Suche:8 ball

One of the prominent growing voices in Timmion Record's roster, singer Emilia Sisco blesses your turntable with another deep soul ballad. Joining hands with Cold Diamond & Mink, Emilia pours a generous helping of deep soul magic into "Let Me In", gliding over the southerntinged beat with melodic grace. It's almost impossible to remain ambivalent to Emilia's talent when the spine-tingling chorus with its clever twists rolls in. The bittersweet love song's timeless feel pours over the listener like the flooding Mississippi, anthemic but understated. Flipping the single, we get to revisit Emilia's previous single "Love Can Carry Me" but this time in instrumental mode, titled as "Way Past Midnight". It's not just a vocal strip down, but this time Cold Diamond & Mink has equipped the track with a jazzy Grant Green styled lead guitar. Tasty. You would have to be a cold-blooded robot not to feel something from this soulful double sider. Forget the dance floors and bedrooms for a minute, these songs are the best fertilizer for your personal mind garden.

The ever-present and unstoppable Welsh legend Sir Tom Jones continues to grow his deep-rooted legacy around the world. What’s New Pussycat?, is the sophomore album by Tom Jones, includes the title track which was created for the film of the same name. The album also contains the beautiful ballad ‘With These Hands’ and upbeat hit ‘I’ve Got A Heart’. Presented on vinyl for the first time since it’s release, this will be a real collectors item for Tom Jones fans worldwide.

Vinyl Packaging: Full color jacket featuring original artwork by Callum Rooney. Can I Communicate With the Unknown? is the new album from Go By Ocean, moniker of Northern California based singer / songwriter / producer Ryan McCaffrey. Co-produced alongside Tim Bluhm (The Mother Hips) and David Glasebrook, the album features contributions from a wide cast of characters, ranging from the tight knit community of Phil Lesh’s much loved Terrapin Crossroads to the wider West Coast indie-rock scene, including members of The Mother Hips, Sugar Candy Mountain, ALO, Tea Leaf Green, and more. Building upon McCaffrey’s catalog of songs, the new album finds inspiration in the down-to-earth music of 1970’s Marin County, when songwriters like Michael Hurley and Jesse Colin Young lived out in Olema and Point Reyes, the kind of places where songs blow in on the breeze from the Pacific Ocean. Lyrically, the album traces a hero’s journey as the narrator struggles with addiction, eventually finding peace and freedom in a tumultuous world, wrestling with metaphysical and spiritual ideas along the way. Highly anticipated new album from Go By Ocean, co-produced by Tim Bluhm of The Mother Hips. Press coverage includes reviews and features in Austin Town Hall, Glide Magazine, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “...washed with breezy beachy vibes…” - Glide Magazine // “...marries the bright guitar arrangement of The Byrds with an updated indie appeal.” - The Wild Is Calling // “...you can almost feel the hope over the hills waiting for you with open arms.” - Austin Town Hall // “‘...satisfyingly artful and I would venture to guess you’ve never heard anything quite like it.” - Ear To the Ground Music // “We will be spinning the hell out of this record for the rest of the summer.” - Up To Hear Music // “...it’s not hard to imagine some of these songs floating in on the coastal fog, ascending ghosts indeed.” - Psychedelic Baby Magazine

Meghan Parnell (vocals) and Dave Barnes (guitar) are the founding
members of Bywater Call, a powerhouse seven-piece Southern soul,
roots rock band from Toronto, Canada
The band is completed by Bruce McCarthy on drums, Mike Meusel on Bass,
newest member, John Kervin on Keys, Stephen Dyte on Trumpet and Julian Nalli
on Tenor Sax. Bywater Call has received multiple Independent Blues and
Maple Blues Award nominations including Entertainer, Electric Act and Best
Female Vocalist for the 2024 Awards Season. They have toured extensively in
Europe where shows have been praised by Dutch, German and UK media, with
references to Meghan as one of the best female voices in blues and roots today.
In August 2023, the band participated in Joe Bonamassa's thirdKeeping the Blues
Alive at Sea Mediterranean Cruise alongside headliners Blackberry Smoke and
Christone "Kingfish" Ingram, and were invited to perform at the All-Star Jam on
the mainstage with Bonamassa himself. Guitarist Dave Barnes was also asked to
join legendary blues artist Jimmy Vivino (Conan O'Brien's Basic Cable Band) on
stage. On October 24, 2023, Bywater performed a live stream performance for the
famed German TV show and festival Rockpalast. The band's music is an
exploration of life's highs and lows. From intimate ballads that lay bare the
complexities of human emotion to electrifying anthems that demand to be played
at full volume, their catalogue is a journey through the human experience,
incorporating influences from the likes of The Band, The Wood Brothers, Tedeschi
Trucks Band, Otis Redding, Little Feat, Sly and the Family Stone, among others.
Video Link:

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Brand new vinyl reissue to celebrate the 40th anniversary of seminal
album Yelele by Georges Decimus and Jacob Desvarieux, from zouk
pioneers Kassav', includes the massive worldwide crossover hit "Zouk-la
se sel medikaman nou ni"
Whether in concert, or on the radio or TV, the image of Kassav' remains vivid in
the minds of listeners and spectators. The group, founded in 1979 by Jacob
Desvarieux, Georges and Pierre-Edouard Decimus, has become legendary, putting
Guadeloupe and Martinique on the musical map of the world. Touring the world
with zouk, a musical movement introduced and popularized by Kassav', their
albums have repeatedly been rewarded with both gold and platinum discs.
A victim of Covid in 2021, the loss of Jacob Desvarieux leaves a huge void.
The mix of Jacob Desvarieux and George Decimus with Jocelyne Beroard, JeanPhilippe Marthely, Patrick Saint-Eloi and Jean-Claude Naimro has played sold out
concerts in 82 countries. With texts recounting real life in the Caribbean world
their lively music draws on the rhythms of Guadeloupe's gwo-ka and Martinique's
ti-bwa. Transcending the well-defined codes of Caribbean music, they have turned
the 1980s and all the succeeding decades into a fabulous ballroom.
They have been welcomed in Japan and the USSR, where they became the first
group of black musicians to tour. Forty years after the group's creation, their
timeless hits continue to resonate

One of the prominent growing voices in Timmion Record's roster, singer Emilia Sisco blesses your turntable with another deep soul ballad. Joining hands with Cold Diamond & Mink, Emilia pours a generous helping of deep soul magic into "Let Me In", gliding over the southerntinged beat with melodic grace. It's almost impossible to remain ambivalent to Emilia's talent when the spine-tingling chorus with its clever twists rolls in. The bittersweet love song's timeless feel pours over the listener like the flooding Mississippi, anthemic but understated. Flipping the single, we get to revisit Emilia's previous single "Love Can Carry Me" but this time in instrumental mode, titled as "Way Past Midnight". It's not just a vocal strip down, but this time Cold Diamond & Mink has equipped the track with a jazzy Grant Green styled lead guitar. Tasty. You would have to be a cold-blooded robot not to feel something from this soulful double sider. Forget the dance floors and bedrooms for a minute, these songs are the best fertilizer for your personal mind garden.

BLUE NOTE TONE POET EDITION: Stereo, produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Single Sleeve, wattierte Innenhülle.

Als Lee Morgan 1968 “Taru” einspielte, befand sich der Trompeter musikalisch gerade an einem Scheideweg. Reflektiert wird das in der Vielzahl von Stilen, mit denen er sich auf dem Album auseinandersetzt: das Spektrum reicht von modalem Jazz und Post-Bop bis hin zu wunderschönen Balladen und funkigen
Boogaloos. Zusätzliche Inspiration erhielt Morgan von einem progressiv ausgerichteten Sextett mit u.a. George Benson an der Gitarre. (Gatefold Sleeve)

Auf dem Album “Medina” setzte Vibraphonist Bobby Hutcherson 1969 die ungemein inspirierende Zusammenarbeit mit Tenorsaxofonist Harold Land fort, die er ein Jahr zuvor auf “Total Eclipse” begonnen hatte. Hutcherson und den exzellenten Musikern seines Quintetts gelingt es hier, die im modalen Post-Bop verwurzelten und recht anspruchsvollen Originalkompositionen erstaunlich beseelt klingen zu lassen. (Single
Sleeve)

Lee Morgan’s 1968 album Taru found the trumpeter at a crossroads exploring a variety of styles from modal jazz and post-bop to beautiful balladry and funky boogaloos. The band here is notable for the elevating presence of guitarist George Benson and the addition of tenor saxophonist Bennie Maupin. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Everything, the debut album from Chicago quartet Bnny, may as well be a field recording taken from the lone country of grief. Written in sessions that span several years by singer Jess Viscius as she processed the death of her partner, the album is a chronicle of love at its most complex and loss at its most persistent. In the same vein as Sky Blue Sky-era Wilco or the harrowing vulnerability of Tomberlin or Helena Deland, Viscius’ songwriting is evocative and intentional. A longstanding member of the Windy City music scene, the album was produced by Dehd’s Jason Balla, and the sparse arrangements pick apart complicated truths while feeling both timeless and transcendent. Everything is out in September on Fire Talk (Dehd, Deeper, Mamalarky).

As Tele Novella, Chronis (who performs in the beloved and rekindled indie pop band Voxtrot) and Ribbons (who previously performed in the long-running “Victorian punk” project Agent Ribbons) have spent their past two albums creating "Medieval outsider country" on 2016’s House Of Souls and 2021’s Merlynn Belle. Poet’s Tooth – the band’s second album for Kill Rock Stars – steers the duo’s whimsical western-tinted quality into fascinating new directions: cinematic-pop balladry on the autoharp-tinged opener “Young & Free,” gently clip-clopping Americana-folk on “Hard-Hearted Way,” and bass-driven funk on the wry “Eggs In One Basket.” With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

Recorded as part of the same daydreaming puzzle as Unwishing Well, Still Clouds at Noon brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples’ melancholy catalog. Donaldson names '90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on Still Clouds… often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson’s lyricism. There’s an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs. Formerly a Bandcamp only digital release, this white vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends The Lucksmiths on bass

Special exclusive 7" from Il Sogno Del Marinaio, the avant-rock trio formed by legendary bassist Mike Watt (Minutemen, Firehose, Stooges), cult Italian experimentalist Stefano Pilia (Massimo Volume, In Zaire, Afterhours, Rokia Traore) and drummer Paolo Mongardi (Zeus, Fuzz Orchestra, Fulkanelli). Directly from fratello Mike Watt's words: "the "wing and a prayer" seven inch on _improved sequence_ was a product of the covid19 sitch around xmas of 2020. it was put together remotely, w/me here in san pedro, california, usa while from Italy stefano pilia (in bologna) and paolo mongardi (in imola) brought what they had from italy ... yes, the internet can be used for more than spreading hate and lies - it can also be used to collaborate in the spirit of artistic expression! cazzo, imagine that? il sogno del marinaio had finished work w/their "terzo" album and I thought a good way to rally the band would be to focus on a smaller release that reflected the current sitch we were in - see, the basic tracks of "terzo" were recorded in eleven months earlier here in my pedro town at _casa hanzo_ (stefano pilia and paolo mongardi traveling here by plane) so we had no idea what was ahead of us concerning the challenges of that fucking virus sitch. now the "terzo" album was not finished w/those basic tracks getting recorded, we had spiel (vocals) to add plus other stuff and of course it had to be mixed (tim in wales did a great job w/this - much respect to him!) so those experiences of those early covid19 times got "superimposed" on the music that was created right before it was on us, very trippy. that was a big reason I brought the three tunes of this "wing and a prayer" seven inch to stefano pilia and paolo mongardi - all they had was my bass but I believed they could "take the ball and run w/it" cuz that's how powerful I believe music to be: it can be able to overcome 'pert-near any hell trying to stomp it down. stefano pilia chose "wing and a prayer" to mix, paolo mongardi chose "tantrum" and I got what was left: "hail mary pass" - oh, I got my buddies stephen perkins to help w/percussion and petra haden to help w/singing, violin and mandolin. so one reality reality is w/these three tunes is that no one is actually playing w/each other in real time on this little record! it's all done by trading files via the internet...the starting for all three tunes being was my bass - ain't that a trip? shows how bass can be that springboard or launch pad I've always known it could be when not aiding and abetting a tune after the fact – both these "roles" for bass have been very interesting to me, going back to my early days as a minutemen and writing tunes for d boon and George hurley and by also bringing bass to their stuff

Bringing together the undisputed talents of Nigerian percussionist Aleke Kanonu and soul legend from Alabama, O.C. Tolbert, this 12' created quite the buzz when it was released in New York in 1982. Shops and leading DJs were clamouring for it, but short supply saw it disappear into obscurity. The A-side, 'Happiness' is an uptown style Gospel ballad where Tolbert's gravelly, soulful voice channels years of hurt an pain. The B-side, 'Nwanne, Nwanne, Nwanne', is an Afrobeat disco monster that rattles along on the back of Kananu's awesome percussion skills. Both tracks were written and produced by Jack Taylor, a producer, songwriter and purported gangster from Harlem and released on his own label. This reissue comes courtesy of the good folk of PMG, purportedly cool guys, based in Austria. - Peter Moore,

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Pascal Gaigne, born in France in 1958 and installed in San Sebastian since 1985, is a musician with a vast trajectory composing music for films. He has composed for more than 50 movies, won 16 awards (including a Goya award, Spanish Oscar equivalent) and had 15 nominations. He has worked with some of the most interesting new directors in Spanish cinema (Víctor Erice, Icíar Bolláin, Salvador García Ruíz, Daniel Sánchez Arévalo, Montxo Armendáriz), and foreign directors like France (Le cou de la girafe), Finland (Matka Edeniin) or Cuba (Omerta).

Early in his career, before working in cinema, he collaborated with some of the most interesting artists and voices in the short history of Basque folk music, including well known Amaia Zubiria (check the two records he made with her “Egun Argi Hartan” & “Kolorez eta Ametsez”), as well as Basque traditional chant avant-gardist Beñat Achiary. It is together with Amaia & Beñat that he paired himself up to create “music pour le ballet du Iguzki Hauskara”, an entire album of compositions made for the 80’s French Basque Ballet group “Ekarle”. Originally released on cassette only in 1984, it is now reissued by Hegoa including three unreleased pieces taken from a second album that was never published.

Limited edition of 250 black vinyl LP’s housed in a coloured reverse board cover recreating the original hand painted artwork.

Solco Privato, along with his sampler, wanted to return to and embrace his roots for the first chapter of his label, Vinyl only. A tribute to quality house music with two deeply emotive tracks and a warm richness in sound. An opportunity for enthusiasts to fully immerse themselves in the sound and aesthetics of this iconic genre.

Repress!

Far Out Recordings Proudly Presents The 1975 Self-titled Debut Album From Brazilian Vocalist And Bossa Nova Luminary Emilio Santiago. Nicknamed 'the Nat King Cole Of Brazil', Santiago Was A Master Bossa Balladeer And A Top-class Crooner. But He Is Known Equally For His Brazilian Funk, Soul And Boogie Classics. One Of His Best Know Is Album Opener 'bananeira', A Party-starting Version Of The Song Originally Written By Joao Donato And Gilberto Gil. 'brother' Is A Smooth-grooving Killer With Great Horn Arrangements And A Huge Backing Choir, While 'la Mulata' Is A Soulful, Swinging Salsa Stepper.
Originally Released On The Cid Label, The Album Showcases The Full Range Of Emilio's Talents, While Paying Homage To Some Of Brazil's Greatest Composers, Including Jorge Ben, Marcos And Sergio Valle And Ivan Lins Among Others.
The Credits On The Album Are A 'who's Who' Of Brazil's Greats, With João Donato On Keys, Wilson Das Neves, Ivan 'mamão' Conti And Paulinho On Drums, Durval Ferreira, Carlos Roberto Rocha And Helio Delmiro On Guitar, Ariovaldo, Orlandivo, And Chacal On Percussion, Danilo Caymmi On Flute, A Brass Section Featuring Victor Assis Brasil, Edson Maciel And Jesse Sadoc, And Backing Vocals From Jaime And Nair, Lúcia Lins, Jurema And Marcio Lott.

Veyl is pleased to welcome Velvet May for his debut LP on the label. Enchanted By The Muse marks a new and exciting direction for the Italian-born, Berlin-based artist whose aesthetic focuses on post-punk, techno and industrial music. This album embodies May’s exploration and experimentation of various musical directions, reflecting a fusion of industrial, rock and electronic elements. It also symbolizes a new approach, spanning genres and styles and exploring his sound from every angle.
Conceptually, the album reflects a realm of emotional dissonance in an industrial desolation - where harsh electronic textures mingle with gritty industrial and rock elements. Also present are echoes of punk's raw energy and adrenalinic drive, a musical journey through shifting moods and atmospheres, serving as a soundtrack to different aspects of life and capturing the essence of its high and lows.
From the opening track, “Now That You Have Left It All”, we are lured into a thrilling sonic dimension with a shot of energy that sets the stage for journey ahead. “Keep On Falling” injects a dose of rock which we find throughout the record fused with the artist’s signature blend of postpunk, industrial and techno strains. Tracks like “The Outsider” and “Slithering Serenade” conjure raw, distorted rhythms and a menacing fuzz which bleeds out of the speakers while “Scales of Gold” traverses back through infectious body and wave. “Illusion In Control” is the perfect climax, a musical assault that shatters boundaries and blurs the lines between reality and fantasy.

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive. The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as Red Mile. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album Pain Olympics. At once, their vision became expansive, cinematic. Now, Red Mile is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? Red Mile is, for them, something like samsara: a return and a rebirth. Red Mile's sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud's prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting, scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album - a winding, almost Jerry Garcia guitar noodle that leads us out of Red Mile - is delivered without sentimentality. Principal songwriter Zach Choy's lyrics are cutting but merciful, with a sharp self-awareness that never slides into self-satisfaction. Crack Cloud as artists are critical _ and ultimately as forgiving _ of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death. Recorded predominantly between the outskirts of Joshua Tree California, and Calgary, Alberta, this record is informed by a bittersweet mélange of old and new. The sprawling, novelistic structures of their previous albums are condensed and sharpened, while maintaining their refusal to delve into superficiality. Through playful melodies and elliptical guitar soliloquy, they deliver a final product of exceptional depth and distinctly unprecious warmth. Crack Cloud have produced a mature, vital work that interrogates the platitudes of the rock-n-roll lifestyle, but ultimately exalts its sacredness. Red Mile's de facto thesis statement "The Medium" is itself a rock song meditation: an ode to the form and its practitioners. This genre that _ typical, repeatable, corporatized as it can be _ somehow still has the power to help us live through life. We see the dusty sentiment of "I love rock and roll" exhumed, taken apart, and stitched back together. It's a song guided by faith _ if the medium helps us proclaim our love today, it's worth protecting from derision tomorrow. We live in an era where music seems to love hitting its head against the wall. Crack Cloud's Red Mile is the sound _ the feeling! _ of the bricks giving way.

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive. The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as Red Mile. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album Pain Olympics. At once, their vision became expansive, cinematic. Now, Red Mile is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? Red Mile is, for them, something like samsara: a return and a rebirth. Red Mile's sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud's prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting, scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album - a winding, almost Jerry Garcia guitar noodle that leads us out of Red Mile - is delivered without sentimentality. Principal songwriter Zach Choy's lyrics are cutting but merciful, with a sharp self-awareness that never slides into self-satisfaction. Crack Cloud as artists are critical _ and ultimately as forgiving _ of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death. Recorded predominantly between the outskirts of Joshua Tree California, and Calgary, Alberta, this record is informed by a bittersweet mélange of old and new. The sprawling, novelistic structures of their previous albums are condensed and sharpened, while maintaining their refusal to delve into superficiality. Through playful melodies and elliptical guitar soliloquy, they deliver a final product of exceptional depth and distinctly unprecious warmth. Crack Cloud have produced a mature, vital work that interrogates the platitudes of the rock-n-roll lifestyle, but ultimately exalts its sacredness. Red Mile's de facto thesis statement "The Medium" is itself a rock song meditation: an ode to the form and its practitioners. This genre that _ typical, repeatable, corporatized as it can be _ somehow still has the power to help us live through life. We see the dusty sentiment of "I love rock and roll" exhumed, taken apart, and stitched back together. It's a song guided by faith _ if the medium helps us proclaim our love today, it's worth protecting from derision tomorrow. We live in an era where music seems to love hitting its head against the wall. Crack Cloud's Red Mile is the sound _ the feeling! _ of the bricks giving way.

‘Road Less Travelled vol.2’ once again brings together the imprints far-reaching community of artists spanning London, Los Angeles, Montreal, Budapest, Copenhagen, Barcelona & beyond. The compilation floats between shoegaze, moody electronics, and shimmering synths; featuring new and original music from the likes of Nourished By Time, Mark William Lewis, and Untitled (Halo). Road Less Travelled Vol.2 sees the label continue to amplify the voices of these singular artists who continue to sculpt their respective sounds. It’s a follow-up to 2022’s ‘Road Less Travelled vol.1’ which was celebrated by Resident Advisor, CRACK, The Wire, Dazed, Clash, NTS, Tom Ravenscroft, and Jamz Supernova.

Scenic Route continues to reaffirm its position as some of London’s premier tastemakers; building a grassroots following via their sell-out live shows featuring the likes of Chanel Beads, James Messiah, Mark William Lewis, Delilah Holiday, and more. Paired with ground-breaking releases including Nourished by Time’s debut album ‘Erotic Probiotic 2’ garnering the coveted Pitchfork’s 'Best New Music' and was widely regarded as one of the ‘Best Albums of 2023’ with features on Gorilla vs Bear (#1), Pitchfork (#5), The Guardian, The Fader, Paste and more. Most recently releasing Vanessa Bedoret’s (Astrid Sonne band mate) debut album ‘Eyes’ in the words of Boomkat ‘a timeless bouquet of raptures and ballads iced with shearing strings and shatterproof electronics’ having additional support from Vinyl Factory, Resident Advisor, Bleep, Nina, The Fader and more.

Alles endet. Selbst in den legendären Gefilden des Heavy Metal, wo Mythen und Legenden tagtäglich in die
alltägliche Realität eindringen. Mitglieder und Fans der amerikanischen Metal-Giganten Metal Church wurden
sich dessen schmerzlich bewusst, als sie im Juli 2021 ihren legendären Sänger und Frontmann Mike Howe
verloren. Von 1988 bis 1994 und noch einmal ab 2015 war Howe der Frontmann einer der meistgeliebten und
geschätzten Metal-Institutionen Amerikas und nahm bahnbrechende und essentielle Werke wie "Blessing in
Disguise" und "The Human Factor" auf.
Mike Howe war ein herausragender Sänger, ein charismatischer Frontmann und für viele die Stimme des
amerikanischen Heavy Metal. Am 26. Juli 2021 starb Howe im Alter von 55 Jahren in seinem Haus in Eureka,
Kalifornien. Die Welt hat an diesem Tag eine einzigartige Stimme und ein einzigartiges Talent verloren. Sein
Vermächtnis wird natürlich weiterleben, in seinen vielen Freunden, Anhängern und Fans, in seinen klassischen
Alben und in den Erinnerungen seiner Bandkollegen. Zum dritten Jahrestag seines tragischen Todes wird
Reaper Entertainment seinen eigenen Beitrag zum Gedenkaltar einer wahren Ikone leisten: ein Live-Album mit
dem Titel "The Final Sermon", aufgenommen bei seinen letzten Auftritten - am 24. und 25. August 2019 im Club
Citta in Kawasaki, Japan. "The Final Sermon" zeigt nicht nur Howe auf seinem stimmlichen Höhepunkt, der
singt, schreit und schmettert, als gäbe es buchstäblich kein Morgen, sondern auch eine Band in bestechender
Form. Thrash-Gitarren-Pionier und -Gründer Kurdt Vanderhoof, Gitarrist Rick Van Zandt, Bassist Steve Unger,
Schlagzeuger Stet Howland und Live-Bassist Bobby Ferkovich waren in diesen zwei langen Nächten in Japan in
Hochform, eine eingespielte Metal-Maschine, die zu allem bereit war. 14 Songs unterstreichen ihren Status als
Quintessenz amerikanischer Metal-Overlords, eine Band, die musikalisch alle Register zieht und gleichzeitig eine
politische, sozial bewusste, philosophische Denkweise verkörpert. Aktuelle Knaller wie das furiose
"Damned if you do", Klassiker wie die bedrohliche Riffwand von "Fake Healer" und frühe Klassiker wie "Beyond
the Black" zeigen eine Band, die sich ihrer Vergangenheit bewusst und stolz darauf ist, sich aber in der
Gegenwart wohl fühlt. Dies ist keine Veteranengruppe, die mit vergangenem Ruhm prahlt, sondern eine Band,
die auch vier Jahrzehnte nach ihrer Karriere noch ein hungriges und gefährliches Wolfsrudel ist.
Das ist das Schöne an Metal Church. Die Band wurde 1980 in der aufkeimenden Metalszene der Bay Area
gegründet und ließ sogar Lars Ulrich für den Posten des Schlagzeugers vorspielen, bevor er die Band verließ, um
eine andere Bay Area-Band zu gründen. Ihr Debütalbum "Metal Church" (1984) ist einer der großen Klassiker
des amerikanischen Heavy Metal und begründete eine internationale Karriere. Die Band spielte mit allen
großen Vier des Thrash (Metallica, Slayer, Megadeth, Anthrax), trat bei MTVs "Headbanger's Ball" auf und
prägte die amerikanische Metal-Landschaft wie keine andere. Die Band ist auch heute noch quicklebendig, aber
die legendäre Ära der achtziger und frühen neunziger Jahre wird durch die Spuren, die Sänger Mike Howe in
der Band hinterlassen hat, nie übertroffen werden: "The Final Sermon" ist der lebende Beweis dafür, dass, auch
wenn alle Idole irgendwann fallen, ihr Vermächtnis weiterlebt. Durch uns alle.

Alles endet. Selbst in den legendären Gefilden des Heavy Metal, wo Mythen und Legenden tagtäglich in die
alltägliche Realität eindringen. Mitglieder und Fans der amerikanischen Metal-Giganten Metal Church wurden
sich dessen schmerzlich bewusst, als sie im Juli 2021 ihren legendären Sänger und Frontmann Mike Howe
verloren. Von 1988 bis 1994 und noch einmal ab 2015 war Howe der Frontmann einer der meistgeliebten und
geschätzten Metal-Institutionen Amerikas und nahm bahnbrechende und essentielle Werke wie "Blessing in
Disguise" und "The Human Factor" auf.
Mike Howe war ein herausragender Sänger, ein charismatischer Frontmann und für viele die Stimme des
amerikanischen Heavy Metal. Am 26. Juli 2021 starb Howe im Alter von 55 Jahren in seinem Haus in Eureka,
Kalifornien. Die Welt hat an diesem Tag eine einzigartige Stimme und ein einzigartiges Talent verloren. Sein
Vermächtnis wird natürlich weiterleben, in seinen vielen Freunden, Anhängern und Fans, in seinen klassischen
Alben und in den Erinnerungen seiner Bandkollegen. Zum dritten Jahrestag seines tragischen Todes wird
Reaper Entertainment seinen eigenen Beitrag zum Gedenkaltar einer wahren Ikone leisten: ein Live-Album mit
dem Titel "The Final Sermon", aufgenommen bei seinen letzten Auftritten - am 24. und 25. August 2019 im Club
Citta in Kawasaki, Japan. "The Final Sermon" zeigt nicht nur Howe auf seinem stimmlichen Höhepunkt, der
singt, schreit und schmettert, als gäbe es buchstäblich kein Morgen, sondern auch eine Band in bestechender
Form. Thrash-Gitarren-Pionier und -Gründer Kurdt Vanderhoof, Gitarrist Rick Van Zandt, Bassist Steve Unger,
Schlagzeuger Stet Howland und Live-Bassist Bobby Ferkovich waren in diesen zwei langen Nächten in Japan in
Hochform, eine eingespielte Metal-Maschine, die zu allem bereit war. 14 Songs unterstreichen ihren Status als
Quintessenz amerikanischer Metal-Overlords, eine Band, die musikalisch alle Register zieht und gleichzeitig eine
politische, sozial bewusste, philosophische Denkweise verkörpert. Aktuelle Knaller wie das furiose
"Damned if you do", Klassiker wie die bedrohliche Riffwand von "Fake Healer" und frühe Klassiker wie "Beyond
the Black" zeigen eine Band, die sich ihrer Vergangenheit bewusst und stolz darauf ist, sich aber in der
Gegenwart wohl fühlt. Dies ist keine Veteranengruppe, die mit vergangenem Ruhm prahlt, sondern eine Band,
die auch vier Jahrzehnte nach ihrer Karriere noch ein hungriges und gefährliches Wolfsrudel ist.
Das ist das Schöne an Metal Church. Die Band wurde 1980 in der aufkeimenden Metalszene der Bay Area
gegründet und ließ sogar Lars Ulrich für den Posten des Schlagzeugers vorspielen, bevor er die Band verließ, um
eine andere Bay Area-Band zu gründen. Ihr Debütalbum "Metal Church" (1984) ist einer der großen Klassiker
des amerikanischen Heavy Metal und begründete eine internationale Karriere. Die Band spielte mit allen
großen Vier des Thrash (Metallica, Slayer, Megadeth, Anthrax), trat bei MTVs "Headbanger's Ball" auf und
prägte die amerikanische Metal-Landschaft wie keine andere. Die Band ist auch heute noch quicklebendig, aber
die legendäre Ära der achtziger und frühen neunziger Jahre wird durch die Spuren, die Sänger Mike Howe in
der Band hinterlassen hat, nie übertroffen werden: "The Final Sermon" ist der lebende Beweis dafür, dass, auch
wenn alle Idole irgendwann fallen, ihr Vermächtnis weiterlebt. Durch uns alle.

After ""Down Two Then Left"" and ""Silk Degrees"", Boz Scaggs again worked with the members of Toto to create Middle Man; another amazing mix of soul, harder rock, slow ballads and catchy songs. The two singles Breakdown Dead Ahead and JoJo were two of his most successful, both reaching the Billboard Hot 100. The album itself reached the US album top 10 and went Platinum. Middle Man is available as a limited edition on crystal clear vinyl and includes an insert.

"The Best of Randy Newman is a mix of energetic hits like ""Mama Told Me Not To Come"" and soulful classics such as ""You've Got A Friend In Me."" With a range of genres and emotions, including satire in songs like ""Political Science,"" Newman's music resonates with timeless appeal. From Toy Story's iconic tunes to heartfelt ballads like ""Feels Like Home,"" it's a journey through Newman's enduring musical legacy.
Highlights: On sea blue colour vinyl for the first time as part of Rhino’s Summer Vinyl Campaign"

60 Jahre nach Luciano Pavarottis erster Aufnahme für Decca veröffentlicht das Label zwei der beliebtesten
Alben des Jahrhundert-Tenors neu auf CD und farbigem Vinyl: „O Sole Mio“ und ”Arias by Verdi and
Donizetti”.

Arias by Verdi and Donizetti
Das 1968 aufgenommene Album „Arias by Verdi and Donizetti“ beginnt mit einer Auswahl von Arien
aus vier Verdi-Opern: „Luisa Miller“, „I due Foscari“, „Un ballo in maschera“ und „Macbeth“. Es folgen
Arien aus vier Opern von Donizetti: “Lucia di Lammermoor”, “Il duca d’Alba”, “La favorita” und “Don
Sebastiano”. Kaum je war Pavarottis Gesang natürlicher und vollendeter zu erleben als auf diesem Album,
gepresst auf gelbem Vinyl, in dem sich die Farben des prägnanten Covers widerspiegeln.

Long-awaited reissue of an interesting and rare masterpiece by jazz guitar virtuoso Joe Pass, who took on jazz funk! (Made in 1971) This is the first release on Gwyn Records, a minor label in California, and features a very impressive lineup. Paul Humphrey and Earl Palmer on drums, Carol Kaye (label owner) and Ray Brown on bass, J.J. Johnson, Tom Scott, and Conte Candoli on horns, this is truly a historical session that brought together the top musicians of the West Coast at the time. From the cool funk of "Better Days" at the beginning of the session, almost the entire album was a storm of jazz funk. Free Sample" by Joe Sample, "Burning Spear," with its impressive undulating beat, "Head Start," with its too-subtle bass line, and the boogie shuffle "Gotcha! The jazz bossa "Balloons" and the weepy medium soul "It's Too Late" also have an outstanding presence. Not only can you enjoy Pass' intelligent soul-jazz guitar playing that hits all the right notes in a single tone, but the groovy, funky rhythm section is the best you'll hear on the West Coast.

Outsider ambient soundscape by two musicians from the Paris alternative : Désiré Bonaventure & Zach.

An enchanted yet psychedelic dream-like ballad recorded in one take in an ephemeral delirium; borrowing from dub, drone, IDM & techno, reflecting singular inter-worlds and inviting us to join them.

--

Rue des Garderies is a distillate produced by the spontaneous collaboration of Désiré Bonaventure and Zach, two musicians evolving in the Parisian alternative scenes and so named in homage to a former local hotspot of other-music Rue des Gardes - now bygone - where this improvisation took place. Accustomed to exorcising time and space with the multidisciplinary collective †een▲ge g:-)d, Zach has also been evolving in various frequencies - beatmaking, mastering - for over 15 years. Désiré Bonaventure, on the other hand, is a member of the duo Euphonic Alliances Ltd. and R.A.F. Soundsystem.

Rue des Garderies was recorded in one take, using samplers and effects, amidst a tangle of cables, with eyes closed, as dawn approached, in anticipation for another moment of the present. Here, Désiré and Zach delve into the in-between worlds (musical, but not limited to), immersing themselves in their cracks, folds and emanations, attempting to narrate them to us.

From this material they shape a new alchemy lasting over 1h30, akin to a prolonged journey into psychedelia, drawing from various currents (such as ambient, drone, IDM, dub techno, and the English electronic scene of the 1990s), rich in organic and analogue textures that overlap, stretch, fold and expand.

The result is a grand and ethereal fresco, with shifting colours and textures, evoking astral projections and sporadic rhythms; a whole other world, populated by shapes, hues and new lives, forming a complex but enchanting sound essay.

Born of a fragile chaos, Rue des Garderies is an ephemeral harmony that accompanies moments of existence; a dance without tangible movement.

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound.

The group led by North Carolina-based singer/songwriter/guitarist Ron Henderson released this extremely rare album on the Los Angeles-based Chelsea label in 1976 -now priced at over 150,000 yen!- is being reissued on LP for the second time! As with the 2020 P Vine reissue, which has already skyrocketed in price, the cover is in the original Chelsea vinyl specification and the contents are in the reissue (probably boot) specification released in the 1980s with two additional singles from 1983, and also in 180g weight vinyl. Ron's singing is wonderful, with a hard and soft range from mellow medium, modern to crossover soul, ballads and funky, sometimes interwoven with falsetto! A great album that will make soul fans incontinent and weep!

In Flames gehören zu den Urvätern des Götheborg Melodic Death Metals. Mit Alben wie Lunar Strain oder Colony hat sich die Band in den Metal Geschichtsbüchern verewigt. Aber auch die späteren Alben, auf dem In Flames einen deutlich größeren Groove Metal Einflusse an den Tag legen, sind Werke, die man im Regal stehen haben sollte. Ingesamt erscheinen 4 In Flames Alben im Juli 2024 als farbige LP Neuauflagen: Lunar Strain (1994), Colony (1999), Soundtrack to Your Escape (2004) und Siren Charms (2006)

Das ist schon ein historischer Moment: Exile On Mainstream bringt erstmalig eine Wiederveröffentlichung einer Platte, die seit Jahren restlos ausverkauft ist und am 25. April 2008 nur auf CD erschien. Erstmalig auf Vinyl, remastered: Heavy Zooo von BEEHOOVER. Die Band schreibt dazu: "Endlich! Oft gewünscht, drüber nachgedacht und wieder verworfen. Aber jetzt, endlich, kann mit Hilfe unseres Lieblingslabels Heavy Zooo so kommen, wie wir uns das die letzten 15 Jahre gewünscht haben: auf Vinyl!" Ist es Metal? Ist es Stoner Rock? Ist es Jazz oder gar Avantgarde? Weißt du was? Vergiss doch einfach mal die ganzen Schubladen in deinem Kopf und beantworte folgende Frage: Wann hat das letzte Mal jemand versucht, die Melvins zu klassifizieren? Oder Primus? Siehst du! Ladies & Gentlemen - der Heavy Zooo öffnet seine Tore! Treten sie ein und bestaunen sie eine Sammlung der unglaublichsten Geschöpfe dieses Planeten. Schimären aus Groove und Intelligenz. Sounds, so vertraut und doch so neu. Nichts hier ist eindimensional. Nur mit Bass und Drums schaffen Beehoover die Quadratur des Kreises - verrückte Arrangements mit Arsch, die dir das Tanzbein zucken lassen, dich aber trotzdem große Augen machen lassen. Damit sind die Eckpfeiler gemauert, zwischen denen sich die Sounds einer der wohl außergewöhnlichsten deutschen Bands dieser Tage spannen. Eine Kategorisierung erscheint unmöglich, wenn auch Beehoover Einflüsse aus traditionellen Stilen miteinander verweben. Im wahrsten Sinne des Wortes - das Ergebnis ist ein Teppich aus Bass und Drums, aus emotionalen Ausbrüchen und psychotischer Melancholie. Claus-Peter Hamisch (Drums) und Ingmar Peterson (Bass) versuchen dabei konsequent herkömmliche Strukturen zu vermeiden und neue Wege zu gehen, ohne jedoch den Song aus dem Auge zu verlieren. Ihre Herangehensweise ist avantgardistisch, das Ergebnis aber trotzdem melodisch. Ihre Auseinandersetzung mit Sounds ist intelligent und Kopf-betont. Das Resultat hingegen geht direkt in den Bauch - eine Wirkung, die heute nicht viele Bands erzielen können. Die Presse schrieb im April 2008: Dieses Duo ist ein echter Geheimtipp! ... ein echtes Original! ... Einfach nur großartig! (Eclipsed) Ein erneut bärenstarkes Album! (Rock Hard) Amtlicher Irrendoom, nur mit Ballerbass und Drums fabriziert. Ein herrlicher, fachmännisch fröhlicher Krach. Funktioniert eins a, absolut nicht zu klassifizieren.(Intro) ... die schwäbische Antwort auf die Melvins ... brachial-tighte Riffmaschine unter Dampf ... fette Prog-Schwarte, nie affektiert oder klugscheißend, sondern immer mitreißend komplex. (VISIONS) _ eine Mischung aus der Verrücktheit und technischen Brillianz von Primus, dem feinsinnigen Humor und der Vielseitigkeit der Melvins, der Heaviness und Brachialität von Neurosis und der Rhythmik von Kyuss (METAL HAMMER) Beehoover sind sie der lebende Beweis dafür, dass ein Bass, ein Schlagzeug und ein gepflegter Testosteronüberhang ausreichen, um die Musikgeschichte auf Lightning Bolt, Led Zeppelin, Melvins und Unsane einzudampfen und dein Trommelfell inklusive allem was dahinter liegt in die ewigen Jagdgründe zu schicken. (VICE) _ Es grenzt an ein Wunder ... Heavy Zooo steht als untrüglicher Beweis dafür, dass musikalischer Minimalismus tatsächlich maximale Brachialität und Wirkung erzielen kann (Legacy)

Glasgow septet The Joy Hotel are announcing their debut album Ceremony with the release of its lead single, the surging and rapturous 'Jeremiah'. It’s a song that grapples with the idea of approaching unknowns, and how conflicting attitudes illicit different responses to the same situation. More directly, it’s about staring death in the face and choosing how to come to terms with it.

Newly signed to SO Recordings and with a debut album proper in hand, The Joy Hotel have become a word-of-mouth success story in the Scottish DIY scene, and have since taken their live show across the UK and Europe, playing festivals including Hidden Door, Doune the Rabbit Hole, Connect, TRNSMT, Twisterella, Latitude, Sound City and The Great Escape.

The band spent eleven days at Rockfield, the legendary studio in Monmouth, Wales, recording live-to-tape. When they left, they had a sound. It is often contradictory, in that it combines the songwriting sensibilities of pop and country with arrangements reminiscent of the psychedelic scene of the 60s, six-part vocal harmonies with elements of noise rock, beautiful balladry with a sense of humour, and a cinematic quality. The result of those eleven days is debut album Ceremony, a record that searches for the profound in the seemingly routine, and reaches out with arms wide open to wring celebration out of each moment.

Ceremony will be accompanied by a short film documenting the creation of the album called ‘Come The Ringing Bell’.

Turnover have teamed up with a team of collaborators to release Myself in the Way: Remixes, a new vinyl release that features reimagined versions of the band’s infectious and trippy album Myself in the Way. Artists like Young Guv and Anthenagin offer drum & bass updates to singles “Myself in the Way” and “Wait Too Long,” while prior touring partner Healing Potpourri adds to the psychedelic trance of “Moun- tains Made of Clouds.” Even Turnover’s own Austin Getz contributes three remixes, turning songs like “People That We Know’ and “Stone Station” into trance-influenced elec- tronic jams. Youtube sensation Frank Watkinson closes out the album with a different interpretation of “Mountains Made of Clouds,” with only an acoustic guitar and the song’s heart- breaking lyrics to recontextualize the song as what feels like a timeless folk-ballad.

Engelbert Humperdinck, der legendäre Schlagersänger, der für seine samtige Stimme und zeitlosen Balladen
bekannt ist, zieht mit der Wiederveröffentlichung von zwei seiner kultigsten Alben, ”A Man Without Love”
und ”Please Release Me”, zum ersten Mal auf farbigem Vinyl das Publikum weltweit in seinen Bann. Diese
Alben haben Humperdincks Status als einer der beliebtesten Entertainer aller Zeiten mit über 140 Millionen
verkauften Alben im Laufe seiner glanzvollen Karriere gefestigt.

Engelbert Humperdinck, der legendäre Schlagersänger, der für seine samtige Stimme und zeitlosen Balladen
bekannt ist, zieht mit der Wiederveröffentlichung von zwei seiner kultigsten Alben, ”A Man Without Love”
und ”Please Release Me”, zum ersten Mal auf farbigem Vinyl das Publikum weltweit in seinen Bann. Diese
Alben haben Humperdincks Status als einer der beliebtesten Entertainer aller Zeiten mit über 140 Millionen
verkauften Alben im Laufe seiner glanzvollen Karriere gefestigt.