Cerca:in fra

Die Compilation "Das schöne Leben des Herrn K." präsentiert 13 Neuinterpretionen aus dem Manfred Krug Oeuvre. Künstlerinnen und Künstler aus allen Ecken des deutschsprachigen Pop- und Indiekosmos erklärten sich bereit, ein Krug-Stück ihrer Wahl beizusteuern. Und so wie die Zusammenstellung der Platte verlief, so klingt sie nun auch: organisch und stimmig, dabei abwechslungsreich, und, obwohl die aktive Krug-Ära nun doch schon seit Längerem in der Vergangenheit ruht, enorm zeitgemäß.

Apostrophe (’), das wohl populärste Album im Katalog von Frank Zappa, war durchgehend ein Bestseller.
Es war Zappas erste Goldene Schallplatte in den USA und erreichte Platz 10 in den Billboard 200 Charts.
Die Single ”Don’t Eat The Yellow Snow” schaffte es ebenfalls in die Billboard Top 100 Hits und erreichte
Platz 87. Der Erfolg von Apostrophe(’) verhalf Zappa zu einem neuen Bekanntheitsgrad, und im Laufe
der Jahre war das Album für die meisten eine erste Anlaufstelle, wenn sie seine Musik entdeckten.
Anlässlich des 50-jährigen Jubiläums haben Zappa Records und UMe eine 1-LP-Vinylversion in Goldmetallic
erstellt, die von Bernie Grundman neu gemastert wurde.

Dive into the mesmerizing fusion of sounds with Alpha Sect’s latest vinyl release, ‘Fragmented Reality’, on Soil Records.

Featuring remixes by the renowned talents of Curses, Local Suicide x Skelesys, and Raw Ambassador, this EP spans the realms of EBM, Italo-Disco, Wave, and Techno. Each track invites you to journey through a sonic realm where pulsating rhythms and ethereal melodies converge, blurring the lines between genres. With Alpha Sect leading the way, immerse yourself in a hypnotic experience that transcends conventional boundaries.
‘Fragmented Reality’ is out now, offering a unique sonic adventure for the discerning listener.

Robyn Hitchcock is a rock’n’roll surrealist. Born in London on March 3rd, 1953 he describes his songs as “pictures you can listen to”. As much a child of Dali, De Chirico, and JG Ballard as of his 1960s musical heroes, he is a master of the absurd, reveling in the beauty of the unexpected. His first publicly visible band The Soft Boys (1976 - 81) has remained an influential art-rock touchstone for generations of musicians. “I just want to be an obscure cult fringe,” he told the NME in 1978; the NME didn’t believe him, but he’s been true to his ambition. Without ever breaking the surface of pop culture Hitchcock has floated at a tangent to the mainstream for nearly 5 decades. His songs have been performed by REM, The Replacements, Neko Case, Gillian Welch & David Rawlings, Lou Barlow, Grant Lee Phillips, Sparklehorse, and Suzanne Vega with the Grateful Dead among others. A confirmed outsider, he nonetheless has devoted listeners around the world who attend his concerts, and also tune into the online streaming shows Robyn seasonally does with his wife, the singer Emma Swift. In 1996 he was the subject of Jonathan Demme’s in-concert film, ‘Storefront Hitchcock’. Robyn Hitchcock came of age in the 1960s when he attended Winchester College, an eccentric hothouse boarding school in the south of England. This is the subject of “1967”, which is both a memoir and an album, due for release in June this year. The memoir is a book “1967: How I Got There And Why I Never Left”, describing how the music of Bob Dylan, The Beatles, Jimi Hendrix and others drastically transformed the direction of his life when he left home for this strange new world. The companion record album “1967: Vacations In The Past” is a selection of the (mostly) hit songs of that year, re-recorded acoustically by Robyn with the help of some friends in Cambridge, San Francisco, and Sydney. He is currently preparing new material to release in 2025. “I like to keep busy”, he says: “We have all eternity to not exist”.

Die vier norwegisch-schwedischen Musiker von Kalandra haben ihre Wurzeln im melancholischen nordischen Folk und düsteren Gitarren, die
ätherische Melodien in raue und unheimliche Musiklandschaften weben. Wie es sich für Kalandra gehört, erzählt das neue Album der Band, "A Frame
Of Mind", nicht nur eine Geschichte, sondern verkörpert sie auch.
Das Norwegisch-Schwedische Quartett hat Elemente des nordischen Folks, des skandinavischen Pops und des Alt- und Progressive-Rocks miteinander
verbunden. Im Laufe des Prozesses und dank des erhabenen, schwebenden Gesangs von Frontfrau Katrine Stenbekk, der in die gleichen feinen
Gefilde gehört wie der von Künstlern wie Eivør, Aurora und Gåtes Gunnhild Sundli, haben sie ihre eigene rastlose und doch eindringliche Welt
geschaffen.

Die vier norwegisch-schwedischen Musiker von Kalandra haben ihre Wurzeln im melancholischen nordischen Folk und düsteren Gitarren, die
ätherische Melodien in raue und unheimliche Musiklandschaften weben. Wie es sich für Kalandra gehört, erzählt das neue Album der Band, "A Frame
Of Mind", nicht nur eine Geschichte, sondern verkörpert sie auch.
Das Norwegisch-Schwedische Quartett hat Elemente des nordischen Folks, des skandinavischen Pops und des Alt- und Progressive-Rocks miteinander
verbunden. Im Laufe des Prozesses und dank des erhabenen, schwebenden Gesangs von Frontfrau Katrine Stenbekk, der in die gleichen feinen
Gefilde gehört wie der von Künstlern wie Eivør, Aurora und Gåtes Gunnhild Sundli, haben sie ihre eigene rastlose und doch eindringliche Welt
geschaffen.

"Allegra Krieger’s ""Art of the Unseen Infinity Machine"", her second full-length album with Double Double Whammy, is a collection of 12 songs that pick at the fragile membrane between life and death.

Krieger’s previous album, ""I Keep My Feet on the Fragile Plane"", hewed more closely to the domestic spaces of city and mind. Rolling Stone regarded the album as “ten songs of heady philosophical meanderings packed with emotional dynamite,” and likened her “finely phrased lyrics” to those of “Joni Mitchell, Leonard Cohen, and David Berman.” Krieger’s existential meditations remain on ""Art of the Unseen Infinity Machine"", however her meandering melodies have taken on a stronger sense of direction. She narrates candidly and assertively; the full-band arrangements never overpower, only offer a robust platform on which Krieger’s voice reaches new heights.

The full band brings a heightened sense of drama to the album’s arrangements, which contrasts the quieter approach of Krieger’s previous LP. There are noisy interludes, jazz-inflected discursions, impactful stops and starts, and occasional spaces for Krieger to stretch out her impressive vocal range (most prominently at the dazzling climax of album stand out “Came”). In ""Art of the Unseen Infinity Machine"", Krieger invites us to a place where transfiguration is not only possible but actively happening. From this place, the beautiful and the banal and the terrible are all laid out before us. And Krieger asks us not to look away. Instead, she invites us to stare down the beautiful and terrible in the world, and to realize that sometimes the only way out is through."

Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”

Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”

Lucila Justina Sarcines Reyes was born on July 19, 1936, in the Rímac district. Lima, which had just mourned the death of the emblematic composer Felipe Pinglo two months earlier, was a city on the verge of modernization that clung to its colonial and racist ways. Having been born black marked a difficult path in her life: after the father's premature death and a fire that left her and her 15 siblings homeless, she takes the streets to financially support her mother, and at 5 years old learns to sing in bars while begging for money in the port of Callao. After being admitted to a Franciscan convent and studying only until the third grade of primary school, now a teenager, she returns home, but suffers an attempt of rape by her new stepfather; she is forced to move to the central neighborhood of Barrios Altos, to live with her uncle, a guitarist from the legendary Guardia Vieja, also known as the founders of the Peruvian criollo waltz. This group of non-professional musicians, made up of bricklayers, merchants, artisans, marble workers and other employees, prolonged the oral traditions of their African slave ancestors in working-class neighborhoods of the capital. While the wealthy reject the music of their peons, which they associate with alcohol and disorder, it is the workers who listen carefully to the European waltzes and Aragonese jotas at the aristocratic halls, and later, back in their famous one-pipe alleys, transform their music under the spell of the night. It is in these sociability spaces that house numerous low-income families, where these criollos cheer up birthdays, weddings, anniversaries and other parties until dawn with the trill of their guitars and cajones. It is there that Reyes, at 16 years old, picks up the legacy of the Guardia Vieja and her life changes forever: she is often asked to sing in jaranas (criollo parties), and since her voice stands out immediately, she is encouraged to make her debut on a radio show called "El Sentir de los Barrios", whereshe performs the waltz "Abandonada" by Sixto Carrera.

Brussels is a highway where rainbow-fuelled melancholia kids race its track, mountain and road bikes. Endless summers cherish the collective chosen chaos of the city; every corner displays wild micro-natures, buzzing insects, and rare weeds fourishing organically; tape hiss and AM radio compression are the soundtrack of everyday life. And hear! Originated in the Brussels DIY, indie rock and noise scene, a new kid on the block appears: Another Dancer.

They deal in utopian music - of the open, welcoming and whatsoeverish kind. It’s fresh, snotty, neurotic art-rock deeply rooted in 80s/90s DIY aesthetics. The songs on their debut album balance gently between forgotten pop hits and broken sound experiments. In their world, any shitload of weird, random, and badly synchronized sounds unveil broken-hearted pop mastery. In the Another Dancer universe, radios are stuck to WFMU and Soulseek is a self-conscious AI producing 80ies psychedelic FM-rock.

Brussels-based Another Dancer is outdated, wild at heart and elegantly shy. Their full album I Try to Be Another Dancer is out September 10th on Bruit Direct Disques and Aguirre.

"Flashes of the shambolic post-punk of Good Sad Happy Bad and the goofy, fraternal synth-pop of the blog-era gem Teenagers can be seen, often simultaneously, across the new single from the Brussels-based band Another Dancer. Vocals are layered on top of each other to a conversational near-cacophony, like you’ve been placed at the center of a Dry Cleaning show where everyone is, improbably, in a good mood. Sunny synth sweeps jostle next to bent, jangly guitar lines for a song that finds a special kind of vibrance in its mess. — Jordan Darville”

Ace Buzz is one of the various projects of Tony Baron and Gery Francois (the minds behind projects like "Teknokrat's" and others that would found their output on labels like Carrere). Potentially naive for some, but surely playful and raw, an exquisite example of the sound of Belgian "New Beat". Void of the usual aggressive temper known to the genre, "Moskitos" comes in with a slight juxtaposition of Balearic accents in the form of those classic, very simple, piano chords we might have heard enough of. The samples employed invoke the image of someone in a cheap hotel room in Ibiza without AC trying to kill the airborne vermin celebrated in the title while hallucinating from an August drug infused heatwave, who knows. On the B-side, things slow down into a deeper more serious mood, "Nuevo Mondo" departs from the usual New Beat potency into something a bit more digestible to the ear in a rather unique way, followed by a Remix that sounds more like a complete facelift of a cover version by studio maestro Anatolian Weapons.

Sam Shepherd alias Floating Points hat heute angekündigt, dass sein neues Album, „Cascade“, am 13. September 2024 via Ninja Tune erscheint.

„Cascade“ ist eine Eruption unvollendeter Angelegenheiten. Ende 2022 fand sich Shepherd, der dafür bekannt ist, so frei zwischen den Genres zu wechseln, wie es sein Künstlername andeutet, in der kalifornischen Wüste wieder, um an etwas Neuem zu arbeiten. „Mere Mortals“, seine erste Ballettmusik, die in Zusammenarbeit mit dem San Francisco Ballet entstand, sollte eine Kollision von Klang und Tanz sein, die die antike Parabel von Pandora durch das Prisma der Technologie erforscht. Auf „Promises“, seinem Vorgängeralbum, das 2021 veröffentlicht wurde, tauschte er seine typischen modularen Synthesizer-Teppiche und komplizierten Drum-Patterns gegen luftige Traumlandschaften aus, die er mit dem legendären Saxophonisten, Pharoah Sanders, und dem London Symphony Orchestra entwickelte. Diese Zusammenarbeit war so beliebt, dass eine Mercury Prize-Nominierung und ein ausverkauftes Konzert im Hollywood Bowl im September 2023 folgten. Zwischen diesen Projekten und einem bevorstehenden Anime-Score für Adult Swim, könnte es von außen betrachtet so aussehen, als ob Shepherd die Tanzfläche für immer verlassen würde. Aber während er tagsüber an seiner Ballettmusik schrieb, sehnte er sich nachts nach der schweißtreibenden Gemeinschaft einer Tanzfläche. Nach der pulsierenden Unbekümmertheit der elektronischen Musik. Im November 2019 veröffentlichte Shepherd sein von Kritiker:innen hochgelobtes zweites Studioalbum, „Crush“. „Cascade“ wurde als Nachfolger:in von „Crush“ konzipiert, um Album (und Publikum) die Möglichkeit zu geben, Floating Points noch einmal in seiner traditionellen Form auf einer Tanzfläche zu erleben: voller Buchla-Rhythmen, glitchenden Melodien, die einen Raum voller wogender Körper verzaubern. Die neun Songs dürfen bis zu acht Minuten am Stück schwelen und funken, was eine weitreichendere Erkundung von Sounds und Grooves als zuvor ermöglicht. Fast ein Jahrzehnt nach seinem vielbeachteten Debütalbum, „Elaenia“, hat der Komponist Wege gefunden, seine Experimente außerhalb der Clubmusik nahtlos in seine für die Tanzfläche konzipierte Musik einzubinden.

a A1. Vocoder Club Mix

A Colourful Storm presents Effroyables Jardins, a soundtrack composed by Zbigniew Preisner for Jean Becker's eponymous film. Given limited distribution during its initial release, the soundtrack's lustre has only strengthened and it is now considered a lost gem of contemporary chamber composition. An understated triumph of the oeuvre of Preisner, who closely collaborated with Polish director Krzysztof Kie?lowski and was responsible for the film scores of Dekalog, The Double Life of Véronique and the Three Colours trilogy.

"Krzysztof and Zbigniew really found each other, as they were deeply complementary in their need of emotional expression," reflects actor Juliette Binoche upon her work in Three Colours: Blue. A Colourful Storm cites no other film leaving a greater impact on them than Three Colours: Red. These would be the last films the duo worked on together, before Kieslowski's retirement and untimely death.

Effroyable Jardins marks Preisner's post-Kieslowski era of solo composition, shifting from devotional harmonies into a beautifully restrained style of neo-Romanticism. It is his second soundtrack for Jean Becker, following Francis Ford Coppola's commission for The Secret Garden, the César-winning Élisa, and Edoardo Ponte's Between Strangers. Its leitmotif - a delicate, sparse melody for piano and organ, appears only during the opening sequence and, like Preisner's most powerful soundtracks, takes on a life of its own. Compositions for violin, harp and percussion are interspersed with haunting variations on a theme and a masterful use of silence. His music haunts the grieving Julie in Blue, soundtracks Valentine's epiphany in Red, and evokes the sublimity of moments in everyday life.

Mit einer Mischung aus feinstem Power-Metal und Hard Rock Spirit, erwartet uns am 1. März 2024 mit ‚Stand United‘ das stärkste Album der Bandgeschichte!

In dieser turbulenten Zeit ist es wichtiger denn je, als Menschheit eng zusammenzustehen, anstatt sich gegenseitig zu bekämpfen. Und genau darum geht es im neuen FIREWIND-Album ‚Stand United‘! Neben top aktuellen Themen, die in Zehn neuen Tracks besungen werden, erwartet uns textlich wie auch musikalisch das wohl stärkste Werk ihrer bisherigen Bandgeschichte. Passend zum neuen Release verbreitet die Band rund um ex Ozzy Osbourne-Gitarrist Gus G. und Sänger Herbie Langhans (ehemals Avantasia) im Frühjahr 2024 ihre Botschaft von ‚Stand United‘ in Europa. Gemeinsam mit MASTERPLAN geht die Band auf große Co-Headliner Tour, u.a. in Deutschland, Frankreich, Spanien, Schweden und vielen weiteren Ländern. So erblickt ab dem 01.03.2024 ‚Stand United‘ das Licht dieser Welt - verfügbar als limitierte Splatter- und Marbled-Vinyl-Versionen, CD-Digipak und Digital!

Wewantsounds is delighted to announce the reissue of Steve Beresford's highly sought-after album "Dancing the Line", released in France in 1985 on the French label nato. The album, taking its inspiration from French designer Anne Marie Beretta's fashion, features his Alterations acolyte David Toop plus Alan Hacker and Kazuko Hohki (Frank Chickens) with lyrics by Andrew Brenner. The music mixes sophisticated ambient pop powered by a RX11 drum machine with elements synth funk and experimental music. "Tendance" and "Comfortable Gestures" have become underground classics over the years and this is the first time the album is reissued, in partnership with nato who will release the CD version later this year. The reissue includes audio newly remastered by Translab in Paris, original gatefold artwork and a 4-page insert with liner notes by nato's Jean Rochard....

Die Indie-Folk -Band Mighty Oaks sind nach fast zwei Jahren Pause mit einem neuen Album und einer ausverkauften Tour zurück. Drei junge Männer aus drei Ländern kombinieren dreistimmige Harmonien, die einen einzigartigen Sound ergeben.

Nach 10 Jahren des Schreibens, Aufnehmens und ausgiebigen Tourens - mit Radio- und Chart-Erfolgen sowie Shows und Festivals von Seattle bis Budapest und von Træna bis Mailand - haben die Mighty Oaks-Mitglieder beschlossen, dass es Zeit war, eine Pause zu machen. Die neu gefundene Energie und Verbundenheit hat die Band nun dazu inspiriert, das nächste Kapitel so anzugehen, wie sie ihre gemeinsame Reise begonnen hat:
akustisch. Das neue Album High Times ist eine Sammlung von 12 reduzierten, authentischen, intimen Akustiksongs, die fast vollständig live inmitten der Ziegel und des Holzes von Ians Wohnzimmer in Berlin aufgenommen wurden.

Gemeinsame Fragen über Liebe und Freundschaft, über das Leben und die Sehnsucht ziehen sich durch das Album, verpackt in kompakte Geschichten, die den Hörer in einen Traum entführen, weit weg vom Alltag, so wie es die Musik tun sollte. Die Band wird im September ihr fünftes Album veröffentlichen und kurz darauf für sechs Wochen auf Tournee gehen.

Spectres have been stirring in the shadows for years now. Dark eyes watching from pallid faces. Siren songs calling to lost souls. In the blackest corners of the UK underground, a name whispered relentlessly amongst the faithful, first with curiosity, then soul-shuddering awe: Zetra.

Zetra is also the title of their striking debut LP. Ten tracks whose indefinable blend of shimmering shoegaze and pulsating goth-metal work deep beneath the skin, it is a masterclass in intimate dark romanticism and sweeping elemental beauty. It could be seen as a reaction to the geography of a strange new world, but also to the jagged topography of the human psyche itself. Is it a manifesto? A roadmap? A riddle waiting to be solved? Profound pleasure lies in peeling back its many layers.

Travelling alone, armed only with synths, guitar and drum-machine to compose, The Wanderers’ music could sound skeletal. Instead its early metallic bones have been fleshed-out with the electronic new-wave of Gary Numan and Pet Shop Boys and dreamy, droning guitars that hark to heroes like Slowdive and Sonic Youth as well as dark contemporaries Deafheaven and Alcest. As harsh as the truths with which they deal may be, these songs deliver beguiling brilliance.

Acolytes to spread the word of Zetra aren’t hard to find. British ‘contemporaries’ like Burner and Wallowing, Celestial Sanctuary and Employed To Serve have been dementedly singing their praises as far back as they can remember. Tours with the heavyweight likes of Creeper and Godflesh, VV and SKYND have taken their once-subterranean sounds into the spotlight. Unto Others’ Gabriel Franco (‘Moonfall’), Svalbard’s Serena Cherry (‘Starfall’) and Sólveig Matthildur Kristjánsdóttir from Iceland’s Kælan Mikla (‘Shatter The Mountain’) even crop up amongst these recordings, dissolving into the cult of Zetra themselves. But none are as important as the legions of fans Zetra are yet to reach with a dark gospel still unpicking all manner of psychological knots and existential truths.

Death and the Maiden’s Uneven Ground draws back the velvet curtain on the trio’s crepuscular dreamworld with nine songs of their distinctive shadowy slow-motion fusion of underground electronic dance music and post-punk guitars washed through with psychic unease. The trio’s name is taken from that of a nineteenth century engraving by Edvard Munch: an artwork steeped in mythology, exploring the dark boundaries between love and death, strength and frailty, beauty and decay. Their three albums to date each reinforce the symbolism of the name, and Uneven Ground’s title could apply as much to their own journey in the years since Wisteria, their previous album, as to the times in which we live. Bassist and vocalist Lucinda King is the bedrock, guide and storyteller. Guitarist Hope Robertson weaves swooping, soaring motifs and sometimes deconstructed layers of noise to build analogue atmosphere for these alternate worlds. Danny Brady’s beats mix old-school drum machines with electronic tones and distortion, while his synth arrangements blend elements of psy-trance and acid house with more amniotic ambient and industrial textures. While Uneven Ground may be the most overtly “pop”-sounding album in their catalogue, it also ratchets up the ominous atmosphere, noise and experimentation. Once again King’s evocative lyrics appear as cryptic stories, built from events, memories, dreams, moments, warnings, regrets; where questions raised are left unanswered, and possibilities remain open.

Following his highly acclaimed 2021 album "Atotal" (Aesthetical) and 2022 "Magnetoscope" (Raster), Vigroux returns with eight heavyweight tracks composed in 2023 and 2024. Vigroux states about his current work: "I am not very talkative about my music unless I am specifically questioned, the immaterial dimension of music partly spares us from the major questions which are the prerogative of theatrical forms for which I am also very active, in this sense for me music is a real outlet where things are done intuitively, for pleasure". Always pushing forth and expanding his now classic rigidly cold analog sounds and rhythmic structures entwined with lush atmospheric synth compositions, "Grand Bal is another milestone in his ever growing discography.

Instrumental rock is alive is the motto of the VAL EXPERIENCE BAND, the new project from
rock-metal guitarist and composer Valéry Granson (aka Val). As a fan of instrumental rock,
which reached its peak in the 80s and 90s and still fascinates him, he decided to record his
first solo album, OSMIUM.
His major influences lie somewhere between Joe Satriani, Steve Vai, Andy Timmons, Joey
Tafolla , Ritchie Kotzen, Jeff Beck , Jimi Hendrix, Paul Gilbert, Eric Johnson, Santana, Queen,
Frank Zappa and many others. Instrumental rock is alive...
The VAL EXPERIENCE BAND is a project worth discovering, whether on album or in concert,
for an experience that will not leave you indifferent.

Zak Olsen, the creative force behind the guitar riffs of Australian doom psych band Orb, is set to release his highly
anticipated solo album, Ghost Notes, under his Traffik Island moniker. 12 Esoteric Instrumentals for Ethereal Beings
feels like going on an acid trip through a haunted house, where folk melodies merge seamlessly with jazz rhythms and
psychedelic textures. Creating freakout moments such as the track ‘Pandemoniom!’ featuring Kenny Ambrose-Smith of
King Gizzard and haunting folk horror moments on ‘winds’ Fans of esoteric instrumentals and spooky soundscapes alike
will find much to love in this haunting collection. Frank Maston of Maston captures the essence of Ghost Notes perfectly:
“Olsen has created a monster - channeling Joe Meek, Goblin, and Broadcast in this cursed disc of groovy fugues. Traffik
Island may be alive and well in these tracks, delivering premium melodies with ease, but the undead certainly had their
say. Mixing terrifyingly sick beats with warped organs, sinister synths, and spooky found sounds, this is the horror movie
soundtrack we deserve. An instant Halloween classic.”

Recorded live at The Renaissance in Hollywood, CA on Oct 14 1960, Ben Webster “At the Renaissance” was released on Contemporary Records. Featuring with Saxophonist Webster are Jim Hall (guitar), Jimmy Rowles (piano), Red Mitchell (bass), and Frank Butler (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

From the first bars of the immediately recognizable ‘Alamode’, this album is an explosion of beauty. This first sextet iteration of Art Blakey’s Jazz Messengers includes a young Wayne Shorter (tenor saxophone), Lee Morgan (trumpet), Curtis Fuller (trombone), Bobby Timmons (piano) and Jymie Merritt (bass). The band ferociously pushes the pace with each track, leaving no prisoners in their wake. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Zwei Chroniken zur Entstehung und Entwicklung von Punk und New Wave im deutschsprachigen Raum von 1976 bis 1985. Als die Welt noch unterging ... war vieles möglich. Die Endzeitstimmung um 1980 gab Punk und New Wave erst den nötigen Schub. Sie sorgte für einen unglaublichen Ausbruch von Aktivität und Kreativität. Vor dem Hintergrund des atomaren Wettrüstens der Supermächte USA und Sowjetunion glaubte niemand mehr an eine große Zukunft - daher schien plötzlich alles erlaubt, ohne Rücksicht auf Verluste. Davon erzählt das Buch. Und davon kann man sich auf der zeitgleich zur Veröffentlichung der 4. Auflage des Buches bei Tapete erscheinenden Compilation auch einen musikalischen Eindruck verschaffen. Frank Apunkt Schneider entfaltet die Geschichte der Neuen Deutschen Welle und des deutschen Punk-Underground im Buch bis hinein in Regional-, Kassetten- und Fanzine-Szenen. Neben den mittlerweile kanonisierten Klassikern dieser Bewegung, (z. B. DAF, Fehlfarben) stellt Schneider Chartbreaker wie Trio oder Extrabreit als auch Underground-Acts vor. Gerade auf diese nicht im Mainstream aktiven Bands wie z.B. Kosmonautentraum, Neues Deutschland oder Carambolage zielt die Compilation ab; eine wohlproportionierte Mixture aus Raritäten und Underground-Hits dokumentieren die wohl aufregendste Zeit der Musikproduktion nicht nur im deutschsprachigen Raum. Schneider zeigt im Buch historisch bedingte Schnittmengen auf, erzählt von Freund- wie Feindschaften, stellt Epizentren in der Provinz gegen die Metropolen und knüpft immer ans Hier und Heute an.

Ben Webster ”At the Renaissance” wurde am 14. Oktober 1960 live im The Renaissance in Hollywood, Kalifornien, aufgenommen und auf Contemporary Records veröffentlicht. Neben dem Saxophonisten Webster spielen Jim Hall (Gitarre), Jimmy Rowles (Klavier), Red Mitchell (Bass) und Frank Butler
(Schlagzeug). Diese Neuauflage, die als Teil der Acoustic Sounds Series veröffentlicht wurde, verfügt über
(AAA)-Lackierungen, die von den Original-Masterbändern von Bernie Grundman geschnitten wurden, und
wurde bei QRP auf 180-Gramm-Vinyl gepresst und in einer Tip-On-Hülle präsentiert

Amidst the celestial backdrop of a solar eclipse on April 8th, Allah-Las present a cosmic offering with the 10 Year Anniversary Edition of their Worship The Sun LP, now in a dazzling orange sunburst vinyl. This special pre-sale, commencin on Friday, not only commemorates a decade of musical exploration but also includes "No Werewolf,” the previously unreleased on LP cover song honoring The Frantics' garage rock legacy. Secure your slice of astral history, where cosmic events and sonic tributes align. Limited number of copies.

Die legendäre deutsche Hard Rock Band VICTORY (mit ex ACCEPT Mitglied Herman Frank) veröffentlicht am 13. September ihr neues Studioalbum "Circle of Life" als limitierte Sunburst Vinly, schwarzes Vinyl und CD-Jewelcase! Macht euch bereit für 10 fette Tracks mit einer Mischung aus handwerklich markantem Hard Rock und Heavy Metal und genießt rollende Gitarrenriffs und messerscharfe Texte in bester VICTORY-Tradition.

Die legendäre deutsche Hard Rock Band VICTORY (mit ex ACCEPT Mitglied Herman Frank) veröffentlicht am 13. September ihr neues Studioalbum "Circle of Life" als limitierte Sunburst Vinly, schwarzes Vinyl und CD-Jewelcase! Macht euch bereit für 10 fette Tracks mit einer Mischung aus handwerklich markantem Hard Rock und Heavy Metal und genießt rollende Gitarrenriffs und messerscharfe Texte in bester VICTORY-Tradition.

Nach sechs Jahren melden sich Snow Patrol nun mit einem neuen Studioalbum „Forest Is The Path“ zurück.
Inspiriert von Selbstbeobachtung, Selbstreflexion und geprägt von einem wesentlichen Bausteinden Erinnerungen an die Liebe – schrieb Sänger Gary gemeinsam mit seiner Band zwölf neue Songs.
Produziert wurde das Album von Fraser T Smith (Adele/Dave/Stormzy), gemeinsam mit der Band.
„Forest Is The Path“ erscheint am 13. September und ist ab sofort vorbestellbar als Jewel CD, Hardback
Book CD und als Standard Black 2LP.
Die Hardback Book CD enthält zusätzliche Bilder von Gary sowie handgeschriebene Texte.

Das neue Album der französischen Reggae-Legende Big Red, eine Hälfte des Duos Raggasonic, ist ein Trip in die Welt der Soundsysteme und des modernen Dub, ein gekonntes Navigieren zwischen Roots-Reggae und heutiger Bassmusik. Begleitet wird er von der jungen Generation französischer Dub/Reggae-Produzenten wie OnDubGround (ODG), Little Lion Sound, Radikal Vibration, Bisou Dub, Irie Ites und DJ Absurd, die den Tracks ihre eigene Note verleihen. Mit seinem unnachahmlichen Flow befasst sich Big Red mit sozial engagierten Themen wie institutionellen Rassismus, Polizeigewalt und die Exzesse unserer Gesellschaft.

Two brand new tracks by The Courettes on PINK coloured vinyl. Both tracks will also feature on the band's next album, The Soul Of... The Fabulous Courettes, in slightly different form! "We worked with Richard Gottehrer, who for us is like a songwriter god!" says Flavia. "He worked at the Brill Building and co-wrote 'I Want Candy'. A mutual friend played him 'Keep Dancing' and he left a message on my phone saying, 'I love your track and I really dig the lyrics'. He ended up mixing 'Keep Dancing' and 'Boom Boom Boom'." "Because I'm the one most responsible for the lyrics, I actually allowed myself to open up to some personal things," admits Flavia. "We lost both of our fathers. My father died of COVID. But my relationship with my father was non-existent. He abandoned me and my sister. It was a very difficult relationship and it's not so easy for me to talk about it. 'Keep Dancing' is about his death and how he still has a power over me and bringing me down and what it's like to break free from that. You know, some parents are cruel." "It's a special subject to sing about and to make pop music out of," says Martin. "It's actually celebrating moving on and I think that's really fantastic. 'Keep Dancing' is absolutely smashing." "Life is so fragile," smiles Flavia. "But what are you supposed to do? I'd rather dance."

At it’s core, Watchhouse (formerly known as Mandolin Orange) is a duo - Andrew Marlin and Emily Frantz - from Chapel Hill, NC. Their harmonies are ethereal, their chemistry vibrant, bringing to mind the atmosphere invoked by classic duos such as Emmylou Harris and Gram Parsons, or Gillian Welch and David Rawlings. Andrew and Emily provide the foundation of the group's timeless Americana sound, while enlisting a full band to flesh out their dynamics.

This Side of Jordan is the group's 3rd full length album and debut release on Yep Roc Records. Since signing to the label and releasing This Side of Jordan in 2013, the band has made quite a bit of noise on the folk/Americana circuit. They’ve received critical acclaim from NPR Music, Rolling Stone, The Wall Street Journal, Garden & Gun, No Depression and more. Their catalog has surpassed over 500 million streams and they’ve sold out worldwide tours. They have headlined Red Rocks and have graced the stage of the Ryman, Bonnaroo, and Newport Folk Festival.

For our second release, circuit|breaker quips back the stacked offering of CBRK001 with another dynamic double LP, exhibiting some of the best local and international talent that’s cropped up on our radar over recent years.


The label is as driven as ever to build a bridge between our community and the wider electronic
music domain, giving artists a platform to preach the sound that speaks to them, and this release is but another stepping stone towards greatness, for us and for them.


CBRK002 opens up with a rolling, gritty number that could only be Fergus Sweetland, as metallic voices beckon forth on ‘Untitled (ARP 1.02)’. Hasvat Informant, whose thunderous reputation precedes him, then storms the barn with the explosive ‘Abispa Ephippium’. The B-side shifts gears to Goa’s Dotdat and his frantically groovy track ‘Holo’, followed by a gorgeous minimal number by Berlin-based Pino Peña – Mia’s Pocket; one that’s sure to get summer dancefloors pumping.


The C-side of the record contains two heaving tracks, the C1 from the prominent force of Cloudy Ku with ‘A Room of One’s Own’, and the C2 from the dark visage that is disgrays with
‘Turmstraße’. The final side of the record has Amsterdam legend Juan Sanchez open the filter with a warm, jacking submission in ‘Indulge’, while the Berliner Marsch takes us home with a
devious timbre that will have bodies glued to the floor on ‘Into You’.

Neon Genesis Evangelion gehört unumstritten zu den legendärsten Anime Franchises auf dem Markt und begeistert die Fans seit fast drei Jahrzehnten. Der Soundtrack von Shiro SAGISU erscheint jetzt als brandneue blau-schwarz-marmorierte Doppelvinyl, inklusive der Hits "A Cruel Angel's Thesis" und der beliebten Bossa Version von "Fly Me To The Moon" aus der Serie.

The Petersons’ were a vocal trio from Waycross, GA, their performing name came from their founder, lead vocalist and drummer Kenneth Peterson, along with Keyboard player Salem Chatman and vocalist/bassist Johnny Members. The trio regularly performed shows along America’s East Coast, and it was while working in Philadelphia during early 1973 that the group answered an advertisement in Billboard Magazine quote “Masters Turned Down? We Are Looking for New Acts to Sign, Contact Omega Sound Productions, Philadelphia, PA”.

Omega Sound was a fledgling independent Recording Company formed by Frank Fioravanti a budding songwriter and former Encyclopedia Britannica Salesman for the initial purpose of find some extra work for the musicians of The Philadelphia Orchestra who were looking to earn some side money. As a result of answering the Billboard advertisement ‘The Petersons’ found themselves booked into Frank Virtue’s recording studio to record two Fioravanti and the late Alan Felder penned songs, the up-tempo “What’s It Gonna Be” backed by the melodic “Just What I’ve Been Looking For” Mel Omega (1833). With the release failing to make much noise, The Petersons returned to their native Georgia where they continuing to perform and record but under the group name of ‘Toll Darkness’. Fast forward circa 30 years and a couple of copies of this obscure Mel Omega 45 was introduced into the UK by Soul Bowl’s John Anderson where they gained belated recognition initially at the Soul Essence Weekenders through resident DJ Steve Guarnori with “Just What I’ve Been Looking For” being his chosen side. These initial copies had a paper sticker on them crediting the Artist as ‘Toll Darkness’ but the subsequent find of further copies with no sticker coverings, revealed the real artist to be ‘The Petersons’, intriguing? The reason behind the differing artist names is reputedly assumed to be that Ken Peterson took some copies of the Mel Omega 45 back to Georgia and pasted the ‘Toll Darkness’ group name stickers over the Petersons label credits to enable him to sell them at shows with his other ‘Toll Darkness’ 45 “Party/Love Makes Me Do Foolish Things on Alpha Records. The up-tempo backing track of The Peterson’s “What’s It Gonna Be” was a Frank Virtue arrangement that he had great faith in, hence it’s usage on plethora of other Philly artists recordings, i.e. Fred Mark, Liza Mae, Michael Christian, Cody Michaels etc over different record labels, Melomega, Concept, Fox Century Plaza and Merben.

Frank Fioravanti also founded the Sound Gems label which brought us the timeless classic “Your My Main Squeeze” recorded on the New Beford, MA group ‘Crystal Motion’. Omega Sound’s most notable achievement would be William DeVaughn’s 1974 hit “Be Thankful For What You Got”.

With her new single release "Uh-Ah Song" the Ghanaian Frafra Soul singer Florence Adooni announces her debut album "Fo Yelle" on Philophon.

A lot has happened since the release of her first single "Mam Pe'ela Su'ure" in 2021. While this release was a pure studio project, Florence Adooni is now an eight-member live formation, made up of young talents from the highlife scene of Kumasi. The group has already considerable credentials: In 2023, they toured Europe twice and thrilled their audiences at festivals such as Roskilde, Down The Rabbit Hole and Überjazz. And this year, with the debut "Fo Yelle" under the belt, Florence and her group embarking on a 50+ concert summer tour through Europe, from Sweden to Portugal to UK and at festivals like FMM Sines, Xajazz, Africa Oye, Fusion, End of The Road.

The title track "Uh-Ah Song" is based on a rhythm typical of Kumasi and shines with its playful and cheerful character. Florence remembers the process of creating the piece: "When my producer Max Weissenfeldt came to me to play me on the piano an idea for a new piece, my daughter, who had just been born, began to sing in rhythm ah-ah-ah, with all joy in her face ever imaginable, while Max was playing. Max turned around and answered her with uh-uh-uh, to which she replied again with ah-ah-ah. We laughed so much and decided to make it a piece that would capture that very moment of joy we just had experienced. That's why it's somehow a children's song".

"Otoma Da Naba" (The Creator Has Done Well) has a sequencer bass line from a Roland TB-303 as its foundation. While Florence holds her verse in a kind of Ethiopian pentatonic scale, in the pre-chorus she switches to a sweetly swinging heptatonic motif, with a typical highlife guitar in the background creating the atmosphere. In the chorus, the singing then changes in that unique choir style, which is the trademark of Frafra music.

The international debut album "Fo Yelle" will be released on Philophon this summer.