Suche:esther rose

Everything clicks on Safe to Run, the fourth album from singer, songwriter Esther Rose - It's the quiet culmination of years spent fully immersed in a developing artistry, and presents Rose's always vividly detailed emotional scenes with new levels of clarity and control As with previous work, her songwriting transfigures the chaos and uncertainty of a life in progress, but here she introduces a newfound pop element that attaches unshakably catchy hooks to even the darkest stretches of the journey. Rose takes an unblinking look at her own vulnerabilities as well as more universal concerns, somehow never taking herself too seriously in the process. This manifests as a critique of the insidious sexism of the music industry on "Dream Girl," but quickly melts into a hazy memoryscape of the dive bar drama and suspended hovering of her early 20s on "Chet Baker." The song "Safe to Run" (a gorgeous duet with Hurray for the Riff Raff's Alynda Segarra) directly merges the personal with the global, superimposing feelings of spiritual displacement onto the larger, looming dread of climate grief. Rose breathes in the ecstasy of the natural world in one line and makes fun of herself a few bars later. There are ghosts in the room for most of her songs, but she's invited them in and is cracking jokes with them over a drink or two. Ultimately all of these new advancements become twinkles of light in the background as they fold into the big picture impact of the songs themselves. Esther Rose translates her world into eleven curious and captivating scenes. While the songs are stunning one by one, absorbing Safe to Run as a whole feels like witnessing something taking shape, experiencing the headspins of the elevation and the slow return to equilibrium as the clouds start clearing

Everything clicks on Safe to Run, the fourth album from singer, songwriter Esther Rose. It’s the quiet culmination of years spent fully immersed in a developing artistry, and presents Rose’s always vividly detailed emotional scenes with new levels of clarity and control. As with previous work, her songwriting transfigures the chaos and uncertainty of a life in progress, but here she introduces a newfound pop element that attaches unshakably catchy hooks to even the darkest stretches of the journey. Rose takes an unblinking look at her own vulnerabilities as well as more universal concerns, somehow never taking herself too seriously in the process. This manifests as a critique of the insidious sexism of the music industry on “Dream Girl,” but quickly melts into a hazy memoryscape of the dive bar drama and suspended hovering of her early 20s on “Chet Baker.” The song “Safe to Run” (a gorgeous duet with Hurray for the Riff Raff’s Alynda Segarra) directly merges the personal with the global, superimposing feelings of spiritual displacement onto the larger, looming dread of climate grief. Rose breathes in the ecstasy of the natural world in one line and makes fun of herself a few bars later. There are ghosts in the room for most of her songs, but she’s invited them in and is cracking jokes with them over a drink or two. Ultimately all of these new advancements become twinkles of light in the background as they fold into the big picture impact of the songs themselves. Esther Rose translates her world into eleven curious and captivating scenes. While the songs are stunning one by one, absorbing Safe to Run as a whole feels like witnessing something taking shape, experiencing the headspins of the elevation and the slow return to equilibrium as the clouds start clearing.

"Ephemeral Memory" ist das Debütalbum von Hip-Hop-Produzent, Komponist und Multi-Instrumentalist Braths, aka Thomas Horeczko, bei Sony Music. Darauf präsentiert der für seine Zusammenarbeit mit Hip-Hop Stars wie Apache 207, reezy, Nimo und Olexesh, Chapo102, oder Ezhel bekannte Musiker eigene instrumentale Kompositionen. Miniaturen für Soloklavier verbindet er mit gelayerten Streicherklängen und melancholischen Orchesterarrangements zu einer eigenen, atmosphärischen Klangwelt. Viele Instrumente hat Braths dabei selbst eingespielt, als Special Guests sind Esther Abrami und das ORF Radio-Symphonieorchester Wien auf dem Album zu hören. "Ephemeral Memory" ist für den 1998 in Paris als Sohn einer sudanesischen Mutter - einer Cellistin - und eines ukrainischen Vaters - einem Komponisten - geborenen Braths eine Hommage an die Geschichte seiner Familie und Vorfahren. Das Album thematisiert die Migrationserfahrung seiner eigenen Familie und die damit verbundenen, latenten Erinnerungen und komplexen Emotionen, die über Generationen fortbestehen. Erfahrungen wie Sklaverei und die Mühe Grenzen und Nationalitäten zu überwinden, spielen dabei eine Rolle. Braths wurde 1998 in Paris als Sohn einer sudanesischen Mutter, einer Cellistin, und eines ukrainischen Vaters, einem Komponisten, geboren und war von klein auf von Musik umgeben. Sein vielfältiger kultureller Hintergrund, bereichert durch jüdische und muslimische Wurzeln, hat seine mehrsprachige Identität als europäischer Weltbürger geprägt. Als klassisch ausgebildeter Geiger und versierter Musiker begann Braths seine musikalische Reise im Alter von vier Jahren und beherrscht sieben Instrumente, darunter Geige, Gitarre, Saxophon, Fagott und Klavier. Nach seinem Umzug nach Berlin, um Tontechnik und Jazzkomposition zu studieren, machte er sich schnell einen Namen in der europäischen Hip-Hop-Szene und arbeitete mit einigen den größten Künstlern des Genres zusammen, wie Apache 207, reezy, Nimo und Olexesh. In "Ephemeral Memory" kombiniert Braths seine facettenreichen Einflüsse zu einzigartigen, atmosphärischen Instrumentalkompositionen, die die Zuhörer dazu einladen, über ihre eigenen Geschichten und Emotionen nachzudenken.

You're strolling down an alley in New Orleans or Brooklyn late at night and this sound jumps out at you -- rock & roll, classic rhythm & blues, sung and played with verve, personality, and joy. The dance floor is full. You stroll in and hear sounds that wouldn't have sounded out of place on the legendary Specialty Records of the 1950s and '60s.

Indeed one of the eight cuts onWrite It Down, the new album fromJackson& The Janks, comes from the repertoire of rhythm & blues singer Mamie Perry, first recorded in 1959. The rest areJacksonLynch originals, inspired by his time living and playing music in the Crescent City. Theuniquearrangementsof the band itself have deep roots in NOLA, too, with Matt Bell (Esther Rose) on lap steel, Craig Flory (Tuba Skinny) on bass saxophone and Sam Doores (The Deslondes) sharing backing vocals while trading-off on drums and keys.

Jacksonand the Janks have performed at the Brooklyn Folk Fest, Blackpot Festival (Louisiana), and Oldtone Festival (New York) and did a video session for tastemaker series GemsOnVHS and Jackson a solo session for Paste. Its residency on Fridays in Brooklyn (when they're not on tour) packs the house week after week with fans and folks drawn in by the word-of-mouth buzz and the sound.

Video Age follow up their newest album `Away From The Castle' with a new 7" release. Side A, "Record Shop," a sparkling pop/rock cut is a playful theme song for record shop employees, the track follows a fictional record store clerk through a typical day in the life of slinging records. Alluding to classic 70s songs from acts like Don McLean, America, and NRBQ, Video Age are right at home in the pantheon of great American songwriters. Side B is a reworked version of the recent LP's title track called "Out In The Country." The track features Alt-Country/Americana singer Esther Rose, dueting with Video Age's Ross Farbe on this stripped-back acoustic swooner.

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7". Video Age make breezy and timeless songs that are so ineable, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

A nice boxset with 3 LP and a poster. Including all the greatest blues artists: LIGHTNIN" HOPKINS, JOHN LEE HOOKER, SCREAMIN" JAY HAWKINS, BO DIDDLEY, MUDDY WATERS, HOWLIN" WOLF, T-BONE WALKER, B.B KING...

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Mit 'Seeing the Elephant' haben THE OFFERING ein Album geschaffen, das so reichhaltig, abenteuerlich und gefühlvoll ist wie nichts anderes, das man in nächster Zeit hören wird. 'Seeing the Elephant' entstand während des Chaos der Proteste von 2020 und der darauffolgenden kulturellen Umwälzungen und ist ein herausforderndes (und letztendlich lohnendes) Album für extreme Zeiten. Auf dem Nachfolger des hochgelobten Debüts 'Home' von THE OFFERING aus dem Jahr 2019 startet die Band mit dem frenetischen, 7-minütigen Opener 'WASP' in eine politisch aufgeladene Hochphase und steigert dann die Dynamik und den Klang, indem sie sich durch elektronisch angehauchte Tracks wie 'With Consent' und das treibende 'Rose Fire' windet und mit dem epischen Abschlusstrack 'Esther Weeps' zu etwas Schönem und Erhabenem gelangt. Sänger Alex Richichi und Gitarrist Nishad George haben mit Hilfe von Mixer Zach Weeks (Kvelertak, The Armed) in den renommierten God City Studios in Salem, Massachusetts, ein neues Gerüst aus vergangenen Arbeiten konstruiert und THE OFFERING als eine Band bewiesen, die nicht nur die Norm herausfordert, sondern sie auch verfeinern und neu definieren wird. THE OFFERING 'Seeing the Elephant' ist erhältlich als: Standard CD Jewelcase, black LP, Digitales Album

Written and recorded in the midst of a dizzying stretch in which nearly everything about the way the band lived and worked was turned on its head, Motel Radio's "The Garden" is indeed a work of relentless hope. The songs are profoundly vulnerable here, and the performances are warm and breezy, calling to mind everything from Andy Shauf and Cass McCombs to Beck and Tame Impala with an easygoing demeanor that belies the deep emotional work underpinning them. Motel Radio generated early buzz in their adopted hometown of New Orleans on the strength of their 2015 debut EP, Days & Nights, which helped land them dates with the likes of Kurt Vile and Drive-By Truckers in addition to festival slots at Firefly, Jazz Fest, and more. The band followed it up with the similarly well-received Desert Surf Films in 2016 and their first full-length, Siesta Del Sol, in 2019, touring the country on a seemingly endless loop as they built up their devoted following one night at a time. Since then, the band had set a goal of becoming more self-sufficient and learning to record on their own, and when it came time to cut The Garden, they dove in headfirst, cutting half the collection in an old fishing camp south of New Orleans with the help of engineer Ross Farbe (Video Age, Esther Rose) and the other half fully remotely while engineering themselves. "There was this real creative freedom that came with working remotely and learning how to run the sessions on our own," explains co-lead singer Ian Wellman. "Synths, samples, beats, plug-ins; suddenly these whole new worlds of sound were at our fingertips and the possibilities were limitless." That creative liberation is easy to hear on The Garden, which opens with the mesmerizing "Wise." Like much of the album, it's a gentle meditation on finding joy and fulfillment, on spreading love and positivity. "I've gotta open my eyes," co-lead singer Winston Triolo sings over dreamy guitars and a hypnotic digital drum loop. "I only get one life, well now how can I live it wise?" The airy "Outta Sight" celebrates the simple pleasures of letting go and being present, while the washed-out "Sweet Daze" revels in the warmth of human connection, and propulsive "Happiness Pie" looks for ways to share the comfort and contentment that comes with self-acceptance. On The Garden, they've realized there's no sweeter garden than the one you grow yourself.

Fifth -and last- volume of our "R&B Hipshakers" series, featuring rockin' R&B and early soul from the King and Federal catalogues. A compilation of tracks from 1953 to 1964 by essential artists such as Hank Ballard, The 5 Royales, Little Esther, Little Willie John, Lula Reed, Albert King… that, after 5 juicy volumes (do you have them all?), reach the magic number of 100 delights from King and Federal's incredible output.
20 terrific dance cuts selected by genre expert Mr Fine Wine, from WFMU's Downtown Soulville. Most of the tracks have never been reissued before. *This volume includes a previously unreleased version of Lulu Reed's 'Your Love Keeps A-Working on Me' on a bonus single that will be solely available as part of this 2LP + bonus 7" pack.