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Jackie Ross had a storied career that began when the great Sam Cooke recruited her for his SAR label in 1962. After that, she went on to sing with Syl Johnston's band and sign with the notorious Chess label in 1964. It was there she dropped her biggest hit 'Selfish One', which reached number 11 on the U.S. Billboard Hot 100, before many more tunes came on the likes of Brunswick and others.

Her 1980 album A New Beginning For was produced by Chicago soul scene mainstay James Van Lear and now gets its first reissue courtesy of P-Vine. It shows the range and depth of emotion Jackie could tap into with a mix of slow motion stirrers and more funky and upbeat numbers.

Penelope Scott is a songwriter and producer who absorbs the mania and magnificence of Gen Z life in her expansive, entrancing, and extreme musical vision equally steeped in tender acoustic balladry and hyperpop paroxysms. Gathering hundreds of millions of streams and receiving widespread acclaim from Billboard and more, she showcases both sides of her sound on the 2023

double-EP, Girls Night and Mysteries for Rats.. “When I was making the project, I realized there was a split down the middle,” she reveals. “Half of the songs are in the more acoustic folky style, and the other half are computerized synth sounds. So, I decided to do multiple EPs. It gives people different options and flavors already sorted out for them.” Penelope explores every facet of who she is on the double-EP and appeals to a myriad of emotions in the process as just “a singer-songwriter, aspiring music software knower.”

Mariah Careys 30-jähriges Karrierejubiläum geht weiter! Nach der Veröffentlichung der Doppel-CD "The Rarities" am 2. Oktober erscheinen am 6. November ihre Alben "Emotions", "Music Box", "MTV Unplugged EP" (erstmals auf Vinyl), "Daydream", "Butterfly" und "Rainbow" - neu gemastert - auf schwarzem Vinyl.

Released in October 1991, Belinda’s fourth solo album after leaving The Go-Gos saw Rick Nowels sharing the
producing credits with other names, but he provided Belinda with the hit singles: “Live Your Life Be Free” and “Do
You Feel Like I Feel?”. “Half The World” and “Little Black Book”, produced by Richard Feldman, were also hits.
Charting around the world, the album achieved Gold sales in the UK.
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy
and transient information creating an incredibly detailed stereo image with a natural high frequency response.
Presented in its original sleeve, pressed on 180 gram heavyweight black vinyl, featuring an obi strip and housed
in a poly-lined inner sleeve, with all the lyrics and credits on the 4 page insert.

toechter is an all-female trio operating from Berlin. toechter’s 2nd full-length album »Epic Wonder« sees its classically trained members blend elaborate string arrangements with ethereal indie pop and delicate rhythms. Katrine Grarup Elbo, Lisa Marie Vogel and Marie-Claire Schlameus exclusively use analogue sound sources (such as violin, viola, cello, and their voices), which were then electronically processed.

Named after the Greek god of the wind, toechters 2022 album »Zephyr« exhaled deeply with concurrently invigorating and confusing sounds. »Epic Wonder«, their second album, was created in the spring and summer of 2023. Playing with forms and contours, the music sounds like the awakening of something new. One seems to be listening to an ongoing conversation, an exchange about what music could be, where it wants to go and how it contributes to our view of life. It all rests on a simple premise:

»Every sound you hear in our universe comes from us. The string trio is the core of toechter, the starting point of all our work.«

Those looking for new worlds of sound can find them in the work of this classically- trained musicians. Whether they add voices or percussive instruments, sample the sounds, or manipulate them electronically; ultimately they are exploring the string trio's place in a world shaped by the digital.

»Prelude« opens the album, seemingly a conversation, yet not only between humans. We catch the word ›love‹ which soon morphs into pure sound images, while a violin theme tentatively takes over. Is it the dawning of a new day? The chorus of sound transforms into a fascinating rhythmic figure, creating a club-like experience that fades out in delicate structures. A perpetual transformation.

According to toechter, »Epic Wonder« is all about making connections. Connections between people, animals, plants, fungi, rocks, soils, oceans, ice caps, stars, and planets. One imagines oneself in a folk-pop song of the 60s, or even blown around by Morricone's desert wind:

»The world as we see it is in desperate need for a deeper understanding; for compassion, for empathy. We have to understand that we are all part of the same organism. Epic Wonder is a dream, a wish, a longing for kinship between all species that share the world - all that is alive.«

The acoustic throbbing and knocking in »Sea Of Serenity« makes you think of encounters with mythical creatures or planetary oceanography; and out of the mechanically clacking groove of »Shift Souls« a gentle, but steady movement awakens with voices that seem to sound from the depths of the sea. Everything is in flux, floating in and out of dimensions and elements.

The album ends with »Mercury«, spherically elegant and almost science fiction-like. Here, a pizzicato melody leads us back to the baroque, simultaneously representing a detail of intertwined sonic worlds, while the steady, housy baseline develops its driving theme.

»Creating the music for the album, we allowed ourselves to waft away with the aspiration that connections are possible. Sometimes dwelling on subtle, yet marveling phenomena like the evening fog covering a valley on Midsummer, sometimes on grandiose splendors like the genesis of mountains or the birth of a child - letting interactions and encounters with other beings float through the musical universe as drips of emotional perceptivity.«

For the visual manifestation of »Epic Wonder«, toechter has engaged with Finish up-and-coming lens-based artist Aino Kontinen. Her work will grace both the cover art of the album and accompany the first single and video as an ephemeral tale in motion.

After nearly two decades releasing music on prominent Drum n Bass labels such as Creative Source, Soul:R and Paradox Music, Paris based producer Naibu is finally launching his own imprint, Minato Music. Starting things off with this new solo LP entitled ‘Sans Soleil’, Naibu draws inspiration from the very best of 90s Drum n Bass and Anime film scores of that period, to create a modern day soundtrack that is relevant both at home and on the dancefloor.

Featuring a 40-piece strings orchestra, a Japanese women’s choir and the vocal talent of legendary singer Robert Manos, this album masterfully blends the evocative beauty of the human soul with cold synthesized sounds, deep sub basses and original hand-crafted breakbeats. This massive project, which took nearly 5 years to complete, is an emotional journey through time and a future classic.

First album in seven years from Maple Death Records founder James Jonathan Clancy (Italy/Canada), and the first under his birth name following previous ensembles His Clancyness (Fat Cat, Maple Death) and Brutal Birthday (Total Punk, Improved Sequence). In the interim between those projects and this latest, ‘Sprecato’, Clancy has refined and honed his vision —steadily and carefully drawing from a host of disparate influences to create a new kind of singer-songwriter album that bridges the divide between cosmic loner-folk, proto-ambient music, and the epic, intricately arranged world of vintage Italian soundtrack music. For ‘Sprecato’, Clancy has assembled a transnational cast of renowned guest collaborators; including Stefano Pilia (co-producer/guitar/modular/synths/bass), Andrea Belfi (drums), Enrico Gabrielli (flutes, PJ Harvey/Calibro 35), Francesca Bono (piano, Bono/Burattini) —while the core of the band features Dominique Vaccaro (guitars, J.H. Guraj), Andrea De Franco (synths, Fera) and Kyle Knapp (sax, Cindy Lee/Deliluh).

Written and recorded between London & Bologna, the initial spark for the album was to be found in the book length work ‘Gli Sprecati’ (Canicola Edizioni), by visionary Italian comic’s artist Michelangelo Setola, who ultimately provided Clancy with the graphics

that grace the album’s cover and overall visual sensibility. Something of Setola’s near apocalyptic pastoralism runs through the record, even as Clancy’s themes grow beyond the seed they’d originally planted. Drum machines that sound as if they’ve been excavated from the earth meet detuned pianos and guitars; bucolic traces of synths stretched beyond all reckoning. While the band is both loping and epic —with shades of Pentangle’s Terry Cox in the live drumming in particular —there’s a new emotional depth and

The Sex featuring members of Mercenary God and No Suicide. A mixture of different elements with a rock substrate for an uncategorized result. Another Post-Punk gem from the 80's Italian North-Eastern scene.

My adventure buddies? The silent, enigmatic Patti, former singer of the mysterious No Suicide, and the young, faithful Chris, a passionate Police fan, we met on the battlefield and he immediately became my brother. For him, learning to play the bass was a way to get close to Sting, in other words, just one step below Paradise. Patti instead played keyboards as an extension of her mysterious and glacial presence, so still and distant that the audience sometimes wondered if she was real. And then there was my fixation for the drum machine, a futuristic device which could transform the drumming sweat into an invisible, yet physical, dreamlike pulsation. A particular combination of characters and a special astral conjunction, that’s what you need to get a nucleus source of sonic emotions, and in some ways this is what we were. You could clearly feel it during the concerts. When at the end of ‘81 My Mercenary God lost their drummer and had to disband, I felt clearly that the music had already changed.

Our old 70’s rock ‘n’ roll sound was no longer representative of the day. We were like some sort of yesterday’s newspaper. Thus I Sex was born (later The Sex). According to Freudian thought that sees sexual instinct as the driving force behind every (creative or destructive) human act. And in fact we immediately started creating, destroying, assembling and deconstructing our sound. Suddenly “tomorrow became now”. It was an outburst of creative independence in the form of homemade cassettes put together with makeshift tools, at least until the arrival of the legendary 4 track recorder. I was 19 years old, Chris was only 17. Nothing more than kids after all. Yet we were already veterans, veterans of a lost war. Wise, naive, disillusioned dreamers, everything and the opposite of everything. But, above all, we were totally devoted to our creative delirium up to the point of losing touch with reality, crossing limits, breaking down barriers and almost bordering on madness. Perhaps we were just too involved, especially if in relationship with what we could receive in return. We always spread our energies as if there was no future. We unconsciously felt that we had to live in the moment, now or never, and in retrospect it really was like that, and this is why these songs exist now. Songs created with the intent to tell an inner universe that is, now as then, far from any convention.

Vegas Performance ist die treffende Erklärung des im Albumtitel manifestierten Schlagsatzes »Warum sie Stürme nach Menschen benennen«. Erhabener denn je fegt der Freund von Niemand wütend wie emotional über dramatisch-unheilvolle Produktionen, hinterlässt in seinem Rücken einzig Schutt und Asche. Einige Stücke auf »WSSNMB« erinnern in ihrer Brutalität, auch Dank ihres klassischen HipHop-Herzschlags, an den »Vincent«-Vega — andere muten futuristisch, geschmackvoll poppig, ja, beinahe gelöst und doch hittig an. Vega präsentiert sich schwächer und gleichzeitig — oder vielleicht genau deshalb — stärker denn je. »WSSNMB« dokumentiert die aufreibende Selbstsuche eines Mannes, der seit Jahren an der Spitze steht und zwischenzeitlich trotzdem gefährlich ins Taumeln geriet. Nach Jahren am Nullpunkt ist Vega zurück im Ring. Nicht für die Goldenen, die Eins oder den glänzenden Benz. Einzig und allein, um sich ein weiteres Denkmal zu setzen und zu beweisen, dass er gestärkt aus der Zeit der großen Krisen hervorgegangen ist.

"Warner Music Nashville MULTI-PLATINUM star Gabby Barrett massively anticipated sophomore album Chapter & Verse will release February 2, 2024, which you can pre-order from Friday 5th January 2024.
Her most autobiographical work to date, Chapter & Verse will follow the 23-year-old hitmaker’s PLATINUM debut Goldmine and deliver even more of the fullhearted songwriting that’s made her one of Country’s brightest young superstars

Along with fully leaning into her Country roots on Chapter & Verse, Barrett’s deepened the emotional scope of her songwriting and created an up close portrait of her experience as a wife and mother of two children, with her third baby due early this year. To that end, the album’s title refers to the chapters and verses within each book of the Bible, as well as the still-unfolding chapters in her marriage, family, career, and overall journey through life.

Gabby Barrett continues to prove herself to be an unstoppable force in Country music. Already surpassing 2.8 BILLION global career streams - listen to latest releases You’re my Texas, Glory Days, Cowboy Back & Growin’ Up Raising You’ taking off the forthcoming album Chapter & Verse."

Superheaven and Run For Cover Records have teamed up to commemorate the ten year anniversary of the band's breakthrough debut album JAR. After first hitting stores in Spring of 2013, this latest update to the legacy of one of Run For Cover's most important titles comes out April 28, 2023. The eastern-Pennsylvania four piece had been building anticipation for their first full-length for years, releasing multiple EPs and playing shows with local contemporaries like Tigers Jaw and Balance and Composure. Working with producer Will Yip (Turnstile, Title Fight) at Studio 4 in Conshohocken, PA, these songs showcase a talent for writing both jarringly heavy and delicately emotional songs, mixed with the size and clarity of major label grunge breakthrough records like Nirvana's Nevermind or Failure's Fantastic Planet. The revamped anniversary edition features new, updated packaging as well as two bonus tracks - "Siblings," a Jar-era one-off single and "Lucky," a vinyl-exclusive b-side from the LP sessions.

2024 Repress
Strong forces from the Outerworld are coming! Sound Synthesis, Gilbert, ReKaB and iNF0 will protect earth with their electronic sounds. Compiled by JDSK from Under The Radar, limited copies..

A lot of water has flown under the bridge since Błoto released their last album. Sadly, in Polish rivers it wasn't just water flowing, but also all sorts of sewage of unknown origin, which destroyed the condition of these once vibrant bodies of water; it eventually led to a real catastrophe on the Odra River, which, after all, surrounds the entire city of Wroclaw, the band's birthplace. It is time for a decisive response. Błoto is making a comeback with a seven-inch vinyl and their first singles in over two years - "Szlam" and "Ścieki".

Climate change had already led to a permanent hydrological drought, which was echoed on Erozje LP. Today, as many as 91.5 percent of Poland's rivers are in very poor condition. It is not only drought that threatens rivers, but also excessive salinity. This is precisely the kind of disaster that happened on the Odra river. It resulted in 360 tonnes of dead fish and death of the river along a stretch of almost 500 km, and the reason for that was short-sighted human activity that could have been avoided. Still, the decision was made to turn the river into a cesspool.

Two years of hiatus is far too long. During this time, reality has not let up for a moment, providing new inspiration. Szlam (eng. sludge) is the sediment that forms on the river bed and sometimes the river banks. The Polish word derives from German (Schlamm), which means swamp - or mud. Szlam is therefore a sticky and unsettling remorse that rests somewhere at the bottom of the human consciousness.

In "Szlam" and "Ścieki" tracks, you will not only hear references to Erozje, but also to Kwasy i Zasady LP. For it is also a metaphor for everything that pours out of the media, smartphones, and then flows into one's head. The constant bickering, conflicts and dirty play in political campaigns, scandals to which we are already numb. On top of this, hate speech, low-quality stupefying influencer content, resulting in an ever-decreasing cultural capital of a society that breeds conformists, individualistically-minded egoists and mindless consumers. This state of affairs spawns a society of egoists, incapable of critical reflection, questioning and rebelling against reality.

The sound and genres explored by the band are, as usual, difficult to pigeonhole. These two musical miniatures contain a lot of anxious and neurotic sounds, as well as synth glitches evoking emotions such as fear, anger, sadness and guilt. The quartet consisting of Wuja HZG, OlafSaxx, Cancer G and Latarnik managed to distill this mental state by encapsulating it in shades of breakbeat ("Szlam"), and broadly defined house music ("Ścieki").

The 7" vinyl will be released on January 08th 2024 by Astigmatic Records.

Silver with White and Black Marbled. Cold Wave. Nantes, France. Simmering on the edge of an explosion, the songs injects dark and grave moods into an antsy and frenetic weave of relentless buzzing, trembling bass blows, hard stomping drum beats, spiralling synths, and ominously abrasive guitar riffs laced with echoing piercing strains, amid a haunting vocal interplay, layering harrowing baritone broods with dire seething cries to decry, through a resentful sea of anger and judgment, death to another. Cinematic visuals directed by Rom Snare star Yoram Varganyi as a lost soul looking for trouble or, perhaps, friendship with co-stars Dolorès and Alain Mt, on his last night out, whilst an unexpected ending leaves the viewer heartbroken and breathless. A busy urban backdrop sets the stage for an emotional experience where evocative acting and an on-point black leather-clad exterior sync perfectly with the brazen vibes of the soundtrack.

In Celtic mythology, Clota was the patron Goddess of the River Clyde. "Almost all the rivers of Scotland were abodes of goddesses, but about many of them there are no surviving stories. The goddess of the Clyde was ‘the purifying one’.. " Donald MacKenzie 'Wonder Tales from Scottish Myth and Legend' (1917) Following the warmly received 'An Garradh', and 'Tarbolton Bachelors Club', Steven Anderson (Letters From Mouse) returns to Subexotic with another emotionally inquisitive, fascinating psycho-geographical work. Although very little is known about the goddess Clota, Anderson intuitively understands the River Clyde provides a rich landscape to explore her legacy. Dominating its environment, and steeped in ancient and modern historical significance, 'Clota' simultaneously reflects on what is, and what has been. Through deft application of modular synthesis, Anderson's trademark ability to weave extraordinary musical dialogues with time and place, conjures new life into this long-forgotten deity.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

Very limited vinyl pressing, 500 copies, housed in a full colour sleeve & printed inner sleeve & download. CD in a 4 panel digipack with a 4 page lyric booklet. New Heavy Sounds are always on the lookout for new bands that are looking to push the boundaries of what is considered as inhabiting the ‘heavy’ or ‘metal’ spectrum’. Stuff that pricks up the ears, a bold new voice within a maelstrom of genres and sub-genres. We believe we have found such a band. New York-based GUHTS (pronounced ‘guts’) declare themselves to be an ‘avant-garde post-metal project, delivering larger than life sounds through, deeply emotional music’. We are thrilled to be able to deliver that statement in the form of their debut album ‘Regeneration’. By their own admission, GUHTS' musical style is influenced not only by iconic metal bands like Gojira, Cult of Luna, YOB and Deftones, but more unconventional acts like Bjork, Subrosa, Isis, Julie Christmas, and even PJ Harvey. It’s undoubtedly heavy, with a strong feminist streak, it’s cathartic and weighty, a formidable debut for such a new band. Founded in 2020 as a passion project by Scott Prater (Witchkiss), and Amber Burns (Witchkiss) and then Dan Shaneyfelt (Black Mountain Hunger), GUHTS became its members’ main focus following the release of their first EP 'Blood Feather' which itself received rave reviews from the likes of Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation, and more. Brian Clemens Sleaping Dreaming) & Daniel Martinez (Nefariant) joined GUHTS in 2022 and the band swiftly started booking tours and making plans to record 'Regeneration'. Since then GUHTS have been steadily making a name for themselves with their powerful live performances., sharing stages with the likes of Yob, Cave in, Marissa Nadler, plus appearances at the Maryland Doom Fest, Crucial Fest and Ohio Doomed and Stoned Fest. ‘Regeneration’ is set to cement their status as one of the coolest and most interesting bands on the scene. Of the album, vocalist Amber says. "Regeneration" symbolizes the power of self-renewal, often overlooked. Embracing it means shedding old layers and welcoming new beginnings. Without this, life stagnates and is “sustaining”. Through regeneration, change becomes empowering, allowing new facets to emerge. It's a courageous, transformative process, inspiring others to overcome fear and embrace change. The album embodies the human spirit's resilience and capacity for growth. Musically ‘Regeneration’ is a powerful and intense series of songs, topped off by some seriously powerhouse and expressive vocal performances. It’s slow-moving chords, moving like sheets through sludge. High guitar lines above, ranging from piercing and shimmering to nasty. Drums pound but not without groove. There are strings, pianos and synths widening the palette. Atmospheric sludge, Metalgaze, maybe, but there’s also that link to the New York Noise lineage from The Velvets and Sonic Youth, becoming a type of post-hardcore in the process, while gaining a connection to metal partly due to the sheer heaviness. A raft of creative experimentation that pushes beyond the realm of post-metal. And then of course, the very first thing that hits you is Amber Gardner's unbelievable, hypnotising vocals - as scary as a banshee while also intimate and persuasive. Amber means it for sure and almost dominates the proceedings. Her lyrics are eclectic, thoughtful. Immersed in women's narratives frombooks like "Women Who Run With the Wolves" or works like "On Our Best Behavior" by Elise Loehnen. Amber advocates stepping beyond comfort zones, believing it's transformative for individuals and vital for Earth's future. Hokey occult rock it is not. In short ‘Regeneration’ is a bold and startling debut, that will reward and enthral listeners the deeper they delve into its many layers.

Die New Yorker GUHTS (ausgesprochen 'guts') bezeichnen sich selbst als 'Avantgarde-Post-Metal-Projekt, das überlebensgroße Klänge und tief emotionale Musik liefert'. Nach eigener Aussage ist der Musikstil von GUHTS nicht nur von kultigen Metal-Bands wie Gojira, Cult of Luna, YOB und Deftones beeinflusst, sondern auch von unkonventionelleren Acts wie Bjork, Subrosa, Isis, Julie Christmas und sogar PJ Harvey. Es ist zweifelsohne schwer, mit einer starken feministischen Ader, es ist kathartisch und gewichtig, ein formidables Debüt für eine so neue Band. GUHTS wurde 2020 von Scott Prater (Witchkiss), Amber Burns (Witchkiss) und Dan Shaneyfelt (Black Mountain Hunger) als Passionsprojekt gegründet. Nach der Veröffentlichung ihrer ersten EP "Blood Feather", die begeisterte Kritiken vom Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation und anderen erhielt, konzentrierten sich die Mitglieder auf neue Ideen. Brian Clemens (Sleaping Dreaming) & Daniel Martinez (Nefariant) stießen 2022 zu GUHTS und die Band begann schnell, Pläne für die Aufnahme von "Regeneration" zu schmieden. Seitdem haben sich GUHTS mit ihren kraftvollen Live-Auftritten einen Namen gemacht: Sie teilten sich die Bühne mit Bands wie Yob, Cave in und Marissa Nadler und traten auf dem Maryland Doom Fest, Crucial Fest und Ohio Doomed and Stoned Fest auf. Musikalisch ist "Regeneration" eine kraftvolle und intensive Reihe von Songs, die durch einige sehr kraftvolle und ausdrucksstarke Gesangsdarbietungen gekrönt werden. Langsame Akkorde, darüber liegende hohe Gitarrenlinien, die durchdringen und schimmern. Das Schlagzeug hämmert, Streicher, Pianos und Synthies erweitern die Palette. Atmosphärischer Sludge, Metalgaze, mit Verbindungen zur New Yorker Noise-Linie von The Velvets und Sonic Youth. Streng limitierte Vinyl-Pressung in einer farbigen Hülle, bedruckter Innenhülle und Download. CD in einem 4-seitigen Digipack mit 4-seitigem Textheft.

This new release by Italian artist Fred Ventura tells a story that began about forty years ago, a song that remained in the drawer for several years and only recently released in demo format in a compilation. The artist's affection for this song pushed him to contact some of his favorite producers to give the song a new look and a definitive release in 12" format. In these six remixes the post-punk sound of the original version evolves towards Italo disco, synth pop, minimal synth and techno sounds without ever losing the emotional impact of the original.

Platz 2 Powermetal SOUNDCHECK 01/24
Die aus Brisbane stammende Band Caligula's Horse hat sich seit ihrer Gründung im Jahr 2011 zu einer der führenden Progressive-Metal-Bands der Welt entwickelt. Mit Charcoal Grace, ihrem 6. Studioalbum, kehrt die Gruppe mit einer Kombination aus roher Rock-Power und immenser emotionaler Tiefe zurück. Charcoal Grace ist aus der statischen Hoffnungslosigkeit geboren, die die Pandemie der Band und einem Großteil der Welt in den letzten Jahren aufgezwungen hat. Es ist ein Album, das mit den Erfahrungen und Ergebnissen dieser Zeit abrechnet und letztlich auf eine Katharsis abzielt - auf eine hoffnungsvollere Zukunft. Der Titel Charcoal Grace wird von der Band als "die düstere Anziehungskraft und seltsame Schönheit von Stille, Schweigen und Verlust" beschrieben. Das kann man im 10-minütigen Eröffnungstrack "The World Breathes With Me" hören, einem Mission Statement für die Hauptthemen des Albums. Musikalisch ist es ein Werk der Kontraste, das sich von der leichtesten Ebbe bis zum schwersten Fluss bewegt. Der zweite Track und die erste Singleauskopplung des Albums, "Golem", befasst sich mit dem Kampf mit der Last der Erwartung durch die Pandemie. Es ist ein schwerer Song mit Schwerpunkt auf Riffs und treibenden Rhythmen. Im Mittelpunkt des Albums steht die vierteilige Suite des Titeltracks, ein 24-minütiges Werk, das die grundlegenden Themen des Albums vertieft: Verbindung, Entfremdung und die Art und Weise, wie die Menschheit unter Zwang handelt. Musikalisch deckt es alle Facetten des Vokabulars der Band ab, von schwerer und dichter, orchestral begleiteter Intensität, die die dunkelsten lyrischen Ideen der Songs verkörpert, bis hin zu sanften, akustisch geprägten Momenten und Introspektion. Nachdem Caligula's Horse in den letzten Jahren nicht in der Lage waren, ihr letztes Album Rise Radiant der Welt zu präsentieren, sind sie nun bereit, Charcoal Grace auf schonungslose Art und Weise unter die Leute zu bringen. Mit diesem Album hat Caligula's Horse ein Statement abgegeben, und sie sind bereit, dass die Welt zuhört. Charcoal Grace ist erhältlich als Gatefold 180g 2LP

Vanishing Dreams is a highly awaited new mini-album by Cold Colors, brimming with personality and inspiration as always. Wistful undertones and captivating melodies establish Cold Colors as one of the most prominent figures in the current French and European new wave scene. His music mirrors the sharpness and elegance reminiscent of the renowned Lyon duo, Deux, showcasing his talent for evoking beautiful emotions through his melancholic and catchy notes.

Aufbauend auf dem Fundament ihres Debütalbums "Sunyata", ein Titel, der frei übersetzt Leere oder Nichtigkeit bedeutet, präsentiert VIPASSI auf ihrem zweiten Album "Lightless" ihre außergewöhnliche Kunstfertigkeit, ein Album, das sich mit dem zeitlosen Thema von Licht und Dunkelheit beschäftigt.

Benannt nach dem zweiundzwanzigsten Buddha, charakterisiert VIPASSI treffend die Aura der absoluten Hellsichtigkeit der Band. Diese Qualität spiegelt sich in ihrer erstaunlichen technischen Musikalität wider, die sie als instrumentale Superstars auszeichnet. Lightless" ist ein Zeugnis ihrer Entwicklung und zeigt einen Grad an Reife, der im Bereich des instrumentalen Progressive Metal beeindruckend ist.

Was VIPASSI wirklich auszeichnet, ist ihre Fähigkeit, eine fesselnde musikalische Erzählung zu schaffen, die über Worte hinausgeht. Jedes Instrument in ihrem Arsenal ist nicht nur ein Werkzeug, um Töne zu erzeugen, sondern vielmehr ein fein abgestimmtes Instrument in der Sinfonie der Emotionen, die sie schaffen. Der Zuhörer wird in ein klangliches Universum eingeladen, in dem er zum Autor seiner eigenen Geschichte wird.

Die Töne des Fretless-Basses umspülen das Publikum wie sanfte Wellen, beruhigend und einhüllend. Die eklektischen Gitarrensätze, die mit einer Präzision ausgeführt werden, die an das Jenseitige grenzt, schaffen eine dynamische und sich ständig weiterentwickelnde Klanglandschaft. Diese Elemente werden durch das donnernde und komplizierte Schlagzeugspiel wunderbar ergänzt, das der Musik eine dynamische und kraftvolle Unterströmung verleiht.

VIPASSI's "Lightless" ist mehr als nur ein Album; es ist eine Reise, eine Erkundung von Emotionen und eine Einladung, tief in die Gefilde von Licht und Dunkelheit einzutauchen. Es ist ein Beweis für das außergewöhnliche Können der Band und ihre Fähigkeit, eine Leinwand zu schaffen, auf der der Hörer seine eigene lebendige und persönliche Geschichte malen kann. In der Welt des instrumentalen technischen Metals ist VIPASSI ein unübertroffenes Leuchtfeuer der Kreativität und musikalischen Meisterschaft.

Aufbauend auf dem Fundament ihres Debütalbums "Sunyata", ein Titel, der frei übersetzt Leere oder Nichtigkeit bedeutet, präsentiert VIPASSI auf ihrem zweiten Album "Lightless" ihre außergewöhnliche Kunstfertigkeit, ein Album, das sich mit dem zeitlosen Thema von Licht und Dunkelheit beschäftigt.

Benannt nach dem zweiundzwanzigsten Buddha, charakterisiert VIPASSI treffend die Aura der absoluten Hellsichtigkeit der Band. Diese Qualität spiegelt sich in ihrer erstaunlichen technischen Musikalität wider, die sie als instrumentale Superstars auszeichnet. Lightless" ist ein Zeugnis ihrer Entwicklung und zeigt einen Grad an Reife, der im Bereich des instrumentalen Progressive Metal beeindruckend ist.

Was VIPASSI wirklich auszeichnet, ist ihre Fähigkeit, eine fesselnde musikalische Erzählung zu schaffen, die über Worte hinausgeht. Jedes Instrument in ihrem Arsenal ist nicht nur ein Werkzeug, um Töne zu erzeugen, sondern vielmehr ein fein abgestimmtes Instrument in der Sinfonie der Emotionen, die sie schaffen. Der Zuhörer wird in ein klangliches Universum eingeladen, in dem er zum Autor seiner eigenen Geschichte wird.

Die Töne des Fretless-Basses umspülen das Publikum wie sanfte Wellen, beruhigend und einhüllend. Die eklektischen Gitarrensätze, die mit einer Präzision ausgeführt werden, die an das Jenseitige grenzt, schaffen eine dynamische und sich ständig weiterentwickelnde Klanglandschaft. Diese Elemente werden durch das donnernde und komplizierte Schlagzeugspiel wunderbar ergänzt, das der Musik eine dynamische und kraftvolle Unterströmung verleiht.

VIPASSI's "Lightless" ist mehr als nur ein Album; es ist eine Reise, eine Erkundung von Emotionen und eine Einladung, tief in die Gefilde von Licht und Dunkelheit einzutauchen. Es ist ein Beweis für das außergewöhnliche Können der Band und ihre Fähigkeit, eine Leinwand zu schaffen, auf der der Hörer seine eigene lebendige und persönliche Geschichte malen kann. In der Welt des instrumentalen technischen Metals ist VIPASSI ein unübertroffenes Leuchtfeuer der Kreativität und musikalischen Meisterschaft.

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

Blue Raspberry is Katy Kirby"s follow up to her renowned debut album Cool Dry Place, which came out in February 2021. Singer/songwriter Katy Kirby introduced her warm, articulate vocals, perceptive lyrics, and playful adult-alternative style on her debut album as she toured tirelessly supporting bands like Waxahatchee, Andy Shauf, Julia Jacklin and Alex G. That record was a tried-and-true folk collection, perfectly displaying the chops of a young songwriter and emanating the warm feel of a band in a room; Blue Raspberry, made with the same band and producers (Logan Chung and Alberto Sewald) , hits the gas and enters completely new territory as we see Katy truly step into her own as a songwriting force. She fearlessly leans far into baroque piano pop on tracks like "Redemption Arc" and the title track "Blue Raspberry", and lyrically she explores themes of loss and queer love. Very few are able to capture the same emotional, theatrical magic of artists like Fiona Apple, Tom Waits and Joanna Newsom but Katy pulls it off on this record; standout "Drop Dead".

Das Innenumschlag-Artwork enthält die vollständigen Liedtexte des Albums. Die erste Auflage der Schallplatte enthält ein limitiertes A3-Poster mit einem besonderen Risographen-Druck. "BITTER SWEET LOVE" zeigt James von seiner besten Seite und bietet dreizehn atemberaubende Songs voller Emotion. Nachdem er wieder auf der Bühne stand, wurde ihm klar, wie sein fünftes Album klingen sollte. Die Menge sang zu seinen Hits mit und tauchte in die Emotionen ein, die James in seiner eigenen Stimme hören konnte. Der aus Middlesbrough stammende und vor kurzem Brit Billion-Award zertifizierte Künstler, kann auf eine Jahrzehnte lang umfassende Karriere zurückblicken. Darunter 4 Studioalben, 16 Milliarden verkaufte Tonträger und unzählige ausverkaufte Konzerte an einigen der legendärsten Veranstaltungsorten weltweit

Der New Yorker Songwriter und Multiinstrumentalist Nate Kinsella aka Birthmark liefert mit 'Birth Of Omni' sein bislang dynamischstes und experimentellstes Album ab. Im Laufe von 10 Songs nimmt er den Hörer mit auf eine wilde Fahrt voller Emotionen und innerer Gedanken zu den Themen Identität, Dualität, Sexualität, Verantwortung als Elternteil, Feminismus und Angst vor Männern. Kinsella, selber noch Mitglied bei American Football und LIES, holt sich dabei auch die Vocal-Unterstützung von Craig Wedren (Think). Goldrutenfarbiges Vinyl im Gatefold samt 24x12inch Einlage & DL-Code.

Auf dem 2002 erschienenen Album "Some Boots" lotete das Bostoner Indie-Rock-Trio Karate die Tiefen ihrer omnidirektionalen musikalischen Erkundungen weiter aus. Jeder Akkord und jeder Beat vertieft die Nachdenklichkeit von Geoff Farinas impressionistischen Texten, die die emotionale Komplexität der Nostalgie erkunden. Die LP mit acht Songs ist in einem Klappcover untergebracht und enthält eine Replik des Textblatts.

Belgian artist Jennifur is a bit of an enigma in today’s contemporary music climate. While most bend over backwards to satisfy the algorithm’s constant need for content, Jennifur (real name Hector Devriendt) has been quietly crafting spell-binding music that stands the test of both time and decreasing attention spans, blurring genre and emotion seamlessly through a sonic DNA that is diverse and colourful.

Having locked himself in his basement for eighteen months in order to produce the soundtrack for PS5 and XBOX ONE snowboarding game Shredders – which was later released by Jennifur himself under the title Nowhere, Now Here – the Ghent based artist is preparing the release of his next full length; Things Don’t Change Until They Do on Supreems’ new label Sweet Sun.

Tears-on-the-dancefloor aesthetics meet with polyphonic, nostalgia-inducing patterns, coming-of-age breakbeats and heart-string tugging classical ambient on an album that sounds completely unlike anything else you will hear this year.

Umweltfreundliches, recyceltes Vinyl. Jede recycelte Schallplatte ist individuell und erhält durch den Recyclingprozess ein eigenes Aussehen. Die aufstrebende Indie-Rock-Band KAFFKIEZ aus Rosenheim schlägt ein neues Kapitel auf: Ab sofort können Fans das zweite Album "EKSTASE" vorbestellen. Sänger Johannes Eisner dazu: "EKSTASE" beschreibt unser aktuelles Leben ganz gut. Es passiert alles. Unser Traum, die Zweifel, die großen Bühnen, die langen Nächte im Studio, alles prasselt auf uns ein und wir lieben es. Das neue Album soll das erzählen." Zwischen Studio, Interviewterminen, Festivalbühnen, Tourbus und mit über 70 Millionen Streams, hunderttausenden Tiktok und Spotify-Follower*innen, der Auszeichnung als MTV PUSH Artist 2022, Auftritten auf renommierten Festivals wie dem Southside, Hurricane und Highfield Festival hat sich KAFFKIEZ als eine der aufstrebendsten Indie-Bands der Musikszene etabliert. Die große Tour im März 2024 ist bereits in vielen Städten ausverkauft, unter anderem in renommierten Hallen wie der Columbiahalle in Berlin, Tonhalle in München, Große Freiheit (2x) in Hamburg oder dem Palladium in Köln. Die Single "Sommer Mit Dir" zeigt eine völlig neue Facette der Band. Ruhig wabernde Key-Flächen, ein emotionaler Text und ein starker, verletzlicher Song, der die Fans abermals begeistert. Die Attitüde der 5 Rosenheimer Jungs, die mitten in die Ungewissheit 2020 ihre Karriere starteten und sich immer nur auf ihren eigenen "fucking Mut" und ihre mitreißenden Songs verlassen haben, ist sonst die einer der mitreißendsten Bands der letzten Jahre. Optimistisch, eingängig, treibend. Dass sie damit offensichtlich einen Nerv getroffen haben zeigt der Erfolg ihres Debüt-Albums "Alles Auf Anfang" 2022 und die Zahlen neuer Hits wie der ersten Vorab- Singles "Alles Nur Gelogen", "Mut", "Scooter" oder Schrei es Raus" die in wenigen Monaten schon weit über 11 (!) Millionen Streams und das Cover der "Wilden Herzen" auf Spotify erreichte. Ein Indie-Märchen. "EKSTASE" liefert eine einzigartige musikalische Reise, die von KAFFKIEZ' unverkennbarem Stil geprägt ist - erdige, raue und begeisternde Indie-Hits, die immer tanzbar, aber nie langweilig sind. Immer zum Mitsingen, egal ob im Radio, dem Festivalslot oder nachts in der Kneipe. Produziert wird das Album wieder von Johann Seiffert. Das zweite Album wird das Ergebnis von KAFFKIEZ' eindrucksvollen Erfahrungen und der steilen Bergauffahrt im Musikbusiness der letzten drei Jahre, darunter die Herausforderungen der Pandemie und der Stress einer neuen Welt, in der sich die Mittzwanziger auf einmal in ein neues Leben als Musiker manövriert haben. In den vergangenen 3 Jahren haben Sänger Johannes Eisner, Keyboarder Johannes "Gotti" Gottwald, Bene Vodermaier, Niki Mayer und Florian "Weiny" Weinberger bewiesen, dass es sich lohnt, an Träume zu glauben. Aus einem Kaff sind sie wortwörtlich zu einer der gehyptesten Indie-Bands des Landes herangewachsen, die im letzten Jahr auf ausverkauften eigenen Konzerten und vollen Festival-Slots bewiesen haben, dass sie gekommen sind, um zu bleiben. "EKSTASE" erzählt diese Geschichte einer Band, die die Gedanken, Sorgen, Aängste, aber vor allem die guten Dinge des Lebens so energetisch vertont, konsequent weiter. Und das tun vor allem die Fans, Medienmacher*innen und Konzertliebhaber*innen des Landes. KAFFKIEZ sind bereit, ihr Publikum mit ihrer mitreißenden Live-Performance zu begeistern. Die jetzt schon zu weiten Teilen ausverkaufte Tour im März 2024 zeigt das: Eines ist sicher: KAFFKIEZ haben noch viel zu erzählen. Wir dürfen uns freuen, dass es endlich wieder eine Band gibt, die ohne großen Schnickschnack einfach mit guten Songs begeistert.

"Solastalgia I" ist ein Konzeptalbum und der erste Teil einer Trilogie. Solastalgia ist ein Kunstwort, gebildet aus dem Lateinischen (solacium - Trost)
und dem Altgriechischen (algos - Schmerz), das erstmals in den 2000er Jahren von dem Umweltphilosophen Glenn Albrecht verwendet wurde.
Solastalgia bezieht sich auf den Schmerz und die Trauer über den Verlust unserer Umwelt: Emotionen, die zur Verzweiflung treiben, die wir durch
unsere Gier und Hybris selbst verursachen. Die Klima- und Biodiversitätskrise führt dazu, dass die Zerstörung von Umwelt und Natur immer mehr
zunimmt. Das Album ist eine künstlerische Reflexion und Verarbeitung des Verlustes der Heimat, des Reichtums und der Vielfalt der Natur und der
Lebensgrundlagen allen Lebens, die letztlich zu Zerstörung, qualvollem Tod und Aussterben führen. Ein dystopischer Ausblick und zugleich eine
Warnung für die Gegenwart. Begleitet wird die Trilogie von Kurzgeschichten von Wolf-Georg Zaddach sowie von Fotos und Bildern der Künstlerin Sara
Zaddach.

The debut album from junodream addresses the dilation of space in modern life.
The threads that bind us have been thinning lately. emotional, social and physical distances are widening between people; loneliness, anger and anxiety fill these gaps. we want to capture that idea in this album

The debut album from junodream addresses the dilation of space in modern life.
The threads that bind us have been thinning lately. emotional, social and physical distances are widening between people; loneliness, anger and anxiety fill these gaps. we want to capture that idea in this album

Repressed on vinyl for the first time in 15 years - As conceptual as Xiu Xiu's fusion of post-punk, gamelan, synth pop, folk, and noise might seem, the group's music never feels overly cerebral or detached. On the contrary, it's usually brimming over with often contradictory emotions: love, hate, sex, violence, fear, and humor cling together so tightly in Jamie Stewart's songs that they can't be separated. Harsh and beautiful words and sounds remain intertwined on La Foret, which ranks among Xiu Xiu's subtlest, and scariest, albums.

"Known for their unique blend of punk rock, post-punk, folk, alternative rock and all kinds of musical sub-cultures, New Model Army refuses to belong to any club or style. Formed in Bradford in 1980, the band's lineup has changed over the years, with Justin Sullivan being the constant and central figure. They have released numerous albums and continue to tour and record music, maintaining a dedicated fanbase. Their music often addresses themes related to social and political issues, personal struggles, and the human condition, making them a significant presence in the alternative rock and post-punk music scenes. The 2019 studio album “From Here” ranked # 13 in the UK Album charts, and the 2023 live album “Sinfonia” hit #1 in the UK Music Video-Charts, making it the highest charting album in the band’s history.
Described as ""Dark Motown"" by Justin himself, “Unbroken” features a diverse collection of tracks that touch on topics ranging from social and political commentary to deeply personal reflections. The album is a powerful and emotionally intense body of work ranging from rebellious tracks as “I Did Nothing Wrong”, to contemplative songs like “First Summer After”. With this album, the band continues to push the boundaries of their signature sound while staying true to the themes that have made them a force to be reckoned with in the music world. “Unbroken” is the first studio album since 2019’s long-player “From Here” and the 16th studio album of the band. It will is available in as a CD Hardcover Mediabook, Heavyweight Black LP Gatefold"

"Hast du mich vermisst?" - mit dieser selbstbewussten Frage starteten ASP im Jahr 2000 ihre Karriere. Nun erscheint ihr Debütalbum auf Picture-Vinyl. Viel ist seitdem geschehen im Hause ASP. Viele Geschichten wurden erzählt, durch viele Jahre sind wir gemeinsam gereist, haben den Dunklen Turm besucht, sind als Raben durch die Lüfte geschwebt, haben im Kerker gesessen, an Klippen gehangen und im Horror-Hotel gewohnt, sind durch die Tiefsee getaucht und wieder an Land gespült worden. Und all dies begann mit der Frage, die nach über zwei Jahrzehnten aktueller scheint denn je: "Hast du mich vermisst?" - denn die Musiklandschaft braucht heute dringender als je zuvor einen musikalischen Geschichtenerzähler, der es schafft, mehr als nur Hintergrundbeschallung zu liefern, nämlich ein klangliches Refugium für alle, die mehr suchen als nur Oberflächlichkeiten und Wohlfühlgedudel.

Doch auch wenn der Stil der Band sich weiterentwickelt hat und die Themen- und Bilderwelten immer stärker ausgeweitet wurden - jedem Anfang wohnt ein Zauber inne, und Songs wie "Schwarzer Schmetterling" und "Und wir tanzten (Ungeschickte Liebesbriefe)" dürfen auch heute noch, nach über zwei Dekaden, auf kaum einer Setlist fehlen. Publikum und Musiker ergehen sich auf Konzerten gleichermaßen in Emotionalität und Bedeutsamkeit dieser Lieder. Und auch weitere Hits wie "Sing Child" oder "Where Do the Gods Go?" erfreuen sich nach all den Jahren - unter anderem ihrer ausgesprochenen Tanzbarkeit wegen - außerordentlicher Beliebtheit. Das belegt den Kultcharakter dieses Erstlingswerkes und des ersten Kapitels des Schmetterlingszyklus.

"Javelin" verbindet musikalischen Schwung mit emotionaler Weite. Manchmal hat man das Gefühl, dass das Album von einem großen Team produziert wurde - aber das ist es ganz und gar nicht: Fast jeder Sound hier ist das Ergebnis von Stevens zu Hause, der selbst etwas geschaffen hat, das sich manchmal wie ein Zeugnis der Studio-Opulenz der 70er Jahre in Los Angeles anfühlt. Die Beiträge stammen von einem engen Freundeskreis - Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui und Nedelle Torrisi -, die bei vielen Songs Harmonien beisteuern, sowie von Bryce Dessner, der bei "Shit Talk" akustische und elektrische Gitarre spielt. Der zärtliche und mystische Abschluss des Albums, "There's A World", wurde von Neil Young geschrieben. Während "The Ascension", das von der New York Times als "ein Schrei der Verzweiflung und ein Gebet um Erlösung" gelobt wurde, eine kunstvolle, aber dringliche Elektronik verwendet, um sich dem Moment zu nähern, beginnt "Javelin" wie ein Selbstporträt, detailliert und doch schlicht. Dies ist Stevens' intimstes Werk, das an "Seven Swans" oder "Carrie & Lowell" erinnert und den Hörer in die Nähe seiner inneren Abrechnung ruft. "Javelin" wird von einem 48-seitigen Booklet mit Kunst und Essays begleitet, die alle von Stevens geschaffen wurden, darunter eine Reihe von akribischen Collagen, zerschnittenen Katalogfantasien, Puff-Paint-Wortwolken und sich wiederholenden Farbfeldern. Die 10 kurzen Essays - abwechselnd lustig, tragisch, ergreifend, stumpfsinnig und spezifisch - bieten kleine Einblicke in Lieben und Verluste, die ihn und diese Lieder geprägt haben.

"Javelin" verbindet musikalischen Schwung mit emotionaler Weite. Manchmal hat man das Gefühl, dass das Album von einem großen Team produziert wurde - aber das ist es ganz und gar nicht: Fast jeder Sound hier ist das Ergebnis von Stevens zu Hause, der selbst etwas geschaffen hat, das sich manchmal wie ein Zeugnis der Studio-Opulenz der 70er Jahre in Los Angeles anfühlt. Die Beiträge stammen von einem engen Freundeskreis - Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui und Nedelle Torrisi -, die bei vielen Songs Harmonien beisteuern, sowie von Bryce Dessner, der bei "Shit Talk" akustische und elektrische Gitarre spielt. Der zärtliche und mystische Abschluss des Albums, "There's A World", wurde von Neil Young geschrieben. Während "The Ascension", das von der New York Times als "ein Schrei der Verzweiflung und ein Gebet um Erlösung" gelobt wurde, eine kunstvolle, aber dringliche Elektronik verwendet, um sich dem Moment zu nähern, beginnt "Javelin" wie ein Selbstporträt, detailliert und doch schlicht. Dies ist Stevens' intimstes Werk, das an "Seven Swans" oder "Carrie & Lowell" erinnert und den Hörer in die Nähe seiner inneren Abrechnung ruft. "Javelin" wird von einem 48-seitigen Booklet mit Kunst und Essays begleitet, die alle von Stevens geschaffen wurden, darunter eine Reihe von akribischen Collagen, zerschnittenen Katalogfantasien, Puff-Paint-Wortwolken und sich wiederholenden Farbfeldern. Die 10 kurzen Essays - abwechselnd lustig, tragisch, ergreifend, stumpfsinnig und spezifisch - bieten kleine Einblicke in Lieben und Verluste, die ihn und diese Lieder geprägt haben.