.

Cat.no.: SR403
Format: LP

Tracklisting