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OBISIOUS sind mit ihrem Debütalbum "Iconic" führend in der modernen Evolution des progressiven und technischen Metals. Die Band, bestehend aus Linus Klausenitzer (Bass), Rafael Trujillo (Gitarre), Sebastian Lanser (Schlagzeug) und Sänger Javi Perera (Gesang), hat ihre Wurzeln in Obscura, Alkaloid, Eternity's End und Juggernaut. Obsidious sind jedoch eine ganz andere Kreatur. Iconic ist technisch, aber nicht aufdringlich. Das Album atmet Intensität, baut sie aber mit sanftem Geschick weiter aus. Bei Obsidious gibt es immer eine Hook. Iconic baut auf einem prestigeträchtigen Fundament auf, aber seine Vision ist nicht auf seine Grundsätze beschränkt.
RIYLs: OBSCURA, ALKALOID, OPHIDIAN I, ORIGIN

OBISIOUS sind mit ihrem Debütalbum "Iconic" führend in der modernen Evolution des progressiven und technischen Metals. Die Band, bestehend aus Linus Klausenitzer (Bass), Rafael Trujillo (Gitarre), Sebastian Lanser (Schlagzeug) und Sänger Javi Perera (Gesang), hat ihre Wurzeln in Obscura, Alkaloid, Eternity's End und Juggernaut. Obsidious sind jedoch eine ganz andere Kreatur. Iconic ist technisch, aber nicht aufdringlich. Das Album atmet Intensität, baut sie aber mit sanftem Geschick weiter aus. Bei Obsidious gibt es immer eine Hook. Iconic baut auf einem prestigeträchtigen Fundament auf, aber seine Vision ist nicht auf seine Grundsätze beschränkt.
RIYLs: OBSCURA, ALKALOID, OPHIDIAN I, ORIGIN

Club Glow powerhouse and all-round Bristol bass-bin baiting badman Borai returns to his Higher Level label with three new drops of elevated breakbeat science. As well as his work alongside Denham Audio, L Major and Mani Festo in Club Glow, Borai has been busy landing uptempo slammers on Hardcore Energy, Vivid, E-Beamz and Infiltrate in the past couple of years, and he returns to home turf in peak shape.

The A side lights up with the dizzying break-juggling ruffness of 'Lights On', a surefire call to squeeze the last juice from the party, while 'Bobbi' opens the B side treading an artful line between deep and depraved as immersive tones face off against taut, driving rhythms. 'Sargasso Sea' smooths the proceedings out good and proper in true B2 style with a pitched-down slice of soul-charged broken beat that smacks where it counts, Borai's established instinct for forward-facing melody shining through in the interplay between 90s keys, diva vocal samples and illustrious pads.

Gondwana Records announces Horizons the debut album from Jasmine Myra, produced by Matthew Halsall, it's an elevating debut record of understated beauty

Jasmine Myra is a Leeds-based saxophonist, composer and band leader Her original instrumental music has a euphoric and uplifting sound, influenced by artists as diverse as Kenny Wheeler, Bonobo and Olafur Arnalds and like Mammal Hands and Hania Rani her music has a special, emotive quality that draws the listener into her world. Matthew Halsall first heard Myra's music in 2019 shortly before the pandemic hit, signing her to Gondwana Records and producing her beautiful debut album, Horizons.

"I was immediately drawn to Jasmine's music. I could hear jazz, electronica in her music but with a deep, honest, emotional quality. I was really impressed with her skills as a composer and bandleader, that she is open and intelligent enough to bring all those influences together, to make something fresh and original. We were also delighted to work with a young artist from the North of England. London is often seen as the place to be, but cities like Manchester and Leeds are full of creative musicians too, and that sense of local community is at the heart of our values as a label."

Myra came-up through the bustling, creative Leeds music scene and her music draws on the sense of community that permeates life in the city and which is notable for a strong DIY ethos in its musical community. She attended Leeds Conservatoire and played with the Leeds based Abstract Orchestra, a jazz big-band, led by tutor Rob Mitchell that explores the synergy between jazz and hip-hop found in the recordings of Madlib, MF Doom of J Dilla. Indeed, Myra cites MF Doom and Soweto Kinch as early influences on her own music. It was in her last year at the conservatoire that Myra started to consider leading her own group and started to really think about what her own music might sound like and her first band featured guitarist Ben Haskins and drummer George Hall who both feature on Horizons and her band draws heavily on the Leeds community featuring rising stars such as pianist Jasper Green and harpist Alice Roberts.

Myra also mentions local legend, Dave Walker, who owns an instrument repair shop called 'All Brass and Woodwind' which is right next to the music college. She worked there while studying and he introduced her to a lot of local musicians. Walker also has his own line of saxophones (played by Shabaka Hutchins, Pete Wareham and Nubya Garcia), and gifted Myra the saxophone she plays on Horizons. It was Walker who encouraged Myra to apply for Jazz North Introduces, a scheme that supports emerging jazz artists in the North of England and Myra credits her winning a place, in 2018,with helping her grow in confidence.

" It gave me the opportunity to start gigging outside of Leeds, which I was very keen to do. I was quite surprised by people's reaction to the project and the support I was being shown, which helped me gain a lot of confidence. It became clear to me very quickly that being a solo artist was what I wanted to do and it was also apparent to me that mine was one of the only female-led instrumental bands on the Leeds scene, which encouraged me even more, as I wanted my project to inspire younger female musicians".

Horizons was produced by Matthew Halsall and mixed by Portico Quartet collaborator Greg Freeman, and much of the music was written during lockdown. It was a hard time for a lot of people, and initially Myra struggled mentally, deprived of shows and the connections of making music with her band and friends, but she also realised what she wanted as an artist and the result is heard on Horizons.

"I realised that my aim was to start writing music that made people feel happy and uplifted. Writing is one of my biggest passions, but I also love performing. Playing live and seeing the audience connect with my music and have a positive experience brings me so much joy".

This sense of elevation is at the heart of Horizons, together with the feeling of a journey, of reaching new ground. Prologue and Horizons were originally composed as one piece as they encapsulate Myra's own personal development as she worked on the album - taking the listener on a journey, especially Prologue; and then Horizons is that moment of release when you've reached the end goal. 1000 Miles takes inspiration from the music of Shabaka and the Ancestors. Whereas Words Left Unspoken was written after Myra's grandmother unexpectedly passed away in June, and due to Covid restrictions she was unable to visit her before she passed and say how much she loved her. Morningtide is a nod to Kenny Wheeler, particularly the track Opening from Sweet Time Suite on Music for Large and Small Ensembles but Myra also puts her own spin on it as she also does with Promise, another track influenced by Wheeler. Awakening has a calm and euphoric quality and represents that sense of problems lifting, or of reaching the other side, and New Beginnings finishes the album with a positive vibe and a sense of moving forward from darkness

This then is Horizons. A soulful, emotional and up-lifting debut from a major new voice. A snapshot of a young artist at the beginning of her journey - drawing on jazz and electronica influences to create something fresh and new. But also a celebration of her home town Leeds, and a record built on a sense of support and community before looking out to wider Horizons.

Jamie Cullum on BBC Radio 2 "...That's Jasmine Myra and 'New Beginnings', wonderful to hear new music from a new artists i've not heard before, a great new artist!"

Tom Ravenscroft on BBC 6 Music "Leeds-based saxophonist, composer and band leader Jasmine Myra. 'New Beginnings' on Gondwana Records. Compositions drawing influence by Kenny Wheeler, Bonobo, Ólafur Arnalds. Produced by Matthew Halsall"

The renowned trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return to Black Truffle with their 11th release, “Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” Demonstrating once again their commitment to continual experimentation in instrumentation and approach, the record begins with a long-distance collaboration made in response to a commission from New York’s Issue Project Room in 2021 during widespread lockdowns and travel limitations. A unique piece in the trio’s extensive body of work, this side-long epic finds Haino performing on metal percussion, O’Rourke on electronics and Ambarchi on gongs and bells. Initially dominated by rapid patterns on resonant, high-pitched tuned percussion, the piece sets Haino’s dynamic and dramatic performance against a calm backdrop of cycling electronics, thrumming gong strikes and hanging bell tones. The performance develops a heightened, intensely concentrated atmosphere reminiscent of Haino’s classic Tenshi No Ginjinka or his Nijiumu project; when Haino moves to clashing hand cymbals in its second half, the piece’s ritualistic energy suggests aspects of the music of Tibetan Buddhism.

The remainder of the double LP documents the trio live at Tokyo’s SuperDeluxe (the location of all but their very first recording) in a wide-ranging set recorded in December 2017. The concert opens, in another first for the trio, with Haino on drums, O’Rourke on Hammond organ and Ambarchi on his signature Leslie cabinet guitar tones. Haino’s explosively untutored approach to the drumkit will be familiar to some listeners from the radical duo iteration of Fushitsusha heard on Origin’s Hesitation. Setting flurries of rapid activity against moments of silence, his drumming here at times suggests Milford Graves in its tumbling toms and thudding kick-drum propulsion. Accompanied by O’Rourke’s organ and Ambarchi’s guitar, which in their shared use of long tones and shifting modulation speeds almost blend into a single voice, the opening sections of this performance are some of the most magical music the trio has committed to tape thus far.

After an interlude of spoken vocals in both Japanese and English, Haino makes a dramatic entrance on guitar. Against O’Rourke and Ambarchi’s increasingly intense electronic backdrop, Haino unleashes a stunning passage of slowly moving chromatic melodies and sudden shrieking explosions bathed in distortion and reverb. By the time we reach the third side, the guitar/bass/drums power trio is established and lurches into a passage of massive, lumbering rock that threatens to fall apart at every beat, O’Rourke’s strummed chordal work on six string bass creating a harmonic density equivalent to a second guitar. An abrupt edit throws the listener in media res into a frantic locked groove grounded by fuzzed out bass patterns and caveman drums. As Haino moves through a variety of approaches, from massive edifices of stuttering fuzz to ominous swarms of feedback, the trio eventually stumble into a kind of Harmolodic military tattoo, Haino’s guitar weaving and slashing across the rhythm section’s irregular accents. Moving through an epic opening duet for O’Rourke on Hammond and Haino’s wailing guitar, the fourth side eventually ramps up into a frenetic finale of mad bass riffing, crackling snare hits and guitar squall.“Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” is a testament to the continuing power and invention of this trio, who continue to seek out new terrain after over a decade working together. 2LP set presented in a lavish gatefold sleeve on heavy stock along with inner sleeves containing live pics by Tsuyoshi Kamaike. Photography by Jim O’Rourke, design by Lasse Marhaug and translation by Alan Cummings.

Sasu Ripatti, now sporting the new "Ripatti Deluxe" moniker, presents his very own abstract take on early rave and happy hardcore. "Speed Demon" marks the first release on Ripatti's newly launched label "Rajaton".

The Finnish word ”raja” has multiple meanings. It could refer to a ”border”, ”limit”, ”boundary”, or even ”capacity” if understood broadly. It feels that ”border” is the first interpretation that comes to mind when the word is met in isolation of additional context. It often includes political energy of some sort. Or perhaps it’s just this particular point in time that leads the mind into such field of thought.

As the Dutch author Rutger Bregman notes in his book Human Kind – A Hopeful History, the real trouble with people began when the first person had the idea of drawing a line on sand and claiming ownership of the area on their side. The concept of physical borders was born.

Naturally, there are mental borders, as well. Think about all the things you shut out because they’re ”not for you”. They are numerous and we do it all the time. The issue is not to stop that, but to recognize when to let new things in, even if they’re not commonplace. Mental borders might often be easier to rewrite than physical ones, but the challenge remains a real one.

That’s where the derivative form ”rajaton” comes to play. By simply adding the ”-ton”, all borders, limits, boundaries and capacities are lifted in an instant. We have something ”borderless” instead, and are thus free to expand our thinking.

One could argue that the word ”rajaton” implies not the removal of borders but instead their very non-existence at large. How will our mind work when the concept of borders doesn’t even enter the conscious thought?

Mental borderlessness is a truly fascinating concept. A maximalist array of opportunities and potential ideas enters the picture – one which is also limitless, unlimited, sans boundaries, and also without a danger of being depleted. It’s an all-existence of multitudes where hierarchy also starts to deteriorate, giving way to a new form of full understanding without judgement.

Music is one fine place for such thinking, especially when thinking about the role of the listener. Occupying a much more active position than is generally recognized, the listener can greatly benefit from borderless thinking, and thus help to enhance the collective perceived significance of any given body of work. When there are no boundaries, the interpretation remains unchained and honest.

Basically it was all already said by the late revolutionary jazz pianist Burton Greene: ”Borders are boring!”

Die legendäre belgische Band Vaya con Dios, mit über 10 Millionen verkauften Alben weltweit, kehrt mit einer Sammlung von Neuaufnahmen ihrer größten Songs, inklusive ihres Hits 'What’s A Woman', zurück. Die Songs werden nur von der Klavierbegleitung und der der Stimme der Sängerin Dani Klein getragen und zeichnen sich so durch eine ganz besondere Intimität aus.

"Ich muss sagen, dass ich dies für den großen vergessenen Zyklus der Klaviermusik des 19. Jahrhunderts halte. Vielleicht sind das große Worte, aber ich empfinde das so", sagt der Pianist Leif Ove Andsnes über seine neueste Veröffentlichung bei Sony Classical. Auf diesem Album präsentiert er die umfangreichste Klaviersammlung des großen romantischen Komponisten Antonín Dvorák - die zu Unrecht vernachlässigten Poetischen Tonbilder. Dem norwegischen Pianisten zufolge zeigen diese unentdeckten Perlen eine ganz andere Seite des für seine Sinfonien und Streichquartette bekannten Komponisten. Ich liebe diese Musik und niemand scheint sie zu spielen", sagt Andsnes, der sich 2017 mit der Veröffentlichung "Sibelius" auch für die selten gespielten Klavierwerke von Jean Sibelius einsetzte. Die 13 Postkarten für Klavier, aus denen sich Dvoráks poetische Tonbilder zusammensetzen, wurden im Frühjahr 1889 geschrieben und signalisieren eine Stilverschiebung von einem Komponisten, der sich von formalen Konstruktionen weg zu einer freieren, inspirierten Ästhetik bewegt. Zu diesen bezaubernden Stücken gehören Beschwörungen von Magie und Geheimnissen ("Das alte Schloss"), ländliche Tänze ("Furiant" und "Bauernballade"), nostalgische Stimmungsstücke ("Dämmerungsweg") und tragische Reminiszenzen ("Am Grab eines Helden"). Die Werke reichen von tiefgründig bis verspielt, von heiter bis wütend - "ich spüre in ihnen eine sehr starke, wunderbare Erzählung", sagt Leif Ove Andsnes, der fest daran glaubt, dass Dvorák die Stücke dieses "außergewöhnlichen" Sets als einen Zyklus konzipiert hat, der zusammen gespielt werden soll.Sur son nouvel album, Leif Ove Andsnes présente la plus importante collection pour piano du grand compositeur romantique Antonín Dvorák - les Poetic Tone Pictures, injustement négligés. Selon le pianiste norvégien, ces joyaux méconnus montrent une toute autre facette du compositeur connu pour ses symphonies et ses quatuors à cordes. « J'adore cette musique et personne ne semble la jouer », déclare Andsnes. Les 13 cartes postales pour piano qui composent l'oeuvre Poetic Tone Pictures de Dvorák ont été composées au printemps 1889, et signalent le changement de style d'un compositeur s'éloignant des constructions formelles vers une esthétique plus libre et inspirée. Parmi ces charmantes pièces, on trouve des évocations de magie et de mystère (In the Old Castle), des danses rustiques (Furiant et Peasants' Ballad), des pièces d'ambiance nostalgiques (Twillight Way) et des réminiscences tragiques (At the Hero's Grave). Les oeuvres vont de la profondeur à l'espièglerie, de la légèreté à la fureur - « Je sens en elles un récit très fort et merveilleux », dit Leif Ove Andsnes, qui croit fermement que Dvorák a conçu les pièces de cet ensemble « exceptionnel » comme un seul cycle à jouer d'un coup. L'un des pianistes les plus éminents du monde, Andsnes a eu l'idée de jouer de la musique tchèque lorsqu'un nouveau professeur est arrivé de Prague à son conservatoire de Bergen, en Norvège. Alors âgé de 12 ans, son énorme fascination pour les Tableaux de tons poétiques l'a conduit à présenter une partie du répertoire lors d'un concours pour jeunes pianistes. Des années plus tard, alors que la pandémie de Covid-19 frappait le monde, Andsnes a profité de ce temps d'arrêt pour se plonger plus profondément dans les tableaux de tons poétiques et communier avec leurs histoires. Il a trouvé des oeuvres d'un charme infaillible et de nombreux exemples de Dvorák déployant une largeur de couleur orchestrale à partir du piano - en plus de son utilisation excitante de rythmes croisés et de syncopes, à la manière des danses folkloriques tchèques.

Ltd Deluxe 3LP+2CD+Blu-ray B Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

Black Vinyl

Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

Yellow Vinyl

Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

"Wir betraten die Arena durch dasselbe Tor, wie damals die Gladiatoren", Keyboarder Don Airey erinnert sich lebhaft an das Konzert in Verona (Juli 2011). "Es war einer der besten Gigs, die wir je gespielt haben. Ich bin froh, dass nun jeder miterleben kann, was in dieser Nacht passiert ist." Die Show in dem historischen Amphitheater sticht auch durch das Zusammenspiel mit der Neuen Philharmonie Frankfurt hervor, die den klassischen Deep Purple Hits eine völlig neue Ebene öffnet. "Live in Verona" ist zum ersten Mal weltweit auf Vinyl verfügbar!

Diese exklusive Vinyl-Farbe ist absichtlich gewählt, geht der Sound des neuen Albums doch weit mehr in Richtung komplexeren Hard Rock und 70’er Heavy Blues. Über die neuen Songs sagt ihr Sänger/Komponist und Bandgründer Barry Mills: “Es sind einige sehr wütende, leidenschaftliche Songs dabei. Ich denke, wir haben wirklich unser bisher bestes Album gemacht. Ich weiß, das ist ein Klischee, aber ich glaube, dass dieses Album für sich alleine steht, als ein einzigartig klingendes Wagons-Album.”

Wally ist schon ne coole Sau…macht Musik, die an Zeiten erinnert wo Rio Reiser, Westernhagen, Reichel, Extrabreit und co noch als deutscher Rock definiert wurden und liegt damit trotzdem im Hier und Jetzt genau richtig! Man könnte auch bitternötig sagen, denn Wally schafft es mit großer, ungehobelter Klappe, alltäglichen Stories und verdammt viel Rhythm, Rock, Folk Country und Blues ein Stückchen Musik einzufangen, dass auf Gepflogenheiten, Klischees und alles bevormundende "Helikopter-Vorsicht" scheisst. Für den Ausnahmemusiker, der auch bei Bonsai Kitten neue Impulse setzte und sich eigentlich in fast jedem "handmade"-Genre wohlfühlt ist das "Alles halb so wild"! Wally lässt einfach alles raus was ihm auf der Seele liegt. Ganz unskandalös oder auf irgendwelche Märkte schielend! Dabei hat er gerade erst mit seinee Vorab-Single Auskoppelung "Der böse Wolf" auf dem "Artists for Peace"-Charity Sampler für die Ukraine (Platz 3&6 der Charts) ein Riesenpublikum erreicht.Aber Nachplappern war eh nie sein Ding! Man kann auch anecken ohne groß zu Trommeln! Das ist mehr Punk (auch wenn er keinen spielt) als so mancher Iro darstellen möchte…erinnert mehr an the "The Boss" oder Brian Fallon/ Gaslight Anthem, als an die ganzen heutigen Deutschrock-Bands die an die Erfolge einer Frankfurter Band anklonen möchten und "pseudorebellisch" sind. Wally rockt einfach mit Texten aus dem Leben und kleinen Alltagsgeschichten, die durch seine Musik und Leidenschaft zu etwas ganz Großem werden!
Etwas authentischeres im deutschen Rockbereich kannst du aktuell lange suchen!

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Herdersmat.
Morderstwo.
Rotterdam.
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Produced by Laurel Halo and released via Norway's respected Smalltown Supersound label, Anja Lauvdal's first solo release, From a Story Now Lost, is a gorgeous musical essay reflecting on time, its perception, and lost histories rediscovered. Finally exploring her own voice after more than a decade of collaborative improvisational playing - starting at her time in jazz conservatory in Trondheim - the album is a jewel of subtle beauty and innovative detail. A freeform musician on piano, synthesizers, and electronics, Lauvdal's discography stretches back to 2013 and includes her participation in a myriad of ensembles and collaborations exploring the limits of sound and music in many forms, including noise, jazz, and more. Following her move to Oslo after graduation, she became deeply embedded in the music community there, touring with Jenny Hval as well as playing on her records. When pandemic hit and isolation was the norm, Lauvdal began working on her own, recording her improvisations in an attempt to capture something new for herself. Connecting to Laurel Halo via Smalltown's founder Joakim Haugland, the acclaimed American artist agreed to work with Lauvdal in shaping her solo record, becoming integral to its creation through all of its stages. Lauvdal credits Halo as a deep listener and gentle "thought-provoker", who contributed ideas as well as helping to shape the finished versions (Halo also worked alongside Rashad Becker on the final mix of the album). Together, they found a method of recording Lauvdal's improvisations, making small loops from those, feeding them back into the synthesizers, and making synthesizers out of the improvisations, which Lauvdal would then re-improvise with. She describes the end result, "like seeing different pieces of time around in the universe." While the record is based on Lauvdal's improvisations, some tracks were inspired Agathe Backer Grondahl, a Norwegian classical pianist and composer from the latter half of the 19th century. Lauvdal notes that Grondahl is not widely known, although her best friend Edvard Grieg is still considered Norway's most famous composer. Yet now, partly through Lauvdal, her story resurfaces and persists. "From a Story Now Lost means the story is still there," Lauvdal explains. "It hasn't gone anywhere even though nobody heard it, or maybe you're hearing it for the first time. And actually it was told a long time ago - maybe you weren't ready to hear that story at the time." This hints at the limitless nature of her music, as well as its new emotional texture. Direct in its vulnerability, immediate in its tenderness, From a Story Now Lost is a sophisticated evocation over restrained artistry spilling over with meaning.

Since 2014, Wand have made five albums (and an EP) in the studio and a living playing on the road. Business/pleasure: the two sides of their (multiverticed, decagon) coin, flipping in the strobe light of ongoing self actualization. And yet, by doing both at the same time-making a record of them playing live-they"ve now made their best one yet. How do you get Spiders In the Rain? Start by going all the way back to January 2020. Do you remember? Wand do. They"d been touring Laughing Matter for ten months. They"d done the coast, spanned the country, crossed the water twice, came back home and kept on going...driving, flying, occasionally floating (or maybe just thinking they were?), always on to the next town. They did all kinds of shows-clubs, ballrooms, festival gigs with no roof overhead-the songs expanding and contracting according to the dimensions of each day. Seventy-nine shows, and everything that was involved-the miles that ran beneath them, the different places and people everywhere, the music as it reathed, making everyone change every night-alchemized the band, and they drove deeper into their far horizon than they"d ever previously gone. The essential truth of the live vibe-that it"s always better when everybody"s here-was clear, so they booked a few shows more in Cali, from L.A. up to Marin. They brought along light and projections from The Mad Alchemist Liquid Light Show and Mike Kreibel and Zac Hernandez too, to tape everything-to get the big-deck energy out of performances in S.F. and L.A., but also to draw it out of the margins in Sacramento, Novato and Big Sur. It all happened, too. Everyone brought their experience. Packaged sumptuously with artwork from Sam Klickner, Spiders In the Rain is an arc of natural beauty and man-made abstraction inside and out, on an epic scale. Wand are orchestra and machine on Spiders In the Rain, one with the audience, able to get inside any dimension of their sound, whether its songs from their second album or their last one.

2022 repress.

Vickie Chérie and Leo Bear Creek, aka The Pirouettes, need no introduction: after two albums (Carrément Carrément, 2016, and Monopolis, 2018), incessant tours in France and abroad (culminating in triumphant concerts at the Cigale and the Olympia), and numerous collaborations, the duo has become one of the most striking and endearing figures in French pop today.

But after the announcement of their separation in love, one could fear the end of the musical adventure. Not at all, the Pirouettes are back with a new album whose title, Equilibre, is not insignificant.

"Equilibre tu es un rêve inatteignable" says the eponymous song. And yet, balance is the goal that Vickie and Leo have set for themselves in order to continue working together: an ideal of wisdom to which to turn, in the midst of the turmoil, and which has guided the Pirouettes, both as artists and as human beings, during the writing and composition of this new album. They had to relearn how to work together, put aside conflicts and mood swings, and find resources of calm and empathy. But their common will to write a new chapter, to continue to tell their story, for themselves as well as for the fans, resulted in a result as generous as it was touching.

This new album, balance obliges, takes more into consideration the desires of each one and gives more voice to personal expression. No more unison, everyone can now take turns expressing their point of view and asserting their personality. From this point of view, the idea of the double album is quite symbolic: to produce two equal sets and put 9 songs on each side of the scale.

The legendary Brownsville duo of Lil Fame and Billy Danze followed up their first group single "How About Some Hardcore" with their first full-length studio album, To The Death, in the Spring of 1994, and they haven’t let up the pressure since. While some solo offerings came earlier - most notably Fame’s appearance on The Hill That’s Real compilation- the classic aggressive energy the two emcees exhibit while trading rhymes back and forth is what street-rap fans have come to know and love from the group. If you are not into the that smash-ya-face-in style, then simply put, the Mash Out Posse is not for you. The album was produced entirely by DR Period, except for track "Guns N' Roses" (produced by Silver D), and it solidified what has become a successful 30 year career for M.O.P. Fame and Danze haven’t waivered from their grimy, crimey, high-energy boom bap style to this day, and the songs on this album established that fact early on. Tracks like "Rugged Neva Smoove", “Blue Steel”, “Guns N’ Roses”, and the robbery-story driven "Heistmasters" are early indicators of the ruckus they would later bring on anthems like “Stick To Ya Gunz” and “Ante Up”.

Hinter dem Psych-Soul-Duo ABRAXAS stecken die beiden Indie-Musiker Carolina Faruolo (früher LOS BITCHOS) und Danny Lee Blackwell (NIGHT BEATS). Gemeinsam veröffentlichen sie im Oktober ihr Debüt "Monte Carlo" beim US-Label Suicide Squeeze. Beide Musiker waren bereits seit Jahren miteinander befreundet und bewunderten gegenseitig ihre musikalischen Projekte, doch da Faruolo im Vereinigten Königreich und Blackwell in Texas lebt, waren ihre Interaktionen begrenzt. Bis zum Jahr 2020, ab da spielte geografische Nähe keine Rolle mehr. In dieser Zeit der Isolation und Ungewissheit erfanden Faruolo und Blackwell unter dem Projektnamen ABRAXAS ihre eigene private Flucht in die Welt der lateinamerikanischen Rhythmen. Die in Uruguay geborene Faruolo wuchs mit den tropischen Beats des Cumbia und dem psychedelischen Geschmack klassischer Chicha-Künstler auf. Blackwells Arbeit beinhaltet die Verschmelzung von Outlaw-Soul und R&B mit einem einfallsreichen DIY-Geist.

Gather your loved ones, Together is here. Duster's fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. "I know people say, `Oh Duster music so sad, we've even said it ourselves before," Clay Parton said. "But it's a lot more like absurdism than nihilism."

OLD FIRE - das Projekt des in Abilene, Texas, ansässigen Komponisten und Produzenten John Mark Lapham - kündigt sein zweites Album "Voids" für den Herbst an. Für das Album, das größtenteils aus Kollaborationen besteht, hat Lapham eine beeindruckende Liste von Sängern und Sängerinnen rekrutiert. Neben Gastauftritten von Julia Holter, Adam Torres und Emily Cross ist auch die lebende Songwriter-Legende Bill Callahan auf drei Songs zu hören. Einer davon ist die ergreifende, düstere Lead-Single "Don't You Go ft. Bill Callahan". Es handelt sich hierbei um eine Coverversion des britischen Singer/Songwriters John Martyn, bei der auch Thomas Bartlett alias Doveman am Klavier, Semay Wu am Cello und Robin Allender an den Tasten/Gitarren zu hören sind. Ein wunderbares Stück, über das Stereogum treffend schreibt: "If you've ever wondered what Bill Callahan singing a Radiohead dirge might sound like, it would probably sound a lot like this."

Directed by David Robert Mitchell, the supernatural horror film It Follows tells the story of a teenager (Maika Monroe) who finds herself haunted by nightmarish visions and the inescapable sense that something menacing is after her. The film was met with much critical acclaim and established Monroe as the movie industry’s newest “scream queen”.

It Follows features a stunning, electronic-driven score, heavy with pulsating synths and dread in equal measure. It was composed by the renowned musician Disasterpeace. This electro, 80s influenced score is a character in itself in the movie, and will haunt the listener long after the film has stopped rolling.

Die Salt Lake City Indie-Rocker “The Backseat Lovers” veröffentlichen ihr neues Album „Waiting To Spill“.
Joshua Harmon, Jonas Swanson, KJ Ward und Juice Welch kennen sich bereits aus Highschool-Tagen.
Seitdem geht es Schlag auf Schlag: Mit ihrer ersten EP „Elevator Days“ sammelten sie über 370 Mio.
globale Streams und ihr Mega-Hit „Kilby Girl“ markierte ihren endgültigen Durchbruch.
Das kommende Album gewährt uns Einlass in die Köpfe der vier Vollblutmusiker. Anspruchsvolle Melodien,
aussagekräftige Texte und einprägsame Beats entführen jeden Fan und (noch) nicht Fan in eine Welt voller
Melancholie und Zuversicht.
Ausverkaufte Shows gehören nun längst zum Alltag der Newcomer Stars und Anfang des kommenden
Jahres bringen „The Backseat Lovers“ ihre Live-Experience auch nach Deutschland.
Das Album erscheint als Standard CD und auf 180g Vinyl.

Das israelische Duo Lola Marsh releast mit „Shot Shot Cherry“ am 28.10.22 ihr drittes Studioalbum.
Lola Marsh besteht aus der Sängerin Yael Shoshana Cohen und Multi-Instrumentalist Gil Landau. Sie
komponieren Musik, die clevere Texte mit tiefgründigen Harmonien verbindet. 2016 veröffentlicht die IndiePop-Band ihre Debüt-EP „You’re Mine“, wodurch sie in kürzester Zeit international große Bekanntheit
erlangten. Im Sommer 2017 erschien ihr Debütalbum „Remember Roses“, dessen Singles „Sirens“ und
„You’re Mine“ es an die Spitze der Spotify Charts schaffen.
Auch in Hollywood ist das Duo gefragt. Ihre Songs wurden schon in zahlreichen Filmen und Serien benutzt,
darunter Kevin Costners Film „Criminal“, die Serien „Better Call Saul“ und „Station 19“, sowie den Netflix
Produktionen „Purple Hearts“ und „Atypical“.
Über das neue Album sagt Sängerin Yael Shoshanna Cohen: „We don’t have just one direction of emotion.
There will be sad songs, there will be up-tempo song, there will be the cinematic ones.”
Neben den emotionalen und melancholischen Indie – Songs finden auch feine Dance-Floor Vibes mit starkem
Beat und Synthesizer ihren Platz. Das Duo schafft eine gute Balance auf „Shot Shot Cherry“. Der Mix
an Songs reflektiert eine ganz besondere Mischung an Gefühlen und Emotionen der Musiker. Geschrieben
im Lockdown, hatte das Duo mit Ängsten und Sorgen zu kämpfen und gleichzeitig den Wunsch, endlich
wieder tanzen gehen zu können. Das Album wird als CD und Vinyl erhältlich sein.

Feiern Sie klassische Weihnachten mit der Deutschen Grammophon und dieser stilvollen Schallplatte, gepresst auf 180gr Vinyl bei Pallas. Die Vinyl erscheint im originalen Artwork. Aufgenommen im Sommer
1966 wurde dieses Weihnachtsalbum leider die letzte Studioaufnahme von Fritz Wunderlich, der im September 1966 viel zu früh verstorben ist.
Nach ihrer Veröffentlichung im November 1966 wurde diese Schallplatte ein Weihnachtsklassiker für viele
seiner Fans. Traditionelle Weihnachtslieder wie „Maria durch ein Dornwald ging“, „Es ist ein Ros‘ entsprungen“ oder „Still, Still, Still“ sind verknüpft mit geschmackvollen Werken von Albinoni oder Telemann. Zwischen den musikalischen Stücken liest Will Quadflieg die Weihnachtsgeschichte aus dem Lukas-Evangelium.

Was andere in einer jahrzehntelangen Karriere langsam erarbeiten, schafft der Sänger und Songwriter Ben
Zucker in nur 5 Jahren: Seit seinem Debütalbum „Na und?!“ im Jahr 2017 erreicht er gleich mehrfach die
Nummer 1 in den offiziellen deutschen Albumcharts, verzeichnet bis dato bereits über 750.000 verkaufte
Tonträger, generiert mehr als 480 Millionen Streams und verkauft mit seinen gefeierten Konzerten Arenen
im ganzen Land aus.
Zum 5-jährigen Jubiläum seines beispiellosen Erfolgskurses veröffentlicht der Ausnahmesänger mit der
Reibeisenstimme nun das Album „Was wir haben, ist für immer“, das die größten Hits seiner bisherigen
Veröffentlichungen in neuen Versionen zusammenfasst und durch 5 ganz neue Songs ergänzt. Ein Album,
das absolute Energie, Lebensfreude und einen Hit nach dem anderen garantiert!
„Wir haben in den letzten Jahren gemeinsam so viele Höhen und Tiefen erlebt. Bei so vielen Konzerten
zusammen abgefeiert. Gelacht, geweint und einfach nur abgerissen. Dafür möchte ich mich bei all meinen
Fans bedanken und ich freue mich schon jetzt so extrem auf die nächsten 5 gemeinsamen Jahre!“, verspricht Ben Zucker.
Das Album „Was wir haben, ist für immer (Das Beste aus 5 Jahren)“ erscheint am 28.10.22. Zusätzlich zur CD wird es auch ein Fotobuch zum Album geben, das persönliche Einblicke in die letzten 5 Jahre
Ben Zucker gewährt und die bisherigen gemeinsamen Erinnerungen für alle Fans zusammenfasst.

­The mysterious afro-­soul of The Shaolin Afronauts first echoed across the dance floors of Australia in early 2008, captivating audiences with a highly evolved and unique approach to avant-garde soul music matched with an improvisational pedigree that immediately set them apart from their peers. In the almost fifteen years since the ensemble's debut they have released three albums on Freestyle Records and toured across Australia and around the world.

After an extended hiatus punctuated by rare live performances, The Shaolin Afronauts return with The Fundamental Nature of Being, an epic five album release that expands the sonic vision of the ensemble to towering new heights of burning afro-funk alongside esoteric and ethereal new sonic excursions. This expanded musical journey further explores the wide spectrum of the band's musical identity – with each of the five parts designed as both standalone records, while also offering a singular listening journey across the band's expansive musical world. This third part in the collection starts to explore influences from spiritual & free jazz sounds while still retaining the band's rich pan-african groove pallette.

Limitierte Auflage - nur 500 Exemplare - alle auf violettem Vinyl. Buzzsaw Joint ist eine monatlich stattfindende Londoner Clubnacht, die die Fans mit einer hochoktanigen Mischung aus Rhythm & Blues und Rock & Roll Trash betankt. Buzzsaw Chef Fritz hat zudem eine Mixcloud Seite ins Leben gerufen, mit Mixen zum Thema von Sammlern und Jägern rund um den Globus. Da war es nur folgerichtig, dass das ganze auch auf Vinyl und CD stattfindet. Mit Stag-O-Lee fand sich schnell jemand, der das für eine gute Idee hielt. Mehr Volumen/Cuts to follow. Get your ears around the wild"n"weird sounds of the extraordinary and inimitable Buzzsaw Joint! Für den 8. Cut der Buzzsaw Joint Serie wühlen Johnny Alpha und Carl Combover in ihren reich bestückten 7"-Kisten. Beide sind Meister in Sachen sleazy, greasy und fuzzy. Carl ist Chef der Go Go Cage Nacht in Liverpool und Johnny legt in und um Wigan (legendärer Ort - Wigan Casino!) auf. Beide sind auch weltweit gefragt und unterwegs. Für Cut 8 wählten sie Tracks, die sich nicht auf anderen, ähnlich gelagerten, Compilations finden. Ein weiteres Highlight in dieser starken Serie.

20 years of Tapete Records - Our first release, if memory serves, was in 2002. Damn, time flies so fast when you"re having fun. The world has changed a lot in the last 20 years but one detail has remained the same: We"re still putting out great music. That"s a bit reassuring, isn"t it? So we thought in our Tapete Building at Stahltwiete 10 in Hamburg-Altona: Let"s look back and start a series of good, old-fashioned, fantastic label compilations in the style of "Shadow Facory", "Tamla Motown Is Hot! Hot! Hot!" or "Wanna Buy A Bridge?"...something like that. And so here is "Intact & Smiling - The Weird & Wonderful World Of Tapete Records Vol.1". It wasn"t that easy to choose 28 out of about 5000 released songs, but what"s easy? Therefore a series. "Intact & Smiling Vol. 1" concentrates on the poppy side of Tapete Records, the basic tone is upbeat and uplifting. Can"t hurt these days. The title comes from the John Howard & The Night Mail song which says: "Intact and smiling, an independent soul, nobody"s slave". What could be more fitting? We would like to thank all the great artists who have released music with us over the last two decades, especially the bands and artists who have so kindly and unbureaucratically made available their great songs for this compilation. And of course a big thank you to you who listen to, buy and stream (well, yes) Tapete Records albums and songs. So close your eyes, open your ears, open your hearts, open up a bottle and step into The Weird & Wonderful World Of Tapete Records Vol. 1.

The phenomenal new album from Technical Death Metal masters OMOPHAGIA. Essential for fans of Aborted, Rings of Saturn, The Faceless, Augury

Essential listening for fans of Fallujah, Insomnium, Lorna Shore and Alcestis- Traversing the realms of a genre that has been rehashed and redesigned many times, The Dark Alamorte' confronts black metal's conventional soundscape by weaving in their own brand of ambience and death metal. An ethereal avalanche that will consume you as the ghostly melodies carry the listener into a wave of dissonant bliss. Accompanied with unrelenting drums and devastating vocals, The Dark Alamorte' will leave you in what feels like a haunting memory.

The killer debut by Belgium’s best kept secret: Slaughter the Giant. Intense melodic Death Metal for those who slaughter the soul! Slaughter The Giant ready to release their debut album “Depravity” in October 2022. A melodic intense Death Metal attack not hear before from Belgian soil. Slaughter The Giant was formed in 2018 and released their 5-track debut EP “Asylum of the Damned” in 2019 and it received good reviews worldwide. The year 2022 marks a new post-Covid start with the release of their first full-length album entitled “Depravity”, on Hammerheart Records. Slaughter the Giant performs intense melodic Death Metal that will appeal to fans of The Black Dahlia Murder and At The Gates. Hammerheart Records heard the album and was convinced of its quality and a deal was made. “Depravity” is a giant leap when compared to their EP, and acts on a whole different level. The brutality and melodic side have been pushed to new boundaries, while not losing the “good song” idea as a first must. The influences are still heard, but are now just that; influences. In the track “Co-ed Butcher” we find a kind of Obscura-esque approch that clashes into Flesh God Apocalypse alike symphony sounds, and album highlight “The Undead” is not a single and video without a reason, featuring excellent solo work on the guitar. The over all level is high and consistent throughout the album, and makes one replay after finishing.

At any given time, you’re likely to find Jim Lauderdale making music, whether he’s laying down a new track in the studio or working through a spontaneous melody at his home in Nashville. And if he’s not actively crafting new music, he’s certainly thinking about it. “It's a constant challenge to try to keep making better and better records, write better and better songs. I still always feel like I'm a developing artist,” he says. This may be a surprising sentiment from a man who’s won two Grammys, released 34 full-length albums, and taken home the Americana Music Association’s coveted Wagonmaster Award. But forthcoming album Game Changer is convincing evidence that the North Carolina native is only continuing to hone his craft. Operating under his own label, Sky Crunch Records, for the first time since 2016, Lauderdale recorded Game Changer at the renowned Blackbird Studios in Nashville, co-producing the release with Jay Weaver and pulling from songs he’d written over the last several years. “There's a mixture on this record of uplifting songs and, at the same time, songs of heartbreak and despair—because that's part of life as well,” he says. “In the country song world especially, that's always been part of it. That’s real life.” Lauderdale would know: He’s been a vital part of the country music ecosystem since 1991, when he released his debut album and began penning songs for an impressively long roster of country music greats. “When I was a teenager wanting to be a bluegrass banjo player, I never would have imagined that I would get to work with people like Ralph Stanley and Robert Hunter and George Jones and Elvis Costello and John Oates,” he muses. “Getting to work with them inspires me greatly to this day, and I know it always will.” From rollicking guitar riffs on “That Kind of Life (That Kind of Day)” to the slow, sweet harmonies of “I’ll Keep My Heart Open For You,” Game Changer shows off Lauderdale’s ingenuity as a singer, songwriter, and producer—while reestablishing him as one of Americana’s most steadfast champions..”

For Fans Of Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod. Each song on Ghost Funk Orchestra's 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the "production forward" discographies of such record makers as David Axelrod and the Mizell Brothers, it's easy to visualize Applebaum as a "mad doctor" figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he's a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time. Also Available From Ghost Funk Orch: Night Walker/Death Waltz LP/CD, Opaque Red LP, An Ode To Escapism LP/CD, A Song For Paul LP / CD 1. Introduction 2. Your Man's No Good 3. Scatter 4. Prism 5. Quiet Places 6. A New Kind Of Love (pt. 1) 7. Why? 8. Blockhead 9. A Song For Pearl 10. Bluebell 11. Rooted 12. A New Kind Of Love (pt. 2)

Commissioned for Fela Day in Amsterdam Paradiso Noord, Raul Monsalve y Los Forajidos celebrates the legacy of the father of Afrobeat, Fela Anikolapu Kuti, with this new 10’’ vinyl on Super Sonic Jazz Records, where Nigerians rhythms travel the Atlantic ocean to meet Venezuelan Calipso , sangueos, and more.

First in Venezuela, Monsalve played with a number of bands before forming the first incarnation of his Forajidos band. A move to Paris, via London, led to opportunities to share stages with a vast array of musical giants, not least of all the legendary Nigerian saxophonist Orlando Julius, as well as the Heliocentrics, Venezuelan master percussionist Orlando Poleo and members of Fela Kuti’s legendary bands, Afrika 70 and Egypt 80.

“Calipso Time” is none other than a cover of Fela’s Koola Lobitos’ “Highlife Time. Taking the original track to the region of El Callao in Venezuela, where the population from Trinidad & Tobago and other islands in the Caribbean settled themselves at the end of the 19th century when they started to work in mineral exploitation. As a result, this region of Venezuela has a particular language, mixing English and Spanish elements, and of course the celebration of the Carnival and the birth of Venezuelan calipso .
Side B brings the Afrobeat madness of “Deo e’ Mono”, the very first track Monsalve did for the project back in the day. As Raul says “I just took the opportunity to celebrate Fela’s anniversary by recording this track as I dreamed it should sound when I was starting the project, learning Afrobeat only through records” . For this Monsalve called Chief Uduh Essiet, the original percussionist of the Egypt 80 and with the Forajidos’ Mario Orsinet on drums the rhythm section was without doubt cooking immediately. As on their last record, “Bichos” on Olindo Records, these two tracks are full of psychedelia, rough electronics, powerful vocals and tons of traditional Venezuelan percussion.

A unique longplayer by Germany's Funk champions The Mighty Mocambos: 'Scénarios' is a wild journey through iconic performances captured on 8-track tape, including celebrated versions of breakdance favourites like 'Axel F.' And 'Let The Music Play' as well as brand new original material composed especially for recordings in unusual settings.

Hamburg's deep funk chefs are known for their intuitive recordings that capture the energy of a live performance, and with this record they go all the way.

Just before the pandemic, the group recorded an in-store live session at legendary Hamburg record shop Groove City and taped an impromptu performance at JAM PDM! breakdance battle in Potsdam. Both were released on vinyl 45s, quickly sold out and became secret weapons for DJs. While most bands shifted their stage to the studio in 2020, producing an abundance of isolated lockdown-inspired material, the Mighty Mocambos – never shy of an antidote - took the mobile version of their recording studio on the road.

With no audience allowed at the Pitt Hopkins Music Session charity concert, the group used the occasion to compose meditative folk-soul instrumentals to be performed exclusively on stringed instruments. Sweaty funk does not work via video stream, but the format provided a welcome opportunity to create something entirely different. Even without electricity and drums, the cinematic "Four Two Three" and "Silent Heroes" are unmistakably recognizable as Mocambo themes.

When you follow Nina Simone's credo that an "artist's duty is to reflect the times", it became evident that once the world slowly started opening up again, further concerts would be captured on the group's portable Fostex R-8 tape machine. Luckily, restrictions fell on the very evening that the band hit the open air stage at the Import Export in Munich on September 11th 2021. The extended afrobeat-inspired jam on J.J. Cale's "Carry On" witnesses people celebrating and dancing together again for the first time after a year and the manic "Munich Psycholympics" unleashes all bottled-up energies that had being lying dormant.

The slightly kafka-esque "Ghost Walk" was taped during a soundcheck for a concert that was eventually called off for safety reasons, reflecting once more the uncertainty of the time. The last scénario sees the Mighty Mocambos returning to a packed indoor venue, playing "Let The Music Play" to a audience of b-boys and -girls – a testament to the sheer power of music. Featured as an encore here, an acoustic version of "Where Do We Go From Here?" (originally recorded with Lee Fields) closes the record and its restless voyage through unusual recording situations.

"Scénarios" differs drastically from other live albums as it does not seek to replicate existing material from studio albums. All songs were written or arranged especially for the live recordings in order to combine the group's DJ-friendly trademark sound with added vibes and momentum from the audience. Most of them were recorded while they were performed in public for the first time ever.

Comes in gatefold sleeve & includes download voucher.




d 04: Theme from Beverly Hills Cop (Axel F) Live