quête:ang

Robbie Williams hat die Veröffentlichung seines kommenden Albums "XXV" angekündet, das am 9. September 2022 erscheinen wird. Das Album feiert 25 Jahre Robbie Williams als Solokünstler und enthält unzählige Nummer-1-Singles und Fan-Favoriten. Die Titel wurden von Jules Buckley, Guy Chambers und Steve Sidwell neu orchestriert und mit dem renommierten Metropole Orkest in den Niederlanden neu aufgenommen. In seiner bisherigen Musikkarriere hat Robbie insgesamt 17 Alben in den Charts platziert, sowohl als Solokünstler als auch mit Take That. Damit gehört er zu den drei Künstlern mit den meisten Nummer-1-Alben aller Zeiten im Katalog.Robbie Williams a annoncé la sortie de son prochain album «XXV» pour le 9 septembre 2022. Cet opus célèbre les 25 ans de Robbie Williams en tant qu'artiste solo et contient d'innombrables tubes dont le légendaire «Angels» qui a catapulté Robbie vers une renommée internationale et qui reste son single le plus vendu à ce jour. Les titres ont été réorchestrés par Jules Buckley, Guy Chambers et Steve Sidwell et réenregistrés aux Pays-Bas avec le célèbre Metropole Orkest. Au cours de sa carrière musicale, Robbie a classé au total 17 albums dans les hit-parades en tant qu'artiste solo ou encore avec Take That. Il fait ainsi partie des trois artistes dont le catalogue compte le plus d'albums numéro 1 de tous les temps.

Rund 135 Jahre umspannt das Repertoire von Igor Levits neuem Album "Tristan": die Zeit von etwa 1837 bis 1973. Ganz unterschiedliche Genres treffen aufeinander; nur eines der Werke wurde ursprünglich für Soloklavier geschrieben. Levits Annäherungen an existenzielle Grenzerfahrungen - den Tod in "Life" (2018), die Begegnung mit dem Spirituellen in "Encounter" (2020) und jetzt, in "Tristan", die Verbindung von Liebe, Tod und Erlösungsbedürftigkeit - bringen es mit sich, dass wiederum nicht allein Meisterwerke für sein Instrument im Mittelpunkt stehen, sondern vor allem Kompositionen, in denen gewisse thematische Assoziationen eine möglichst persönliche Gestaltung finden. Dabei kreisen Levits eigene Gedanken bei "Tristan" weniger um die Liebes- und Todesthematik als solche, sondern vielmehr um Erlebnisse der Nacht und des Nächtlichen - als dunkle Gegenwelt zum bewussten Handeln bei Tage. Psychische Ausnahmezustände geben den Ton vor: "Die Nacht hat so viele Gesichter. Sie kann Zuflucht und Kontrollverlust bedeuten, sie steht für Liebe und Tod, und sie ist die Zone tiefer Ängste", sagt Levit. "Im Adagio von Mahlers Zehnter Sinfonie gibt es den berühmten Aufschrei des dissonanten Schmerzensakkords, und Wagners 'Tristan und Isolde' inszeniert geradezu eine Art emotionale Kernschmelze. Alle wesentlichen Geschehnisse des Stücks spielen sich in der Nacht ab. Auch Hans Werner Henze spricht in seinen Erinnerungen an die Entstehungszeit von 'Tristan' von Alpträumen und traumartigen Halluzinationen." Henzes "Tristan - Préludes für Klavier, Tonbänder und Orchester" - ein schwärmerisch-raffinierter Hybrid aus Soloklavier, Elektronik, Konzert und Sinfonie - bildet das Herzstück des Albums. Es ist die erste Orchesterproduktion Levits überhaupt. Unter der Leitung von Franz Welser-Möst hatte Levit das suggestive Werk, von dem bisher nur die kompromissbehaftete Aufnahme unter Leitung des Komponisten greifbar war, bei den Salzburger Festspielen als auch mit dem Gewandhausorchester in Leipzig aufgeführt; im Zusammenhang mit den Leipziger Konzerten entstand 2019 die vorliegende Aufnahme.Franz Liszts dritter Liebestraum ist heute als sentimentaler Show-Stopper aller Klavierpoeten bekannt. Dabei ist auch dieses Nocturne in As-Dur durchaus tragisch grundiert. Zurück geht es auf ein Kunstlied Liszts auf Verse von Ferdinand Freiligrath (1810-1876). Der Beginn des Gedichts lautet: "O lieb', so lang du lieben kannst!, O lieb', so lang du lieben magst!, Die Stunde kommt, die Stunde kommt, wo du an Gräbern stehst und klagst!"Nächtlich Verzweifeltes auch bei Mahler: Ende Juli 1910, mitten an der Arbeit am ersten Satz seiner Zehnten, erfuhr der Komponist von einer Affäre seiner Frau. Igor Levit spielt dieses Adagio in einer wenig bekannten Klaviertranskription des schottischen Komponisten Ronald Stevenson, für dessen große "Passacaglia on DSCH" er sich zuletzt so stark eingesetzt hat. Erst in "Harmonies du Soir", der elften der 12 "Études d'exécution transcendante" von Franz Liszt, scheint, bei aller Verdichtung pianistischer Majestät, eine Versöhnung auf. Die am Ende des Programms erklingenden "Abendklänge" bilden das friedliche Gegenstück zu den Ekstasen und Alpträumen, die den Nachtgeweihten bei Wagner oder Mahler widerfahren.

Das Londoner Duo Jockstrap (Georgia Ellery und Taylor Skye) wird sein lange erwartetes Debütalbum "I Love You Jennifer B" am 9. September via Rough Trade Records veröffentlichen. Jockstrap haben die bevorstehende Veröffentlichung bereits mit ihren Singles "50/50" und "Concrete Over Water" angedeutet. Beide wurden von BBC Radio 6 Music auf Rotation genommen und von der nationalen und internationalen Presse hoch gelobt. Das kosmische Begleitvideo zu "Concrete Over Water" wurde bei einer exklusiven Vorführung im The Castle Cinema, Hackney, uraufgeführt, gefolgt von einer weiteren von Jockstraps kultigen Partys im The Glove That Fits. Georgia Ellery und Taylor Skye von Jockstrap kommentierten die Albumveröffentlichung wie folgt: "I Love You Jennifer B ist eine Sammlung von Jockstrap-Tracks, die seit 3 Jahren in der Mache sind. Alles darauf klingt ziemlich einzigartig, also hoffen wir, dass für jeden ein Track dabei ist; also etwas, das dich anspricht und sagt "Ich bin ein Banger"." Skye fügte über "Glasgow" (ihre neue Single) hinzu: ""Glasgow" ist unser coming of age, moving forward, long-distance, travelling, beautiful bosk, wonderful thicket song." Und Ellery sagte über das Thema des Songs: "Glasgow ist eine tolle Stadt, vielleicht meine Lieblingsstadt in Großbritannien! Der einzige Nachteil ist, dass es die ganze Zeit so verdammt kalt ist." Wenn Georgia Ellery und Taylor Skye als Jockstrap Musik machen, gibt es für den Prozess und das Ergebnis nur eine Definition: pure moderne Pop-Alchemie. Mit ihrem Debütalbum"I Love You Jennifer B" werden sich Jockstrap als eine der vitalsten jungen Gruppen etablieren, die seit Jahren aus Londons Schmelztiegel der Musikkulturen hervorgegangen sind.

Das Londoner Duo Jockstrap (Georgia Ellery und Taylor Skye) wird sein lange erwartetes Debütalbum "I Love You Jennifer B" am 9. September via Rough Trade Records veröffentlichen. Jockstrap haben die bevorstehende Veröffentlichung bereits mit ihren Singles "50/50" und "Concrete Over Water" angedeutet. Beide wurden von BBC Radio 6 Music auf Rotation genommen und von der nationalen und internationalen Presse hoch gelobt. Das kosmische Begleitvideo zu "Concrete Over Water" wurde bei einer exklusiven Vorführung im The Castle Cinema, Hackney, uraufgeführt, gefolgt von einer weiteren von Jockstraps kultigen Partys im The Glove That Fits. Georgia Ellery und Taylor Skye von Jockstrap kommentierten die Albumveröffentlichung wie folgt: "I Love You Jennifer B ist eine Sammlung von Jockstrap-Tracks, die seit 3 Jahren in der Mache sind. Alles darauf klingt ziemlich einzigartig, also hoffen wir, dass für jeden ein Track dabei ist; also etwas, das dich anspricht und sagt "Ich bin ein Banger"." Skye fügte über "Glasgow" (ihre neue Single) hinzu: ""Glasgow" ist unser coming of age, moving forward, long-distance, travelling, beautiful bosk, wonderful thicket song." Und Ellery sagte über das Thema des Songs: "Glasgow ist eine tolle Stadt, vielleicht meine Lieblingsstadt in Großbritannien! Der einzige Nachteil ist, dass es die ganze Zeit so verdammt kalt ist." Wenn Georgia Ellery und Taylor Skye als Jockstrap Musik machen, gibt es für den Prozess und das Ergebnis nur eine Definition: pure moderne Pop-Alchemie. Mit ihrem Debütalbum"I Love You Jennifer B" werden sich Jockstrap als eine der vitalsten jungen Gruppen etablieren, die seit Jahren aus Londons Schmelztiegel der Musikkulturen hervorgegangen sind.

Recorded predominantly in Orlando’s studio in Los Angeles, ‘When the Lights Go’ is his first album since 2012’s critically acclaimed ‘Trouble’. The new album marks a departure in sound, defined, of course, by the events of the last few years. Encompassing songwriting, ballads and a pop-centered aesthetic, it’s full of depth, feeling, storytelling and woe - presented in a compelling manner, as only he can.

When the Lights Go is a substantial body of work, containing 17 tracks, representative of the duration between albums, “I feel grateful to know that there are people who are interested in more music from me. So I want to give them something significant in length”, he says. When the Lights Go also marks a shift into the pop domain, Orlando’s vocals take center stage with arrangements that complement the sadness in the songwriting.

Brighton sextet Opus Kink share their debut EP ‘‘Til The Stream Runs Dry’,
via Nice Swan Records (Sports Team, Pip Blom, FUR, English Teacher).
• Partnering up with the cult indie label for their first extended release, the
enigmatic collective - comprised of Angus Rogers, Sam Abbo, Fin Abbo, Jed
Morgans, Jazz Pope and Jack Banjo Courtney - lend a blend a dizzying
array of influences in their ever-evolving enigmatic style, producing an
experimental patchwork of explosive material that’s consistently earned
widespread plaudits since bursting onto the scene.
• With EP lead singles ‘I Love You, Baby’, ‘The Unrepentant Soldier’ and ‘Dog
Stay Down’ attracting praise from all corners of the press landscape (NME,
DIY, So Young, Dork, Clash, Gigwise), not to mention countless BBC 6
Music (Steve Lamacq, Lauran Laverne) spins, the six-piece are clearly
primed for a busy summer.
• Having already ticked off live dates alongside labelmates Malady and
Mandrake Handshake, in addition to a sold-out headliner at London’s
legendary 100 Club last month, the band have a slew of festival appearances
lined up in the months to come, as well as shows with FEET and Bull.
• Detailing their EP, Opus Kink stated: “You may begin by dipping one stained
and rancid toe, but you know that once those waters have been tasted
there’s only one way to go - into the stream, away down the valley like
flotsam and windfall. Here lie six songs of bad love, ill winds, possession,
stagnation and earthly delights.”
• “Horn-fuelled filth-funk, where punk & jazz combine in grimy circumstances” -
NME
• “A land where growled-jazz meets the blues in a showdown to end all
perceptions of genre… Opus Kink have succeeded in turning listeners on
their head” - So Young
• “A frenetic groove-filled glimpse of what’s to come” - DIY
• “Intense blast of guitar pop” - Clash
• “There is a sense that they are still only just beginning to hit their stride” - M
Magazine
 Tourdates - August 20 Beautiful Days, September 28 Oslo London, 29 Record
Junkee Sheffield, 30 YES (Pink Room), Manchester.

Riki aus Los Angeles ist das dunkle Synthie-Pop-Projekt der mysteriösen Niff Nawor, einer visuellen Künstlerin und Musikerin, die in den Deathrock-/Anarcho-Punk-Szene der kalifornischen Bay Area aktiv ist. Bevor sie 2017 ihr Solo-Engagement als Riki begann, war sie Mitglied von Crimson Scarlet. Ihr Wunsch, ihren eigenen Sound zu erforschen, manifestierte sich 2017 in den Aufnahmen der "Hot City"-Kassette, veröffentlicht auf Commodity Tapes und später auf Vinyl beim angesehenen Symphony of Destruction Label. Riki trat in der Folge mit Acts wie Light Asylum, Black Marble und Trisomie 21 auf. Für ihr selbstbetiteltes Debütalbum für Dais erforscht Riki Mut, Körperlichkeit und Romantik in acht zeitlosen Synthie-Pop-Hymnen. Produziert von der Hardware-basierten Synthesistin Matia Simovich von INHALT, werden Einflüsse und Ideen mit Stolz getragen - nostalgische Verweise auf Neue Deutsch Welle, frühe Adrian Sherwood Produktionen, klassischen ZYX Italo Disco, und New Wave/Pop wie Pat Benatar, Kate Bush und early Madonna - ohne dabei von frischem und gewagtem Elektro-Pop-Territorium abzuweichen.

Riki aus Los Angeles ist das dunkle Synthie-Pop-Projekt der mysteriösen Niff Nawor, einer visuellen Künstlerin und Musikerin, die in den Deathrock-/Anarcho-Punk-Szene der kalifornischen Bay Area aktiv ist. Bevor sie 2017 ihr Solo-Engagement als Riki begann, war sie Mitglied von Crimson Scarlet. Ihr Wunsch, ihren eigenen Sound zu erforschen, manifestierte sich 2017 in den Aufnahmen der "Hot City"-Kassette, veröffentlicht auf Commodity Tapes und später auf Vinyl beim angesehenen Symphony of Destruction Label. Riki trat in der Folge mit Acts wie Light Asylum, Black Marble und Trisomie 21 auf. Für ihr selbstbetiteltes Debütalbum für Dais erforscht Riki Mut, Körperlichkeit und Romantik in acht zeitlosen Synthie-Pop-Hymnen. Produziert von der Hardware-basierten Synthesistin Matia Simovich von INHALT, werden Einflüsse und Ideen mit Stolz getragen - nostalgische Verweise auf Neue Deutsch Welle, frühe Adrian Sherwood Produktionen, klassischen ZYX Italo Disco, und New Wave/Pop wie Pat Benatar, Kate Bush und early Madonna - ohne dabei von frischem und gewagtem Elektro-Pop-Territorium abzuweichen.

In the spring of 2020, Willem Ardui and Jean-Valéry Atohoun of blackwave. found themselves in a difficult creative and personal period and in need of a change of scenery to recharge. They find their peace in the cosmopolitan melting pot of Los Angeles, the City of Angels, and for Ardui and Atohoun also a city of dreams. A dreamworld in which they rediscover themselves as artists and as individuals.



The spark from which blackwave. had emerged in 2016 caught fire again during their 20-day trip to the American West Coast. With renewed passion, inspiration and vision, the duo writes and works on new music, as if in a daze, day and night, with no limits to the creative process. With about thirty demos in their pocket, Ardui and Atohoun fly back to Belgium. Three days later, the first covid-lockdown hits them cold and the regained enthusiasm slowly ebbs away. Another period of uncertainty began, and at one point it was even doubted whether the group would continue to exist...



But the towel is not thrown in the ring. blackwave. starts polishing the American demos and distills 11 tracks from them. These now make up 'no sleep in LA', their second full-length album and follow-up to 2019's successful 'ARE WE STILL DREAMING?' 'no sleep in LA' is about the highs and lows of the past years, the insights they have gained, the difficulties and the beautiful moments. Everything about the record feels a lot more mature as a result. Existential themes are explored more and more deeply. Doubt and uncertainty, depression, grief and loss, dreams and ambitions, nostalgia, love and desire, no stone is left unturned.



The album also exudes maturity on a musical level: it is more compact in length than its predecessor, but the instrumentation is more in-depth. Strings, horns, backing vocals and other session musicians enrich the genre-transcending sound of blackwave. Everything is arranged to perfection without being delineated. The common thread is the thoughtful and lively lyrics of the two frontmen, and the layered production of Willem Ardui. To this end, Ardui received help on a number of tracks from the likes of Paul Meany (Twenty One Pilots), MiSCHiEF BOY (Cantrell), Spencer Petersen (Sego), Tobie Speleman (incidentally mixer of the entire record), and even his younger brother Remco Ardui.



Celebrated guest features include Lute (signed to Dreamville, J.Cole's label), Abhi The Nomad (artist from Austin, Texas who met the duo in LA) and Caleborate (a good friend and old friend to blackwave. fans). Kirby, who has already collaborated with the likes of Beyoncé and Kanye West, co-wrote the song "I Miss" on the album.

Survival Of The Sickest offers no respite from the horrors of reality. Instead, BLOODBATH’s latest and greatest album gleefully confronts the slavering ghoul lurking in the shadows, and treats him to ten songs of ripping death metal frenzy. In contrast with their last album, Survival of the Sickest goes straight for the jugular in true old school fashion. With strong echoes of everything from Morbid Angel & Death through to Deicide & Obituary. Survival Of The Sickest boasts a smattering of irresistible cameos from the great, and ghoulish of the metal underground, including Barney Greenway (Napalm Death), Luc Lemay (Gorguts) & Marc Grewe (Morgoth). On Survival Of The Sickest, BLOODBATH evoke their most horrifying sonic scenarios to date.

XXV, the thirteenth studio album from Robbie Williams, consists of all the classic hits newly orchestrated by Jules Buckley, Guy Chambers and Steve Sidwell, and re-recorded with the acclaimed Metropole Orkest. Also, included on XXV is “Lost” a new original composition & single.

Ltd edition RED Vinyl, DL card. Re-writing the rule book when it came to punk requisites, Leatherface combined passion, angst and power with undeniable songwriting and technical prowess. Led by wordsmith Frankie Stubbs their explosive hooks and thrashing guitars quickly became their trademark and made them one of the most exhilarating UK bands of the 90s. Arriving at the peak of their career, ‘Minx’ channelled Stubbs’ love for Joy Division and features their much loved fourth bassist, former Snuff band member Andy Crichton. A lost classic, it brought with it a more emotional direction to their sound which was released on the brink of the band’s hiatus. // “A ferocious force to be reckoned with… another superb album” AllMusic // ★★★★ MOJO

Considering the tight run of albums since the first part of the Gullvåg Trilogy in 2017 – three double and a single album in less than four years – the 16 months wait for “Ancient Astronauts” must feel like an eternity for the fans. Much of the music continue in the manner of the band’s popular long form “N.O.X.” suite from “The All Is One” (2019) album, including “Mona Lisa/Azrael” and “Chariot of The Sun”, the latter clocking in at 22 minutes, being the band´s longest instrumental track to date. Most of ”Ancient Astronauts” was recorded in Amper Tone studio in Oslo during five days in August with old compadre Deathprod at the helm. All four tracks are basically the band playing live in the studio, with the odd keyboards, some guitar and the vocals added afterwards. Some of it is in turns pretty frantic and angular or grandiose and hypnotic and is mined from the same sources as the band’s more explorative music from recent years. Meaning there aren’t many choruses to hang on to here, but plenty of mouthwatering music for the progheads. The album was mixed by Andrew Scheps.1/The Ladder 2/The Flower Of Awareness 3/Mona Lisa/Azrael 4/Chariot Of The Sun – To Phaeton On The Occasion Of Sunrise (Theme From An Imagined Movie)

Switched On 5/Remaster

Remastered von den Originalbändern erscheinen auf 2CD und 3LP weitere 21 Tracks, angefangen 1992 in Stereolabs Frühphase bis zum Jahr 2008, darunter Aufnahmen aus superlimitierten 7inch- und EP-Miniauflagen, rares Bonusmaterial, exklusive Compilation- und Kunstaustellungsbeiträge, Kollaborationen mit Nurse With Wound und ein Autechre-Remix. Zudem gibt es komplett unveröffentlichtes Material in Form von der 2004er Live-Version von 'Cybele's Reverie' (aus dem 'Emperor Tomato Ketchup' Klassiker (1996)), des ursprünglich für eine Skulptur von Charles Long geschriebenen 'Robot Riot', der Originalversion von 'Plastic Mile' (aus der Compilation 'Fab Four Suture' (2006)) sowie der Demoversion von 'Ronco Symphony' (aus dem 1993er Minialbum 'The Groop Played "Space Age Batchelor Pad Music').

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

Das erste Ströme Album “Ströme Nr. 2” ist ein charaktervolles, wunderbar warmsensitives und dennoch energetisches Werk. Ein Hauptohrenmerk ist der ultra rare und sagenumwobene Moog IIIp Modular Synthesizer Sound. (Näheres über den einzigartigen Moog IIIp ist weiter unten im Text zu entnehmen, inclusive Fotos in der 2x LP). Darüber hinaus spielt und featured Ströme noch andere analoge Synthesizer u.a. das Modular A100 System von Doepfer. Der A100 steht auch im Mittelpunkt bei den Live Auftritten von Ströme.

Das Album birgt Clubtracks („Trang & Flinky” / “Panta Rhei”), aber auch entspannend ruhige und spacige Nummern („Wasser” / ”Niki”). “Das Modul” oder “Isolde” (mit dem Schauspieler Anton Weil aka Anton Zucker), überzeugen mit einer Portion Pop. Hinzu kommen noch einige krautige, an die 60er / 70er angelehnte Songs, die Ströme (Mario Schönhofer and Tobias Weber) in sehr fruchtbarer Zusammenarbeit mit Nick McCarthy (Franz Ferdinand) aufgenommen haben - “Right Now”, “Das Modul” und das wunderschöne “Stadlberg”.

Savage Grounds lands on She Lost Kontrol with a 7 track EP, Hidden by the Night. 

For the first time, the voice of Kleio Thomaïdes joins Savage Grounds members Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). The result is an attractive, intense record with some nuances that will surely make the old nostalgics of Krilian Camera and Simona Buja's voice squeak their eyes. 
 The record reminds us the heartbeat of Italian darkwave, the angularity of German basements, the youthful despair of French coldwave. But it’s more than that because it’s a very personal kind of darkness.
 The exasperated atmospheres seem to resonate on both sides of the record, with the due differences between the darker-wave elements of the record and the more proto-ebm ones.
 All these songs are almost ‘goth love protest songs’: they all have the gloominess of the pre-disappointed, of the already-disgusted, of the unrelentlessly bleak against a freezing, sparse, ethereal electronic landscape.
 The voice by Kleio Thomaïdes is so fascinating because... more credits released March 15, 2022 SLK016 Savage Grounds are Kleio Thomaïdes (Voice), Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). Recorded between Zürich and Geneva, 2020/2021 Composed and recorded by Savage Grounds. Lyrics by Kleio Thomaïdes and Daniele Cosmo. Mixed by Florin Büchel. Mastered by Andrea Merlini. Photography by Erika Marthins Artwork by dudegraph - Michelangelo Greco Executive producer: Giovanni Rispoli & Carmine Staiano

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

Ever since Tsuyoshi Hamada, better known as Dayzero dropped his now-sold-out first ZamZam “Orbit Dub” b/w “Theory Dub” in 2020 we’ve been eager to bless listeners and dancers with a next chapter of his unmistakable, menacing 140 dubs, and that Part 2 is finally here. In the two years since his first Zam he’s worked with Sentry, Vomitspit, Endz, and most recently branched out with an EP of leftfield styles & textures for Bristol’s legendary Livity Sound. Now he's back on 7" vinyl with a pair of stompers just the way we like them.

“Word sounds and power gonna mash them down” couldn’t be a more choice sample to lace “Pages” with, a skanking behemoth of 140 energy powered by swaggering kick & sub, reverb soaked snare, driving shaker, scratchy guitar licks, and mad delays twisting out at bewitching angles.

“Sen” counts off through a dodgy radio frequency, flying low and dropping into a ruff attack of dirty drums & bass, shifting, off-beat mid-range melodics, sleigh bell and percussion cutting through the hazy sonic miasma threatening to envelop the tune. At once eyes-down and hands-in-the-air, Dayzero strikes again with a guaranteed high score in the dance.

Strictly limited to 700 copies for the world. No digital, no repress. Art, design & two-color screen print by Polygon Press. Mastered at Precise, Pressed at Third Man.

Available on trans blue vinyl with gatefold sleeve. Following the UK chart success & critical acclaim of their last full-length studio album ‘In Vino Veritas’ this new album is another incendiary, 111% proof, guitar-fuelled, alcohol-soaked adrenalin shot. Tyla’s trademark songs of hope & heartache, demons & debauchery and conflict & chaos are taken to new heights by a band in full flow. Big choruses are delivered with power. Tender hearted lyrics with emotion. Track listing: Tree Bridge Cross; Journey to the Centre of the Soul; Stole my Love Away; God Only Knows; Angel Lane; Buried Alive; Raining Fire; Powder Dry; Moth to the Flame; Ghosts - CD Disc 2: Tree Bridge Cross (Acoustic); Journey to the Centre of the Soul (Acoustic); Stole my Love Away (Acoustic with Spike); Angel Lane (Acoustic); Buried Alive (Acoustic); Raining Fire (Acoustic); Powder Dry (Acoustic); Moth to the Flame (Acoustic); Ghosts (Acoustic)

REPRESS

Acid bass, slow funk and cosmic energy make for a mind expanding trip in the Liquid Canoe.
Load up on edibles, make it a macro-dose and let the music lead the way.

Whether you’re hard at work on a Hamburg allotment, basking in the heat of a Balinese beach or enjoying the cool waters of the Salish Sea, remember that the same sky stretches over all of us.
And if you forget your finger for a minute and soak in the heavenly beauty instead, you might just catch the cosmic vibrations of Liquid Canoe, the latest members of the Growing Bin family.

A loose ensemble, Liquid Canoe is the brainchild of Wolfgang Matthes, a lost Angelino who’s swapped the rush and push of a mega city for the space of the Pacific Northwest - and listening to this eight track offering, you’ll realise that space is the place. Armed with an array of vintage synths and programmed rhythms, Wolfgang sketched out a slew of inter dimensional transmissions, inspired by the commune electronics and space rock of 70s Germany and inhabited by the spirit of the boogie. Inviting friends to drop by and lend their own instrumental skill, Wolfgang quickly turned Liquid Canoe into a true collaboration. Finalised in a converted stable on Galiano Island, the LP is a perfect marriage of the electronic and organic, shimmering arps and spheric synth bass intertwined with American primitive guitar, nuanced hand percussion and glassy chimes. As this mind expanding collection stretches out towards infinity, you’ll hear Floyd-ian funk, cosmic dub, tangerine daydreams and micro-dosed ambience, all imbued with the memories of New York lofts, Bay Area warehouses, skyscraping pines or the world wide web of fungi. Liquid Canoe taking you on an oarsome trip.

Sarah Brown releases her debut album ‘Sarah Brown Sings Mahalia Jackson’ on 20th May 2022, preceded by a new single ‘Walk Over God’s Heaven’ on the 6th May. The record sees Sarah offer her interpretations of some of the classic tracks of arguably the most famous gospel singer of the last century who gave Brown hope and sanctuary through hard times faced over the years. Having recently appeared on Radio 4’s Woman’s Hour performing her debut single ‘I’m On My Way’, she is currently on tour with Simple Minds with whom she has been playing with for the last 15 years.

Sarah explains: “For as long as I can remember, Mahalia Jackson with her fever pitched performances have been a soothing note to my tapestry. At 10 years old, I remember hopelessly trying to sing along to her bellowing thunder of a voice. In my bedroom I would become her. I chose these songs because they tell of my story. Growing up in a Caribbean home to parents who were a long way from their home. Anger and fear were the two prominent emotions that I lived with.

The style I was trying to achieve was influenced by early jazz, blues and the spirituals. I am happy with the sound/style of the album. It was always going to be an experiment but I had no idea that it was going to sound as good and as authentic as it does. ‘Didn’t It Rain’ as a jazz feel. ‘Nobody Knows’ as a spiritual feel then it goes into swing jazz. ‘Walk over God’s Heaven’ as a hint of rock & roll with a bit of early swing.”

You may not know Sarah Brown’s name but you’ll definitely have heard her voice. From her collaborations with the likes of George Michael, Stevie Wonder, Duran Duran, Simply Red, Roxy Music, Pink Floyd, Simple Minds … Sarah Brown is one of the most prolific and in-demand vocalists in the world. Jim Kerr from Simple Minds comments: “In a sane world Sarah’s colossal talent would ensure that she would be front of stage every night, so I would be in the front row. Every night. I am her biggest fan after all”

Mahalia Jackson (October 26, 1911 – January 27, 1972) is widely considered as a major influence on Mavis Staple, Little Richard, Aretha Franklin, Sam Cooke, Donna Summer, Ray Charles, and a civil rights icon (Malcolm X noted that Jackson was "the first Negro that Negroes made famous”, Harry Belafonte stated "there’s not a single field hand, a single black worker, a single black intellectual who did not respond to her”, and it was Mahalia who prompted Dr. Martin Luther King, Jr to improvise the ‘I Have a Dream’ speech.

Enter the darkness with the new Rendered (Architect + 14 Anger) ! features a twisted EBM remix from master "David Carretta"

Comes in beautiful transparent vinyl with graphic b & w sleeve. A must have for the dungeon!

Switched On 5/LtdDeluxe

Remastered von den Originalbändern erscheinen auf 2CD und 3LP weitere 21 Tracks, angefangen 1992 in Stereolabs Frühphase bis zum Jahr 2008, darunter Aufnahmen aus superlimitierten 7inch- und EP-Miniauflagen, rares Bonusmaterial, exklusive Compilation- und Kunstaustellungsbeiträge, Kollaborationen mit Nurse With Wound und ein Autechre-Remix. Zudem gibt es komplett unveröffentlichtes Material in Form von der 2004er Live-Version von 'Cybele's Reverie' (aus dem 'Emperor Tomato Ketchup' Klassiker (1996)), des ursprünglich für eine Skulptur von Charles Long geschriebenen 'Robot Riot', der Originalversion von 'Plastic Mile' (aus der Compilation 'Fab Four Suture' (2006)) sowie der Demoversion von 'Ronco Symphony' (aus dem 1993er Minialbum 'The Groop Played "Space Age Batchelor Pad Music').

Unmittelbar nach der Veröffentlichung seines Debüt - Album "Where I Come From" attestierte der SPIEGEL: "Großartiger Start eines Supertalents", die NEUE MUSIK ZEITUNG kürte das Album zum "Debüt des Monats" und die renommierte "Münchner Konzertgesellschaft" verlieh ihm den Jazz - Förderpreis.
Mit dem neuen Album hat Sandro Roy nun augenscheinlich seine künstlerische Richtung gefunden, denn zum einen stellt er erstmals eine feste Besetzung, die Sandro Roy Unity Band, vor, zum anderen lässt er hier und da aber auch aufblitzen, dass er musikalischen Hochkarätern wie Bireli Lagrene, Jermaine Landsberger, David Gazarov oder Martin Taylor ein gern gesehener Partner im Studio ist.
Der auch bei SKIP schon mit eigenen Alben in Erscheinung getretene David Gazarov lässt das Django Reinhardt - Stück 'Place De Brouckere' in fast monkischer Schule daherkommen und zu Höhepunkten geraten die Begegnungen mit dem legendären Bireli Lagrene an der Gitarre, sei es die Hoagy Carmichael - Ballade 'The Nearness Of You', der Stevie Wonder-Klassiker 'You Are The Sunshine Of My Life' oder 'Dinelo', bei dem Sandro Roy und seine Band feinfühlig aber stets mit modernem Blick den Di Piazza-Klassiker mit Bireli Lagrene präsentieren. Und natürlich darf auch sein langjähriger Begleiter Jerome Weiss am Piano nicht fehlen, der in der Henry Mancini-Komposition 'Sabrina' den vielleicht klassischsten Zugang zu Sandro Roy offenlegt. Damit wird die Bandbreite unterschiedlichster Konstellationen abgebildet, die derzeit von Sandro Roy angeboten werden. Sandro Roy wird im Duo, Trio, Quartett, mit Orchestern und als virtuoser Solist sein Publikum weiter vergrößern, man darf gespannt sein, welche Ensembles er für sein Publikum auf den Festivals und in den Clubs bereithält.
Die CD erscheint im wertigen Digisleeve, das Vinyl kommt klassisch schwarz!

Black Truffle is thrilled to announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return ‘in some collective way to a non-existent start time in the history of human music’. Whatever kind of music our proto-human ancestors played, he writes, ‘drums were front and centre in the mix. Drums rule!’

In a paradox typical of Curran’s approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Fallo: ‘End Zone’ for orchestral bass drum and high oscillator, and ‘Rollings’, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’.

The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre ‘Field it More’. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

The long-running Kompakt imprint will release an EP by German DJ and producer Sascha Funke in September. Sharing five tracks that traverse quirky house and techno, Treets marks Funke’s monumental return to Kompakt since his Zug um Zug two-tracker in 2014.

Speaking about Treets, Funke says he is "very happy to be back on the mothership Kompakt" after an eight-year break. As one would expect with Funke, the EP fits the cosmic world of Kompakt to a tee. The title track conveys a weird, tripped-out atmosphere as an alien-like vocal burbles between an acid bassline and squeaky percussion. It's a tantalising glimpse of Funke's freaky underworld. E_Plus follows a similar wonked-out vein, only this time, the vibe is ominous. Funke pairs an orchestral vocal with bleepy pads and signature acid-drenched melody — a solid offering oddball of energy. On Alles Paletti, a 2-step drum pattern and string of bright claps create a sunny soundscape, complemented by a robust bassline and ethereal synth notes. It's fairytale house music, the kind only Funke can produce. The penultimate track Haus More is subdued, as chugging drums slither between a wobbly melody. The Other Version feels futuristic, as Funke goes full-force electro. Extra-terrestrial vocals return, but the pace is cranked up by strident sound FX and thudding drums. An eccentric end to an eccentric EP.

Sascha Funke is a Berlin-based producer and DJ with two decades' worth of releases building his back catalogue. BPitch Control, Turbo Recordings, Endless Flight, Running Back, and several more esteemed imprints have released his work. Today, he continues to create sleek sounds that weave various genres from house, techno, disco, Krautrock, wave, electro and unclassified anomalies. As a DJ, Funke is just as free-wheeling as his productions. He's played E1 in London, Caos in São Paulo and Renate in Berlin, amongst others, displaying his sweeping sound to a worldwide audience. Having been exposed to euro-dance pop as a youngster, you can hear flashes from the genre stitched throughout his work but blended in a way that's quintessential to Funke. Never one to change his sound according to the latest trend, Funke stays true to his creative vision — one of the most significant challenges for producers today.

Das traditionsreiche Kompakt-Imprint wird im September eine EP des deutschen DJs und Produzenten Sascha Funke veröffentlichen. Mit fünf Tracks, die sich durch schrulligen House und Techno auszeichnen, ist “Treets” Funkes monumentale Rückkehr zu Kompakt seit “ Zug um Zug” im Jahr 2014.

Im Gespräch über Treets sagt Funke, er sei "sehr glücklich, nach acht Jahren Pause wieder auf dem Mutterschiff Kompakt zu sein". Wie bei Funke nicht anders zu erwarten, passt die EP hervorragend in die kosmische Welt von Kompakt. Der Titeltrack vermittelt eine seltsame, abgedrehte Atmosphäre, wenn eine außerirdisch anmutende Stimme zwischen einer Acid-Bassline und quietschenden Perkussionsinstrumenten dahinplätschert. Es ist ein verlockender Einblick in Funkes freakige Unterwelt. “E-Plus” geht in eine ähnliche Richtung, nur dass dieses Mal die Stimmung bedrohlich ist. Funke paart einen orchestralen Gesang mit bleepigen Pads und seiner typischen Acid-getränkten Melodie - ein solides Angebot voller Energie. Auf “Alles Paletti” schaffen ein 2-Step-Drum-Pattern und eine Reihe heller Claps eine sonnige Klanglandschaft, die durch eine robuste Bassline und ätherische Synthesizernoten ergänzt wird. Das ist märchenhafte House-Musik, wie sie nur Funke produzieren kann. Der vorletzte Track Haus More ist zurückhaltend, da tuckernde Drums zwischen einer wackeligen Melodie schlittern. “Treets (The Other Version)” fühlt sich futuristisch an, weil Funke hier voll auf Elektro setzt. Der außerirdische Gesang kehrt zurück, aber das Tempo wird durch schrille Soundeffekte und stampfende Drums angezogen. Ein exzentrisches Ende für eine exzentrische EP.

Sascha Funke ist ein in Berlin ansässiger Produzent und DJ mit einem Backkatalog von zwei Jahrzehnten an Veröffentlichungen. BPitch Control, Turbo Recordings, Endless Flight, Running Back und einige andere angesehene Labels haben seine Arbeiten veröffentlicht. Heute kreiert er weiterhin geschmeidige Sounds, die verschiedene Genres wie House, Techno, Disco, Krautrock, Wave, Electro und unklassifizierte Anomalien miteinander verweben. Als DJ ist Funke genauso freizügig wie seine Produktionen. Er hat unter anderem im E1 in London, im Caos in São Paulo und im Renate in Berlin aufgelegt und seinen mitreißenden Sound einem weltweiten Publikum vorgestellt. Da er schon als Jugendlicher mit Eurodance in Berührung kam, sind in seiner Arbeit immer wieder Anklänge an dieses Genre zu hören, die aber auf eine Art und Weise vermischt werden, die ganz typisch für Funke ist. Niemals verändert Funke seinen Sound nach dem neuesten Trend, sondern bleibt seiner kreativen Vision treu - eine der größten Herausforderungen für Produzenten heutzutage.

Die erste Best Of der Band auf Vinyl!

19 essentielle MMEB-Tracks auf 2 schwarzen 180g Vinyls im schönen Gatefold. Die Sleeves enthalten Infos zu jedem Track, während im Gatefold ein 8- seitiges, eingeheftetes FarbBooklet mit zahlreichen Fotos aufwartet.

Die besten Single- und Albumtracks, inkl. ‘Davy’s On The Road Again‘, ‘Blinded By The Light‘, ‘You Angel You‘, ‘Don’t Kill It Carol‘, ‘For You‘,
‘Joybringer’, ‘Demolition Man’ u.a.

-Heavy Metal Sampler mit Underground-Hits und Kultsongs
-umfasst die „goldenen Achtziger“ mit Stücken von 1981 bis 1988
-Vinyl only (keine digitale Version)!
-EYECATCHER: attraktives Cover mit Hommage an die Serie
„Stranger Things“
-bedruckte Innenhülle mit Essay über den 80s Metal und viele Fotos
-mit einem neuen Vinyl-Remaster des Manilla Road Klassikers
„Necropolis“
Trotz dem Vinylboom, der in szenestarken Musikrichtungen
noch deutlicher ist als in der Popmusik, gab es in den letzten
Jahren bisher wenige Compilations auf LP. Dabei waren
Zusammenstellungen ein ebenso wichtiger Teil der Siebziger und
Achtziger, eben in der Zeit, als die Schallplatte das gängige Medium
war und ein Mixtape eben nur ein Tape war.
„Heavy Metal Things“ spielt natürlich auf die erfolgreiche TVSerie „Stranger Things“ an, die in den Achtzigern spielt und bei
den Jugendlichen einen ganz eigenen Lifestylewunsch erzeugt hat.
Trotz der spannenden Handlung erlebt man eine Zeit, die in einigen
Punkten doch einfacher und entspannter war – trotz dem Kalten
Krieg und unsicheren Atomkraftwerken. Die Schallplatte (und
erstaunlicherweise sogar die Kassette) gehört in diese Zeit, die sich
mit der Hochphase des Heavy Metal überschneidet. In Szenekreisen
taucht daher oft die Floskel „goldene Achtziger“ auf, denn so
ziemlich jedes Metal-Subgenre wurde hier erfunden oder klang
wenigstens bereits an. Ein ruppiger, teils noch von der Gesellschaft
geächteter Stil wurde zu einem kommerziellen Erfolg. Auch die
Neunziger, gespickt mit Grunge und Crossover, konnten die Rückkeh
des traditionellen Heavy Metal in den 2000ern nicht verhindert. Und
durch die Serie „Stranger Things“ werden Jugendliche auf Songs un
Bands aufmerksam, die in Folge nach über 30 Jahren wieder in die
Charts schiessen.
Trotzdem ist die LP „Heavy Metal Things“ keine Compilation mit
den großen Hits der Mega-Acts in diesem Segment. Im Gegenteil!
Hier wird gezeigt, welche spannenden Acts aus den USA und
Europa zunächst nicht mit dem Massenerfolg gesegnet waren,
allerdings von neugierigen und interessieren Genrefans mittlerweile
entdeckt wurden. So konnte man auch in den letzten Jahren Bands
wie Manilla Road bei Festivals wie dem Hellfest, Sweden Rock
oder Maryland Death Fest sehen. Kultgruppen wie Griffin (USA),
Witchfynde, Malleus oder Dark Wizard kehrten auch zu den
Bühnen zurück. Der Underground ist im Heavy Metal in der Tat
eine größere Sache, als man bei dem Begriff zunächst annehmen
müsste.

ORIGINAL RELEASE: 1984!
Und wieder buddeln Golden Core eine vergessene Perle
aus dem German Metal Underground, auch wenn das Wort
Hardrock hier ebenso angebracht wäre. 1984 veröffentlichte
die Band STARSTRUCK aus Karlsruhe ihr einziges
Lebenszeichen: Die LP „Thru´ To You“. Damit war man
regional nicht weit weg von GAMA Records, die ihren Sitz in
Kirchheim/Teck hatten und das Potenzial der lokal bereits
angesagten Gruppe erkannten. Aufgenommen wurde die Platte
im Spygel Studio mit Engineer Batze Kramer. Eben dieser hat
auch kultige Scheiben von Bands wie Tyrant, Stormwitch,
Bloody Six, Vampyr, Gravestone, Restless oder Necronomicon
veredelt. „Thru´ To You“ ist purer Zeitgeist und dazu passt
auch das Cover, welches beim genauen Hinschauen viel
Humor beweist.
Karlsruhe, Stuttgart, Heidelberg – melodischer Heavy Metal
war in diesem Großraum immer schon mehr angesagt als im
Ruhrgebiet oder im Norden. Nur München wurde noch bekannt
für seinen Hang zum AOR. Starstruck balancieren geschickt
den Mittelweg zwischen Härte und Radiofreundlichkeit, was
bei den gut arrangierten Songs und dem spielerischen Können
hätte zum Erfolgsrezept werden können. Leider war die Firma
GAMA nicht in der Lage, das Album adäquat zu promoten.
Immerhin wurde es ein Jahr später von Mausoleum (Belgien)
lizensiert, 1990 kam es dann auch erstmals auf CD (Aurophon,
in der Brainstorm Serie, die Sammler nur zu gut kennen).
Letztere Version kann man heute nicht mehr unter 70 Euro
(siehe Discogs) bekommen…
Golden Core machten auf Starstruck bereits 2021
aufmerksam, denn sie sind mit einem Track auf der
Compilation „The Best And The Rare Of GAMA Records“ zu
finden. Zum ersten Mal gibt es nun eine remasterte Version
des kultigen Albums auf CD, später im Jahr auch auf Vinyl.
Auch wenn die weniger bekannten Bands des GAMA-Kataloges
von Einigen immer noch belächelt werden…in den letzten
Jahren hat sich gerade in Südamerika und Osteuropa eine
große Fanbase in diese Richtung entwickelt, aber auch
weltweit wird der hart rockende Sound der Achtziger geliebt
und gerne kopiert. Starstruck waren mittendrin!

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

Die dänische Melodic Death Metal Band DEFACING GOD steht mit ihrem Debütalbum The Resurrection of Lilith in den Startlöchern, das am 2. September 2022 über Napalm Records veröffentlicht wird. Die
2015 von Sängerin Sandie ”The Lilith” Gjørtz und Drummer Michael Olsson gegründete Band folgt mit ihrer harschen Musik skandinavischen Metal Traditionen und im Zentrum ihrer Texte steht der Mythos um den weiblichen Dämon Lilith, der Unabhängigkeit und unbeugsamen Widerstand symbolisiert. DEFACING GOD gelingt es mit ihren Erzählungen, ihrer Musik und der düsteren Ästhetik die Hörer in ein dunkles Universum von obskuren Mythen und uralten Geschichten zu locken. Gleichzeitig ziehen sie von diesen
Mythen subtile Verbindungen zu aktuellen gesellschaftlichen Themen, wie Unterdrückung oder auch inneren Dämonen. Auf klanglicher Ebene schließen DEFACING GOD an Bands wie Cradle of Filth, Carach Angren und Dimmu Borgir an und balancieren massive Melodien, die durch die grandiose Orchestrierung von Lars Vinther untermalt werden. Anstatt diese symphonischen Melodien mit Black Metal verschmelzen lassen, werden sie bei DEFACING GOD rohem Death Metal gegenübergestellt. Produziert wurde ihr Debüt The Resurrection Of Lilith von niemand geringerem als Jacob Hansen, der für seine Arbeit mit Fleshgod Apocalypse, Volbeat, Evergrey, Epica und unzähligen anderen bekannt ist.

Back in soon, note new price. The second Silver Mt Zion album featured an expanded band, with a similarly expanded band name. The addition of cello, second violin and second guitar allowed SMZ to develop richer, denser arrangements while preserving live ensemble playing. The opening instrumental pieces picked up where the debut left off, with found-sound loops and treatments introducing repeated melodic themes that move slowly through various counter-melodies the greater breadth of instrumentation brought extra subtlety, complexity and harmonic range to bear on these neo-classical dirges. Guitars and vocals moved to the fore on the album’s centerpiece tracks. “Take These Hands And Throw Them In The River” is an astounding juxtaposition of rhythmic thrust and ricocheting vocals, driven by a battered lyrical paranoia that conjures equal parts fear and rage. The calm after this storming piece comes by way of another vocal tune, this time fragile and near-whispered, with dual lines that alternately mask and reinforce each other. A piano and cello interlude prefaces the last side of the record, which features two guitar-driven songs, the first a blazing rock piece that builds to an exuberant distorted climax, the second as close to a pop masterpiece as this band is likely to craft, highlighted by a lovely arpeggio guitar riff and the defiant refrain “musicians are cowards”. While remaining anchored in an underlying sadness and mourning over this failed world, this album reveals an angrier, more urgent face as this unique ensemble charted ever-widening sonic and emotional terrain.



[c] B1 . Built Then Burnt [Hurrah! Hurrah!]

In 2021, Los Angeles trio Gabriels arrived in a whirlwind with the loose-limbed vintage soul jam of ‘Love & Hate In A Different Time’, a song that could have dropped in almost any era. A stone-cold classic, it introduced a band so much more than just the sum of their supremely talented parts.

For the first time, ‘Love & Hate In A Different Time’ is now getting a special 7 Inch release with a previously unreleased live version of ‘Spanish Harlem’ recorded at BBC Maida Vale studios for a Gilles Peterson 6 Music session.

Just a handful of live shows deep, the spotlight swings and lands squarely on vocalist Jacob Lusk. A man who demands attention with a presence and voice of a gospel choir. That rich vocal swoops and soars through the pitches effortlessly matched by an on-stage persona that’s intensely likeable.

A bonafide star by anybody’s reckoning. Two acclaimed EPs deep and yet barely out of second gear, Gabriels have moved beyond mere promise to become one of 2022’s most essential new acts.

Press / PR:

“One of the most spectacular voices you will hear this year... Set to be 2022’s word-of-mouth hit” - The Guardian

“A sound that’s unlike anything else out there” – The Times

SOLD OUT every headline live show in 2021 and 2022 so far in seconds. Gabriels will also support Celeste on her sold out UK tour in the spring of 2022.

Love And Hate In A Different Time was playlisted at 6Music Arielle Free’s TOTW on Radio 1, other supporters included Annie Mac, Nick Grimshaw and Adele Roberts

Syncs with Reebok and Gucci campaigns

Breaking Act - Sunday Times Culture feature

Included in The Guardian’s 2022 Tips

NME Radar feature & NME 100: Essential Emerging Artists For 2022

KCRW’s 2021 Breakthrough Artist

Ones To Watch – The 25 Artists to Watch

Also, was gibt es wirklich noch über die außergewöhnliche Punk-Supergroup und Coverband Me First und die Gimme Gimmes zu sagen? Nach 7 Studioalben, einer Live-Platte und zu vielen Singles, um sie zu zählen, haben sie so ziemlich jedes Genre unter der Sonne in Angriff genommen. Sei es Motown, Country, Showmelodien, japanischer Pop (gesungen auf Japanisch!), Diese erfahrenen Punkrock-Profis haben bei jeder Gelegenheit auf eine Weise triumphiert, wie es nur die Gimmes konnten.

Me First und die Gimme Gimmes werden 2022 weltweit touren, also schaut sie euch live an. Wenn die Pflicht verlangt, dass einer der Gimmes mit ihrer anderen Band auftritt, können Sie sicher sein, dass ein reisender Gimme einspringen wird. Zu den reisenden Gimmes gehörten: John Reis von Rocket from the Crypt, Johnny "2 Bags" Wickersham von Social Distortion, Jay Bentley von Bad Religion und CJ Ramone von The Ramones, und zuletzt sahen wir UK-Import, Pink von The Damned auf Skins! Du weißt nie, welches mit Stars besetzte Line-up du bekommst, aber du weißt, dass es dich nicht enttäuschen wird.

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

Mr Sun brings together four of the most virtuosic musicians in acoustic
music
Led by Darol Anger, an iconic fiddler and founding father of new acoustic music,
the four musicians in the band span three generations and offer some of the
most jaw-dropping instrumental prowess to be found in any genre.
"Darol Anger's unmistakable fiddle tone has graced a huge variety of recording
projects from Dawg music to bluegrass to jazz and a few stops in-between. His
latest project, Mr. Sun, blends influences from fiddle tunes to smoky jazz,
propelled by the stellar talents of guitarist and fellow DGQ alum Grant Gordy, Joe
K. Walsh's equally distinctive mandolin and vocals, all borne swimmingly down
the string band highway on the shoulders of bassist Aidan O'Donnell." —Bluegrass
Unlimited

CLAMM's music was already concerned with the woes of the world, but
the last two years have added extra urgency to their blown out, dystopian
punk power
New album Care is bigger, louder and darker than its predecessor. CLAMM
dodged lockdowns to record at Rolling Stock and Sound Park Studios with Nao
Anzai (NO ZU, Cash Savage, Rolling Blackouts). Nao also plays fearsome synth
on the album and has joined the band on- stage at recent shows. Saxophonist
Anna Gordon (Mangelwurzel) contributes wild free jazz skronk to a number of
tracks.
180g "Chick" Yellow Vinyl

Oli Stewart is Casbah 73. American-born, Madrid-based DJ, producer, vinyl collector and selector extraordinaire with several decades of experience under his belt.

Classic soul, funk and disco at its finest, with releases on mainstay outlets such as Glitterbox and Lovemonk, we're extremely proud to have him in the Boogie Angst record bins.

Casbah 73's Boogie Angst debut is a two-sided live band funk workout reminiscent of early 70's acts and labels such as 24 Carat Black, Black Heat and Strata East, but also connects to the current sounds of Black Jazz Chronicles, Sault and Nu Genea.

Let's Invade the Amazon is a highly grooved piece of live musical wizardry, with vocal performances to match. Beautifully extended and ongoing, the steady backbone interplay with funky electric pianos, with the occasional synth riff popping up for a breath of fresh air. And in the words of Casbah himself: "Quite possibly - no, definitely, the only soul-disco track ever to be inspired by Michael Mann's book "The New Climate War", The Clash, Sun Ra... and Dr Seuss".

On the B-side we find Pale Splash of Blue; some top shelf live Moog-, Rhodes- and Hammond featuring jazz funk. Punchy organs stab away alongside Casbah 73's signature electric piano sprinkles, bouncing around his unique rhythmic groove. All resulting in a driving pace and attractive up-tempo moment; more than worthy of that evening beach club get-together.

Casbah 73's sound is a clear amalgamation of his broad range of influences, and the two songs on this release are a definite showcase of his love for funk, soul and disco.

With some excellent remixes on their way, keep an eye out for the upcoming limited edition vinyl release.

'Casbah 73 – Let's Invade the Amazon' is out on all digital portals on May 20, 2022, via Boogie Angst