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„Eine blühende Solokarriere aufgebaut auf einfallsreicher Programmgestaltung und einem sondierenden Interpretationsstil“,
sagt die New York Times über Daniel Hope. Auf seinem neuen Album erkundet der Stargeiger die Diversität amerikanischer Musik in atemberaubenden neuen Bearbeitungen von Werken aus
Klassik und Jazz, die von George Gershwin, Aaron Copland, Leonard Bernstein, Kurt Weill, Florence Price, Duke Ellington, Sam Cooke und Samuel A. Ward stammen.

Begleitet wird Hope vom Zürcher Kammerorchester und von großartigen Gastmusiker*innen, u.a. Soul-Sängerin Joy Denalane und renommierten Jazzpianisten Marcus Roberts. Als künstlerischer Leiter des New Century Chamber Orchestra in San Francisco hat Hope einen engen Bezug zur amerikanischen Kulturlandschaft und dies wird nun auf seinem Album „America“ durch vielfältige und faszinierende Werke musikalisch erlebbar.

„In jüngster Zeit gibt es eine starke Bewegung mit dem Ziel, afro-amerikanische Komponisten wiederzubeleben und neu zu
entdecken, etwa Florence Price oder William Grant Still. Es gibt noch viele andere Komponisten, deren Geschichten erst heute erzählt werden‘“, sagt Hope.

Markus Roberts fügt hinzu: „Amerikanische Musik verkörpert das amerikanische Leben: Flexibilität und die Fähigkeit, kontinuierlich etwas zu erschaffen und neu zu gestalten“. Hope und Roberts sind über die Jahre oft zusammen aufgetreten; mit dieser Aufnahme
faszinieren sie einmal mehr durch einen exzellent musizierten Dialog zwischen Jazz und Klassik.

KAWALA today announce their emotionally resplendent debut album ‘Better with You’. The album marks the culmination of years of work which has seen the band grow from humble begging’s to the world class act they are today. Along the way they have done everything from support Bombay Bicycle Club on their European tour, play socially distanced shows in UK parks (after the first easing of restrictions in 2020), appear on FIFA 2021, write and perform in their own YouTube sitcom (the mad-cap Paradise Heights) and become ambassadors for the Music Venue Trust. Each step on the journey has seen the band grow and expand on what KAWALA means to their community. Ahead of the album’s release, the band are about to head out on their biggest UK and Ireland tour to date – including a sold-out show at the O2 Kentish Town Forum. NME describes them "the Bombay Bicycle Club-approved indie heroes making bangers without borders"

Vom Sinn in der Musik – Joep Beving präsentiert sein neues Soloklavieralbum Hermetism
“Eine leise Revolte gegen den Wahnsinn”
Joep Beving
Auf der Suche nach Schönheit erkundet Joep Beving antike Philosophie und seine Liebe zu Paris
Joep Beving, Himmelsstürmer in der Welt des Streamings zeitgenössischer Klassik, kehrt mit Hermetism
solo ans Klavier zurück. Das vierte Album des niederländischen Komponisten und Pianisten erscheint am
8. April 2022 bei Deutsche Grammophon. Antike Philosophie inspirierte Beving in seiner Aufnahme: »Ich
hoffe, dass die Musik tröstet und Gemeinschaft stiftet«, sagt er, denn obwohl Beving aus einem Gefühl der
Melancholie schöpft, möchte er Hoffnung wecken mit den zwölf Stücken, die er hier auf seinem geliebten
Schimmel-Klavier spielt.
Nach dem viralen Erfolg seines Debüts im Jahr 2015 erscheint Beving heute längst als Nummer eins auf
Streamingplattformen. Über eine halbe Milliarde Mal wurden seine Stücke bislang gestreamt und weltweit
sind auch seine Konzerte ausverkauft. Mit Hermetism versucht er den Hörer auf einer tiefen Ebene zu
erreichen. »In all dem Wahnsinn der letzten Zeit war das Album das, wohin ich zurückgekehrt bin«, sagt
er. »So ist Hermetism auch meine eigene Medizin gegen die Pandemie.«

Trombone Shorty is back with his first album in 5 years and the eagerly awaited follow-up to his 2017 Blue Note debut Parking Lot Symphony, which the esteemed New Orleans music magazine OffBeat said continued his tradition of “stunningly good musicianship, crowd-pleasing good material, and just plain good fun.” The new album captures the explosive energy of his legendary live shows, and combines classic New Orleans sounds (funk, gospel, street rhythms, Mardi Gras Indian chants, and second lines) with modern lyrics, melody, and beats to create something fresh and unique. The album features special guests including vocalist Lauren Daigle & guitarist Gary Clark Jr.

Junges Blut bei Verve Records!

Wenn man als 23-Jähriger eine derart gereifte Musikalität als Pianist, Schlagzeuger, Komponist, Arrangeur und Bandleader an den Tag legt wie der Amerikaner Julius Rodriguez, muss man sich wohl hin und wieder auch noch die Bezeichnung ”Wunderkind” gefallen lassen. Nach einigen digitalen Singles legt er jetzt sein weltweites Albumdebüt auf dem Verve-Label vor, ein kraftvolles, facettenreiches Werk, das den Hörer von der ersten Sekunde an zu packen vermag.

Wie in der heutigen Jazzszene üblich, integriert auch Rodriguez’ Musik ohne Scheuklappen Elemente aus Jazz, R&B, Hip-Hop und Pop. Als Sideman hat er bereits mit Wynton Marsalis, Wu Tang Clan, Meshell Ndegeocello u.a. gearbeitet. 2021 führte er mit seiner Herbie-Hancock-Coverversion „Actual Proof“ Spotifys „Best Jazz Songs of 2021“-Playlist an.

Mit seinem Debüt ”Let Sound Tell All” dürfte Julius Rodriguez’ Jazz-Karriere jetzt den Turbo einlegen.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

1972, vor fünfzig Jahren, veröffentlichte Hammondorgel- und Acid-Jazz-Legende Ronnie Foster sein BlueNote-Debüt „Two Headed Freap“, von dem nicht nur der Track „Mystic Brew“ ein erstaunliches Eigenleben entwickelte, spätestens nachdem A Tribe Called Quest ihn als Sample-Grundlage für ihren Song „Electric Relaxation“ auf dem 1994er Album „Midnight Marauders“ benutzten.

Die neun Songs auf „Reboot“, Ronnie Fosters Rückkehr zum Blue-Note-Label, klingen gradlinig, kraftvoll und frisch wie eh und je. Seine Art von Soul-Jazz hat in den letzten Jahrzehnen diverse Revivals gefeiert und beweist hier, dass sie eigentlich nie aus der Mode gekommen ist. In den Linernotes widmet Foster die Aufnahmen seinem 2021 verstorbenen „Bruder, Freund und Helden Dr. Lonnie Smith, einem der Weltbesten auf der Hammond B3-Orgel“.

To mark the 65th anniversary of the album’s recording, Blue Train will be released in two special editions on September 16 as part of Blue Note’s acclaimed Tone Poet Audiophile Vinyl Reissue Series. A 1-LP mono pressing of the original album will be presented in a deluxe gatefold tip-on jacket, while the 2-LP stereo collection Blue Train: The Complete Masters will include a second disc featuring seven alternate and incomplete takes, none of which have been released previously on vinyl, and four of which have never been released before on any format. The Complete Masters comes with a booklet featuring never-before-seen session photos by Francis Wolff and an essay by Coltrane expert Ashley Kahn. Both Tone Poet Vinyl Editions were produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, and pressed on 180g vinyl at RTI. Blue Train: The Complete Masters will also be released as a 2-CD set and digital collection


“Few studio experiences I’ve had can compare with the thrill of listening to the original master tapes—mono, stereo and alternate takes—of Blue Train,” says Harley. “I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane.”

Freddie is the fourth studio album from acclaimed rapper, Freddie Gibbs. One of the most consistent and polished artists from the blog era, Freddie Gibbs has yet to release an album that does not achieve widespread acclaim, proving that he’s able to compete in any era. At 10 tracks, the album comes at a blistering yet concise pace, showcasing his raw and energetic flow over thundering trap-influenced beats. Aside from a tasteful appearance from 03 Greedo, Freddie Gibbs mainly relies on himself to carry the album, and features production from hip-hop heavyweights such as Kenny Beats, Dupri, RichGains and more. Marking the 5 year anniversary since release, Freddie is back in print for the very first time.

Factory Benelux presents a limited (500 copies only) 180g black vinyl edition of Part-Primitiv, the fifth studio album from post-punk trailblazers Section 25, originally released in 2007.

Recorded after a hiatus lasting almost two decades, Part-Primitiv saw founder members Larry and Vin Cassidy joined by former Tunnelvision guitarist Ian Butterworth, as well as multi-instrumentalist Roger Wikeley. Combining raw postpunk power and retro-futurist electro, the album marked a convincing return to form and drew praise from reviewers.

"Haunting, melancholic beauty - part post-rock, part trance" (Plan B)

"A vibrant, fierce collection of songs played with all the intense, live-wire energy one could want. Well worth the wait" (All Music Guide)

"The music on Part-Primitiv is informed by all phases of the band's back-catalogue, incorporating their early post-punk impulse alongside their later disposition towards electronic music. She's So Pretty is one of the band's closest brushes with pop music, while Power Base is a surprisingly straight-forward venture into techno, with its rampaging drum machine" (Boomkat)

Two tracks, Dream and Better Make Your Mind Up, were written and sung by Jenny Cassidy before she lost her battle with cancer in 2004. Best known for her beguiling vocal on 1984 club hit Looking From A Hilltop, on subsequent SXXV projects Jenny would be replaced by her daughter Beth.

Ein halbes Jahrhundert, oder in anderen Worten: 50 Jahre. So lang ist es bereits her, dass Udo Lindenberg das legendäre Panikorchester gründete. Am 13. August 1973 wurde dieser Zusammenschluss offiziell gemacht, seither war es wie ein unzertrennliches Bündnis, und auch wenn die Besetzung der Band stets einige Veränderungen mitmachte, sollte es doch als solches bis zuletzt bestehenbleiben. 1983, im selben Jahr, in dem auch Odyssee erschien, fand auch das legendäre Konzert im CCH (Congress Center Hamburg) statt, vor welchem die Besucher wohl nicht ahnen konnten, dass sie Teil eines weiteren ikonischen Releases werden sollten. Denn das am 19. März 1983 stattfindende Konzert wurde live aufgezeichnet und erschien im selben Jahr noch unter dem Namen Lindstärke 10 als offizielles Livealbum. Im Januar 1990 konnte Lindenberg mit dem neuen Panikorchester im Zuge der politischen Wende erstmals auch auf Tournee durch die ehemalige DDR gehen, wobei das Konzert in Leipzig ebenfalls aufgezeichnet und als das Livealbum Live in Leipzig ausproduziert und veröffentlicht wurde. Zeitsprung ins heutige Jahr 2023: Zum großen 50-jährigen Jubiläum des Panikorchesters erscheinen nun nicht nur diese beiden Livemitschnitte, sondern gemeinsam mit dem kaum weniger legendären Livealbum LIVE ’96, welches die bis heute anhaltende Reunion des originalen Panikorchesters dokumentiert und 1997 ebenfalls über Polydor erschien, und nun erstmals auf Vinyl verfügbar sein wird. Limitiert auf 2.000 Stück und nummeriert!

Kombinat 100, the suspiciously band-like live act from northern shores, are set to unleash their eagerly awaited debut album ‚Wege Übers Land’ (ways across the land). Here, everything we know and love about these notorious dancefloor smashers reemerges from the studio, squeaky clean and freshly rinsed, polished and arranged. An irresistible retrospective of Kombinat 100’s countless live gigs, there is no other way this album could have come about: All of the four Mecklenburgers’ tracks have their origins on stage.

So don’t be surprised if you find yourself moshing along from beginning to end! Kombinat100’s eclectic mix and match of influences touches on more genres than you could possibly think of, from techno, house, dub and pop to jazz and beyond, interspersed with plenty of lovingly crafted moments of homemade bliss. And it is precisely those moments, when the boys reach for their acoustic sidekicks, from accordion and melodica to congas and hammond organ, that our hearts miss a beat. Unafraid to flaunt grand emotions, melancholic opener ‚Flieg kleine Taube’ (fly away, dove’) and the sun-drenched sounds of ‘Hanne Nüte’ meet their match in the rocking grooves of ‘Out Of My Space’. In-between, the boys invariably return to their gig-inspired dancefloor roots – ‘Woterfitz’, ‘Del Maritim’ and ‘Der Pomel’ are set to move your heart, feet and mind. So, finally: a breath of fresh, Open Air for your living room!


Kombinat 100, der bandverdächtige Liveact aus dem Norden, veröffentlicht nun mit "Wege übers Land" sein lang erwartetes Debüt- Album. Das, was bisher den Dancefloor zum Einstürzen brachte, bekommen wir nun sauber im Studio aufpoliert und arrangiert. Dabei handelt es sich um eine Retrospektive der unzähligen Live-Gigs der vier Jungs aus Mecklenburg. Ihre Tracks entstehen auf der Bühne, sind für die Bühne konzipiert. Deshalb muss es auch niemenaden verwundern, wenn man von Anfang bis Ende mitgeht. Kaum ein Genre wird ausgelassen, wenn Kombinat 100 seine Einflüsse aus Techno, House, Dub, Pop und Jazz reflektiert. Aber auch die heißgeliebten handgemachten musikalischen Augenblicke dürfen natürlich nicht fehlen. Denn genau dann, wenn sie ihre akustischen Instrumente, wie Akkordeon, Melodika, Conga`s und Hamond Orgel zum Einsatz bringen, schlägt unser Herz am höchsten. Diese Tracks stehen zu ihren großen Gefühlen, wie der melancholische Opener-Track "Flieg kleine weiße Taube" oder das sonnenverwöhnte Stück "Hanne Nüte". In der Mitte wirds dann mit "Out Of My Space" shufflig und rockig. Dominiert wird das Album jedoch durch die Tracks "Woterfitz", "Del Maritim" oder "Der Pomel", welche ganz klar für den großen Floor zugeschnittenen sind. Endlich: Kombinat 100 gibt uns ein Stück Open Air-Feeling für's Wohnzimmer!

Black Truffle is pleased to welcome free jazz legend Joe McPhee back to the fold with Oblique Strategies, a wild trio recorded in Antwerp in 2018 in the company of Mette Rasmussen’s fire-breathing alto saxophone and Dennis Tyfus’s post-Fluxus antics on tape, voice, and percussion. Rasmussen and Tyfus have previously recorded together as Bazuinschal, and some similar strategies are on display here: mysterious metallic scrapes, extended tones in which voice and sax become indistinguishable, comic explosions of varispeed tape. With McPhee on board, however, proceedings are more sumptuous, with the two horns moving fluidly from expeditions into the extremes of their instruments’ registers to pointillistic note-splatter and Ayler-esque folk melodies; we even get to bask in some of the slow-motion free blues that McPhee has now been playing for half a century. McPhee is heard primarily on tenor, Rasmussen mainly on alto, but with Rasmussen doubling on sundry objects, and the whole trio contributing vocals, certainty about who is doing what becomes nigh impossible.

The recording and production add to this hazy unclarity. Where much contemporary improvised music aims at dryly clinical hi-fi, the lively reverberant space of Oblique Strategies calls to mind the less-than-pristine sonics of classic free jazz artefacts like John Tchicai’s Afrodisiaca or McPhee’s own Underground Railroad. A further dimension of oblique unpredictability is added by subtle changes in the sense of space: at times merely a reverb tail glimpsed between phrases, at other points the whole mix seems to be momentarily swallowed up in slap-back, blurring the lines between acoustic instruments and the decayed fidelity of Tyfus’ tape playback. Spread across four pieces ranging from four to nineteen minutes in length, Oblique Strategies moves with anarchic swagger from explosions of clattering cymbals and bellowing horns to near-silent episodes of mysterious rumble and clunk. ‘Death or Dinner?’ opens the record with a lovely duet of climbing melodic patterns shared between the two saxophones, played with a buzzing oboe-like tone. A long, wavering note sung by Tyfus cues the first of countless changes of direction, eventually leading to a crescendo of watery splutters and duelling saxes. At points Tyfus’ keening resemble the signature moves of his friend and collaborator, Ghédelia Tazartès; at others, his tape-sped huffs and puffs possess a rawness reminiscent of Henri Chopin or Gil Wolman. The dialogue between wailing saxophones and vocal cries, punctuated by percussive thuds and crashes, can at times feel less like a musical performance and more like the calls of some mysterious forest creatures, possessing a primordial energy that might remind some listeners of the outdoor antics of Brötzmann and Bennink’s Schwarzwaldfahrt.

Oblique Strategies can also be delicate at times, as on the beautiful third piece, ‘Destilled Edible’, dominated by a slow, microtonal melody played with a breathy tone resembling a shakuhachi. The closing side-long ‘Light My Fire’ ranges across classic improv call and response, skittering trumpet blurts, inept cymbal clatter, mock-operatic vocals, and crude tape manoeuvres. Momentarily pausing at the ten-minute mark for an interlude of ghostly room sound and crackling texture, its closing moments unfurl a glorious dual saxophone finale, the almost epic tone subtly undermined by Tyfus quietly tapping out swing rhythms. Arriving in a striking sleeve adorned with Tyfus’ drawings, Oblique Strategies is an invigoratingly free-spirited blast of improvisation.
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The Sun Makers (written by Robert Holmes) aired in November and December of 1977 with Tom Baker as the Doctor and is set on a tax-crippled planet Pluto. Along with trusty assistant Leela and faithful K9, he exposes the corrupt Company, defeating the Collector and freeing the population from financial misery.

Composer Dudley Simpson (1922-2017) wrote prolifically for the BBC, producing hundreds of soundtracks for Doctor Who, The Tomorrow People, Blake’s Seven and many others. The Sun Makers was scored for just six musicians and recorded, for the main part, live in the studio. However, such is the musicianship of the players, several of whom where multi-instrumentalists, the resulting sound is much bigger. The sleeve includes full notes by Mark Ayres.

The Sun Makers (written by Robert Holmes) aired in November and December of 1977 with Tom Baker as the Doctor and is set on a tax-crippled planet Pluto. Along with trusty assistant Leela and faithful K9, he exposes the corrupt Company, defeating the Collector and freeing the population from financial misery.

Composer Dudley Simpson (1922-2017) wrote prolifically for the BBC, producing hundreds of soundtracks for Doctor Who, The Tomorrow People, Blake’s Seven and many others. The Sun Makers was scored for just six musicians and recorded, for the main part, live in the studio. However, such is the musicianship of the players, several of whom where multi-instrumentalists, the resulting sound is much bigger. The sleeve includes full notes by Mark Ayres.

Land Of Hits by name, Land Of Hits by nature, this downright delectable 12 inch from Fly Guy, with the aptly named Fly Guy Rap, on Peter Brown and Michael Campbell’s NYC label commands prices of over £750 on the second hand market.

A super rare cut that was been crying out for a reissue for many a moon and those prayers have now been answered. Killer breaks, funk stylings, and one of the most infectious raps you’re ever likely to hear. Essential business produced by P&P bossman Peter Brown that deserves a spot in every collection.

Suff Daddy (578k monthly listeners on Spotify), is one of the legendary beatmakers who shaped a whole era of bedroom producers. His unique approach and musical understanding sets him apart from all the other fish in the pond. He has released countless genre-defining albums and EP’s over the past 15 years building a loyal fanbase. Suff Daddy's songs have previously been featured in many editorial playlists including Spotify's "Jazz Vibes" (2.1M Likes), "BUTTER" (770k Likes), "Sweet Soul Chillout" (1.2M Likes) and many more.

Introducing "Hair Of The Dog," Suff Daddys musical journey that blends instrumental hip-hop, electronic, and dance genres. This captivating album, produced with his own Suff Style invites listeners to unwind From start to finish. Once again a Suff Daddy album thrives on the pure brilliance of his on way to create music. The album's cover art, masterfully crafted by the renowned painter Mitch (@itsallinsideus, 165k Followers), adds an intriguing visual dimension to the experience. Both artists have known each other for a long time and are currently preparing their audiovisual release- event for August 18th in Berlin. Bringing their art together as a unique experience for their audience.

The phrase "Hair of the dog that bit you" commonly denotes consuming alcohol as a remedy for a hangover, aiming to alleviate its effects. Suff Daddy plans to introduce his own hangover solution, which will be plant-based and devoid of alcohol. Through all of his career he frequently played with alcohol references and now its the perfect timing to release his own hangover cure. Additionally, this endeavor will serve as a social media catalyst for the entire project.

Translucent Dark Red & Black Marbled Colored Vinyl. Seine Stärke ist ein Songwriting das musikalisch wie poetisch kratzt und schabt: am amerikanischen Traum, an dessen Wirklichkeit und den Menschen die ihn bevölkern. Immer wieder wurde seine spröde Musik und einfühlsamen Texte mit denen von Leonard Cohen, Lou Reed und Bob Dylan verglichen und somit Gewicht verliehen. Zu großer Bekanntheit führte das nicht, Simon Joyner bleibt ein outsider mit seinem Loner-folk, aber für die, die ihn entdecken bietet er ein Kraft von rauher Schönheit. Conor Obers von Bright Eyes nennt Joyner, der seit 1990 seine dunklen Americana Songs veröffentlicht, einen entscheidenden Einfluß. Simon Joyner's neuestes Album gerät noch dunkler und eindringlicher. Sein Thema hier ist Isolation, und er übernimmt es gleich auch als Grundlage für seine Produktion. Ihm war es wichtig, dass die beteiligten Musiker allesamt alleine waren um ihre jeweiligen Parts zu finden. Die Abgeschiedenheit der einzelnen Musiker auf Songs From A Stolen Guitar bietet somit weniger Spontaneität vieler früherer Arbeiten von Joyner, führt aber zu einer Art Silberstreifeneffekt: Joyners Songs, die hier sorgfältiger und vielleicht absichtsvoller produziert wurden als auf jedem seiner früheren Alben, kommen viel klarer durch und stellen sowohl seine schillernden Wortspiele als auch seine klare Vision in den Vordergrund. Ein Kritiker bringt einen Vergleich zu Neil Young und meinte "Wenn (sein 2012 Album) 'Ghosts' sein 'Tonight's the Night' war - zornig, nackt und bodenlos - dann könnte sich 'Songs From A Stolen Guitar' als sein Harvest erweisen." Songs From A Stolen Guitar wurde in verschiedenen Städten aufgenommen. Joyner nahm seinen Gesang und seine Gitarre live in Omaha auf; Bassist Wil Hendrix fügte seine Parts zu Hause in San Francisco hinzu, Michael Krassner nahm seine Gitarren- und Klavier-Overdubs zu Hause in Phoenix auf, und Schlagzeuger/Percussionist Ryan Jewell nahm in Colorado auf. Dieser musikalische Kettenbrief machte sich dann auf den Weg zurück nach Omaha, wo David Nance (Gitarren und Backing Vocals), Ben Brodin (Orgel und Vibraphon) und Megan Siebe (Bratsche und Backing Vocals) - getrennt voneinander - ihre jeweiligen Beiträge einspielten. Dieses Vorgehen zahlt sich aus. Die "virtuelle" Band spielt eine unterstützende, aber komplementäre Rolle und erzeugt immer das richtige Maß an Spannung, um diese emotionsgeladenen Geschichten zu begleiten und zu umhüllen. Das Zusammenspiel ist einfühlsam und kohärent, auch wenn es aus geografischer Entfernung und Abgeschiedenheit zusammengefügt wurde und oft wie Musik klingt, die durch den Nebel eines Herbstmorgens gefiltert wurde. Doch wenn es um Simon Joyner-Platten geht, zahlt man sein Ticket, um großartige Songs zu hören, und auch in dieser Kategorie enttäuscht Songs From A Stolen Guitar nicht. Eins der seltenen Alben, das nach dem klingt, worum es geht: die Kluft zwischen Einsamkeit und Alleinsein, die Grenzen zwischen Liebe und Hingabe, der Unterschied zwischen dem Tornado und dem, was er hinterlässt.

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.


The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

How sad, if timely: this stunning reissue of the 1994 live album arrived in the very week that trumpeter Masekela passed away. One of the most successful ambassadors ever for African music, his fusing of the continent's rhythms and instruments with contemporary jazz and rock proved irresistible. Nearly every one of you has heard him, thanks to guess spots with The Byrds and Paul Simon. His breakthough hit from 1968 — the infectious "Grazing In The Grass" — is here, along with another 11 tracks recorded at Blues Alley, the U.S. club that gave us Eva Cassidy. Notably, despite its early-1990s origins, this is all-analogue." — Sound Quality = 90% - Ken Kessler, HiFi News, May 2018

"...Hope is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps." - Wayne Garcia, The Absolute Sound, August 2008

"...The high quality original mix plus Analogue Productions' superb mastering has resulted in a terrific, very transparent sonic with great impact." - John Henry, Audiophile Audition

What more can be captured from the masterpiece that the late trumpet great Hugh Masekela left devoted fans, the effervescent Hope. Now cut at 45 RPM and spread over four 200-gram premium LPs, you're about to discover the answer to that question. The eight sides of vinyl reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. And this set is plated and pressed at Quality Record Pressings, Acoustic Sounds' own industry-lauded LP manufacturer. Virtually silent surfaces coupled with sharp delineation of musical detail are QRP pressing hallmarks.

Two Stoughton Printing old-style tip-on gatefold jackets house the four LPs, which are contained in a custom-designed slipcase reproducing the original artwork.

A longtime audiophile demonstration disc. Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound — WOW!

Unlike a prior 45 RPM version that included seven songs, this 45 RPM reissue contains the full program as originally recorded with all 12 tracks included! Plus, as an added bonus, we've included a special insert — featuring an exclusive interview with Grammy/Emmy Award-winning engineer David Hewitt, who recorded Hope originally.

"Hugh's record is right up near the top for a lot of reasons," Hewitt says.

Hewitt and his team were afforded the time they needed, and they pulled out all the stops to pull off what's now recognized as an all-time great recording. They used better-quality microphones, they were mic-ing the room for ambient sound, and Masekela was performing for a sophisticated and appreciative audience.

"We used stuff from our stash of mics as opposed to what you'd find typically at a jazz club. We actually had control via the record label and producers, so we could take our time. We had the ability to mic the room for abient sound. ... you've got people that actually know and appreciate the music and respond accordingly. What you've got there is all the right stuff at the right time and the right people, and then something magical happens."

Listen to that magic unfold — put on this Analogue Productions 45 RPM 4LP reissue of Hope, and be transported.

One of the inventors of the modern bebop style of drumming, Blakey is known as a powerful musician and a vital groover; his brand of bluesy, funky hard bop was and continues to be profoundly influential on mainstream jazz.

For more than 30 years his band, Art Blakey & The Jazz Messengers included many young musicians who went on to become prominent names in jazz. Recorded in 1956, Art Blakey's Drum Suite is a wonderful hybrid of African, Latin, and hard bop rhythms that prefigures the concept of Afro-beat by at least a decade. The sheer energy, not to mention its very special and fresh-sounding intimacy, make it especially astounding.

Even more amazing is that the three parts of the suite -- Blakey's "The Sacrifice," Ray Bryant's "Cubano Chant," and Oscar Pettiford's "Oscalypso" -- were recorded straight through live, and were only intended to be a pre-take run-through. As is obvious here, Blakey and company nailed the whole thing right out of the box.

Groundbreaking for its time, and still sounding vital, powerful, and visionary, the Drum Suite album is somewhat of a lost masterpiece that deserves a fresh audience.

"Art Blakey's first release for Columbia Records is essentially two records. Side one is a percussion ensemble playing what would, ten years later, be called Afro-Cuban drumming. Side two is the mid-fifties version of the Jazz Messengers featuring Jackie McLean on saxophone. Side one features Blakey, Jo Jones and Charles Wright on drums, Candido and Sabu on bongos, and Oscar Pettiford and bass and cello. The group plays three compositions, one by Blakey, one by Pettiford and one by Ray Bryant, fusing African, Cuban, and calypso percussion into a well-integrated suite.

"The group recorded a run through and it was so perfectly executed that they used the practice run for the release, unedited except to add some Swahili chants by the percussionists during a few passages. One cannot help but think of Olantunji's Drums of Passion, another Afro drumming landmark, here. Blakey's drum suite was recorded at Columbia's 30th Street studios in New York in 1957 and is in mono. The almost stereoscopic image is truly remarkable. Mastered by Kevin Gray and pressed at RTI, Drum Suite is a valuable record of one of the most important figures in jazz history. Recording: 9/10. Music 9/10." - Dennis Davis, Hifi+

"...The three-part suite was laid down in one take with no arrangements, and begins with a few tympani thwacks followed by an African chant. Soon the ensemble kicks in and the group takes off an a sweaty Afro-Cuban-bop journey that will leave you breathless, as the thing crackles with terrific energy. Side Two is more conventional hard bop, but given this group's mastery of if not invention of the style, these tracks are extremely satisfying. Kevin Gray's remastering is detailed and immediate, with plenty of bit and air, if not the widest dynamic range. For anyone interested in percussion of this genre, this is not to be missed." - Wayne Garcia, The Absolute Sound

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Recorded at the Hollywood Palladium, Los Angeles in 2018, ‘Sunset 666’ is a new live album from The Jesus and Mary Chain, due out August 4th 2023 on Fuzz Club. In 1990, a young American band, full of a precise kind of noise and darkness, were special guests on the US tour being undertaken by a group who had noise and darkness, poise and catharsis of their own. The young band: Nine Inch Nails. Those headliners: The Jesus and Mary Chain. Almost thirty years later, an invitation was extended. Would the Reid brothers care to reverse the roles and open for Nine Inch Nails on their own North American tour? Trent Reznor had been a fan of the Mary Chain, and influenced by them since hearing 'Psychocandy', so it felt a good fit and the Reid brothers accepted. The resulting tour ended with a run of six shows at LA’s Hollywood Palladium and the seventeen tracks captured on the ‘Sunset 666’ double album were recorded from the desk on two of those nights. Sides A, B and C are from the final show, December 15. Those twelve songs were the full set that night, in sequence, meaning the show began with the here-we-f*cking-go drums of ‘Just Like Honey’ and ended with the ferocious euphoria of an eight-and-a-half minute ‘Reverence’. Side D of the vinyl record is taken from the December 11 show and serves almost as a mini-showcase of the ‘Automatic’ album, featuring versions of ‘Blues From A Gun’, ‘Between Planets’ and ‘Halfway To Crazy’.

Four full-cast radio episodes based on the hit series, adapted by David Renwick from his TV scripts.
Having been made redundant from his job by an electronic box, crabby Victor Meldrew is faced with the
prospect of finding his feet in an increasingly frustrating world. In these four episodes – Alive and Buried,
Timeless Time, In Luton Airport No-one Can Hear You Scream and The Beast in the Cage – things hilariously
go from bad to worse for Victor and his long-suffering wife, Margaret.
Written by David Renwick, and starring Richard Wilson as Victor and Annette Crosbie as Margaret, these
highly entertaining BBC Radio 2 adaptations also feature a supporting cast including Doreen Mantle, Owen
Brenman, Sally Grace, Jeffrey Holland, Jon Glover and Michael Fenton-Stevens.
Presented in full-colour inner bags, depicting the everyday trappings of Victor’s life, two burgundy 140g
vinyl LPs are housed in an illustrated wide-spine outer sleeve -complete with coffee-spilled rear. You simply
won’t believe it!

The Fall's fourth studio album Perverted by Language was released in 1983. The album was produced by the band's vocalist and songwriter Mark E. Smith and recorded at various studios in Manchester.

Perverted by Language features some of The Fall's most renowned tracks, including "Garden". The album's sound is characterized by its sharp and angular post-punk guitar riffs, driven by a heavy bass and drums rhythm section, all layered with Mark E. Smith's distinctive vocals.

Lyrically, Perverted by Language deals with themes of alienation, disorder, and the unpredictability of modern life. Smith's idiosyncratic and cryptic wordplay, including his penchant for inventing new words and phrases, adds to the album's overall sense of unease and dislocation.

Despite its challenging sound and lyrics, Perverted by Language is considered by many critics and fans to be one of The Fall's finest albums, showcasing the band at their creative and innovative peak. The album is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl and includes an insert.

Bold arrangements, excitingly honest lyricism and a riveting voice: Viennese Singer-Songwriter “Lorenz Ambeek” emanates the virtuosity of José Gonzalez and Eliott Smith (MUSIKEXPRESS / FM4). With his first two singles counting over a million streams, paired with chart positions and international airplay, Lorenz’ first album “Look at Me Now” sets sail for a promising musical future: 2023 will thus see the young artist release his 10-track debut-album, alongside several singles and live concerts.

“Look at Me Now” comes with a professional marketing-campaign of visualizer promotion on social media (TikTok & Meta), online marketing and print&online PR for Europe. Previously on chart positions and rotation in Germany (NDR2, EgoFm, FluxFM), Austria (FM4, 88.6) and France (FIP).

Singer-songwriter house, outsider or campfire dance. Katerina’s full-blown debut EP for Running Back melds cultural images of both places she calls home. Alternatively hailing from Helsinki or Sofia, she serves ethereal vocals, heartbreaking melodies and the chilly melancholic strains of the north to meet an optimistic and at times cheerful mood, paired with pop music themes, heavy bass lines and an upbeat drum section. Six tracks of idiosyncratic and independent dance motifs (including two ambient takes) that all go against the grain of the fast pace of life today, cheap thrills and unnecessary kills. All symbolized in the lyrics of the lead song Get To Know You or the instrumental love ballad Rain In Her Eyes and bound together by Marsu The Cat or Time Machine. An EP with the depth of an LP, lots of weight and even more character. Powerful, wonderful and more durable than the remains of one day.

In Japanese, the word “Guru-Guru” refers to the state of spinning, whirling.?
This state is captured in the work of Japanese artist Hoshina Anniversary, who makes his third appearance on MUSAR with his EP Guru Guru and marks the return of the label after an extended break.

Hoshina’s self-titled brand of ‘Watechno’ has appeared on well-loved dance music labels like ESP Institute, Volvox’s Jack Dept and Young Marco’s Safe Trip, alongside MUSAR where he also appeared as Shifting Gears back in 2022; an electronic-jazz-centered moniker.

His Guru Guru EP captures the latest snapshot of Hoshina’s sound and sees him draw from Japanese language as a through-line.
The title track is the clearest representation of his ‘Watechno’, where he uses Japanese instrumentation on top of a menacing EBM-style march. The track's slowly whirling momentum is the “Guru-Guru”.

On tracks like “Banri”, which means far away in Japanese, we see new shades to Hoshina’s work as he mixes a Japanese Wadaiko drum groove with acidic elements and piano melodies to make a track of contradictions which pairs roughness with elegance. Whereas on “Usagi”, Japanese for rabbit, Hoshina fires up the BPM.
Piano melodies remain here but their effect is more drifting and emotive than on “Banri”.
“Kaga” is named after a place in the southernmost part of Ishikawa Prefecture, between Kanazawa City and Fukui City.
On this track, Hoshina’s love for jazz comes through and even mirrors the work we heard from him under Shifting Gears.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

TEMPLE OF DREAD bleiben dem Old School Death Metal grundsätzlich auch auf ihrem vierten Albumhammer "Beyond Acheron" treu. Dazu haben die Ostfriesen den Fokus auf eine dunkle und schwere Atmosphäre gelegt und mit einigen schönen Prisen Melancholie sowie schwarzen Momenten abgerundet. Das stählerne Sahnehäubchen liefern Gastbeiträge des ehemaligen MORGOTH und INSIDIOUS DISEASE Sängers Marc Grewe sowie GOD DETHRONED Frontmann Henri Sattler ab. Die Texte stammen aus der blutigen Feder von Bandfreund und Wortschmied Frank Albers. Die Zeilen des Psychologen drehen sich um antike Mythen und Historie mit Protagonisten wie Ikarus, Vulkan, Hades, Kleopatra und Marcus Antonius. Auch das Cover Artwork von "Beyond Acheron", das vom gefeierten italienischen Künstler Paolo Girardi gestaltet wurde, bleibt beim antiken Thema und zeigt Charon, den Fährmann der griechischen Unterwelt Hades. Die massive Produktion von "Beyond Acheron" stammt von TEMPLE OF DREADs Schlagzeuger Jörg Uken, der in seinem weit bekannten Soundlodge Tonstudio unter anderem bereits Alben von DEW-SCENTED, GOD DETHRONED, OBSCENITY, SUICIDAL ANGELS und WARPATH aufgenommen hat. TEMPLE OF DREAD wurden auf Spiekeroog im Jahr 2017 von Gitarrist Markus Bünnemeyer als Ventil für seine Old School Death Metal Ambitionen gegründet. Im Jahr 2018 stießen Sänger Jens Finger und Schlagzeuger Jörg Uken dazu, mit denen Bünnemeyer auch bei Slaughterday aktiv war. Schon im nächsten Jahr erschien das Debütalbum "Blood Craving Mantras" (2019). Das Trio erwies sich als äußerst kreativ und zwei weitere Alben folgten binnen kurzer Zeit: "World Sacrifice" (2020) und das von der Kritik hochgelobte "Hades Unleashed" im Jahr 2021. Mit "Beyond Acheron" setzen TEMPLE OF DREAD neue Maßstäbe für intelligente Death Metal Brutalität!

When The View reconvened last year after five years apart, the three old-friends realised just how much they have missed... well, everything about being in a band: the rush of seeing an audience react to their performances, the camaraderie of being together, a simple jam idea evolving into a fully-fledged song. A run of comeback gigs at Glasgow"s O2 Academy saw all 10,000 tickets sold in advance, the fan reaction was overwhelming and they were even joined on-stage by an old friend in the shape of "Line of Duty" actor Martin Compston. After all that, how could you resist wanting more? Especially as their rehearsals for the shows saw the band conjure up a wealth of new song ideas just like they did back when they first started out. And so The View today announce that "Exorcism of Youth" - their first album since 2015 - via Cooking Vinyl.

"Life Plans and Parallel Side Tracks" by Ismael Zouaoui (aka Ish) is the highly anticipated album on Libertine Records. Spanning Electro, Drum 'n' Bass, Dark-Wave, and Ambient, Ish's versatile production shines. Inspired by diverse influences like Brave New World, Japanese Anime, and early Techno/Trance, the album's contemporary, textured sound captivates.

Blaue Vinylversion! Exklusiv für den Indie-Handel! Vona Vella (Izzy Davis und Dan Cunningham), die Antwort von Leicestershire auf Jane Birkin und Serge Gainsbourg, veröffentlichen diesen Sommer ihr gleichnamiges Debütalbum über Strap Originals. Zwölf sensationelle Indie-Perlen, die die Kunst des Duos sonnige Gitarrenklänge mit poetischern Texten zu kombinieren, die nicht immer so niedlich sind, wie sie auf den ersten Blick klingen. Vona Vella" wurde im Albion Rooms Studio von The Libertines in Margate aufgenommen und von Jason Stafford (Jamie T, Sports Team, The Libertines) und Vona Vella produziert. Alle zwölf Tracks des Albums wurden von dem Duo gemeinsam geschrieben: Dan an der Gitarre und am Klavier, Izzy an der Gitarre und der Flöte... und Jake Bott am Schlagzeug. Nachdem sie letztes Jahr als Support für die Libertines, Tim Burgess und Morcheeba und letzten Monat für Peter Doherty auf Tournee waren, traten Vona Vella auch bei The Great Escape in Brighton auf. Weitere Headline-Shows und Festivalauftritte werden in Kürze bekannt gegeben. Vona Vella besteht aus den einundzwanzigjährigen Singer-Songwritern und Multiinstrumentalisten Izzy Davis und Dan Cunningham. Die Band wurde offiziell im Herbst 2020 gegründet, nachdem Ross Godfrey von der Band Morcheeba ihre (damals noch unveröffentlichte) Single "Sun" gehört und beschlossen hatte, sie zu remixen. Nach der Veröffentlichung erwies sich der Song als sofortiger viraler Hit und wurde über 1 Million Mal gestreamt. Anfang 2022 veröffentlichten Vona Vella ihre Debüt-EP "Go Outside Forever", die von keinem Geringeren als Paul Heaton (Housemartins, Beautiful South etc.) in den höchsten Tönen gelobt wurde. Im Januar dieses Jahres wurde ein Remix des Titeltracks der EP, "Go Outside Forever", im äußerst erfolgreichen Videospiel NBA2K23 verwendet.

THE CULT is fronted by Ian Astbury on vocals and Billy Duffy on guitar. Their music and albums at this point need no introduction as they have cemented themselves over the years since they began in 1983, as one of the greatest rock bands around. In 1991, their fifth album Ceremony was released. The follow up to the massive Sonic Temple marked a turning point in The Cult"s sound and style and it was their first album without longtime bassist Jamie Stewart. The album was a commercial success, reaching No. 25 on the Billboard chart and it remains a fan favorite and an important album in The Cult"s discography. The Cult continued to develop their sound on this album, and it is heavily influenced by Native American culture. Ceremony is a testament to The Cult"s ability to evolve and adapt while staying true to their roots and it"s songs are about spirituality, love and rebellion. It includes the singles "Wild Hearted Son" and "Heart Of Soul".

Cesaria Evora's album Voz d'Amor won a Grammy for Best Contemporary World Music Album in 2004. It features hit songs like "Jardim Prometido" and "Amdjer De Nos Terra." The album reached high positions on various European charts and peaked at #2 on the US Billboard World Albums Chart. It received Gold certifications in France, Poland, and Russia.

Voz d'Amor is the ninth album from the great Cape Verdean singer Cesaria Evora. It was awarded a Grammy Award for Best Contemporary World Music Album in 2004 and received much appraisal.

The album was recorded with musicians led by pianist Fernando (Nando) Andrade who have backed Cesaria on stage since the start of 2000 and appeared on her previous album São Vicente di Longe. It features the popular songs “Jardim Prometido”, “Amdjer De Nos Terra” and “Velocidade”. Voz d'Amor made it to the charts of different European countries and peaked at #2 on the US Billboard World Albums Chart. The album received a Gold certification in France, Poland, and Russia.

Voz d'Amor is available as a 20th anniversary edition of 1000 individually numbered copies on gold and black marbled vinyl and includes an insert with lyrics.

Mirai is a 2018 Japanese animated adventure fantasy comedy film written and directed by Mamoru Hosoda and produced by Studio Chizu (known for Belle, Wolf Children and The Boy and the Beast). The film stars the voices of Moka Kamishiraishi, Haru Kuroki and Gen Hoshino a.o. It was met with critical acclaim and became nominated for an Academy Award in 2019 for Best Animated Feature Film. Additionally, the movie received an Annie Award in the same year.

Mirai follows the story of a four-year-old boy named Kun whose world is turned upside down when he meets his new baby sister. After venturing into a magical garden, Kun encounters strange guests from the past and future, including his sister Mirai, as a teenager. Together, Kun and teenage Mirai go on a journey through time and space, uncovering their family's incredible story.

The soundtrack for the film was written by Masakatsu Takagi, who had previously scored Hosoda's Wolf Children and The Boy and the Beast. His work for Studio Chizu has been praised for its magical and whimsical atmosphere. For Mirai specifically, this dreamy aesthetic was mixed with a contemporary sound and made to be simple in tone and be reflective of family.

THE CULT is fronted by Ian Astbury on vocals and Billy Duffy on guitar. Their music and albums at this point need no introduction as they have cemented themselves over the years since they began in 1983, as one of the greatest rock bands around. In 1991, their fifth album Ceremony was released. The follow up to the massive Sonic Temple marked a turning point in The Cult"s sound and style and it was their first album without longtime bassist Jamie Stewart. The album was a commercial success, reaching No. 25 on the Billboard chart and it remains a fan favorite and an important album in The Cult"s discography. The Cult continued to develop their sound on this album, and it is heavily influenced by Native American culture. Ceremony is a testament to The Cult"s ability to evolve and adapt while staying true to their roots and it"s songs are about spirituality, love and rebellion. It includes the singles "Wild Hearted Son" and "Heart Of Soul".