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From "Spirit Of The Air"'s violence, "Cross Over"'s industrial poundings, the PCP-infused minimalism of "High On Angel Dust", to "Someone Was There" mixing techno and hardcore, Derniere Danse Part II outlines what Manu le Malin is as a producer : not afraid to visit experimental soundscapes nor ashamed to go straight to the dancefloor point... But always soaked in darkness. This is a black gateway to the world of MKNK's head, through five of his all-time favorite tracks, including one unreleased, all remastered by Scan X and Deathmachine.

But before pressing play, consider yourself warned : the first track "Spirit Of The Air", with its tortuous intro, piano break, screams samples and references to The Exorcist saga, is relentless, violent and unpredictable. And things don't go softer with "Cross Over", also an extract from his Fighting Spirit album (2002), a downright industrial attack that sounds particularly up-to-date.

Unreleased "High On Angel Dust" then shows Manu's admiration to the label PCP (hence the powdery title) and its founder Marc Acardipan. An oddity in his discography that almost never saw the light of the day : the synths and TR-909 based track was recorded in one night, and completely forgotten in a DAT for 28 years! "Someone Was There", from the soundtrack of Jalil Lespert's 24 Mesures, and the esteemed classic "One The Way Home", available as a bonus in the digital release, conclude this handpicked selection.

Diverse, personal, tormented and yet dancefloor compatible, Derniere Danse Part I and Part II feature some of Manu's best works. But they also are a stepping stone : MKNK will now open to new artists exploring every dark corner of what hardcore music can be.

‘You are behind the damn wheel every day and you don’t even know it’ , weightily remarks Powerplant’s band leader Theo Zhykharyev on the reading of his latest single. London-based project signals the return to signature formula of marching drum machines and wailing synthesisers, matured by life experiencing of prolonged touring. ’Car is life, brother. Sometimes you drive it, other times - the car drives you. And, statistically, we’ll all see the airbags go off sooner than later as consequence of choices made by us or onto us, consciously or not.’
Crashing Cars breaks out the gates to the heavy low end driven dance floor. ‘I was listening to a lot of Bladee when I wrote it and needed a similar thick kick to get you moving’, says Theo. Its an emotionally loaded cannon of a track that will keep you in its grip until it has run its course and told its story. Yearning from connection unfulfilled, rings out through the heartbroken and weeping synth and choir lines. The ever-morphing and dynamic bass works in tandem with razor sharp guitars. The instrumentation, through combined ‘no looking back’ forward charge and immediacy, conjure a manic and emotional forward momentum, which rings out in the song’s lyrics. The vocal performance ranges from the trademark Powerplant goblin squeaks, to more mature, tour-hardened singing. On a sonic aesthetic level, Crashing Cars vibrates in a familiar fashion to Powerplant’s biggest hit Dungen. However, this time far less playful and harder hitting. Described as the fallout of “avoiding, chasing and running away”, lyrically it paints a dead end in human relationships concluding it car-crash heading for the scrapyard. The song concludes with a loaded four line spoken word poetry segment, that hangs over the fleeting outro.
The B side of the single, Never Smile, rolls the speed back, but throws in jangly guitar hooks and bouncy bass lines. Zhykharyev’s vocals sit in a lower register, hence are more stoic and melancholic. If this track had to be a day of the week, it would be a calm, introspective Sunday. With lyrics about looking into evil omens, the sky and reading people as ‘not something different’, it paints an ambiguous, but heavy conclusion about the world and its people. It tells a story about circumstantially settling into an identity and playing the assigned part for the convenience of the external world. It’s easier to fit than to stand apart. It's a perfect balance of mid-tempo radio-rock that builds and changes, before exploding into a shaggy guitar solo, only to go into an unexpected ethereal outro and this 7”s crescendo.
‘Both of these songs are kinda old now, sitting at around 4 years old. And although I haven’t changed the lyrics since then, I somehow find new meaning in them as time goes on. Being Ukrainian and going into the fourth year of the full scale Russian invasion back home, the chorus “my death to you - a better price to pay” makes a lot of sense looking at how the world powers are trying to spin the devastation of my people for a quick profit and an easier life for themselves. This single coming out now at this very point in my life feels both profound and very ironic. Life never ends’, summarises Zhykharyev.

Bonnie Banane and Joseph Schiano di Lombo present L'Orguasme, an album of bawdy and devotional songs accompanied by the organ of the Cité de la Musique / Philharmonie de Paris. Literally composed and written for pleasure, this work (of the flesh, naturally) pays tribute to the most spectacular expression of ecstasy - a paradise so near and yet so misunderstood. From the most restrained sighs to the most dazzling vocal outbursts, from the foreplay to the eruption, not to mention the bliss that follows the incandescence, Bonnie and Joseph sing about the art of reaching seventh heaven, of genuflection and "la petite mort" ("little death" a French expression for "climax") without shying away from the darker areas: those of guilty, forbidden, feigned, or selfish pleasures, for instance.
By turns light, explosive, mystical, burlesque, and poetic, this music diverts the organ from its centuries-old habits, achieving a union of the profane and the sacred, the crass and the beautiful, the body and the spirit, early music and pop - reminding us of the essential truth: it's better to come than to cry.
While the minimalism of the arrangements initially strikes the ear - no instruments other than the organ accompany these musical escapades - the album is infused with numerous unexpected influences: R&B (La petite mort), swing (Le cri), gospel (Simulation blues), jazz (Le calme après l'œuvrette), medieval ballads (Ronde génitale, Au plaisir), and even a famous 16th-century folk dance called the branle (Branle Censored).
A sexy, lush, stripped-down, and unabashed opus, glorifying what remains glorious: love, music, and the boundless joy of creation.







g B2. Branle Censuré







[g] B2. Branle [Censuré]

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

Guy Blackman aus Melbourne, Australien, ist ein Songwriter für Songwriter. Seine geschickt konstruierten Songs befassen sich offen mit Themen wie Liebe, Sexualität und Engagement. Wenn Serge Gainsbourg, Tim Hardin oder Kevin Ayers Lieder schreiben würden, die in schwulen Saunen oder auf Websites für Pornoseiten spielen, könnte man sich eine Vorstellung von Guys Ansatz machen. "Out Of Sight" ist ein sanftes, klagendes Album, das unter seinen komplizierten Arrangements und dem luftigen Softrock humorvolle und verletzende Momente verbirgt. Es enthält ein träges Duett mit dem französischen Künstler Julien Gasc (Aquaserge und Stereolab) und den Backgroundgesang der australischen Songwriter-Ikone Laura Jean. Das Album wurde in drei Sessions zwischen 2022 und 2024 aufgenommen, zuerst in Melbourne mit Liam Parsons und Stefan Blair von Good Morning, dann 2023 in London mit Liam Parsons und 2024 wieder in Melbourne mit Liam Halliwell (Snowy Band). Die schönen Streicherarrangements stammen von Paddy Mann von Grand Salvo. Als Solokünstler hat Guy die Bühne mit Joanna Newsom, Bill Callahan, Vashti Bunyan, Stereolab, John Grant, Beach Fossils, Owen Pallett, Jens Lekman und anderen geteilt. In seinen früheren Bands Sleepy Township, Minimum Chips und Montero hat er mit Elliot Smith, Cat Power, Pavement, War On Drugs, Kurt Vile und vielen anderen gespielt. Guy tourte durch die USA, Großbritannien, Europa und Japan und spielte mit Mt Eerie, Tenniscoats, Dear Nora, Julien Gasc und anderen. Sein erstes Soloalbum "Adult Baby", mit einem heißen Duett mit dem schwedischen Popstar Jens Lekman, sowie Beiträgen von Mitgliedern der Dirty Three, des Eddy Current Suppression Ring und vielen anderen, wurde 2024 vom französischen Label Pop Superette auf Vinyl neu aufgelegt. Guy ist auch die treibende Kraft hinter Chapter Music, einem der am längsten bestehenden und beliebtesten unabhängigen australischen Plattenlabels, das er 1992 im Alter von 17 Jahren gründete. Chapter Music wurde bei den Australian Independent Record Label Awards 2019 und 2023 als bestes Label ausgezeichnet.

The Wild West cowboy occupies a symbolic and central place in
popular culture. The lone rider, out on the range… The whitehatted hero facing up to a gang of outlaws in a gunfight… The
wagon train heading out over the horizon… Celebrated in cinema
since the beginning of movies, the cowboy has also found a
regular home on record, as this vinyl LP compilation testifies.
Listen to these songs and, with just a little imagination, you can
picture the solitary cowboy on his trusty steed, watching a cattle
round-up, or making his way into a town like Tombstone… A
timeless myth, captured forever in these Songs Of The Wild
West…

Nach 25 Jahren Herman Dune und 15 Alben freut sich BB*ISLAND, Odysseús zu präsentieren, eine neue Sammlung von Songs, die den Hörer auf eine Reise durch das turbulente Leben von David Ivar mitnimmt, eine Reise voller Sehnsucht, Schmerz, Liebe, Tod, Glaube und Erlösung. Es ist das erste Mal, dass Herman Dune mit einem externen Produzenten, David Garza, zusammenarbeitet. Das Set-up besteht fast ausschließlich aus akustischen Instrumenten, die live mit der Band in einem Raum aufgenommen wurden. Es ist Folk-Musik im typischen Stil von Herman Dune mit Anklängen an Americana, Country, jüdische und hispanische Traditionen, aber mit einer ganz neuen Wendung in Sound und Arrangements, vor allem im Vergleich zu seiner letzten rein akustischen Trilogie The Portable Herman Dune. David Herman Dune über die Produktion: "...David Garza getroffen zu haben war reiner Zufall. Ich mühte mich gerade mit einem Geigenarrangement für einen der Songs ab, als er sich in einem überfüllten Café in der Innenstadt von San Pedro an meinen Tisch setzte und mich fragte, woran ich gerade arbeitete. David, ein mit einem Grammy ausgezeichneter Produzent und Musiker, hatte mit Fiona Apple, Iron & Wine, John C. Reilly und den Milk Carton Kids gearbeitet und mit einigen meiner musikalischen Helden wie Lucinda Williams und Townes Van Zandt gespielt. Wir verstanden uns auf Anhieb, und er bot mir an, meine Songs zu produzieren. Wir begannen, die Stücke jeden Abend bei mir zu Hause zu spielen, und einmal pro Woche in einem französischen Restaurant namens Le Compagnon. David kannte die besten Musiker in L.A. - Leute wie Sebastian Steinberg am Kontrabass (Fiona Apple), Richard Edson (Schlagzeuger von Sonic Youth, Schauspieler in Jim Jarmuschs Stranger Than Paradise und Spike Lees Do The Right Thing), Odessa (violin, Edward Sharpe and the Magnetic Zeros) und Paul J. Cartwright (violin, Olivia Rodrigo). Als wir uns bereit fühlten, versammelten wir alle in meinem Haus für drei Tage Live-Sessions. Es war ein chaotischer, schöner Prozess, bei dem alle in einem Raum zusammen spielten, keine Kopfhörer, keine Overdubs - nur rohe, echte Musik. Aufgenommen und gemischt wurden die Sessions von Chris Sorem (ebenso Grammy-prämiert für seine Arbeit mit den mit den LA-Legenden Los Lobos). Chris brachte eine Wagenladung alter Mikrofone mit und konzentrierte sich auf "Raummikrofone" - djene, die die Atmosphäre des Raums einfangen. Er sagte, dies sei eine Technik, die auf Alben wie Buena Vista Social Club verwendet wurde, und es erzeugte eine Magie im Raum, die spürbar war. Sogar die traurigsten Lieder wurden lebendig mit so viel Freude, Energie und Elektrizität. Die Aufnahmen waren ungefiltert, organisch und hatten Seele. Als wir mit dem Abmischen begannen, waren wir alle vom Ergebnis erstaunt, wir hörten einen Moment in der Zeit, der sich gleichsam zeitlos anfühlte"

SWEARING AT MOTORISTS haben einen langen Weg hinter sich, seit der Name 1994 auf Plakaten für eine Fake-Band erschien Die hingen auf mysteriöse Weise in Plattenläden und Musiklokalen in Dayton, Ohio, Ein paar Monate nachdem die Plakate auf auftauchten kritzelte Dave Doughman den Namen auf eine Kassette mit homerecordings, die er an Freunde verschenkte, und 1995 war die Band dann offiziell geboren. Ende der 90er Jahre veröffentlichten S@M eine Reihe von 7"-EPs bei verschiedenen Labels, und nachdem sie wiederholt von John Peel gespielt wurden und die Presse weltweit positiv über sie berichtet hatte, erhielt die Band einen Vertrag mit dem damals neuen Label Secretly Canadian. Sie veröffentlichten 2 EPs und 4 LPs auf Secretly Canadian, darunter Number Seven Uptown aus dem Jahr 2000 und This Flag Signals Goodbye aus dem Jahr 2002, die beide in den Jahren ihrer Veröffentlichung vom MOJO Magazine zum Underground Album of the Year" gewählt wurden. Swearing At Motorists zogen 2005 nach Berlin, Deutschland, und veröffentlichten im folgenden Jahr ihre letzte LP für Secretly Canadian, Last Night Becomes This Morning, bevor sie leise in der nicht enden wollenden Berliner Nacht verschwanden... 8 Jahre später war die Band plötzlich in Hamburg wieder aufgetaucht, mit einem neuen Album: "While Laughing, The Joker Tells The Truth", das 2014 auf Anton Newcombes Label A Recordings Ltd. erschien. Co-produziert von Dave und Rick McPhail (von Tocotronic), erzählt das Album die Geschichten dieser verlorenen" 8 Jahre im klassischen Motorists-Stil. Der Autor Camden Joy, vielleicht eine weitere Underground-Figur der 90er/00er Jahre, beschreibt es am besten: "Like Iggy Pop's great lost Nashville record or the legendary demos for the Strokes masterpiece that never was, this recording is full of catchy courage, significant low notes, bedroom rhythms, hooks, and so on, all of which make for an impossible amount of pleasure. This Swearing At effort towers heads and squirrels above whatever that was you were just listening to. I see why Rolling Stone gave it five stars." - Camden Joy 11 Jahre später ist die Band in Hamburg erneut aufgetaucht, aus einer weiteren Auszeit und mit einem neuen Album, das im Herbst 2025 über BB*ISLAND erscheinen soll. Vor der Veröffentlichung stellen wir euch das Album von 2014 noch einmal, oder zum allerersten Mal vor. Vielleicht lag Camden Joy genau richtig. Zu gut, um vergessen und vergriffen zu sein. Das Beständige an Swearing At Motorists sind ihre Auszeiten als Band. Alles andere ist Bonus, aber das ist natürlich der beste Teil. "...While Laughing...demontrates Doughman's unerring abilitity to turn autobiographical minutiae and emotional turmoil into exquisitely heartfelt rock'n'roll poetry. From the warmly familiar powerpop chug of Groundhog Day (Damn The Piper) and Great Actress, to the tearjerker wistfulness of Wrote You A Letter and acoustic closer It's Love That Chooses You, this is classic Swearing At Motorists throughout...." - Andrew Carden/ MOJO

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

Fields of the Nephilim"s debut Burning the Fields EP together with their Returning to Gehenna EP, all remastered. Not issued on CD for decades, packaged in the original red artwork. Plus, a bonus disc -remixes and demos from "85 & "97, also remastered. In a 6-panel 2CD package with sleeve notes, interview and unseen early photos by gothic commentator Mick Mercer. Not available on vinyl for over 20 years until the sold-out RSD24 version. Now packaged in the green sleeve artwork that came after the limited red version. Plus, a bonus disc - now on vinyl for later remixes and "85 & "97 demos, also remastered.

For his third long-player under the Phi-Psonics banner, Ford-Young marshalled a series of live recordings at the Healing Force Of The Universe record store in Pasadena, sculpting fourteen tracks, largely composed in the moment with a fluctuating cast of players, which wonderfully transmit his ideals of community and inner peace. Called "Expanding To One", it features exquisitely calming yet searching pieces like "There"s Still Hope", where Seth"s softly undulating bassline underpins beatific explorations from core Phi-Psonics members, Sylvain Carton and Randal Fisher (both on saxophone), and Josh Collazo (drums), alongside guests Zach Tenorio (Wurlitzer piano) and Mathias Künzli (percussion). Equally sublime, "Healing Time" ripples like a mountain stream, with Ford-Young, Carton, Fisher and Tenorio joined by Minta Spencer (harp), Dylan Day (guitar) and, on drums/percussion, Jay Bellerose, a revered LA stickman most recently under the spotlight in Jeff Parker ETA IVtet.

Rando Arand is an Estonian electronic music producer from Tallinn. With a strong foundation in sound design, Arand released his debut record on Asphalt Soliloquies in 2017 and has since captivated audiences at clubs and festivals across the Baltics with his unpredictable and unique live sets. Drawing inspiration from a range of genres such as broken jazz, dubtechno, breakbeat and jungle, Arand incorporates modular synth patches into his performances. He has shared the stage with artists like Dorian Concept, Gerry Read and King Midas Sound. In 2019, Arand released the "Alles" EP on Ali Asker's LIITHELI imprint, which focuses on promoting local talent from Estonia's capital. Arand's latest EP, "Aru" (2022), showcases his exploration of a new "Linki" format. In addition to his musical pursuits, Arand was also a host at the underground venue Ulme in Tallinn.

About the album „Child of the Internet”

The new album by experimental sound designer and electronic music producer Rando Arand takes the artist on a completely different path compared to the previously known dance music influenced deep and contemplative instrumental tracks. Featuring several notable guest artists, the album is a sizzling hot record that makes feet tapping and bodies grooving. On the artist’s most listener-friendly work to date, an impressive lineup of Estonian vocalists makes an appearance: Hyrr IV, the lead singer of the indie band Ouu; Jon Mikiver from Elephants from Neptune; actress Mirtel Pohla; alternative pop artist Kitty Florentine; queer artist Helgi Saldo; comedian Maiduk; and hobby musicians Maihe and David.

The conceptual album "Child of the Internet" is dedicated to young kids for whom the internet has been a defining part of growing up. Genre-wise, the album is very flexible, weaving through various musical chapters and styles with the help of numerous musical sketches, touching on both the comedic and the darker oddities that circulate online.

The album features scorchingly hot, electrified synth-funk jams with a nostalgic touch reminiscent of Prince ("Slidin in Yo DM’s", "Refresh"). Kitty Florentine delivers a sensual neo-soul ballad ("Just Scrolling"), filled with soft tones, soulful warmth, and a smooth groove. For more demanding listeners, the record also explores elements of chillwave, glitch, lo-fi hip-hop, techno, house, and breakbeat. Longer tracks and shorter interludes come together like a bouquet of favorite memes or a collection of countless open web browser tabs that we all keep running. At the same time, the album hints at the immense impact the internet has on our everyday lives.

Rando Arand’s latest studio album is an intriguing listen — perfect for enjoying alone with good headphones or as an ideal background soundtrack for a larger gathering with friends.

What's Not To Love? is an album of music from John C. Reilly's vaudeville-inspired show where he embodies a character called Mister Romantic. Mister Romantic marks the Academyr, GRAMMYr, and TONYr award nominee's most personal project to date. The show, which was created to foster empathy and love for one another, has been described by Vanity Fair as "fiercely funny," while Theaterly hailed it as one of the best performances of 2024 following a one-night show in New York City. John is backed by a band of multi-time GRAMMYr-winners performing songs from the Great American Songbook as his character sets out on a mission to get someone (anyone!) to fall in love with him.

49th & Main veröffentlichen ihr lang-erwartetes Deübtalbum ‘Happy Tears’ im Juni auf Counter Records.

Mit über 200 Millionen Streams, 2 Millionen monatlichen Spotify-Hörer:innen, zahlreichen von den Medien unterstützten Veröffentlichungen und einer Berücksichtigung in den NME 100 sind die beiden zu einem der populärsten Acts der irischen Musikszene geworden und stehen weltweit an der Spitze der Indie-Elektro-Musik. Von der Selbstveröffentlichung von Tracks im irischen Kilkenny bis hin zu ausverkauften internationalen Tourneen haben 49th & Main einen Sound entwickelt, der UK-Garage, Jazz-infizierten House und emotionsgeladenen Indie-Pop miteinander verbindet. Sie haben sich entgegen dem traditionellen Schema der Branche vom Tiktok-Buzz zu großen Festivalauftritten beim Glastonbury Festival, Electric Picnic und The Great Escape entwickelt. „Happy Tears“ ist ihr bisher wichtigstes Statement - ein Album, das alles, was 49th & Main ausmacht, in 21 (!) Tracks bündelt. Es fängt den Rausch der Live-Musik und die Katharsis des Songwritings ein, kanalisiert alles, von der chaotischen Schönheit einer Nacht bis zum Schmerz der Nostalgie in einer vertrauten Melodie oder der flüchtigen Klarheit eines Sonnenaufgangs nach dem Schlaf. 49th & Main haben ein Album geschaffen, das den Puls der Indie-Elektronik einfängt und gleichzeitig eine Fülle von Klangelementen einfließen lässt. Seit ihrem kühnen Aufstieg von Kilkenny zu internationalem Ruhm hat das Duo einen unkonventionellen und inspirierenden Weg eingeschlagen. Ihre Mischung aus von der Kritik gefeierten Live-Auftritten, der Unterstützung von Fachmedien, dem viralen Streaming-Erfolg und einer tiefen Verbindung zu den emotionalen Strömungen der heutigen Jugend hat sie zu einem kulturellen Phänomen gemacht. 49th & Main sind eine Geschichte, die die Aufmerksamkeit verlangt, die sie verdientermaßen bekommen.

Das Dream-Pop-Duo Sorry Girls aus Montreal kehrt mit seinem dritten Album "Dreamwalker" zurück, das über Arbutus Records erscheint. Ihre exzentrische Mischung aus nostalgischen 70er-Jahre-Powerballaden und 80er-Jahre-Kitsch durchbricht neue Schwellen, zerlegt vergebliche Illusionen, um der Kälte zu trotzen und zu fragen, was vor uns liegt. Seit ihrer Gründung im Jahr 2015 haben Heather Foster Kirkpatrick und Dylan Konrad Obront ihre eigene Marke von üppigem, vergnügungssüchtigem Synth-Pop geschaffen. Dank ihrem Talent, persönliche Texte mit einem schrägen Sound zu verbinden, ist ihre durch David Lynch geprägte Welt frei und unheimlich. Alles scheint vertraut, eine Melodie plätschert durch eine alte Traumlandschaft, und doch ist etwas nicht in Ordnung. Die Band debütierte 2019 mit dem selbstproduzierten "Deborah", das von Pitchfork und Gorilla vs Bear gelobt wurde. Ihr temperamentvolles zweites Album "Bravo!" aus dem Jahr 2023 präsentierte einen mehr auf die erweiterte Live-Band ausgerichteten Sound. Inspiriert von Fleetwood Macs Tusk-Ära schlugen Sorry Girls ihr Lager für mehrere Monate im Two Sisters Recording Studio in Montreal auf, um "Dreamwalker" aufzunehmen. Da die Zeit knapp bemessen war, wollten sie mehr mit den Livemusikern zusammenarbeiten und schnelle und entschiedene künstlerische Entscheidungen treffen, um der Musik so treu wie möglich zu bleiben. Das Ergebnis ist ein Sound, der ernsthaft, emotional und klar ist. Verwaschene Produktionstechniken und druckvolle Basslinien paaren sich mit sanfteren, skurrilen Klaviertrillern und entspannten Drums, die das thematische Hin und Her zwischen zwei Welten wiedergeben. Die Texte spielen mit idyllischen Visionen von Liebesobjekten, Fantasien von zukünftigen Utopien und der obsessiven Sehnsucht nach einer Leichtigkeit und Neuheit, die sich durchsetzt. "Dreamwalker" ist selbstbewusst und ironisch selbstbescheiden, gefangen in der Spiegelung eines Fensters. Das Album fordert dazu auf, mutig zu sein - die Griffe aufzuschieben und ins Unbekannte zu treten. Musik für Fans von Haim, Men I Trust, Fleetwood Mac, TOPS

Die 1992 in London von Sänger und Songschreiber David Christian gegründete Band Comet Gain war ursprünglich inspiriert von den frühen Creation Records, Television Personalities und der Mod-Kultur. Comet Gain schöpften aus denselben Idealen wie Dexys, The Style Council oder Vic Godard und aus Traditionen wie der von The Velvet Underground, The Byrds und den 13th Floor Elevators. In den darauffolgenden Jahren veröffentlichte die Gruppe acht Alben auf so angesehenen Labels wie Wiiija, Kill Rock Stars, What"s Your Rupture und Fortuna POP!. In diesen Veröffentlichungen vermischten sich französischer New Wave mit englischem Arbeiterherz, Riot Grrrl mit Acid Punk und Twee Pop mit Post-Punk und Northern Soul. Comet Gain überdauerten ihre Zeitgenossen und inspirierten eine neue Generation von DIY-Bands. Auf dieser Platte, Comet Gains zweitem regulären Album bei Tapete Records, hören wir David Christian (Stimme, Gitarre), Ben Philipson (Gitarre), Rachel Evans (Gesang), Robin Christian (Schlagzeug), Anne Laure Guillain (Keyboards) und Clientele-Bassist James Hornsey, mit zusätzlichen Gesangs-, Bläser- und Keyboard-Beiträgen von Produzent Sean Read (Dexys, Edwyn Collins, Rockingbirds).

Der britische Synth-Zauberer James Holden und der polnische Klarinetten-Guru Waclaw Zimpel (Saagara, Shackleton) setzen ihre fruchtbare Zusammenarbeit mit dem glückseligen Eskapismus ihres grossartigen Albumdebüts fort: "The Universe Will Take Care Of You" ist ein zutiefst emotionales, warmes und flauschiges Vergnügen. Reiche Texturen und eine betörende Klangpalette bewegen sich frei zwischen idyllischen Pastoralen, eindringlichen Arpeggios und schimmernder Euphorie. Die spielerisch-experimentelle Herangehensweise von Krautrock-Vorfahren wie Harmonia, Cluster oder Eno & Fripp wird aufgegriffen, um ihren tiefsten Improvisationsdrang zu erforschen. Das Ergebnis ist die freudige Konvergenz zweier gleichgesinnter Meister ihres Fachs, die Violine, Schlagzeug, Lap-Steel-Gitarre und die indische Doppelrohr-Algoza-Flöte mit gewohnt-modularem Synthesizer und Klarinette verbinden.
180g White Vinyl LP.

DO call it a comeback! Nach nicht weniger als 22 Jahren veröffentlichen die Wiener Beat-Maestros Urbs & Cutex wie aus heiterem Himmel ihr drittes Album namens "On Our Way". Die beiden Veteranen zeigen sich bestens aufgelegt und schaffen es auf diesem Überraschungspaket mühelos dort anzuschließen, wo sie vor zwei Jahrzehnten aufgehört haben. Sie bleiben sich selbst treu, finden aber auch neue Wege ihren sehr persönlichen Stil weiterzuentwickeln und HipHop und Downtempo auf eigenständige Weise zu verschmelzen. Urbs & Cutex (der auch unter Cut Ex firmiert) sind ein Produzenten-Duo aus Wien, das sich auf entspannte Instrumentalmusik spezialisiert und klassischen East Coast HipHop mit Elementen von Triphop und Downtempo verbindet. Beide begannen Anfang der 90er Jahre als DJs und machten ihre ersten Schritte als Produzenten unabhängig voneinander, um später eine der interessantesten Gruppen der florierenden Wiener Elektronik-Szene zu formen. Zwei gefeierte Alben wurden damals veröffentlicht und noch heute werden ihre Songs von immer neuen Generationen entdeckt, was zu Millionen Aufrufen auf den bekannten Streaming-Plattformen führt. Nach 22 Jahren, diversen Solo-Alben (u.a. Urbs' "Toujours Le Meme Film" und "Geheimland"), unzähligen Singles, Remixes und Kollaborationen, haben sie also beschlossen, wieder zusammenzuarbeiten und dabei ihr Mojo sofort wiedergefunden. Mit charmanter Sturheit produzieren Urbs & Cutex weiterhin Musik, die manche als retro, andere als zeitlos bezeichnen werden. "Wir suchen nach immerwährenden Wahrheiten" bemerken sie dazu achselzuckend. Das Album beginnt daher ganz im Stil ihres letzten Albums "Peace Talks!". Soul- und Jazz-Loops werden mit dopen Beats kombiniert und man wird sogar mit dem ersten Rap-Part überrascht, der es jemals auf ihre Alben geschafft hat: T.R.A.C. aus New York, bekannt als MC von Marc Macs Visioneers, unzähligen Drum&Bass Releases und nicht zuletzt Urbs´ Solo-Alben, glänzt auf der ersten Single "Wherever You Are". Nach einigen Songs lässt sich feststellen, daß Urbs & Cutex ihren Sound aber sehr wohl subtil weiterentwickelt haben. Durch gefinkelte Arrangements und gekonntes Übereinanderschichten von Samples wird eine dichte Atmosphäre geschaffen, die weit über das hinausgeht, was Boombap üblicherweise bietet. Urbs & Cutex schaffen es auf diesen 14 Songs die Fadesse von Chillout, Lofi und Boombap zu umgehen und bauen einen Spannungsbogen, der von uplifting bis deep und hypnotisch reicht.

Manchester-based producer Lily Mumby, the creative force behind Lapalace, has chosen Lavender as her botanical muse for this sixth instalment. Like the aromatic herb that grows from tiny seeds to fragrant purple stalks, her compositions unfold with a similar patience and elegance. Her synthesisers breathe with a natural rhythm, creating textures that emerge and recede like morning dew on lavender buds waiting to bloom.

The standout track ‘new age night’ – a stunning love child of William Basinski's decaying tape loops and Aphex Twin's intricate programming—carries subtle lavender-inspired tones, balancing the plant's calming essence with hypnotic rhythms. Just as lavender requires thoughtful tending before rewarding the gardener with its distinctive aroma, Lapalace's landscapes reveal deeper complexities with each listen.

Much like gardening itself, Mumby demonstrates an innate understanding of when to intervene and when to allow natural development. This approach echoes throughout her career, from her debut EP "Ephemera" which caught the attention of Insult to Injury Records' Timothy Clerkin, through to her contributions to Chez De Milo's "So It Goes" Remix EP and Manchester label Skiptrace's various artists compilation.

Her work across BBC Introducing and fossil.radio reflects this same philosophy – creating environments where sound, space, and organic movement find their natural harmony. But this composition really feels that Mumby has come of age. "Music To Watch Seeds Grow By Vol. 6" represents the continued cultivation of Lapalace's distinctive sound and demonstrates the maturity of an artist way beyond her years. This music stands as a lighthouse through a thick fog of nostalgia, much like lavender standing tall amidst an English cottage garden.

Early DJ support including - Auntie Flo, Ruf Dug, Courtesy, Vladimir Ivkovic.

In ,What's The Matter, M. Ross?", dem dritten Album des eigenwilligen Autors M. Ross Perkins, befindet sich unser Junge auf einer Reise nach innen, auf der er das Transzendente und und Existenzielles mit seinem lyrisch bisher bekenntnishaftesten Album verbindet. Multiinstrumentalist Perkins muss man dem Singer/Songwriter-Zeitgeist zurechnen, der für MJ Lenderman und Waxahatchee schwärmt und gleichzeitig Optimismus vermittelt. "What's the Matter, M Ross?" wurde komplett von Perkins komponiert, gespielt und in seinem Studio in Dayton, OH aufgenommen. Die Kopfhörer-Symphonien bewegen sich mit einer bedächtigen, komponierten Raffinesse, während die Texte neues Terrain erkunden. Die Eckpfeiler des Psych-Pop bleiben: die Schnörkel von Nilsson sind noch da, aber auch Gram Parsons und Jonathan Richman. Wenn man "What's the Matter, M. Ross?" geografisch einordnen will, dann ist das Album zu gleichen Teilen Laurel Canyon und Big Pink, mehr Woodstock die Stadt als das Festival. Perkins ist ein in sich geschlossener Teenage Fanclub (aus der Spätphase) mit George Harrisons spirituellem Sinn für inneres Fernweh.

12” Signed & Embossed Art Print

‘Well let me tell you a little something and it goes like this
Those New York Doll boys they were always looking for a kiss’
Those New York Dolls

The group that started it all back in those pre-punk days. The New York Dolls had it all, style, sass and the tunes to back it up. But as the title of their second and last studio album incurred they were simply `Too Much Too Soon’. For outside of New York and L.A. their humour and drag look was all too much for the mainstream listening public, so they imploded. But a few other bands were taking notes and by softening the edges they took over the world and as the title track of Mal-One’s latest 12” release points out;

‘But who wants a thrill without a little risk
I think we’ll just leave all that up to bands like Kiss’
Those New York Dolls

So Mal-One thought he ‘d better pay homage and let the kids know how great they were.
So we hope you enjoy this tribute to those New York Dolls that make you wanna go…
‘Yeah Yeah Yeah’.

Front man Austin Getz doesn't blink when asked to sum up Turnover's third full-length, Good Nature. "Learning," he replies. "This whole record is about learning. Opening your eyes to new things, going outside of your comfort zone, and learning to grow into something new."The album's unique blend of musical and spiritual growth is immediately audible on the opening track, "Super Natural," a late-summer idyll of intertwined guitar parts and laidback vocals. Listening to how the leisurely "Nightlight Girl" melts into a more propulsive selection like "Breeze," and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums: the range of textures, tempos, and dynamics on Good Nature are infuenced in part by bossa nova, cool jazz, electronic music, and psychedelic grooves. This infux of new infuences and inspiration, navigated by Peripheral Vision producer Will Yip, results in the band's best album to date. Good Nature comes from a place of calm and contentment, nurtured by looking inward.

Tennessee Ernie Ford, will go down in music history for his bestknown song ‘Sixteen Tons’. Penned by country legend Merle
Travis, it put Ford at the top of the Billboard chart for seven
weeks in late 1955-early 1956, selling a million copies in just
three weeks. It was also Capitol Records’ first Number 1 of the
rock era. He also hosted a Thursday-night variety show, which
ran for nearly five years, and had several big hits in the US and
UK. His music endures, and this vinyl collection of his very best
songs is testament to a unique performer.

For their third album on Bongo Joe, Madalitso Band takes a new direction.

After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio — without ever compromising their signature style or energy.

Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that’s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles.

Always guided by instinct, the band reveals a more intimate and narrative side of their universe — full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.

Murder by Death has earned a much needed break. The 25 years the band has spent on the road have been catching up to them lately, so they’ve decided to take a step back from touring before it grinds them to dust. This year, they’ll be embarking on a massive farewell tour, hitting more than 50 cities in the US, UK, and Canada. And as their parting gift, they are leaving behind their tenth album, Egg & Dart. Murder by Death has accomplished more than they’d ever dreamed since forming in Bloomington, Indiana, in 2000, when Turla and cellist Sarah Balliet started the project with fellow college dorm-mates under the name Little Joe Gould. They traveled the world several times over, released ten studio albums, built an intensely dedicated following, and shared stages with artists from a wide array of genres.

Der Savatage- und Trans-Siberian Orchestra-Gitarrist präsentiert eine sehr persönliche Auswahl von 21 Tracks aus seiner erfolgreichen Solo-Karriere, die sich neben seiner Rolle in den erwähnten Bands mittlerweile über zwei Jahrzehnte erstreckt. Die Zusammenstellung enthält Songs aus seinen früheren Soloalben, sowie seltene und unveröffentlichte Tracks, die Chris für zu wichtig hält, um sie seinen Fans vorzuenthalten.

,Dogs" ist Cash Langdons zweites Album unter eigenem Namen, aber das erste mit seiner Band Meadow Dust (Bassist Matt Whitson und Schlagzeuger Reagan Bruce). Die Aufnahmen fanden größtenteils in den Portside Studios (dem ehemaligen Standort des legendären Muscle Shoals Sound) statt und wurden in nur zwei Tagen aufgenommen. Der Tontechniker Brad Timko (Dan Sartain, St. Paul and The Broken Bones) sorgte dafür, dass das Trio wild und tight klingt. Ihre unscharfe Interpretation von schwerem Country-Rock erinnert an Neil Young & Crazy Horse und verströmt die Hitze von Langdons Heimatstadt Birmingham. Wie bei Young ist seine Stimme gleichzeitig ernst und weltmüde, aber es gibt auch einen Sinn für Humor und die Resignation, weiterzumachen (,Dogs"). Diese Songs sind wunderschöne, brennende, südlich-gotische Zeugnisse der fortwährenden Gewalt, die es bedeutet, wach zu sein für die Welt um einen herum (,Lilac Whiskey Nose") und die Entschlossenheit, trotzdem wach zu bleiben (,Magic Again").

REPRESS of the Orchid second full length. Strong riffs, a tight rhythm section and psychedelic background guitar passages are the first things that come to mind when trying to describe how the album sounds. Theo Mindell's voice bears some resemblance to Blackie Lawless' and while W.A.S.P. isn't the first band that comes to mind when thinking of doom metal and stoner rock, his voice fits the music perfectly. The production is spot-on, guiding the listener's thoughts to the sound of Master Of Reality while still sounding modern.

Violet vinyl, limited to 200 copies. REPRESS of the Orchid second full length. Strong riffs, a tight rhythm section and psychedelic background guitar passages are the first things that come to mind when trying to describe how the album sounds. Theo Mindell's voice bears some resemblance to Blackie Lawless' and while W.A.S.P. isn't the first band that comes to mind when thinking of doom metal and stoner rock, his voice fits the music perfectly. The production is spot-on, guiding the listener's thoughts to the sound of Master Of Reality while still sounding modern.

In ,What's The Matter, M. Ross?", dem dritten Album des eigenwilligen Autors M. Ross Perkins, befindet sich unser Junge auf einer Reise nach innen, auf der er das Transzendente und und Existenzielles mit seinem lyrisch bisher bekenntnishaftesten Album verbindet. Multiinstrumentalist Perkins muss man dem Singer/Songwriter-Zeitgeist zurechnen, der für MJ Lenderman und Waxahatchee schwärmt und gleichzeitig Optimismus vermittelt. "What's the Matter, M Ross?" wurde komplett von Perkins komponiert, gespielt und in seinem Studio in Dayton, OH aufgenommen. Die Kopfhörer-Symphonien bewegen sich mit einer bedächtigen, komponierten Raffinesse, während die Texte neues Terrain erkunden. Die Eckpfeiler des Psych-Pop bleiben: die Schnörkel von Nilsson sind noch da, aber auch Gram Parsons und Jonathan Richman. Wenn man "What's the Matter, M. Ross?" geografisch einordnen will, dann ist das Album zu gleichen Teilen Laurel Canyon und Big Pink, mehr Woodstock die Stadt als das Festival. Perkins ist ein in sich geschlossener Teenage Fanclub (aus der Spätphase) mit George Harrisons spirituellem Sinn für inneres Fernweh.

For their third album on Bongo Joe, Madalitso Band takes a new direction. After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio - without ever compromising their signature style or energy. Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that"s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles. Always guided by instinct, the band reveals a more intimate and narrative side of their universe - full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.

Johnny and Robert began work on the album in the first weeks of the pandemic, wanting to make music that sang of those dangerous, disorienting spring days; when birdsong was brighter –– and the sense of bewilderment more powerful –– than any of us had known before. They drew inspiration in part from The Epic of Gilgamesh, the oldest surviving work of world literature; an epic poem from Ancient Mesopotamia that contains the earliest version of the Flood Myth. To Johnny and Robert, Gilgamesh resonated eerily with the present moment –– and it catalysed their song-writing. For Gilgamesh is a story of friendship, love, loss, grief, bad governance and good dreaming; of natural disaster and environmental crisis. It also contains the first recorded act of human destruction of the natural world: when Gilgamesh and Enkidu travel to the Sacred Cedar Wood, slay the guardian spirit of the forest, and cut down the trees with their axes, thereby bringing catastrophe upon themselves. Johnny and Robert wrote the album between March 2020 and February 2021, during a year in which we all wandered unsure of our path, lost in the cedar wood. The songs were composed in large part as a correspondence, through a back-and-forth of notebook pages, voice-recordings and WhatsApp-messages, at a time when lockdowns made meeting in person impossible. The first eight songs were recorded in an off-grid cottage deep in a Hampshire forest, with the sounds of chainsaws felling trees drifting in through the windows along with the birdsong. The result is an album at once urgent and ancient, which fuses poetry, landscape, myth and music into something unique. These are songs that ring with hope, love and sadness –– and one need not know anything about The Epic of Gilgamesh to be touched by them.

180g schwarzes Vinyl

Das 2007er Album der beiden Gitarristen und Sänger erscheint hiermit erstmalig auf Vinyl

Mit Gary Clark Jr, James Cotton, Delbert McClinton, Kim Wilson und Lou Ann Barton

12 Tracks von Jimmy Reed, oder von ihm inspiriert

Jimmie Vaughan ist der ältere Bruder von Stevie Ray Vaughan

Listening to CD3, I'm reminded of how the Vincent Over The Sink record '22 Coloured Bull Terriers' made me feel all those years ago. There's a free ranging quality to it.

It feels calmly capable of doing whatever it wants. It feels mysterious and self-generating, almost aloof to the humans who made it. I adored that record; it cascaded into so many epiphanies.

I don't want to implicate Cooper and David's music in any fleeting desire towards currency, but listening to this CD3 record over the last few weeks has felt weirdly, thematically correct. There's an echo-ey kind of referentiality to it. Not to particular styles of music, but to the recently elapsed histories those styles of music evoke. It's something that Th Blisks kind of gestures towards, but which this project seems to own entirely.

It's a kind of melted reconfiguration of popular (occasionally popular-on-the-fringes) styles. These familiar sounds are reconfigured and muddied. Hindsight frames the sources in an almost primordial light, to the extent that they feel like folk art.

Glyphted and Franzbranntwein sound like pop songs stripped to their bones and distorted, as if the styles they vaguely recall are as old as time. It's a stunningly weird effect. Songs like The Duchess and Farmhand exacerbate this impression. The record comes to feel yearningly ahistorical. But in a way that feels pertinent?

It might just be where my head is at, but the implacable nature of the record feels important to me, somehow. It's something far, far north of post-modern but... ancient too. - Shaun Prescott

The songwriter Joseph Allred is always prolific, but breaks up their string of solo releases for one of the most orchestrated offerings since the excellent Branches And Trees. Allred’s often monastic guitar works are fleshed out here on Old Time Fantasias, turning them towards ensemble visions of country, Americana, and Appalachia. Album opener, “The Groundhog,” features the distinctive piano of Hans Chew, with bass from Daniel Kimbro and brass from Mikey Allred. Elsewhere the new album features Kelby Clark, Courtney Werner (Magic Tuber String Band), Evan Morgan (Magic Tuber String Band), Lydian Bramblia, and Jack Bird in the mix. “I started recording this album in Spring ‘23, thinking I might be making a mostly solo acoustic album with a couple of duets thrown in for good measure. I met Hans Chew at a Nashville show a few months earlier and sent him a few tracks to see if he wanted to add anything to them. Before long the ‘solo acoustic album’ had given way to what’s probably the most involved and densely orchestrated album I’ve made to date. “I enjoyed following some threads of influence that aren’t as easily discernible in my solo playing—I hear some classic country and psychedelic flourishes, baroque pop glockenspiel and horns, percussion ideas that may be cribbed from Danny Elfman and Tom Waits albums, nods to post-rock-filtered western guitar twang, and a little Cocteau Twins dreaminess. “All in all this was a satisfying record to make. I’m especially grateful to the collaborators for adding their touches and making it a less solipsistic affair than it would have been otherwise. The political climate has changed so much over the last two years that I find it hard to imagine I could make a record with this kind of fantastic mood if I started now. I hope that it can maybe re-enchant those of us who are felling disillusioned.” —Joseph Allred

Blues Rock aus Irlands tiefem Süden: Dieses Power-Trio verbindet nach wie vor Elemente des Hard Rock mit dem Blues von Bands wie Gov't Mule, Lynyrd Skynyrd und Led Zeppelin. Jetzt sind die Jungs mit ihrem vierten Studioalbum zurück, zwei außergewöhnliche Live-Alben gibt's ebenfalls. Die Band wurde 2009 in Cork City gegründet, als Leadsängerin Christy O'Hanlon die ehemalige Rhythmusgruppe der Clonmel Punk Rock Band Aural Ammunition, Stephen McGrath (Bass) und Gev Barrett (Schlagzeug) traf. Allmusic über das Debüt des Trios: "Electric Soup" ist nicht nur ein vielversprechendes Debüt, sondern ein wildes Biest von einem Album: dreckig, mager, gemein und gefühlvoll." Classic Rock Blues Mag über das zweite Album: ,Ich liebe das Album, "Rumble Shake" ist umwerfend". Classic Rock Blues Magazine. In CBCs eigenen Worten: ,Wir haben "Ghost dance" genau so gemacht, wie wir es immer machen wollten. Wir haben unser Lager in den Gaf Studios in Co Tipperary aufgeschlagen, nur wir und der Produzent Philip Magee. Wir haben die Tracks so aufgenommen, dass sie unsere berühmte Live-Energie einfangen, und dann hat Philip die Tracks in den nächsten Monaten in seinem eigenen Studio fertig produziert. Wir sind unheimlich stolz auf dieses, unser neues Album. Das gesamte Werk führt direkt zurück in die 70er Jahre, als Bands wie Ten Years After, George Thorogood, Johnny Winter, Allman Brothers, Cream, Rory Gallagher und viele andere an der Spitze ihres Könnens standen. Und da stehen Crow Black Chicken jetzt auch. Die CD ist ein Digpak, die LP ist rot mit einem schwarzen Marmor-Effekt versehen.

Third album by singer and producer Charlotte Marionneau. A collection of sonic trips that try to capture the spark of beat poetry. She is almost a magician who has captured the directness of punk and can do magic with the emotion of pop. And she is always in the experimental grab bag. On the track 'Two-Love' Noel Gallagher plays piano and bass. Further on there is a Daniel Johnston cover presented as a duet with Terry Hall and his son Theodore and here Noel plays guitar. Marionneau reminds one of a female Syd Barrett. She counts among her admirers: Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic and Cillian Murphy. Le Volume Courbe "Planet Ping Pong" is a collection of sonic trips echoing fulgurances of beat poetry. Charlotte is a magician who can weave the directness of punk with the emotions of pop while staying in the realms of edgy experimentation. The bunny comes out of the hat smoking a cigarette and looks you in the eye. The single "Two-Love" is a collaboration with Noel Gallagher on piano and bass and Lascelles Gordon on percussions. The album also includes a cover by Daniel Johnston "Mind Contorted" which is presented as a duet with Terry Hall, and also features his son Theodore Hall and Noel Gallagher on guitars. The originality of Charlotte's music shares something with outsider art: naïve, primitive, primal, rather than following the standard rules. The new album selfproduced and mixed by Brendan Lynch and Charlotte is no exception, It's a unique and compelling listen laced with surprises, subversions and a refreshing candour which sets it apart from anything else. Charlotte was born and raised in France and moved to London in 1995. She was first signed to Alan McGee Poptones label in 2001, and her debut "I killed my best friend" was released in 2005 on Honest Jon's Records. She has also worked with a number of other bands and musicians including Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic etc.. Her song "Born to Lie" was featured in Series 2 of Killing Eve and Spotify selected her song "Rusty" for their "best of the decade 2010-2020" alternative compilation. Cillian Murphy selected the same song for his BBC6 compilation. "She reminds me of a female Syd Barrett... she keeps running into me all over the place from concerts or serving me ice cream at the Curzon on a wet Saturday night or on Jools Holland with the High Flying Birds... I love Charlotte... a great talent and a real psychedelic soul musician." Alan McGee "Inspiring originality, fiercely independent beautiful music, always years ahead of its time. I remember hearing Charlotte's music for the first time and being immediately taken by the freshness, great melodies and utterly unique approach." Kevin Shields "When I first met her she was wearing a cape... she looked like a little piece of Lego. She told me she liked some of my songs but not all. (I hadn't even asked her opinion!!) She's beautiful, fearless and one hell of a tambourine player." Noel Gallagher. "Charlotte is bewitchingly talented, a true rarity that has inspired many creative people. The kind of woman songs are written about. She's an artist that steals your heart away and then comforts you with her stunning music." Hope Sandoval. "A true original and a truly unique artist. There is not many I can say this about, but I honestly think I love everything she's ever recorded! All hail the Scissor Queen!" David Holmes.







e BAG OF EXCUSES [V3]

[g] DUFFY AND MR SEAGULL [V3]

[i] MIND CONTORTED [V4]





[e] BAG OF EXCUSES [V3]

[g] DUFFY AND MR SEAGULL [V3]

[i] MIND CONTORTED [V4]