Pop & Rock News

Christopher Annen, Henning May, Severin Kantereit und Malte Huck sind ANNENMAYKANTEREIT.
Vier Freunde, die nichts Großartigeres kennen, als zusammen Musik zu machen, und die nun endlich
ihr erstes richtiges Album "ALLES NIX KONKRETES" veröffentlichen. Diese Band, die in den letzten
zwei Jahren auf so ziemlich jeder Bühne dieses Landes stand, die sich im wahrsten Sinne des Wortes
von der Straße ins Vorprogramm von Kraftklub und den Beatsteaks spielte und deren kommende Tour
bereits bis auf den letzten Platz ausverkauft ist, hat bis heute noch kein offizielles Album veröffentlicht.
Gut Ding will eben Weile haben. AMK beherrschen die seltene Gabe, ihr Publikum selbst mit
melancholischen Trennungsballaden noch zum Tanzen und Mitsingen zu bringen. Ein Kunststück, das
gleich der ersten Single "Pocahontas" mit einer Selbstverständlichkeit gelingt, die für AMK so
charakteristisch ist. Dank Henning Mays ausdrucksstarker Stimme, die stetig zwischen samtener
Schwermut und schleifpapierner Leidenschaft oszilliert, nicht nur heftig pochend, sondern auch mal
sanft vibrierend. Etwas, wenn er ganz allein und - Barfuß Am Klavier' mit dem Chanson flirtet oder sich
in - 3. Stock' sehnsüchtig an den kleinen Träumen und Sicherheiten des Alltags reibt.

Christopher Annen, Henning May, Severin Kantereit und Malte Huck sind ANNENMAYKANTEREIT.
Vier Freunde, die nichts Großartigeres kennen, als zusammen Musik zu machen, und die nun endlich
ihr erstes richtiges Album "ALLES NIX KONKRETES" veröffentlichen. Diese Band, die in den letzten
zwei Jahren auf so ziemlich jeder Bühne dieses Landes stand, die sich im wahrsten Sinne des Wortes
von der Straße ins Vorprogramm von Kraftklub und den Beatsteaks spielte und deren kommende Tour
bereits bis auf den letzten Platz ausverkauft ist, hat bis heute noch kein offizielles Album veröffentlicht.
Gut Ding will eben Weile haben. AMK beherrschen die seltene Gabe, ihr Publikum selbst mit
melancholischen Trennungsballaden noch zum Tanzen und Mitsingen zu bringen. Ein Kunststück, das
gleich der ersten Single "Pocahontas" mit einer Selbstverständlichkeit gelingt, die für AMK so
charakteristisch ist. Dank Henning Mays ausdrucksstarker Stimme, die stetig zwischen samtener
Schwermut und schleifpapierner Leidenschaft oszilliert, nicht nur heftig pochend, sondern auch mal
sanft vibrierend. Etwas, wenn er ganz allein und - Barfuß Am Klavier' mit dem Chanson flirtet oder sich
in - 3. Stock' sehnsüchtig an den kleinen Träumen und Sicherheiten des Alltags reibt.

- First retrospective of Malaysian pop yeh yeh legend Adnan Othman, collecting 26 of his soulful, electrifying, beautiful, unforgettable pop psych tracks from 1968-1971.

- Presented in gorgeous gatefold sleeve with full-size eight-page color booklet containing rare photos from the artist's own collection and a detailed biography co-written by Othman himself.

- Compiled by Carl Hamm, who also compiled Pop Yeh Yeh - Psychedelic Rock from Singapore and Malaysia 1964-1970: Vol. 1 (2013).

The legendary Adnan Othman has long been a driving force in the Malaysian rock scene. As early as the 1960s his groundbreaking songs in the style known as "pop yeh yeh" (rock and roll sung in Malay) were attracting fans across Malaysia and Singapore. He has since gained many fans around the globe due to a renewed interest in rock music from Southeast Asia. Othman made his first recordings in Singapore in the early 1960s, when he was invited to record with highly popular backing band The Rhythm Boys. He produced innovative psychedelic rock well into the 1970s and continued to evolve as a musician and composer throughout his exciting career, but always stayed true to his rock and roll roots, even when many other artists were turning toward more predictable disco influences.



Each track on this album, drawn from all eight of Othman's solo EPs and ranging from 1968-1971, reveals a different side of his personality. His forceful, gritty, and emotional lyrics and vocals are backed by such memorable pop yeh yeh bands as The Rhythm Boys, The Wanderers, The Flamingoes, and The Falcons.



This impressive collection includes rare photos from the artist's own collection and a detailed biography co-written by Othman himself. This is a rare and personal insight into the life of one of Singapore and Malaysia's most beloved pop yeh yeh legends, revealing the humble, generous, down-to-earth man behind the spotlight.



It is clear that Adnan Othman cares deeply about preserving the legacy of his fellow pop yeh yeh musicians; he devoted considerable time and energy helping to develop the previous Malaysian rock-focused release on Sublime Frequencies, Pop Yeh Yeh - Psychedelic Rock from Singapore and Malaysia 1964-1970: Vol. 1 (2013). Again, for this album, he patiently answered the label's many questions about his life as a musician and artist, lending Bershukor his unique perspective; the label's indebtedness to Othman is reflected in the album's title, which translates to "gratitude."



The 26 unforgettable tracks on these two records are soulful, electrifying, and beautiful. To the many fans of '60s Asian rock and roll around the world who have been waiting for an album dedicated solely to the music of Adnan Othman, here it is. Compiled by Carl Hamm (Pop Yeh Yeh - Psychedelic Rock from Singapore and Malaysia 1964-1970).



Presented in gorgeous gatefold sleeve with full-size eight-page color booklet of text and photographs.
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Was wäre die Welt ohne singende Pop-Pianisten Man denke nur an Billy Joel. Oder an Stevie
Wonder. Ja, und was wäre die Welt ohne Jazz! Man denke etwa an Lady Day oder John Coltrane.
Oder die nächste Steuererklärung. Na, und was wäre die Popmusik ohne Krokodile! Man denke an
Prince. Oder an Donald Fagen. Na, und was wäre dieser Text ohne Albrecht Schrader, den
wundervollen Pop-Pianisten aus der Hansestadt Hamburg, der aber schon seit einigen Jahren in der
Domstadt Köln wohnt. Leben in der Großstadt, so der Titel seiner kommenden EP spannt mühelos
den Bogen von Steely Dan über Prefab Sprout bis Erobique und Palmingers - Songs For Joy'. Die
Stimme sitzt, die Finger fließen und die Seele tanzt. Das oben drauf auch noch große Pop-Poesie
geschrieben steht, kann man nur noch als absoluten Glücksfall deuten: "Das Problem am
Kalenderspruch ist der Kalender und nicht der Spruch', singt Schrader in - Pathos im Alltag'. Bevor
man sich in diesem Text in solchen Sprüchen verirrt, bloß um die luxuriöse Ästhetik dieser Musik zu
beschrieben, bleibt am Ende nur die dringende Empfehlung diesen Künstler doch einmal aus zu
checken, wie man Szene-deutsch zu sagen pflegt. Up + coming dieser Typ! Keine Frage...

Sounding at times like Vashti Bunyan fronting Sunforest, Floret Silva' is a haunting mix of medieval music and progressive / psych / folk with Latin lyrics straight from the Carmina Burana book.

The Floret Silva' project was born when minimalist composer Kay Hoffman went to Italy in the mid-70s. Once there, she met with welsh soprano Jacqueline Darby, who had recently been working with the Italian avant-prog band Pierrot Lunaire. Jaqueline was working on new compositions with RCA producer Vincento Miccocci in Rome and she asked Kay if she was interested in getting involved in a new project. Kay agreed and Gaio Chiochio and Arturo Stalteri of Pierrot Lunaire also joined them on this new venture. Gaio travelled from Rome to play the guitar and other friends of Jacqueline also offered their collaboration.

In a short time, Kay wrote all the material, inspired by the Carmina Burana book and her love of Medieval and Renaissance music. Kay also contributed vocals, clavinet and piano and together with Jacqueline Darby - on haunting vocals - plus an impressive cast of jazz/rock/progressive musicians, they recorded Floret Silva' during 1977-78, under the guidance of Vicento Micocci.

Sadly, RCA backed off and the album went unreleased until a copy of the masters found their way to Japan, where the great Belle Antique label put out the first vinyl edition of Floret Silva' in 1985. In 2006, US label Robot Records resurrected it again for the first CD release.

After many years out of print on vinyl, we present a new edition of this lost piece from the 70s Italian underground scene. A visionary album which anticipated the sound practiced by many neo-folk bands some decades later.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they're making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.

Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it's the genuine use of tricks and delays that lift these improvisations above the ordinarXy and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.

The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other's phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they're making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.

Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it's the genuine use of tricks and delays that lift these improvisations above the ordinarXy and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.

The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other's phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.

Double CD / Double LP Edition including the 2012 self titled debut album by Moon Ate The Dark and the 2nd follow-up album simply called "II".

With their second album Moon Ate the Dark is taking the next step of contemporary piano composition. Moving on from their well-received debut album in 2012, Moon Ate the Dark II is based on an extraordinary playful and varied approach to melodies and drones with dedication to subtle, yet complex details.
The combination of Anna Rose Carter's piano, violin and keyboard playing and Christopher Bailey's electronics, amplifiers as well as organs and synthesizers creates something less shadowy than their first album in favour of a more melodic, still thoughtful endeavour that manages to virtuously move on the thin line of nostalgia and optimism.

While the shorter pieces of the record are mostly based on lively piano tunes completed by forceful electronic components, the attentive ‚Sleepy Vipers' is dragging the listener into drones and violin that slow the pace to create an engaging high mark in the duo's recordings underlined by the excellent production that will grip the listener until the very last notes of the wonderful closing track ‚Lo'. Moon Ate the Dark II is an impressive achievement and evidence of how diverting a meeting of two parts can be if they match as perfectly as this.

With their second album Moon Ate the Dark is taking the next step of contemporary piano composition. Moving on from their well-received debut album in 2012, Moon Ate the Dark II is based on an extraordinary playful and varied approach to melodies and drones with dedication to subtle, yet complex details.
The combination of Anna Rose Carter's piano, violin and keyboard playing and Christopher Bailey's electronics, amplifiers as well as organs and synthesizers creates something less shadowy than their first album in favour of a more melodic, still thoughtful endeavour that manages to virtuously move on the thin line of nostalgia and optimism.

While the shorter pieces of the record are mostly based on lively piano tunes completed by forceful electronic components, the attentive ‚Sleepy Vipers' is dragging the listener into drones and violin that slow the pace to create an engaging high mark in the duo's recordings underlined by the excellent production that will grip the listener until the very last notes of the wonderful closing track ‚Lo'. Moon Ate the Dark II is an impressive achievement and evidence of how diverting a meeting of two parts can be if they match as perfectly as this.

Takeshi Nishimoto comes from a background as a guitarist, receiving classical training from some of the world´s premiere guitar players, while on the other hand he has been steadily growing into the more electronic music scene with a bunch of albums on CCO as I´m Not A Gun alongside John Tajeda. Takeshi appeared solo on record first in 2007 through CCO offset label Büro and returns now with his second album, this time for sonic pieces.
Although you could say Lavandula is a guitar solo record - that really does not do it justice if you dive deeper into the sounds that resonates within it. At times, Takeshi uses some really fine electronic methods to bend and shape the guitar and background atmospheres, like the beautifully perceived Strassenlaterne. Other times it feels like you are in the middle of a still picture from a forest lake in the Japanese countryside, slowly waking up together with the sun. The track Tone Water on the other hand sounds like Squarepusher´s classic acoustic masterpiece, Music is Rotted, One Note played on the Guitar instead of Bass and comes off as a fresh change of direction in the middle of the album.
Lavandula is a very personal and beautiful late summer album that brings to mind the film music of Gustavo Santaolalla (21 grams, Babel, Biutiful) or Tape´s classic albums for Häpna, but traveling through Japanese, North American and European traditions. A great record to bring while traveling, wake up to in the morning or simply enjoy in a quiet evening.

As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. He hated country-rock,' Parsons collaborator Emmylou Harris would later reflect. He thought that bands like the Eagles were pretty much missing the point.'
Parsons had been orbiting the idea of Cosmic American Music for some time. In '68, he'd parted ways with the Byrds and was looking to take air with a new project. It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar' he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons.
There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before for day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became the dominant American rock style of the 1970s,' as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West—America's one-off private press label substructure.

As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. He hated country-rock,' Parsons collaborator Emmylou Harris would later reflect. He thought that bands like the Eagles were pretty much missing the point.'
Parsons had been orbiting the idea of Cosmic American Music for some time. In '68, he'd parted ways with the Byrds and was looking to take air with a new project. It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar' he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons.
There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before for day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became the dominant American rock style of the 1970s,' as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West—America's one-off private press label substructure.

Her new album "Keys" shows Berlin-based musician Masha Qrella elegantly fusing disco-pop and songwriting. Written and produced by Qrella in her studio within one year, the album's eleven songs feature well-known elements of fragility, perfection and understatement, while walking a fine line between laconic coolness and passionate uptempo melancholia.

There is a new straightforwardness in how Qrella sings about break-ups, new beginnings, rescue pills and keys: "Please don't give me your keys / cause I don't wanna have to give them back again," goes the refrain of the title track, whose deliberately sparse instrumentation is unexpectedly interrupted by the noise of traffic and construction sites. It's one of those little irritating and surprising twists that have always been crucial to Qrella's music.

While her earlier solo records relied on more electronic elements, stumbling beats and sonic textures, Masha Qrella now puts emphasis on her voice and songwriting. Finally, every sort of shyness seems to have vanished.

"Every night another day, every day another night, every street leads to a new place than the one I used to find." This is the opening line of the album, and you get the feeling that Masha Qrella is breaking new personal ground on this record, which marks her fourth full length for Morr Music. Every single song on "Keys" shows an immediate and open-hearted quality that Qrella did not quite reveal before.

With this record, Masha Qrella creates a very distinct version of pop music, subtly reminding you of her love for Elliott Smith, Neil Young, Air or Metronomy, but always staying true to herself. Join her on this emotional dance floor.

Michael Tanner (aka Plinth) lulls the listener into a half-imagined worlds, drawing equally from vague memories of childhood (eerie books borrowed from the library, quaint otherworldly television serials, hours spent exploring old attics and junkshops), and a heartfelt love and appreciation of the English countryside and the ancient villages dotted around it. His songs have been likened to 'little spells', and hearing them fade out for the last time is to be gently roused from a dream and, perhaps sadly, returned to the present time.

The limited LP 'Suite for Psaltery and Dulcimer' draws inspiration from 70s new-age cassettes and the Sussex landscape. Playing only bowed dulcimer and psaltery, Michael is joined by Alison Cotton on viola. Limited to 300 copies, with hand stamped labels.

The Austin-made singer-songwriter duo dwell in the spaces left between contradictions and opposing forces. In fact, it's where they're most at home. As the title of their latest album suggests, they know intimately the ideas of using pain as a barometer of passion and giving as a means of gaining.
Their gorgeous, almost luminescent harmonies paired with cutting, contemplative songs, inspired by a musical grab bag of Simon and Garfunkel, Slim Whitman, The Swell Season, Bon Iver, even Broadway composer Stephen Sondheim, earned the duo a nationwide legion of fans; many bordering on, if not, obsessed. Just ask their wives who tour manage them.
But until recently, Kyle and Andy thought of their respective talents, words and melody, as elements on 'separate continents' that they fit together—Andy's voice and lyrics an audible sunbeam appearing in a dark and dusty room; Kyle's lean, yet lush arrangements following unpredictable paths with acrobatic flourishes layered over grounded grooves.
But it was in writing and recording they let those roles bleed into each other. With the help of producers John Paul White (The Civil Wars) and Ben Tanner (Alabama Shakes), they slashed unnecessary phrasing and stripped their songs down to their core.

The Austin-made singer-songwriter duo dwell in the spaces left between contradictions and opposing forces. In fact, it's where they're most at home. As the title of their latest album suggests, they know intimately the ideas of using pain as a barometer of passion and giving as a means of gaining.
Their gorgeous, almost luminescent harmonies paired with cutting, contemplative songs, inspired by a musical grab bag of Simon and Garfunkel, Slim Whitman, The Swell Season, Bon Iver, even Broadway composer Stephen Sondheim, earned the duo a nationwide legion of fans; many bordering on, if not, obsessed. Just ask their wives who tour manage them.
But until recently, Kyle and Andy thought of their respective talents, words and melody, as elements on 'separate continents' that they fit together—Andy's voice and lyrics an audible sunbeam appearing in a dark and dusty room; Kyle's lean, yet lush arrangements following unpredictable paths with acrobatic flourishes layered over grounded grooves.
But it was in writing and recording they let those roles bleed into each other. With the help of producers John Paul White (The Civil Wars) and Ben Tanner (Alabama Shakes), they slashed unnecessary phrasing and stripped their songs down to their core.

Stephen Kellogg's South, West, North, East is a sampling of the regional sounds of America - the four-part album was recorded with different co-producers and musicians. The end result is a collection of 20 songs that defy categorization. The Southern rock flavour of South (recorded in Nashville and Atlanta and co-produced by Travis McNabb of Better Than Ezra) slides into the american folk motif of West (recorded on a farm in Boulder, CO and co - produced by Gregory Alan Isakov); and the more indie rock feel of North (recorded in a cabin in Woodstock, NY) gives way to the songwriter pop of East (recorded in Washington, DC).
Each side of 'South, West, North, East' represent an EP.

There can be no conversation without one who is first willing to listen.
And so I both invite you to, and ask if you might, sit, quiet your surroundings, quiet your mind, and listen as I present to you the question that was first presented to me:
Will you follow me
Yrs,
Ray LaMontagne

Ray LaMontagne has released 5 studio albums (Trouble, Till The Sun Turns Black, Gossip in the Grain, God Willin' & the Creek Don't Rise and Supernova) and sold out numerous tours.  Ray's 2010 album God Willin' & the Creek Don't Rise won the Grammy for Best Folk Album and was nominated in the coveted Song of The Year category for Beg Steal or Borrow.  Ray's last single, Supernova off the album of the same name became one of Ray's fastest growing singles to date.

LIZZI WALDMÜLLER - DAS MACHT DIE BERLINER LUFT CLAIRE WALDOFF - ES GIBT NUR EIN BERLIN DIE 3 TRAVELLERS - ICH HAB' SO HEIMWEH NACH DEM KURFÜRSTENDAMM DIE KLEINE CORNELIA - PACK DIE BADEHOSE EIN WERNER MÜLLER UND DAS RIAS TAN - SPORT UND MUSIK HILDEGARD KNEF - BERLIN, DEIN GESICHT HAT SOMMERSPROSSEN (Live) WILLY BERKING UND SEIN ORCHEST - KÜSS MICH, BITTE, BITTE KÜSS MICH OTTO REUTTER - BERLIN IST JA SO GROSS CLAIRE WALDOFF - NE DUFTE STADT IST MEIN BERLIN WERNER MÜLLER UND DAS RIAS TAN - PROMENADE CLAIRE WALDOFF - WAT BRAUCHT DER BERLINER UM GLÜCKLICH ZU SEIN WILLY BERKING UND SEIN ORCHEST - LIEBLING WAS WIRD NUR AUS UNS BEIDEN MICHAEL JARY MIT SEINEM TANZ-O - J'ATTENDRAI (KOMM ZURÜCK NACH BERLIN) DIE TEMPELHOF SÄNGER - BERLINER LUFT OTTO BERLINER - WIR AUS BERLIN WALTER GROSS - BERLINER BIERWALZER OTTO BERLINER - ICK KANN MA DET BERLINERN NICH MEHR ABJEWÖHN' DIE TEMPELHOFER SÄNGER - BERLINS GOLDENE 20ER JAHRE (Die Goldenen 20er) GÜNTHER PFITZMANN - IN MUTTERS KÜCHE OTTO BERLINER - BERLIN IST IMMER UP TO DATE

Tony McKay aka EXUMA, born on the Bahamas in 1942, died in England in 1997, the Obeah Man, the master of voodoo folk, has been very active in the early 70s with seven albums alone from 1970 to 1973. Previously I only had a copy of his masterpiece - Snake' from 1972 but now as I got introduced to his 1970 debut album I really begin to understand his spiritual transformation from Tony McKay, the musician to Exuma, the Obeah Man each time he played his songs. And these are not just simple songs. Already the second track on this album, - Dambala', is an eruption of melancholy that speaks of the worship for the demon with the same name. Exuma screams and shouts upon a swirling drone of mantric chants from obviously possessed disciples while a musical substraction of acoustic guitars, bongos, bells and the one or another occasional flute create a thick and hazy atmosphere. The following track - Mama Loi, Papa Loi' shows the same qualities and spiritual depth. Exuma is the priest and sings to his followers while some gnarling demon spits out words that are not of earthly origin. The whole tune is an anthem with a hypnotizing approach. At this point you as the person in front of the stereo are far from just listening to music. You have entered the ceremony and are part if not victim of the ritual. A beautiful way to be sacrificed to the gods of the underworld. Elements of Latin music round up the whole picture. Samba rhythms and thundered whistles, cow bells, harmonicas, everything joining a massive groove that takes you to the streets of Rio De Janeiro at the heydays of carnival. It feels more like a spontaneous gathering of people creating a beat than a professional music recording in the studio but this is exactly what makes the magic of this record. If Richie Havens and Dr. John would have jammed some beautiful ritualistic voodoo stuff together it might have sounded like this. All this chiming and clapping that accompanies Exumas quite often really insane voice performances and his story telling makes you feel haunted. This is an album too far out for the average folk and singer / songwriter freak but those who love the occult improvisation music that was hip in the early 70s will certainly love this and if you dig beneath the occult and ritualistic veil you will discover melodies so pure and enchanting that they will set your doomed soul ablaze immediately. This is just freaking awesome.

We would like to thank the performers and people of the villages of Awar, Borai, Bo'da, Kaean, Kuluguma, Nubia Sissimungum and Damaindeh-Bau for making this record possible. Copies of the master tapes are in the Institute of Papua New Guinea Studies, Port Moresby.

Ragnar Johnson thanks the Canadian I.D.RC. for supporting his anthropological research.

Thanks to Dave Hunt for transferring the original magnetic tape recordings onto digital media and to Stephen O'Malley, David Toop and Evan Parker for assistance.

Sacred flutes are blown ("Windim Mambu'') to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. The Ravoi Flutes from Bak are accompanied by two garamut carved wooden slit gongs. The Waudang Flutes from Manam Island are accompanied by two large and two small slit gongs and six singers. The Jarvan Flutes from Awar are accompanied by a shell rattle. The Mo-mo resonating tubes were recorded in the Finisterre Range. There are the cries of six different pairs of flutes and one pair of conch shells from the Ramu coast, two pairs of Waudang Flutes from Manam Island with singing and Mo-mo resonating tubes from the Finisterre Range. Occasional percussion is provided by wooden slit gongs and hand drums. These recordings were made in 1976.

Originally released on LP 1977 as !Quartz 001 & 1979 as !Quartz 002, Quartz Publications by David Toop with the assistance of Sue Steward, Evan Parker, Robert Wyatt and Alfreda Benge. Re-released on CD 1999 as Rounder Records 5154 & 5155.

We would like to thank the performers and people of the villages of Awar, Borai, Bo'da, Kaean, Kuluguma, Nubia Sissimungum and Damaindeh-Bau for making this record possible. Copies of the master tapes are in the Institute of Papua New Guinea Studies, Port Moresby.

Ragnar Johnson thanks the Canadian I.D.RC. for supporting his anthropological research.

Thanks to Dave Hunt for transferring the original magnetic tape recordings onto digital media and to Stephen O'Malley, David Toop and Evan Parker for assistance.

Sacred flutes are blown ("Windim Mambu'') to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. The Ravoi Flutes from Bak are accompanied by two garamut carved wooden slit gongs. The Waudang Flutes from Manam Island are accompanied by two large and two small slit gongs and six singers. The Jarvan Flutes from Awar are accompanied by a shell rattle. The Mo-mo resonating tubes were recorded in the Finisterre Range. There are the cries of six different pairs of flutes and one pair of conch shells from the Ramu coast, two pairs of Waudang Flutes from Manam Island with singing and Mo-mo resonating tubes from the Finisterre Range. Occasional percussion is provided by wooden slit gongs and hand drums. These recordings were made in 1976.

Originally released on LP 1977 as !Quartz 001 & 1979 as !Quartz 002, Quartz Publications by David Toop with the assistance of Sue Steward, Evan Parker, Robert Wyatt and Alfreda Benge. Re-released on CD 1999 as Rounder Records 5154 & 5155.

Musik, die in die Seele eindringt: George Dzodzuashvili hat sein Tagträumer-Projekt reaktiviert.

Der Projektname führt gleicht doppelt in die Irre. Weder haben wir es bei den Post Industrial Boys mit einer Gruppe zu tun, noch mit jungen Männern. Im Grunde steht hinter dem Ganzen nur George Dzodzuashvili aka Gogi, ein (erwachsener) Musiker aus Tiflis. Zusammen mit TBA / Natalie Beridze ist er auch Teil des Künstlerkollektivs Goslab. Unter dem Alias Post Industrial Boys hat Dzodzuashvili bereits zwei Alben auf Max.Ernst veröffentlicht, dem Label des Kölner Elektronikminimalisten Thomas Brinkmann. Und das, obwohl der feinsinnig-stimmungsvolle und elegante Pop, über den Dzodzuashvili eine kurios-monotone Sprechgesangsform legt, zwischen all den dort sonst üblichen klaren Techno- und experimentellen Elektronikveröffentlichungen sympathisch "fehlplatziert" klingt. Oder vielmehr: klang. Denn zwischenzeitlich hatte Post Industrial Boys eine zehnjährige Projektpause eingelegt. Mit anderen Worten ist Max.Ernst Vergangenheit, die Gegenwart lautet Karaoke Kalk. Und Dzodzuashvilis neue Label-Heimat passt soundtechnisch nun wirklich wie die berühmte Faust aufs Auge. Die zehn sehr gefühlvollen Stücke von "Unintended" verschmelzen ein dunkles Sounddesign mit zugänglichen Melodien, klinisch reinen Songstrukturen und lyrisch nachdenklichen Texten in höchster tagträumerischer Qualität.

Hingebungsvoller Pop zwischen tastenlastigem Electro-Indie-Rock und brachialfiligranem Folk.
Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab

Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab.

Even if Don Cavalli revealed himself to a larger audience only with Cryland (2007), and Temperamental (2013), he already had a long career behind him. His label A*RAG chose to republish ' DE PROFUNDIS ', only printed in an almost secret way in 2003, with 6 new bonus tracks coming from the same sessions. Uncontested star of the international rocakabilly scene at the time, Don Cavalli was trying to reinvent himself with a non-artificial, home-recorded album. 12 years later, we have the chance to rediscover 16 songs: an extension of his long walks, haunted by the masters of blues, and heading to his own world. He has chosen to perform this album, alone on stage, with his guitar and his voice, and that is precisely what enabled him to open concerts for artists such as Ben Harper, The Black Keys, Moriarty, or more recently, Robert Plant. Don Cavalli is even more impressive in his simplicity that seems to be a part of him. The media will support this collector reprint as if it was a new album.

'Not If But When' is the 2006 debut album by Richard Riley, a guitarist, singer songwriter, producer and multi-instrumentalist from Bath UK. Playing in various bands and with various singers since 1981, this first album was entirely self-financed and employed musicians mainly from the open mic community in Bath and Bristol at the time. The album received glowing reviews on release, but came and went largely unnoticed by the greater record buying public. Since its release 10 years ago the album has grown in stature, by word of mouth, with original copies now increasingly sought after and hard to come by.



TOR Records are relaunching 'Not If But When' in March 2016 as a limited edition of 125 copies with a new insert, download code, sealed and stickered.



Each copy with be individually numbered and the first 25 copies will be signed by Richard.

You may never have heard of him, but unless you're a complete stranger to the 20th century, you will almost certainly have heard at least some of his music. André Brasseur composed countless tunes that received plenty of airplay and were used as radio and TV intro tunes all over Europe in the late Sixties and in the Seventies. His biggest hit, 'Early Bird Satellite' was an international million seller..

This compilation focuses on a lesser known aspect of Brasseur's musical output. Because in between his quest for the perfect intro tune, playing innumerable live shows and running several successful restaurants and discothèques, Brasseur recorded a great deal of experimental, funky jams in the Seventies. We made it our mission to compile the most exciting and timeless of these lost cuts and ended up with 13 enchanting cult classics and hidden gems, ready to devour.

Donnie Fritts is a Florence, Ala. native and one of many local musical luminaries. He played and travelled with Kris Kristofferson's band for nearly 20 years, and has released three previous albums-- all stacked with hit original tracks. He's a lauded songwriter, noted for his tracks 'We Had It All' (recorded by scores of artists from Waylon Jennings and Dolly Parton to Ray Charles) and 'Breakfast in Bed' which he co-wrote with Eddie Hinton for Dusty Springfield's album Dusty in Memphis.
'Oh My Goodness' is Donnie Fritts' most polished record to date, an elevated and slight departure from the funky muscle shoals sound he's known for, but with every bit the powerhouse songwriting that made the world take notice decades ago. 'I didn't want to do just another funk album,' Donnie says. 'I wanted to do songs I really love and songs I never got to cut before.' It features appearences from John Prine, Brittany Howard (Alabama Shakes), The Secret Sisters, Dylan LeBlanc, Jason Isbell & Spooner Oldham.
'People don't make records with 71 year-old guys,' he says, his humility always sitting shotgun by his talent. John Paul White, formerly of the Grammy winning duo The Civil Wars and presently co-founder of Single Lock Records, befriended Donnie in 2013 when he asked him to play at the Muscle Shoals documentary premiere in Florence. Later, John Paul insisted the two cut an albumThis morphed into an amalgamation of fresh sound and honed talent backed by Nashville and Muscle Shoals legends, and rising brilliants alike. 'John Paul came by the house and I just started playing songs on the Wurlitzer piano. John Paul said, if we do this album, you just play that Wurlitzer, sing the songs, and we'll build around it.'

Despite the project name Post Industrial Boys is basically one man, George Dzodzuashvili aka Gogi. He's a musician from Tbilisi and is part of the Goslab artist collective together with TBA /Natalie Beridze and many more. So far Post Industrial Boys previously released two albums on Thomas Brinkmann's Max Ernst label. But with Unintended, Post Industrial Boys return with their first album in 10 years. And, we are delighted to say, for the first time on Karaoke Kalk. Unintended is an intimate and reflective collection of songs produced in a unique style - part pop, part electronica.

The album starts with the song "Strange" and there is without question a strangeness to the Post Industrial Boys sound throughout the album. But it's a strangeness that soon becomes as familiar as an old friend with repeated listens. A title like "It's me" makes it clear that the album is a very personal statement by Gogi. In his own words: "although there is a big time difference between some of them, for me they are one whole, all reflecting important changes in my life." Indeed, most of the songs on the album were inspired by lyrics written by Gogi's wife, which reflect on the period of time in their lives when all these songs were written - from 2007 to 2013. So one could say the album is kind of a family diary.

The only song with Georgian lyrics is "Naked". The words are by the 19th century Georgian poet Vaja-Pshavela. This song is a collaboration with the actress and singer Mzia Arabuli, who comes from the mountain region and sings in the style of Georgian folk songs. In short, the lyrics say that we are born naked, don't really posses anything in life and die naked.

"Passenger" is a tale of transit and travel. It's intense use of repetitive melodies and vocoders conjure images of the monotony of everyday commuting. Other songs like "Through", "Sometimes" and "Raindrops" make clever use of an ambient backdrop that creates a trance like mood while abstract melodies, beats and lyrics subtly criss-cross the audio field. While "Directions" is structured in the manner of a fairy tales: kind of like a choose your own adventure story in song format. Sinister melodies envelope the song creating a mysterious atmosphere.

The album closes with its title track, a sweet little ballad comprising gently strummed acoustic guitar and lilting piano melodies. The lyrics are as open and heartfelt as throughout the rest of the album."I was in love but I never noticed it" calls the refrain - a touching sentiment on which to close a truly remarkable record.

Unintended is a perfect album for anyone into emotionally charged, inspiring left-field electronic pop. The 10 songs contained and the production used within them achieve the impressive feet of fusing the accessibility of pop melodies, lyrics and structures with an obscure and challenging sound design. Besides their precisely crafted production the songs on Unintended are characterized by the quaintly monotone delivery of George Dzodzuashvili's vocal performance - all the more expressive for the fact that many words are half spoken rather than sung. The lyrics are pensive with a marvelous daydreamy quality while at the same time still being rooted in everyday experience. It doesn't take long for the Post Industrial Boys sound to seep into your soul, and when it does you will cherish the songs on Unintended forever.

Kaum eine Handvoll Songs haben die Sängerin und Ukulele-Spielerin Kay Kasparhauser sowie Lulu Prat an
Gitarre und Bass bisher veröffentlicht. Und dennoch waren die The Prettiots die heimlichen Stars beim
2015er-SXSW. Ganz zu schweigen davon, dass die beiden im Elvis Guesthouse in ihrer Heimatstadt New
York als Hausband über die Maßen geschätzt werden. Das dürfte vor allem einen Grund haben: ihre Songs
kommen zuckersüß daher, dabei sind die Texte bitterböse, sarkastisch, schamlos ehrlich und entwaffnend.
"My lyrics are completely honest. They're 100 percent true to my thoughts at any given moment. I like to talk
about Werner Herzog and sex", ließ Kay Kasparhauser selbstbewusst in einem Interview verlauten, um
daraufhin ihre musikalischen Einflüsse in einem weiten Feld von Eyehategold, Lightning Bolt und ABBA
anzuordnen. Was erklärt, warum die Prettiots bei ihren Konzerten gerne die Misfits oder Dolly Parton covern.
Mit "Funs Cool" legen die beiden Musikerinnen ihr lang ersehntes Debüt vor. Wie der Titel andeutet, handelt
es sich um eine Ode an den hitzköpfigen, von Christopher Meloni mit Herz am rechten Fleck gespielten
Detective Elliot Stabler aus der Serie "Law & Order" und dessen wehmütigen Hang zu Idealismus in
romantischen Beziehungen. Ein gutes Beispiel für das vielschichtige Song-Gut des Duos.

Der 1954 in West Virginia geborene Banjo-Spieler und Gitarrist Tim O'Brien hat 35 Jahre Erfahrung im
Musikgeschäft. Seine Karriere startete der Musiker in den späten 1970er-Jahren mit dem Bluegrass-Quartett
Hot Rize. Später veröffentlichte der Linkshänder, der alle Instrumente rechtsseitig spielt, zusammen mit
seiner Schwester Mollie einige von der Kritik hochgelobte Scheiben. Hinzu kamen Alben mit Darrell Scott, ein
Grammy und Touren mit Mark Knopfler und Hot Rize. "Pompadour" ist bereits sein sechzehntes Solo-Album
und das erste seit 2010 unter eigenem Namen. Es nahm eigentlich zufällig Gestalt an, beim Jammen mit
Gästen wie dem irischen Bassisten Trevor Hutchinson und dem neuseeländischen Gitarristen Gerry Paul in
seinem Haus in Nashville. Deren Beiträge ergänzte O'Brien mit furiosem Banjo-Spiel und fein platzierten E-
Gitarren-Tupfern. Ebenso zeichnet O'Brien für die Albumproduktion verantwortlich. Da ist es nur folgerichtig,
dass er "Pompadour" auf seinem eigenem Label Howdy Skies veröffentlicht hat. Die sechs beschwingten
Eigenkompositionen werden durch gut gelaunte Coversongs von Michael Hurley, Woody Guthrie und Dan
Reeder eingerahmt. Wer vielseitigen Bluegrass, Country Swing, Folk und Rock'n'Roll mag, kommt an
"Pompadour" nicht vorbei.

Xtra Mile Recordings are excited to announce a brand new signing for 2016 - Ducking Punches.
Originally the solo acoustc songs of vocalist and guitarist Dan Allen, Ducking Punches are now a punk/rock quintet. Hailing from Norwich, the band has nearly 1,000 shows under their belt, including a European tour in 2014 with Frank Turner and Andrew Jackson Jihad, as well as festval sets at Reading and Leeds, Download, Groezrock, FEST and support slots alongside The Hold Steady, The Menzingers, Teenage Botlerocket, Franz Nicolay and Leatherface.
With two albums under their belt, the self-ttled debut from 2010 and Dance Untl You Sleep last year, they've collectvely cranked the vitality and volume while building melody, texture and drama with violins, gang vocals and amplifcaton. But they've never lost the pace and dynamics that brought Ducking Punches to such live acclaim. New material keeps that soaring course, songs that are as strrinas they are a call-to-arms, as blaring and exhilaratng as they can be heart-rending and tender. 'Ducking Punches are best witnessed live - there can't be many bands that threaten to blow The Hold Steady of stage as they did.' Outline Magazine
'This record exudes the spirit, and true meaning of punk from the core of the band. This is not a folk punk record that's full of jigs about drinking, or even flled with protest songs. 'Dance Before You Sleep
is nine tracks of well-writen, cohesive songs that are straight from the heart, which is exactly the plac that punk should come from.' Punktastc on Dance Before You Sleep.
'Ducking Punches ... delivered a frankly majestc set of emoton-soaked punk rock. Not only were the
songs the band played hugely passionate and real, but it was clear that they absolutely poured their
hearts into their on-stage performance too.' - The Punk Archive.

The Cleveland Wrecking Company were formed in San Francisco in 1965. Their members came from jazz, flamenco and R&B backgrounds, but together their psychedelic brew verged on Blue Cheer heaviness. As perennial local favorites, they gigged at every stage in the area. They left behind no recorded artifacts during this time; a deal with Vanguard went nowhere, when their manager absconded to Mexico with the album advance on an ill-fated mission to buy a kilo of pot. A later incarnation of the band - with a completely different lineup and musical style - released a 45 that has since become a favorite of cratedigging DJs, but This is not That. These two tracks hail from 1967-8 : one studio, one live (the sonics on the latter may remind of the VU's 'guitar amp' boot, but with a solo as overdriven and atonal as this, it's a plus). With liner notes by Jim Moscoso (CWC bassist, vocalist, brother of Victor) and rare photographs.

i

With Wolves The Lamb Will Lie is M G Boulter's second full-length solo release, following 2013's The Water & the Wave. Relocating this time from the shores of the Thames Delta in Essex to the peak district of Sheffield, Boulter has worked closely with award-winning producer Andy Bell (Bellowhead, Seasick Steve and Teenage Fanclub) to produce an album of lyrical depth and quiet brilliance. As with former projects, Boulter has surrounded himself with an array of musicians from different genres to help forge his vision, here one finds Ben Nicholls (The Full English, Seth Lakeman), Toby Kearney (These New Puritans), Sheffield songwriter Neil McSweeney and folk artist Lucy Farrell, among others. With Wolves The Lamb Will Lie reaffirms M G Boulter's ability to conjure up compelling stories and mesmeric musical arrangements.


M G Boulter is the principle songwriter and lead singer of Southend-based roots-rock band The Lucky Strikes and is a much sought after session musician who has toured with The Duke and the King, Simone Felice and Blue Rose Code, as well as recording with Dirk Powell, Rosalie Deighton and Vera Van Heeringan among many others. He has most recently been touring as a member of BBC Folk Award winner Emily Portman's band.

With Wolves The Lamb Will Lie is M G Boulter's second full-length solo release, following 2013's The Water & the Wave. Relocating this time from the shores of the Thames Delta in Essex to the peak district of Sheffield, Boulter has worked closely with award-winning producer Andy Bell (Bellowhead, Seasick Steve and Teenage Fanclub) to produce an album of lyrical depth and quiet brilliance. As with former projects, Boulter has surrounded himself with an array of musicians from different genres to help forge his vision, here one finds Ben Nicholls (The Full English, Seth Lakeman), Toby Kearney (These New Puritans), Sheffield songwriter Neil McSweeney and folk artist Lucy Farrell, among others. With Wolves The Lamb Will Lie reaffirms M G Boulter's ability to conjure up compelling stories and mesmeric musical arrangements.


M G Boulter is the principle songwriter and lead singer of Southend-based roots-rock band The Lucky Strikes and is a much sought after session musician who has toured with The Duke and the King, Simone Felice and Blue Rose Code, as well as recording with Dirk Powell, Rosalie Deighton and Vera Van Heeringan among many others. He has most recently been touring as a member of BBC Folk Award winner Emily Portman's band.

London-based psych-folk outfit The Hanging Stars release their much anticipated debut album Over the Silvery Lake in March 2016 via The Great Pop Supplement/Crimson Crow. Blending folk pastoralism with swampy 60s Americana, they sound like the missing link between the California desert sun and the grey skies of London Town. The album was recorded between LA, Nashville and Walthamstow, with each of these vastly different places leaving an indelible mark on the songs.

Fronted by London-based songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry.

During 2015, the band released two critically acclaimed singles via The Great Pop Supplement (both of which also appear on the album). 'Golden Vanity' was premiered by The Line of Best Fit who said; 'you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late 60s/early 70s boom of psychedelia infused Americana' and 'The House on The Hill' was described by The Guardian as; "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club'. They picked up a good amount of support at 6 Music and 'The House on the Hill' scored a much-coveted 10/10 by John Robb on Steve Lamacq's Roundtable. The Hanging Stars played a sold-out three-night residency at London's Betsey Trotwood, recently shared the stage with The Clientele at Islington Assembly Hall and have toured extensively throughout Europe.

There are a number of allusions to nature and the weather on the album, borne in part out of the contrasting surroundings in which it was produced. The band's fascination with Americana led them to record some of the material Stateside, laying down some of the parts at Battle Tapes Studios in Nashville (Lambchop, Paperhead), as well as at Vision Quest Studios in Los Angeles with Rob Campanella. His work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks and The Tyde was a perfect match to capture their sound and they even had San Franciscan legend Christof Certik step in on lead guitar for a couple of tracks.

Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce - a shard of light that they clung on to whilst recording the rest of the album in the significantly more rain soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studios (The Clientele, Comet Gain, My Bloody Valentine). As the band explain: 'Ultimately we hope you can hear both the sand and the rain in this record.'

Circle's Pharaoh Overlord is bound to contest all speculations you ever heard of these savant ritualists. What's clear is that Pharaoh Overlord means the intrusion of the namesake of this album into Circle.

It is a forest of fire. Their self-possessed purge from self-referentiality, oddly enough, intensifies the paradox-ridden spree with which Circle have ignited the very building blocks of the band itself into fiction that is ever leaking out into reality-infested horizons surrounding the voluptuous standstill of the vortex of music that is Circle's Pharaoh Overlord. Horns and vocal chants hover like a hail storm above the stabbed soil of murky beats. This is epic experimental rock that will condense any impulse or mundane logic into pure inevitability.

On 'Pharaoh Overlord', Circle explore the smouldering terrain of their kindred spirits to find the means of transgressing the border of parallel existence with their idols (that is, Pharaoh Overlord) with the intent of merging into one abstract entity of sonic flesh. There is no sobriety like loss of identity.

SIGE Records/Ektro Records 2015. Edition of 50 copies. Custom letterpress packaging, hand stamped & numbered.

Fröhlicher Gossenhauer-Folk, der in die unterhaltsamen Abgründe längst vergangener Zeiten entführt.

Das hat die Welt noch nicht gesehen, geschweige denn gehört! Mit einem einzigartigen Musikstil, der einer
Ansammlung musikalischer Schnapsideen entsprungen scheint, entführt Knasterbart auf "Branntwein für
alle!" die Hörer in die unterhaltsamen Abgründe längst vergangener Zeiten. Im Gepäck hat der
Zusammenschluss lasterhafter Halunken - darunter Malte Hoyer von Versengold und Simon Erichsen (Mr.
Hurley & Die Pulveraffen) - liederlichen Humor, frivole Wunschträume und eine gute Portion Selbstironie. Die
Texte und ausgereiften Kompositionen des historisch gewandeten Sextetts stammen komplett aus eigener
Feder und bringen einen unverwechselbaren, tanzbaren und durchaus neuzeitlichen Sound auf die Bühne,
der sich fröhlich Gossenhauer-Folk schimpft. Binnen kürzester Zeit schaffte es Knasterbart durch die
Kombination von zahlreichen, teilweise auch ausgefallenen Instrumenten wie Geige, Kontrabass, Mandoline,
Flöte und Drumset zum Geheimtipp der Festivalreihe Mittelalterlich Phantasie Spectaculum (MPS) zu
werden. Mit bis zu 5-stündigen Konzerten (!) bot die Band hier ein Folkrock-Ereignis der ganz besonderen
Art, das dem Publikum noch lange im Gedächtnis bleiben wird.

Eyne eynmalyge Kapelle öffnet die Pforten zu einem jahrhundertealten musikalischen Basar.

Die Gruppe Wirbeley besteht aus sechs studierten Musikern, die sich in Dresden zusammengetan haben, um
Musik verschiedener Epochen in ungewöhnlichen Arrangements auf die Bühne und auf CD zu bringen.
"Barrierefreie Volksmusik" nennen sie ihr Konzept - worunter man sich wohl erst etwas vorstellen kann, wenn
man es gehört hat. Ihr Instrumentarium reicht von Flügelhorn und Akkordeon über Gesang, Flöte, Dudelsack,
Saxofon, Viola, Gitarre, Mandola und reichlich Schlagwerk bis zu Schalmei und singender Säge. Der Kundige
wird ob des "y" im großen Wirbel vielleicht auf Mittelaltermusik schließen. Ganz falsch ist das nicht, doch es
greift zu kurz. Das Sextett kümmert sich nämlich in keiner Weise um solche Definitionen, sondern bläst und
trötet auf allem, was sich irgendwie dazu eignet, frischen Wind in alte Gewölbe zu bringen. "Barrierefreie
Volksmusik" ist eine Reise voller Liebe, Sehnsucht und Abenteuer durch eine Welt fantastischer Klänge,
Farben und Stimmungen. Musikantisch und putzmunter werden Grenzen fortgeblasen. Hochkultur mischen
die studierten Spielleute mit Marktmusik, Tradition mit Experiment. Was zu Herzen geht, wird vergeigt,
versungen, verhauen oder verzückend verspielt. In barrierefreier Manier.