Buscar:herman

Michael Schenker, ein künstlerisch rastloser Mensch, der sich und seine Musik immer neu definiert. Ein
Ausnahmemusiker voller schöpferischer Kraft, Dynamik und Ideen. Mit „Rock Machine“ erscheint nun ein
Best of Album, welches Studio- und Liveaufnahmen beinhaltet sowie eine stattliche Anzahl von Gastmusikern (Don Airey, Gary Barden, Francis Buchholz, Wayne Findlay, Chris Glen, Neil Murray, Simon Phillips,
Herman Rarebell, Elliott ’Dean’ Rubinson, Chris Slade) vorweisen kann. Jetzt als strikt limitierte LP in
schwarzer Vinyl-Farbe erhältlich.

Michael Schenker - einer der besten Gitarristen der Rock-Welt - veröffentlicht mit „Ride On My Way“ ein geniales Album, das ausschließlich im Vinyl-Format erscheint. Mit Hits wie Lights Out, Fallen Angel und Doctor Doctor gibt es hier den typisch fetzigen Schenker-Sound. Unterstützt wird er dabei von Gastmusikern wie Pete Way (ex-UFO), Chris Slade (ex-AC/DC) und Herman Rarebell (ex-Scorpions).

Rock & Roll pur!

Jetzt auch als Picture Disc!

Death Is Not The End's 333 sub-label follows the reissue of Devon Russell's Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail - Robert Ffrench's 1985 LP 'Wondering'.

Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early '80s, the Wondering LP followed closely after two acclaimed LP sets ('Showcase' produced with Lord Koos & 'The Favourite' for Ossie Thomas' Black Solidarity label - plus a split showcase LP with Anthony "Gunshot" Johnson for Jah Thomas' Midnight Rock label).

Ffrench would write and produce the Wondering LP himself in it's entirity, laying down the tracks at Herman Chin-Loy's Aquarius & Michael Carroll's Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald "Nambo" Robinson among others, with Beres Hammond also providing backing vocals in places.

Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White's Parish label - and founded his own 'France' label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on 'Modern Girl', and with US rapper Heavy D on the track 'More Love'. Robert's productions released through later label 'Ffrench' would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single "Ruler" on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles 'Everyday of My Life' and 'Black Is a Colour' in late 2022 and Feb 2023 respectively, available through all digital platforms now.

333, under exclusive license from Robert Ffrench.

"Ela", Dom La Nena's first album, was released in 2013. Co-produced with the complicity of Piers Faccini, the album received the highest praise from the international press (New York Times, NPR, Les Inrocks, Wall Street Journal, etc). On the occasion of the 10th anniversary of its release, here is a reissue of the record, now available on vinyl.

Dom La Nena is a Brazilian singer, cellist, songwriter and producer based in Paris. Having accompanied artists such as Jane Birkin, Jeanne Moreau, Etienne Daho and collaborated with the likes of Marcelo Camelo, Julieta Venegas and Piers Faccini, Dom's solo work has drawn comparisons as disparate as “a young Brian Wilson” (Wall Street Journal), “a bossa Joanna Newsom” (Time Out New York) and “Cat Power’s lost sister” (Pop Dose).

Dom sings in Portuguese, Spanish, French and English. Her lyrics touch upon feelings of longing, melancholy, and nostalgia of a childhood spent living in Brazil, Argentina and France. Performing in a solo capacity alone on stage with her cello, ukulele, electric guitar, keyboard and percussions, Dom employs sophisticated looping techniques, layering vocals and instrumental tracks, building audio soundscapes that create a full band atmosphere in each venue.

Dom’s debut solo album, “Ela”, was released during 2013 and immediately praised by the international music press including the New York Times, Wall Street Journal, Le Figaro, Les Inrockuptibles, Voir, O Globo and many other media outlets. Dom's second album “Soyo”, an internationally flavored collection of indie-folk songs with wandering melodies and lightly layered vocals, was released in 2015 and co-produced with Brazilian musician Marcelo Camelo (Los Hermanos).

Dom's third full length album, titled "Tempo", was self produced and mixed by Noah Georgeson (Devendra Banhart, The Strokes, Rodrigo Amarante) and is scheduled for a spring 2019 worldwide release.

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Icons of the pioneers of the Chilean punk scene and the darker side of a pseudo new-wave born out of the last gasps of Pinochet’s regime, Índice de Desempleo was started in Santiago de Chile in 1986 by four still-in-school-mates: Tatán Millas on bass/voice, Cristóbal Pfennings on keyboards, Pablo Hermansen on guitar and Huevo Díaz on drums. Warema KK recovers the very first (and only) recordings of the band, made in 1988, by then featuring Judith Harders on drums and Andrés Poirot on guitar, as the band had already undergone one of many line-up changes to come. As intimate as they are wild, both sides of this record offer a glimpse of the eclectic style the band subsequently explored during nearly five years of live performances ahead, going through several formations and musical approaches, as they synthesized influences from earlier punk and hardcore, garage, urban-funk and whatever they felt was useful to appropriate and re-use within the anarchic, D.I.Y. spirit of true punk. With lyrics “inspired by French symbolist poetry”, throughout the years, Índice de Desempleo was always committed to exposing the social discomfort of that era in Santiago, a city they often described as “greyish, boring and flat”. Original cover art by Marcela Trujillo, published by HR in a limited edition of 100 copies.

Impatiently returning to the golden age of Ecuadorian musica national, this second round of retrievals is more of a selectors’ affair: less reverent, more free-flowing, with more twists and turns. There is no let-up in musical quality, maintaining the same judicious, heart-piercing balance between emotional desolation and dignified endurance, the same bitter-sweet play between affective excess and musical sublimity.

This time around, the woman steal the show. Laura and Mercedes Suasti were child stars, with an exclusive Radio Quito contract. Unlike nearly all the men here, they lived long and prospered: Mercedes died last year, at the age of 93. Gladys Viera and Olga Gutierrez both came to Ecuador from Argentina. To start, Gladys plugged the scandalous new Monokini swimwear; Olga performed for visiting British royalty in 1962. Olga was glamorous but tough. She would make little of the amputation of one of her legs: ‘I don’t sing with my leg.’ She is accompanied on our opener by quintessentially reeling, sultry musica national: haunted-house organ, twinkling xylophone, Guillermo Rodriguez’ heart-plucking guitar-playing, and lilting, dance-to-keep-from-crying double-bass. ‘Sometimes I think that you will leave me with no memories,’ she sings, ‘that you hold only disappointments in store for me… In the future your love will search me out, full of regret. By then it will be too late, there will be no consolation, only disappointment awaiting you.’

Other highlights include the two contributions of Orquesta Nacional: Ponchito Al Hombro, like an off-the-wall forerunner of the Love Unlimited Orchestra, beamed into the tropics from an unknowable time and space; and the tone poem Atahualpa, a mystical yumbo invoking Quito’s most ancient inhabitants, the Kichwa. Also the tremulous, gypsy-flavoured violin-playing of Raul Emiliani, who arrived in Quito from Italy, suffering PTSD from the Second World War; the inscrutable, sardonic experimentalism of organist Lucho Munoz; and the mooing and whistling of Toro Barroso — school of Lee Perry — in which a muddy bull dashes home to his darling chola, fearless, full of desire.

Lavishly presented, with a full-size, full-colour booklet, with transporting art-work and expert notes. Luminous sound, by way of Abbey Road, D&M and Pallas.

The « In Jazz » collection proudly presents its new voulume dedicated to the unique artist Björk.
Rediscover the gretest songs of Björk reworked by the Jazz scene.
A selection of the nicest covers of « Venus As A Boy », « Army Of Me » or « Human Behaviour », iplayed by Viktoria Tolstoy, Julia Karosi, Gretchen Parlato, Eric Legnini...

The members of short lived Palm Desert, CA stoner/desert rock trailblazers Kyuss went their separate ways in 1995 after only four genre defining albums with Josh Homme and Nick Oliveri forming Queens of the Stone Age, John Garcia founding groups Unida, Slo Burn, and Hermana, and Brant Bjork joining Fu Manchu. 2000 posthumous compilation Muchas Gracias: The Best of Kyuss gathered a selection of 15 rare tracks, B-sides and live cuts. Available for the first time on vinyl in the U.S., Run Out Groove offers up a colored 2LP pressing of the hard to find album with deluxe packaging.

Waxwork Records is thrilled to announce the release of GET OUT Original Motion Picture Soundtrack Music By Michael Abels. Written and directed by Jordan Peele, GET OUT is a critically acclaimed 2017 American horror film starring Daniel Kaluuya and Allison Williams. The film received numerous accolades and won the Academy Award for Best Original Screenplay. It was also nominated for Best Picture, Best Director, and Best Actor for Kalluya. GET OUT is the directorial debut of accomplished actor and long time horror-fanatic, Jordan Peele. The film's music was scored by composer Michael Abels, and it also features his debut as a film composer. Included in the new deluxe double LP release of GET OUT are exclusive liner notes in the form of an in depth essay by Peele that illustrates the director's first meeting with Michael Abels, their approach to the film's music, and how it all came together to conjure a new sound. "I had some ideas. I envisioned distinctly black voices harmonically creating an unnatural sound. The absence of hope. The void of the voiceless. A disembodied Negro spiritual. The Sunken Place." GET OUT Original Motion Picture Soundtrack features the complete soundtrack by composer Michael Abels, deluxe packaging, new artwork by Leslie Herman, a printed insert with exclusive liner notes by Jordan Peele, 180 gram black and white splatter vinyl, and old style tip-on gatefold jackets with satin coating.

Re-mastered from the original master tapes.
Limited edition 2000 copies.
180 gr vinyl pressed by Optimal in Germany.
Facsimile reissue using the original photos on front and back by Herman Leonard.
Double insert using an original photo by JP Leloir.
Each record has been visually checked to prevent defects.

Although Los Hermanos Ballumbrosio are one of the most emblematic groups of Afro-Peruvian music, no single recording has been able to portray the essence of the group... Until now. "Homenaje a El Carmen" ("Homage to El Carmen"), their debut album for Buh Records, sets the record straight: it captures the true spirit of the musical tradition of El Carmen, a city located a few miles to the south of Lima that is home to the largest black community in Peru. Songs based on percussion and zapateo bring back the memories and experiences of a culture that has produced one of the greatest treasures of Peruvian music. "Homage to El Carmen", the third volume of the series "Perspectives on Afro-Peruvian Music", signals the return of the group to the recording studio, and also to the sources of rhythms such as festejo and panalivio, which they interpret with cajón, quijada (jawbone), congas, bongo and batá. The result is a distillation and a testimony of the memories and experiences that portray the cultural universe of El Carmen. We have access to a selection of traditional songs that are heard during the festivities, such as "Guanchivalito", which is played during the Yunza Negra, a ceremony in which a willow tree is cut to bring benefits to the community. "Panalivio " and "Serrana Vieja" are two traditional Christmas carols that are played in the "Hatajo de Negritos" and which reflect the syncretic character of the Afro-Peruvian culture. These songs speak of the difficulties of rural life, but they also serve as a vehicle to demonstrate the Ballumbrosio brother's mastery in the art of zapateo, a dance that is accompanied by violin and bells. The classic "La Esquina de El Carmen" is perhaps the song that best expresses the erotic character of festejo, also known as baile de cintura (waist dance). "Homage to El Carmen" is the highly anticipated return of the Ballumbrosio brothers to the recording studio. They have become indisputable references of Afro-Peruvian music and have displayed their sound and dances around the world. It was time for an album that portrays the essence of the group: a collective spirit, where the tutelary image of Amador Ballumbrosio always shines, and which traces a history from Africa to El Carmen. This album is published in vinyl format in a limited edition of 300 copies. Include 8 full-page booklet with liner notes in Spanish and English. Produced by Manongo Mujica and Daniel Mujica. Cover by Yerko Zlatar.

Scratch The Super Ape is the 1976 studio album by Lee Perry’s studio band The Upsetters. The lineup consisted of Boris Gardener on bass, Mikey Benbow on drums, Earl Smith on guitar, Keith Sterling on keys and the horn quartet Bobby Ellis, Dirty Harry, Herman Marquis, and Vin Gordon. The album is recorded at Lee Perry’s studio and is both composed and produced by him.

This edition of Scratch The Super Ape features the original Jamaican album cover and is available as a limited edition of 2000 individually numbered copies on orange coloured vinyl.

Neuauflage des Albumklassikers von 1980, aufgenommen im Channel One Studio und abgemischt in King Tubbys Studio von Scientist. Der Produzent Henry 'Junjo' Lawes engagierte folgende Musiker: Bass: Errol 'Flabba' Holt, Drums: Santa Davis, Sly Dunbar, Style Scott, Guitar: Sowell, Bingy Bunny, Melodica: Jimmy Becker, Organ/Piano: Ansel Collins, Steely, Gladstone Anderson, Percussion: Bongo Herman, Sky Juice, Sticky Thompson, Saxophone: Headley Bennett, Trombone: Val Bennett, Trumpet: Bobby Ellis

180 gram vinyl LP of Freddie's 1979 album with extensive sleeve notes
Produced by: Winston 'Niney The Observer' Holness
Recorded, Voiced & Mixed at: Channel One ecording Studio, 29 Maxfield
Avenue, Kingston 13
Engineers: Anthony 'Crucial Bunny'/'Bunny Tom Tom' Graham & Lancelot
'Maxie' McKenzie
Musicians:
Drums: Max 'Feelgood' Edwards & Leroy 'Horse Mouth' Wallace
Bass Guitar: George 'Fully' Fullwood
Lead Guitar: Earl 'Chinna' Smith
Lead Guitar & Rhythm Guitar: Albert Valentine 'Tony' Chin & Eric 'Bingy
Bunny' Lamont
Keyboards: Jamaba Johnson & Keith Sterling
Tenor Saxophone: Enroy 'Hot Train' Grant
Trumpet: Arnold 'Willie' Brackenridge & Donald Vidan-Greaves
Percussion: Herman 'Bongo Herman' Davis & 'Brooksy'
Advertising in Black Echoes and Record Collector

In 1998 The Wave Pictures started carving out their own path in search of the lost essence of British Indie, since their acclaimed “Instant Coffee Baby” -nominated for The Guardian New Album Award and present in many lists of the best albums of the last 15 years– , until the most recent “When The Purple Emperor Spreads His Wings”, always giving their best in countless electrifying performances. Now The Wave Pictures are once again allied with Acuarela to release an exclusive double 7” with five songs (one, “French Cricket” included on their new album and the other four totally exclusive) and show that they are still an indie rock band without indie rock influences, a trio with its own style that doesn't want to be a blues group, but with blues –and soul, and country, and folk-, as the invisible core of everything they do. The Wave Pictures began their career in 1998. Since then the British trio hasn't stopped: at the frenetic pace of their concert schedule, they add a stakhanovist record production, which advances at the rate of almost one album per year. Example: “Great Big Flamingo Burning Moon”, which came out in February 2015, was already their thirteenth official LP (without forgetting that they have also released a large number of singles, EPs, rarities and unofficial material). But it is that in February 2016 the fourteenth album, “A Season In Hull” was released -which they recorded with a single microphone and only released on vinyl-, and in November of that same year its successor, “Bamboo Diner In The Rain” came out. In June 2018 they returned to the fray with another LP, “Brushes With Happiness”, and that November also dropped “Look Inside Your Heart”. The pandemic has made them slow down a little bit until May 2022 when they finally returned with "When The Purple Emperor Spreads His Wings". “When The Purple Emperor Spreads His Wings” is a double album dedicated to the cycle of life and in which each of its four sides (in the old fashioned way) is focused on one of the seasons of the year. The title refers to spring and its splendor. The result is pop in the style of The Wave Pictures, with all the essence of the band: those intense guitar solos by Dave, his acoustic plucking, the solid writing… in addition to the mandolin, the bluesy harmonica...you name it! All the band members, David Tattersall (vocals, guitar), Franic Rozycki (bass) and Jonny “Huddersfield” Helm (drums), are avid fans of rock'n'roll, classic country, 70s rock, soul and folk, and this album celebrates with joy all those musical loves of them, some rediscovered in recent times. Moreover, they have pointed out that Guided By Voices have also been a great source of inspiration on this recording, as well as re-listening to Sun Records’ rockabilly, African guitar records, the more country side of Neil Young, the crazy fun of The Who and some moments from The Yardbirds. The Wave Pictures are still playing what Modern Lovers did back in the day -and then Herman Dune or Hefner-, only they play it as if Rory Gallagher was their lead guitar. With the lo-fi pop-rock label as an amicable stigma, they never deny the maxim that places attitude before technique and they are always vaccinated against fashion. Years go by and they are still the same sly alley-cats, only sounding more and more classic. Tracklist: 1. French Cricket/ 2. From A Buick 6/ 3. Porcupines/ 4. Rufus Thomas/ 5. Cincinatti Flow Rag

If you're among the legions of Widespread Panic fans, you already know
that the band is legendary for never playing the same show twice or the
same song the same way twice - What makes this performance that
much more special is the inspiring presence of founding member
Michael Houser (whose nickname Panic inspired the band's name), who
died of pancreatic cancer less than two years later
As much as anything, this is a celebration of Houser's life and the sheer joy he
brought to a band that became one of the biggest draws on the international
concert circuit and created a vibe that makes the Panic experience unique in the
pop rock world.
But anybody who knows anything about them knows that Widespread Panic is so
much more than just a jam-happy rock band. From the time Houser and John Bell
(JB) began playing duets around Athens, Georgia, in the early 80's, their repertoire
ranged from early covers of the Grateful Dead and Bob Marley to a host of
original songs (among them Space Wrangler , included here) that demonstrate, as
The Village Voice wrote, a willingness to dip their collective toe into just about any
genre. This is classic Widespread Panic, including David Schools on bass, John
Hermann on keys, Todd Nance on drums and Domingo Ortiz on percussion.
One look at this show and it'll quickly become obvious there was something
strange going on in the house that night. Yes, it was Halloween, 2000, and the
rabid fans went beyond even their usual hard-core delirium. This was one time the
audience almost threatened to steal the show!
-Terry Lickona (Producer Austin City Limits).

For their fourth release, Selected Works are reissuing the classic South African record from the legendary Beaters, Lost Memories. Fusing R&B, Funk and Soul this collection of tight instrumentals was initially released on CBS in the late 60s. This band would later morph into the legendary South African outfit Harari. Psychedelic soul masterpiece on the CBS LAB imprint. First ever reissue only from Selected Works. Deluxe vinyl repress based on the original CBS pressing with all original artwork in Tip On Covers. Fully licensed and remastered.

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV

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.

Clear Vinyl

Downwards’ deep bonds with NYC catalyse the debut LP by Jim Siegel’s Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis), and co-mixed by Anthony Child (Surgeon) and Simon Shreeve, who also mastered it. It’s a super deep, highly atmospheric beast somewhere between Valentina Magaletti’s most expressive percussion work, Bark Psychosis, and classic, moody 4AD, which is coincidentally referenced via the artwork, made by Chris Bigg - legendary graphic designer and longtime assistant to Vaughan Oliver.

Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021.

Stemming from intently deep listening sessions immersed in LPs by Viennese aktionist Hermann Nitsch and the myriad eras of Killing Joke, while also absorbing the atmospheres of classic Tarkovsky flicks, the album began life as gonzo field recordings of Siegel smashing the f*ck out of his drum kit, zither, scrap metal and gongs in an array of abandoned warehouse spaces. The recordings formed the basis of Karl’s compound productions, which add depth charge bass and sonorous metallic atmospheres to the mix, along with birdsong and gibbon hoots, plus guitar textures by Nick Forté (Raspberry Bulbs, Rorschach) for a dread-lusting jag deep in the belly of the Big Apple.

With a palpable tang of rust and blood in the air and grime under the fingernails, the seven tracks evoke a resoundingly brutalist portrait of space and place. Siegel’s nervy percussive discipline is framed in alternating barometric and light settings from cut to cut, variously snaking from the poltergeist clang and haunted resonance of ‘Converging and Dissolving’ to slamming motorik thrum in ‘Oblivion’ via imaginative descent into cyberpunk simulacra of the city as jungle-at-night in ‘Remnant Corridor’, replete with animalistic atmospheres that recall Organum.

While the raw attack and devilish swerve of the rhythms are utterly fundamental to the record, Karl’s atmospheric content and the animist mixing magick of Anthony Child and Simon Shreeve most potently give flesh to its bones. Patently evident on the stepping pulse and searching zither that keens into detuned orchestration on ‘Immediate Possession’, the zoned-out klang of ‘Stand Aside’ or in the flooded warehouse chaos of ‘Test For Traps’. The attention to spatial, textural and proprioceptive detail is tightened throughout, peaking with ‘Bargemaster’, a dense slab of tension that sounds like Jon Mueller’s Silo recordings fed through The Caretaker’s fogged machinery.

It’s one of the most impressive records on Downwards for a long while, bound to gnaw and spark the nerves of experimental rock and post-industrial’s greats, anything from The New Blockaders to Faust, Flying Saucer Attack and into iconic Blackest Ever Black releases in the modern era.

Die ehemaligen ACCEPT-Mitglieder Herman Frank & David Reece feat. VICTORY-Mitglieder Malte Burkert, Mike Pesin und der ehemalige U.D.O.-Schlagzeuger Francesco Jovino präsentieren ihre neue Heavy Metal-Band IRON ALLIES. Vor allem Herman Frank und David Reece sind die klassische Kombination aus erstklassigen Gitarristen, Texter und Sänger. Eine Kombination, die schon mehr als einmal für Aufsehen in der Musikgeschichte gesorgt hat. Ihr Debütalbum 'Blood In Blood Out' wird am 21. Oktober veröffentlicht. Herman Frank kommentiert: "Diese Platte ist mit nichts zu vergleichen, was David oder ich in unserer Vergangenheit produziert haben. Es steht gleichzeitig für sich selbst und klingt, als käme es aus einem Guss. Man könnte sagen: Wir beide haben uns gesucht und gefunden!"

Die ehemaligen ACCEPT-Mitglieder Herman Frank & David Reece feat. VICTORY-Mitglieder Malte Burkert, Mike Pesin und der ehemalige U.D.O.-Schlagzeuger Francesco Jovino präsentieren ihre neue Heavy Metal-Band IRON ALLIES. Vor allem Herman Frank und David Reece sind die klassische Kombination aus erstklassigen Gitarristen, Texter und Sänger. Eine Kombination, die schon mehr als einmal für Aufsehen in der Musikgeschichte gesorgt hat. Ihr Debütalbum 'Blood In Blood Out' wird am 21. Oktober veröffentlicht. Herman Frank kommentiert: "Diese Platte ist mit nichts zu vergleichen, was David oder ich in unserer Vergangenheit produziert haben. Es steht gleichzeitig für sich selbst und klingt, als käme es aus einem Guss. Man könnte sagen: Wir beide haben uns gesucht und gefunden!"

"Good music never dies!" - This was Diane Ellis' mantra when she set out to produce this, her first record, in 1979. She recalls hearing the Rose Royce classic Love Don't Live Here Anymore on the radio and instantly thinking it would make for a great reggae cover, immediately envisioning the sound she was looking for. Drafting in the legendary Boris Gardiner and vocalist Sharon Forrester they created this timeless version of a perennial classic - now available here in it's full extended discomix glory for the first time on 12" since it's original outing, and backed with hornsman cut placing Dean Fraser's sax front row center.

The record was made when Ellis was studio manager for the world-famous Tuff Gong studios, but wanted her outing as a record producer to be a totally independent venture - gaining the great Bob Marley & the TG team's blessings in the process. And so Aquarius Studio in Half Way Tree was where it was all laid-down. Diane credits the Legendary owner and pioneering producer, Herman Chin Loy, as also being of great help on the record, providing a guiding ear throughout the process.

Despite this the evident strength of this first production, Ellis would follow up with only one other production, Junior Tucker's cover of "One of the Poorest People" (this time one recorded at Tuff Gong studios, and releasing the 56 Hope Road subsidiery). While both records performed well on local radio and charts, Diane exited the music industry shortly after. Now 43 years later, Diane is overjoyed her production is having a comeback, saying that "the support and love felt during the project can never be replicated, and I give thanks to all who supported then and now".

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. Officially reissued for the first time. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record "Olvídate" set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix "El maravilloso mundo de Ingeson", It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding_ Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure_ "El maravilloso mundo de Ingesón" is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Heaven and earth are in motion with the debut album from composer and saxophonistGisle Røen Johansen (b. 1968) an active voice on the Norwegian jazz scene since the mid-nineties. Known for his expressive tone in groups like Element and Jazzmob, Kveldsragg is the first release under his own name.

The album features top players from the nordic jazz currents including members fromBushman’s Revenge and Element; Even Hermansen on guitars, Rune Nergaard on Electric Bass and Ingebrigt Håker Flaten on Acoustic Bass and ECM signed Gard Nilssen on drums. With special guests Bob Hoffnar on pedal steel, wordless vocals byMona Julsrud and vocals, lyrics by Harald Tusberg Jr.

The melodic tour-de-force of Kveldsragg that occupies the whole first side showcases Johansen’s post-bop background, in a multi-layered harmonical approach. While the B-side Morrasol is a new dawn, the album finishes with the haunting and beautiful voice of Harald Tusberg Jr. who’s lyrical tribute to the deciesed fellow musician Jon Klettewill leave you mesmerized.

Knucks takes the Hip Hop world by storm as he gears for the release of his highly anticipated new project "Alpha Place"'.Following the release of his unorthodox visuals, Knucks delivers heartfelt messages through addictive rap compositions

A dynamic new face to the genre, "Alpha Place" focuses on the feelings and thoughts that the artist and producer has been experiencing growing up in London, channeled through the stirring essence of music. Highlighting important narratives and revitalising the Hip Hop genre, with a composition which is both soulful, moving, and memorable, the rising new artist is changing the rules of the
game.Knucks is taking his artistry to new heights in Alpha Place, with soulful samples and distinctive production styles paired with some of the UK's biggest names in the rap game. The project is more than just an ode to the neighbourhood Knucks grew up in Alpha House but a representation of life and culture on all sides of the capital. Giving a voice to many experiences shared by young people growing up. Knucks makes his mark on the industry with this new body of work pushing boundaries and channelling his authentic flow and flair.

From selling out headline shows and opening for the likes of Wretch 32, Knuck's approach and unorthodox style has garnered over 150 million streams across all platforms independently as well as earning critical acclaim from outlets such as GQ Style, Wonderland, Notion and many more. Boasting a range of noteworthy features including contributing show-stealing verses on collaborations like "Beg To Differ" with Emil, "Ting Tun Up, Pt. II '' with Montreal's Skiifall.

Blue Mitchell's run of albums for Blue Note are among the great jazz recordings of the era. His '70s output has often been overlooked, however Blue Mitchell remains a fantastic set featuring the stellar lineup of Black Jazz recording artist Walter Bishop, Jr. on piano and keys, the legendary Doug Sides on drums, bass extraordinaire Larry Gales and the one and only Jimmy Forrest on tenor sax. This record deserves reappraisal as a fine selection of recordings. Licensed officially from Mainstream and remastered from the original tape transfers, this is the best the record has ever sounded. Featuring new words from Doug Sides especially for this release.

Following his triumphant performances at the 2022 Coachella Music and Arts Festival, Danny Elfman delivers Bigger.Messier., an ambitious double -album collection of remixed and reimagined tracks from his highly acclaimed Big Mess album. This sprawling, 23 track collection (available on 2 LP or 2 CD) features tracks reworked by some of the most groundbreaking and subversive artists around today. Bigger.Messier. views the Grammy and Emmy Award-winning composers songs through the lens of luminaries from diverse sides of the music business, including Trent Reznor, Iggy Pop, Squarepusher and Ghostemane. Elfman once again has achieved a kind of artistic liberation on the record that had been eluding him for decades, and connecting him to brand new audience. Born and raised in southern California, Elfman began his career as part of a surrealist, avant-garde musical theater troupe known as The Mystic Knights of Oingo Boingo. The group would eventually morph into the critically acclaimed rock band Oingo Boingo, whose high-energy performances and genre-bending sound garnered them a fanatically devoted cult following in the 1980s and '90s. Among the group's early fans was fledgling director Tim Burton and Paul Reubens (aka Pee-wee Herman), who enlisted Elfman to score their first feature film, Pee-wee's Big Adventure. The collaboration would prove to be the start of a long and fruitful partnership for Elfman and Burton, with Elfman going on to score a string of iconic Burton features like Batman, Beetlejuice, Big Fish, Edward Scissorhands, and The Nightmare Before Christmas. To date, Elfman has scored more than 100 films

Sometimes a band grows so exponentially from one record to the next, it’s almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and NWOBHM in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart.

Reckoning is their Master of Puppets, their Number of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning.

“This album is every aspect of our band amplified to its maximum potential,” says singer/guitarist Jake Nunn. “This is the record we've always wanted to make, and it feels like we're just getting started,” guitarist Tony Campos adds. “We wanted to push ourselves musically and capture some of our frustrations, anger, loneliness, and rage over being locked inside and dealing with life during a global pandemic in the days when no one really knew how to navigate,” says drummer Mike Smith.

With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. “I set up a little studio in my garage to record guitar, bass, and vocal tracks,” Campos says. “While Mike bought an electronic drum set and we demoed every song so we were more prepared going into the studio.” Each of them found themselves practicing more on their own and ironing out every last detail and nuance before finally being able to once again play in a room together.

The band’s heightened professionalism also brings in guest bassist Matt Freeman (of Rancid and Operation Ivy fame) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist Kai Sun joined Hell Fire in Fall 2021. Reckoning was recorded and mixed at Atomic Studios in Oakland, CA with Chris Dugan.

The title track kicks things off with a slight nod to the layered melodies of acoustic and harmonized guitars of Metallica’s “Battery” before the band rips into its signature galloping guitar picks, soaring harmonies and blistering rhythms. It’s an anthem and a gauntlet thrown down with Nunn’s shimmering screams and guttural howls while dueling guitar solos and Smith’s relentless double bass drum shuffle bring home the point that Hell Fire is born anew. “Medieval Cowboys” hearkens to the epic attack of Iron Maiden’s Powerslave with glistening melodies and complexly interwoven musical shifts that showcase exactly how tight and precise the band has become. “Addicted To Violence” is blistering thrash and “Thrill Of The Chase” soars with rich harmonies while both songs lyrically reflect hard truths the band faced in isolation. The lush acoustic based ballad “A Dying Moon” shows the band effortlessly stretching out in new directions. “It Ends Tonight” is an epic anthem served as a mission statement to the band’s return wherein arpeggiated riffs, squealing pinch harmonics, group chant vocals and Smith’s octopus-armed beats will have legions raising their fists in the air in salute.

“It’s somehow the heaviest and most melodic work we’ve done, and I’m proud of the discipline it took,” Nunn says. “It’s a wild thing.”

Bis ins Jahr 1973 reicht die Historie von Mass zurück, als Günther V. Radny (das V. steht für Viktor) mit Sänger Josef Hartl, Gitarrist Walter Speck und dem Schweizer Drummer Charles Frey (heute als Akron bekannter Autor) die Formation Black Mass startete. Nachdem Speck wegen psychischer Probleme mit tödlichen Folgen ausfiel, ersetzte ihn der Saarbrücker Gitarrist Gerd Schneider, der zuvor mit ScorpionsSchlagzeuger Hermann Erbel alias Herman Rarebell bei RS Rindfleisch gespielt hatte. Schneider musste allerdings nach einem Jahr wegen massiver Drogenprobleme wieder gehen und wurde durch den englischen Gitarristen Mick Thackeray (The Merseys), der in der Schweiz mit den Slaves und Countdowns, und in München mit Abi Ofarim spielte, ersetzt. Zur gleichen Zeit ersetzte Johannes Eder, von der englischen Band I Drive kommend, Drummer Frey, der sich laut Radny „auf den Büchertrip“ begeben hatte. Zudem wurde der Bandname auf Mass verkürzt. In dieser Besetzung nahm MASS im April 1975 im Studio 7o in München mit Dave Siddle am Mischpult,
der unter anderem mit den Beatles, Jimy Hendrix, Jeff Beck, Animals und Deep Purple arbeitete ein Album auf. Aufgrund der Drogenprobleme von Sänger Josef Hartl wurde dieses Album nie veröffentlicht. Leider sind diese Bänder bis heute verschollen. Doch damit nicht genug der unruhigen Zeiten: Ein Jahr später mussten Hartl (Drogenprobleme, verstorben 1998) und Thackeray (übermäßiger Alkoholkonsum), gehen. Mit dem aus Berlin gekommenen Detlef „Dave“ Schreiber als neuem Gitarristen war die Formation als Trio 1976 erst einmal stabilisiert. 1977 entstand das Album „Back To The Music“, welches bei United Artists Records (Hawkwind, ELO, Don
McLean) erschien.

In Folge wurden Mass als teils boogieorientierte Hardrockgruppe, anschließend als Heavy Metal Band bekannt und genießen heute ähnlich wie Accept, Scorpions, Trance oder Fargo Pionierstatus. Nach einer zeitweisen Umbenennung in Monsters kehrte Bandboss Günther V Radny kürzlich mit Mass zurück und lieferte eine gefeierte Reunion-CD. Die Band wurde auch kürzlich von Golden Core/ZYX geehrt, da je ein Track von Mass und Monsters auf der Compilation „Sound & ActionGerman Hardrock & Heavy Metal Rarities Vol. 1“ zu finden ist. Im Zuge dieses Kontaktes kam es zu der längst überfälligen Idee, das Debütalbum von Mass erstmals auf CD (und erneut auf Vinyl) zu bieten.

Long before Lina Seybold became a geologist, the singer and guitarist was already writing songs and making a name for herself far beyond the city limits of Munich with her Steve Albini-trained (and produced) quartet candelilla, before the band dispersed into new projects. During her studies, she met Moritz Gamperl and the two realised that what they learned in rock research could also play a role in rock music. Thus, the material history of the planet became both a source of existential reflections for the two and the impetus for a highly accomplished and often graceful sound, which has been expressed in the band pirx together with drummer Sascha Saygin since 2019: Technically sovereign, obstinate songs that - with Seybold now on bass and vocals - create subtle dramaturgies, cinematic aesthetics, far-reaching arcs of tension.

With Lamina, the trio now presents an excellent debut album, recorded by Martin M. Hermann, which shoots out of the earth with explosive force as hot lava, only to flow into the valley in glowing beauty the next moment, changing the earth's surface, telling of elemental forces - until it finally evaporates the water in the sea and lays a comatose fog over all existence. Or in other words: pirx make creation music, in all directions of time!

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.

Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.

Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future.

“Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. Shoppers flocked in their thousands to grab a copy, raced home and then spent the next forty five minutes checking their tracking, banging the speakers and blowing the needle, all to no avail. Do not adjust your set - This is Faust.

LIMITED BLACK VINYL


The very first solo album from Greg Anderson aka The Lord (Engine Kid, sunn O))), Goatsnake and Southern Lord Recordings curator) is an 8 song collection of dark heavy cinematic inspired darkness.

Taking cues from legendary film composers: Bernard Herrmann & John Carpenter and injecting lethal doses of early 90s Scandinavian Death Metal.

Very special guest vocalist: Attila Csihar (Mayhem, sunn O))), Tormentor) lends putrid vocals to the track: Triumph of the Oak.