Cerca:növö

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

Repress of Child's EP "I". "If you're familiar with CHILD and are particularly a sucker for the keyboard, I'm afraid I've got some bad news - It's mostly gone. Fear not, though, as their fuzz-infused blues is alive and kicking and is sure to continue to appeal to a lot of fans of different genres. The three songs follow as their lengths increase, starting with "Age Has Left Me Behind", clocking in at 03:47 and ending with "Going Down Swinging", a 10:20 jam which definitely raises the temperature and which I'm confident will be talked about for a long time. In-between, one can find "The Other Song", which is not just another song, but a sublime cover of Spirit's "The Other Song", originally released as part of the album "Son of Spirit" in 1975. A great tune started only by Michael (drums) and Danny (bass), to whom Mathias and his guitar join after around 20 seconds, and later with a lovely vocal melody which stands throughout the whole song - the less fuzzy song of the EP but definitely a pure beauty (so is the original)." - More Fuzz

Orange vinyl, limited to 350 copies. Repress of Child's EP "I". "If you're familiar with CHILD and are particularly a sucker for the keyboard, I'm afraid I've got some bad news - It's mostly gone. Fear not, though, as their fuzz-infused blues is alive and kicking and is sure to continue to appeal to a lot of fans of different genres. The three songs follow as their lengths increase, starting with "Age Has Left Me Behind", clocking in at 03:47 and ending with "Going Down Swinging", a 10:20 jam which definitely raises the temperature and which I'm confident will be talked about for a long time. In-between, one can find "The Other Song", which is not just another song, but a sublime cover of Spirit's "The Other Song", originally released as part of the album "Son of Spirit" in 1975. A great tune started only by Michael (drums) and Danny (bass), to whom Mathias and his guitar join after around 20 seconds, and later with a lovely vocal melody which stands throughout the whole song - the less fuzzy song of the EP but definitely a pure beauty (so is the original)." - More Fuzz

I Know I'm Funny haha is Webster's most realized manifestation yet of this emotional and musical alchemy. Continuing to bloom from her 2019 breakthrough and Secretly Canadian debut Atlanta Millionaires Club, Webster's sound draws as much from the lap-steel singer-songwriter pop of the 1970s and teardrop country tunes as it does from the audacious personalities of her city's rap and R&B community. The album began for Webster with the stirring ballad "In a Good Way," as in "You make me want to cry in a good way"_an instantclassic Faye Webster one-liner. It's beguilingly simple, the kind of melody and arrangement that seem to have existed forever. A sense of relief charges the neo-psychedelic pop of "Cheers," where Webster experiments with an overdriven guitar tone. She also collaborated, on "Overslept," with the Japanese artist Mei Ehara, who she calls the biggest influence on her new music. Webster's music is full of personality. Many of her songs contain bits of girl-group-esque talk-singing, which color her atypical storysongs. Webster says she's in a growth mindset, pushing herself to learn more, to be more vulnerable. "Growth is really important to me," she says. "I hope people will relate to my songs, and not just be like `this is a good record' but `this makes me feel something. This is making me think differently, this is making me question things.' I told myself a few years ago that I was going to be more honest in my songwriting, that honesty is the best route to take with music. If I have a voice and people are listening to me, I'm not going to waste it."

Nach zwei von der Kritik hochgelobten Alben, zahlreichen Mini-LPs, EPs und Singles kehrt das Londoner Trio Girls In Synthesis mit seinem neuen Statement, dem dritten Album "Sublimation", zurück. Wenn du dachtest, du kennst GIS bereits, dann irrst Du Dich diesmal vielleicht.GIS gehen weiter und haben eine düstere und intensive, aber dennoch melodische Sammlung von Tracks erschaffen, ihre Interpretation einer kantigen Pop-Platte. Der Opener 'Lights Out' besteht aus zwei Teilen; der erste ist ein Barrett-eskes Gesangs- und Gitarren-Lamento über Schlafmangel, das über eine von 'Faust Tapes' beeinflusste Freeform-Noise-Sektion in einen stampfenden, hochintensiven Showdown übergeht. In Songs wie "Deceit", "We Are Here" und "Picking Things Out Of The Air" zeigt sich die Gruppe von ihrer melodischsten Seite, indem sie einige der chaotischen Noise-Elemente ihres charakteristischen Sounds auf ein Minimum reduziert und leidenschaftliche, schwebende Vocals und Keyboard-Melodien in den Vordergrund stellt. Ihr Markenzeichen, das treibende Schlagzeug und der Bass, ist besonders bei den Stücken "I Judge Myself" und "Corrupting Memories" zu hören, wird aber durch intensive, vom frühen Gothic beeinflusste Keyboardlinien ergänzt, die Einflüsse aus den späten 1970ern/frühen 1980ern mit der zeitgenössischen GIS-Intensität in Einklang bringen. Die langsam sich steigernden Tracks 'I Was Never There' und 'The Prefix' bauen mit spärlichen Arrangements und kreisenden, spiralförmigen Outros Spannung und Atmosphäre auf, während die Band im abschließenden 'A Damning Lesson' zu ihrer intensiven, knüppelnden Soundwand zurückkehrt, nur um sie in eine verschwommene, hallende Drum-Machine zu schicken, die an die frühen Arbeiten von Cabaret Voltaire erinnert. Nächstes Kapitel, nächstes Level für GIS!

Nach zwei von der Kritik hochgelobten Alben, zahlreichen Mini-LPs, EPs und Singles kehrt das Londoner Trio Girls In Synthesis mit seinem neuen Statement, dem dritten Album "Sublimation", zurück. Wenn du dachtest, du kennst GIS bereits, dann irrst Du Dich diesmal vielleicht.GIS gehen weiter und haben eine düstere und intensive, aber dennoch melodische Sammlung von Tracks erschaffen, ihre Interpretation einer kantigen Pop-Platte. Der Opener 'Lights Out' besteht aus zwei Teilen; der erste ist ein Barrett-eskes Gesangs- und Gitarren-Lamento über Schlafmangel, das über eine von 'Faust Tapes' beeinflusste Freeform-Noise-Sektion in einen stampfenden, hochintensiven Showdown übergeht. In Songs wie "Deceit", "We Are Here" und "Picking Things Out Of The Air" zeigt sich die Gruppe von ihrer melodischsten Seite, indem sie einige der chaotischen Noise-Elemente ihres charakteristischen Sounds auf ein Minimum reduziert und leidenschaftliche, schwebende Vocals und Keyboard-Melodien in den Vordergrund stellt. Ihr Markenzeichen, das treibende Schlagzeug und der Bass, ist besonders bei den Stücken "I Judge Myself" und "Corrupting Memories" zu hören, wird aber durch intensive, vom frühen Gothic beeinflusste Keyboardlinien ergänzt, die Einflüsse aus den späten 1970ern/frühen 1980ern mit der zeitgenössischen GIS-Intensität in Einklang bringen. Die langsam sich steigernden Tracks 'I Was Never There' und 'The Prefix' bauen mit spärlichen Arrangements und kreisenden, spiralförmigen Outros Spannung und Atmosphäre auf, während die Band im abschließenden 'A Damning Lesson' zu ihrer intensiven, knüppelnden Soundwand zurückkehrt, nur um sie in eine verschwommene, hallende Drum-Machine zu schicken, die an die frühen Arbeiten von Cabaret Voltaire erinnert. Nächstes Kapitel, nächstes Level für GIS!

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

A leading Norwegian bassist for over 30 years, ECM legend Arild Andersen forges promising relation-ships with two rising stars - Daniel Sommer (drums) and Rob Luft (guitar) in an expansive, playful exploration of song and collective improvisation. As Time Passes " is set to release on April 26th on April Records. Led by Sommer, the release signifies the first chapter of the drummers much much-anticipated Nordic trilogy on April Records, aiming to capture and document Nordic improvisation and composition across three carefully curated ensembles. Bassist Arild Andersens storied career stretches back to the 1970"s as one of ECM s first recording artists, collaborating with household names of the genre including Jan Garbarek, Don Cherry, Bill Frisell, John Taylor, Sonny Rollins, Chick Corea, and the list goes on. Welcoming the opportunity to work with and nurture younger artists, the ensemble was born when Daniel Sommer selected Andersen for a project during his studies at the Danish National Academy of Music. Later, impressed by Luft s performances in Ireland and Norway, Andersen suggested expanding the pair into a trio. A transcendent musical voyage, As Time Passes " blurs the lines of conventional trio roles, and celebrates the evolution of jazz as a fluid, versatile form of expression. By providing each musician the freedom of becoming a key contributor in the melodic discourse, the trio channels the spirit of jazz veterans such as the Bill Evans Trio and free free-jazz ensemble Air, while echoing the sounds and innovations of pan pan-European contemporary jazz. Mixing pensive rubato ambience with energetic grooves, instrumental dexterity, a modern ECM ECM-esque sound and folk undertones, the record s compositional clarity combined with the spontaneity of a live performance flows across and between genres, borders and generations alike. Luft s intricately over-dubbed layers of acoustic guitars, vast reverbs, and contrapuntal melodies expand the sound of the three piece into an immersive world of textures. Rendered in the stark beauty of Andersen"s bass lines, the nuanced strokes of Sommer"s drums, and capped with the lush, expansive timbres of Luft"s guitar, "As Time Passes" is a testament to enduring and ever ever-evolving wonder of Jazz.

20204 Reissue

Nach Acid Kings hochgelobtem 2023er Album Beyond Vision, das weltweit große Aufmerksamkeit erregte und sogar in die Billboard Top 100 Albums Charts einstieg, präsentiert Blues Funeral eine brandneue, aktualisierte Ausgabe des 2015er Werks der Band. Middle of Nowhere, Center of Everywhere, das von vielen als Acid Kings bestes Werk angesehen wird, wurde auf seinem ursprünglichen Label nur in begrenzter Auflage veröffentlicht und ist seit geraumer Zeit vergriffen. Zur Feier des 30-jährigen Bestehens einer der kultigsten Bands des Heavy Undergrounds präsentiert diese neue Blues Funeral Edition das bahnbrechende Doppelalbum mit aktualisiertem Artwork und einer exklusiven mehrfarbigen Vinyl-Konfiguration speziell für den Record Store Day. Gatefold 2xLP mit siebbedruckter Seite D. Aktualisiertes Cover-Artwork, Siebdruck auf Seite D und neue exklusive, mehrfarbige Vinyl-Editionen für jedes RSD-Gebiet! Die Vinylfarbe für RSD GER & EU ist Orange mit weißem Galaxy/Mamor-Effekt, limitiert auf 500 Stück.

Das Noise-Kollektiv Knives aus Bristol hat die britische Alternative-Szene mit ihrer poppigen Mischung aus Post-Punk, Hardcore, Rap und Noise im Sturm erobert. Die Band kehrt mit ihrem Mini-Album "What We See In Their Eyes" zurück, um ihre Unzufriedenheit mit bestimmten Personen aus Bristol zum Ausdruck zu bringt, die dem einladenden Image der Stadt widersprechen. Die EP ist ein vertontes Spiegelbild und lädt den Hörer dazu ein, sich in die Lage der Unzufriedenen zu versetzen. Die Knives haben eine beeindruckende Resonanz zu ihren Live Shows erfahren. Vom ausverkauften Rough Trade Bristol bis hin zu Auftritten an der Seite von Bands wie Mclusky, CLT DRP, Tokky Horror, LIFE und Enola Gay - ihr chaotisches Liveset zieht jeden im Publikum in seinen Bann. 2024 wird ein aufregendes Jahr für die Knives werden, denn sie versprechen weitere schreiende Hymnen, die unsere gesellschaftlichen Herausforderungen kritisieren, sowie viele weitere Shows in ganz Großbritannien und der EU.

Ltd 140G Crystal-Clear-White Marbled Vinyl und 140G schwarzes Vinyl erhältlich!

Ltd Edition!

Das Noise-Kollektiv Knives aus Bristol hat die britische Alternative-Szene mit ihrer poppigen Mischung aus Post-Punk, Hardcore, Rap und Noise im Sturm erobert. Die Band kehrt mit ihrem Mini-Album "What We See In Their Eyes" zurück, um ihre Unzufriedenheit mit bestimmten Personen aus Bristol zum Ausdruck zu bringt, die dem einladenden Image der Stadt widersprechen. Die EP ist ein vertontes Spiegelbild und lädt den Hörer dazu ein, sich in die Lage der Unzufriedenen zu versetzen. Die Knives haben eine beeindruckende Resonanz zu ihren Live Shows erfahren. Vom ausverkauften Rough Trade Bristol bis hin zu Auftritten an der Seite von Bands wie Mclusky, CLT DRP, Tokky Horror, LIFE und Enola Gay - ihr chaotisches Liveset zieht jeden im Publikum in seinen Bann. 2024 wird ein aufregendes Jahr für die Knives werden, denn sie versprechen weitere schreiende Hymnen, die unsere gesellschaftlichen Herausforderungen kritisieren, sowie viele weitere Shows in ganz Großbritannien und der EU.

Ltd 140G Crystal-Clear-White Marbled Vinyl und 140G schwarzes Vinyl erhältlich!

Razor-sharp production of the highest order from two of the masters of the early 80™s Rio de Janeiro boogie sound, Robson Jorge and Lincoln Olivetti. Both were highly acclaimed music producers of the time, starting around the mid-70™s. Over the course of his career Olivetti worked with artists including Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more. The album takes in mid-tempo, AOR, boogie and even latin all way through the tempo™s to ultra-quick Prince style disco-funk workouts. Includes several standout tracks  ˜Aleluia™ and ™Ginga™ being our two favourites. Synths, horns, claps, drum machines, guitars, keys and vocal harmonies combine effortlessly.

Das neue Album "Pandemonium II: The Battle of the Underworlds" des norwegischen Gothic Industrial Metal Phänomens GOTHMINISTER setzt die Geschichte des Vorgängeralbums "Pandemonium I" fort. GOTHMINISTER aus Norwegen ist ein unbeschreibliches Phänomen. Ein Faktor dieses Faszinosums ist die einzigartige Mischung aus modernem Gothic Industrial Metal, tanzbaren EDM-Parts sowie einer Prise Retro-Charme. Weitere Faktoren sind sicherlich die beeindruckenden theatralischen Liveshows oder die aufwendigen Musikvideos, die bisher mehr als 30 internationale Filmpreise erhielten. Die Musik ist schneller und eingängiger als je zuvor, gleichzeitig aber auch komplexer und moderner geworden.
Als Digipak & limitierte transparente Vinyl erhältlich.

"Look to the East, Look to the West", das neue Album von Camera Obscura, ist eine Offenbarung. Die von Tracyanne Campbell geleitete Band hat sich wieder mit dem Produzenten Jari Haapalainen zusammengetan und ein Album geschaffen, das daran erinnert, warum die langjährigen Fans sie seit Jahrzehnten heiß und innig lieben, und das gleichzeitig ihr bisher anspruchsvollstes Werk ist. Es ist auch das am härtesten umkämpfte Album in der Karriere von Camera Obscura. Nach dem Tod von Gründungsmitglied, Keyboarder und Freund Carey Lander im Jahr 2015 (an den der vorletzte Track "Sugar Almond" gerichtet ist), ging die Band in eine längere Pause. Sie blieben in Kontakt, aber ihr Status war ungewiss. Nachdem sie eingeladen worden waren, im Rahmen von Belle & Sebastians Kreuzfahrtfestival Boaty Weekender 2019 aufzutreten, kündigten sie ihre Rückkehr an. Donna Maciocia (Keyboards und Gesang) stieß bei diesen Shows zu den Gründungsmitgliedern Kenny McKeeve (Gitarre und Gesang), Gavin Dunbar (Bass) und Lee Thomson (Schlagzeug und Perkussion) und ist seitdem Songwriting-Partnerin von Campbell. Aufgenommen im selben Raum, in dem Queen "Bohemian Rhapsody" schrieb, fühlt sich "Look to the East, Look to the West" groß an, eine Breitwand-Neuinterpretation des Camera Obscura-Sounds, bei der die Band paradoxerweise zu den Grundlagen zurückkehrte - es gibt keine Streicher- oder Bläserarrangements, der Schwerpunkt liegt auf Klavier, Synthesizern, Hammond-Orgel und Drumcomputern, und, was vielleicht am auffälligsten ist, die Gruppe hat den Hallschleier fallen lassen, der ihre früheren Alben charakterisierte. Der Hauch von Country und Soul, der Camera Obscuras barocke Interpretation von Popmusik so bittersüß macht, war noch nie so offensichtlich - die Gitarren schimmern in die Ferne, die Tasten spuken, und Campbells Stimme sucht nach dem Herzen, reflektiert über Liebe, Verlust und den Lauf der Zeit. "Look to the East, Look to the West" ist Camera Obscura in seiner besten und eindrucksvollsten Form, ein Album, das den emotionalen Kern des Hörers völlig neu ordnet und ihn gleichzeitig traurig und beschwingt zurücklässt. Der Katalog von Camera Obscura ist voll von Liedern, die Menschen als lebensverändernd bezeichnen, Lieder, die sie ihr ganzes Leben lang begleiten werden. "Look to the East, Look to the West" hat 11 davon zu bieten.

Galaxy Vinyl-
blue + white vinyl pressed galaxy effect in a gatefold jacket with lyrics.

"Look to the East, Look to the West", das neue Album von Camera Obscura, ist eine Offenbarung. Die von Tracyanne Campbell geleitete Band hat sich wieder mit dem Produzenten Jari Haapalainen zusammengetan und ein Album geschaffen, das daran erinnert, warum die langjährigen Fans sie seit Jahrzehnten heiß und innig lieben, und das gleichzeitig ihr bisher anspruchsvollstes Werk ist. Es ist auch das am härtesten umkämpfte Album in der Karriere von Camera Obscura. Nach dem Tod von Gründungsmitglied, Keyboarder und Freund Carey Lander im Jahr 2015 (an den der vorletzte Track "Sugar Almond" gerichtet ist), ging die Band in eine längere Pause. Sie blieben in Kontakt, aber ihr Status war ungewiss. Nachdem sie eingeladen worden waren, im Rahmen von Belle & Sebastians Kreuzfahrtfestival Boaty Weekender 2019 aufzutreten, kündigten sie ihre Rückkehr an. Donna Maciocia (Keyboards und Gesang) stieß bei diesen Shows zu den Gründungsmitgliedern Kenny McKeeve (Gitarre und Gesang), Gavin Dunbar (Bass) und Lee Thomson (Schlagzeug und Perkussion) und ist seitdem Songwriting-Partnerin von Campbell. Aufgenommen im selben Raum, in dem Queen "Bohemian Rhapsody" schrieb, fühlt sich "Look to the East, Look to the West" groß an, eine Breitwand-Neuinterpretation des Camera Obscura-Sounds, bei der die Band paradoxerweise zu den Grundlagen zurückkehrte - es gibt keine Streicher- oder Bläserarrangements, der Schwerpunkt liegt auf Klavier, Synthesizern, Hammond-Orgel und Drumcomputern, und, was vielleicht am auffälligsten ist, die Gruppe hat den Hallschleier fallen lassen, der ihre früheren Alben charakterisierte. Der Hauch von Country und Soul, der Camera Obscuras barocke Interpretation von Popmusik so bittersüß macht, war noch nie so offensichtlich - die Gitarren schimmern in die Ferne, die Tasten spuken, und Campbells Stimme sucht nach dem Herzen, reflektiert über Liebe, Verlust und den Lauf der Zeit. "Look to the East, Look to the West" ist Camera Obscura in seiner besten und eindrucksvollsten Form, ein Album, das den emotionalen Kern des Hörers völlig neu ordnet und ihn gleichzeitig traurig und beschwingt zurücklässt. Der Katalog von Camera Obscura ist voll von Liedern, die Menschen als lebensverändernd bezeichnen, Lieder, die sie ihr ganzes Leben lang begleiten werden. "Look to the East, Look to the West" hat 11 davon zu bieten.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

New York Blues Hall of Fame inductee Bette Smith returns with her 3rd studio album – ‘Goodthing’ – a triumphant injection of soul music and gospel into rock & roll. Produced by Grammy-winning producer Jimmy Hogarth (Amy Winehouse, James Bay, Paulo Nutini, Sia), the album showcases Bette Smith’s penchant for anthemic, feel-good Soul Rock carried by her signature raspy, soulful vocals inspired by legends Tina Turner, Aretha Franklin and Etta James.

Tracing elements of her sound to her childhood in rough Bedford-Stuyvesant, Brooklyn, Bette connects the soul music she heard on the corners with the gospel music she heard in church and around the house every weekend - “My mother listened to nothing but gospel,” she recalls, citing Mahalia Jackson and Reverend James Cleveland as other influences.

The album sees her sound scale new heights, and build on the accolades she received on 2017’s debut ‘Jetlagger’ and 2020’s ‘The Good, The Bad, and The Bette’, and her tremendous range and power combined with ‘Goodthing’’s infectious energy, solidify her position as an authentic and dynamic rising soul artist, an iconic force in music.

New York Blues Hall of Fame inductee Bette Smith returns with her 3rd studio album – ‘Goodthing’ – a triumphant injection of soul music and gospel into rock & roll. Produced by Grammy-winning producer Jimmy Hogarth (Amy Winehouse, James Bay, Paulo Nutini, Sia), the album showcases Bette Smith’s penchant for anthemic, feel-good Soul Rock carried by her signature raspy, soulful vocals inspired by legends Tina Turner, Aretha Franklin and Etta James.

Tracing elements of her sound to her childhood in rough Bedford-Stuyvesant, Brooklyn, Bette connects the soul music she heard on the corners with the gospel music she heard in church and around the house every weekend - “My mother listened to nothing but gospel,” she recalls, citing Mahalia Jackson and Reverend James Cleveland as other influences.

The album sees her sound scale new heights, and build on the accolades she received on 2017’s debut ‘Jetlagger’ and 2020’s ‘The Good, The Bad, and The Bette’, and her tremendous range and power combined with ‘Goodthing’’s infectious energy, solidify her position as an authentic and dynamic rising soul artist, an iconic force in music.

Das irische Rockduo Dea Matrona der beiden Belfaster Schulfreundinnen Mollie McGinn und Orlaith Forsythe hat mit knallharten Riffs und musikalischer Intensität einen seltenen, sensationellen Sound etabliert – düster und echt, aber voller Melodien und Stil. Ihr Debütalbum 'For Your Sins' ist eine mitreißende Mischung aus Indiepop, Hardrock, hervorragender Raffinesse und Einflüssen von Fleetwood Mac, HAIM, The White Stripes und Arctic Monkeys. Krachende Basslines und schwere Instrumental-Grooves zeugen von einem kühnen, sensationellen Rockethos mit modernem Touch.

From the studio of Attack on Titan, comes a new show - CHAINSAW MAN. This vinyl includes score highlights by Kensuke Ushio from the hit series The soundtrack album by Kensuke Ushio taps into different styles whilst at the core reflecting the action-gore story with lots of electronic & industrial beats and fast-paced melodies. As a contrast, the focus track "that's a dream come true" is a slow-vibing piano track with electronic beats that shows the rare but intense emotional scenes in the show. Kensuke Ushio started his solo career in 2007 under “agraph”. and creates electronic music. He has worked on music for animation TV series, music in advertising and movies such as: A Silent Voice, Devilman Crybaby, Space Dandy, Liz and the Blue Bird, Japan Sinks 2020, Heike Story and now Chainsaw Man.

A tribute to one of the greatest songwriters & artists of our time! Features newly recorded covers from Keith Richards, Joan Jett and the Blackhearts, Rufus Wainwright, Lucinda Williams, Maxim Ludwig & Angel Olsen, Rickie Lee Jones, Mary Gauthier, Bobby Rush, Automatic, The Afghan Whigs, and Rosanne Cash. Special Record Store Day Edition pressed on Silver Nugget vinyl and housed in a silver laminated jacket Booklet features liner notes by compilation producer & former Lou Reed publicist Bill Bentley, featuring photos by Mick Rock and Timothy Greenfield-Sanders. "To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! I miss him and his dog." - Keith Richards "Lou seemed fearless to me, like he'd rather die than be a people-pleaser. I took inspiration from that." - Rosanne Cash "Lou Reed is my earliest influence, my introduction to punk rock, and the soundtrack to the beginning of my romance with Maxim." - Angel Olsen "Lou Reed has been gone now for many years. He's one of the few people whom I miss as much now as when he left. There are so many instances where I wonder what he would say or what he would think. His general aura would always lend something really unique to the room. Thank God he left his great music and recordings. His personality is sorely missed. Love you, Lou." - Rufus Wainwright // It goes without saying that the legendary Lou Reed was a true rock 'n' roll pioneer. From The Velvet Underground's debut in 1967 all the way through the end of his days, Reed sang truth from his heart. He lived life to the limit-and then some. The Power of the Heart is a tribute to Reed's freedom of expression with covers spanning his ground-breaking years with the Velvets into his majestic solo career. Each track is a glorious extension of the Rock 'n' Roll Animal's soul, ever adventurous and avant-garde. The Power of the Heart: A Tribute to Lou Reed kicks off with a legend in his own right, Keith Richards, reimagining the Velvets' classic, "I'm Waiting for the Man." Richards' rendition instantly invites you on board this unforgettable ride. In stark contrast, "Perfect Day" is somehow even more melancholy than the original given the Rufus Wainwright treatment, featuring sparse fingerpicking and gentle harmonies. Joan Jett and the Blackhearts deliver a version of "I'm So Free" that would have even Lou rockin' in his grave. It's thrilling to hear these songs reinterpreted and sung by such heavyweights; you can even hear as Lucinda Williams channels the spirit of Lou with her take on "Legendary Hearts." Other notable tracks include a punk-drunk, loved-up duet by real-life lovers Angel Olsen & Maxim Ludwig with "I Can't Stand It," and Rickie Lee Jones' reimagining of "Walk on the Wild Side," both whimsical and enticing with her whispery vocals, stripped-down percussion, and a piano fit for a late-night lounge. This tribute album truly defies genre, but its throughline, in the end, is its heart: a deeply thoughtful collection of songs that shaped a generation, each paying homage to a man whose body of work still sings.

Deep Inspiration Show Records presents to you the Global Essence Sampler Part 2; created and curated with purpose, these 6 ¦ne delicacies nourish the mind and soul- on the A side we have Barce (Spain) featuring Roger Versey, Dan Piu (Zurich) and Zarenzeit (Valencia), providing a tour de force of style from blissfully jazzy & vocal Detroit House guides to paradise class deep vibes where late Nite Mediterranean meets Chicago auras arise. Melchior Sultana (Malta) introduces the Bside of the ride with instant club magic, remixing A1 in his own elegant & Profound way, followed by Dan Piu traversing the mind and ears through introspective Detroit Techno with soul permeating atmosphere, leading to the conclusion of this tour de force as He and Roger Versey (Ozarks,Arkansas) arrive as Passport bringing an eclectic collage of arcade funk sensibilities and warm analogue House to the occasion for the deeper persuasion. They say there is no genre, just the essence…Welcome and enjoy, the Global Essence Sampler Part 2. Mastered with passion by maestro Sven Weisemann.

Sonic Behavior by Driftmachine & Ammer is an album exploring the origins of sound, noise, and various music genres. Alongside lyrical declarations of love for noise ("Song To Noise"), the album delves into sonic reflections on how beauty and emotion emerge from mundane vibrations in the air ("The Siren Is A Simple Device"). For the first time, the analog sound researchers of Driftmachine (Andreas Gerth, Florian Zimmer) incorporate spoken language and noise into their sound research. They have collaborated with word and sound artist Andreas Ammer, renowned for his radio plays with Acid Pauli, aka Console ("Spaceman 85"), or FM Einheit ("Radio Inferno," "Symphony of Sirens").

In "The Siren Is A Simple Device," the words are spoken by 81-year-old musician and poet legend Ted Milton (Blurt, Loopspool). Despite its simplicity and obvious ability to produce high volumes, the siren has led a marginal existence as a musical instrument. Yet, it is capable of evoking the most intense emotional states in the listener in the shortest possible time, like almost no other sound-producing mechanism. "Sonic Behavior" capitalizes on this fact. The familiar hypnotic sounds of Driftmachine are accompanied by a siren organ inspired by the revolutionary Russian futurist Arsenij Avranov and built by Andreas Ammer, while the lyrics talk about the simple physical reasons behind the sound chaos that has just been unleashed: A siren ... chops the air into sound.

The core of the album is "Song To Noise," an electro-acoustic mini-symphony about the beauties of noise and all its producers, which is based on a poem by the British poet Deryn Rees-Jones and spoken by the poet herself and Alexander Hacke (Einstürzende Neubauten, Hackedepicciotto). Driftmachine & Ammer develop a soundtrack that is as powerful as it is loud and danceable (which is why the LP also includes a textless version of the composition).

"Sonic Sculpture" is the zenith of the work: a text/music track spoken by Ted Milton, which creates the possibility of a sound sculpture that encompasses the universe: What if one could imagine the infernal sound that encompasses all conceivable harmonies at the same time? A piano does when you throw it down an earthly staircase (the epitome of music is a piano falling down the stairs) through silent space to the next theoretically life-filled, Earth-like planet, Proxima Centauri B. The radio makes it possible. Driftmachine & Ammer tried it. The result will be heard there in 4.24 light-years. On planet Earth, the time has come on May 2, 2024. On this day, Sonic Behavior will be released, a conceptual album by Driftmachine & Ammer exploring sound, its creation, and its power.

"Pull The Rope", das neue Album von IBIBIO SOUND MACHINE, rückt die von Eno Williams und Max Grunhard geleitete Band in ein neues Licht. Die Hoffnung, die Freude und der Sexappeal ihrer Musik sind geblieben, aber die Verbindung, die sie mit ihrem hochgelobten Album "Electricity" (2022) herstellen wollen, hat den Schauplatz gewechselt, von der sonnigen Beschwingtheit eines sonnenbeschienenen Festivals zu einem schweißgetränkten, nächtelangen Tanzclub. Die Atmosphäre hat sich geändert, aber man hat immer noch die beste Zeit seines Lebens. Williams und Grunhard führen diese Veränderung auf die Zusammenarbeit mit dem in Sheffield ansässigen Produzenten Ross Orton (ARCTIC MONKEYS, M.I.A.) zurück, mit dem sie "Pull The Rope" innerhalb von zwei Wochen aufnahmen. Die Art und Weise, wie die beiden Songs schrieben, änderte sich erheblich - anstatt dass Eno die Texte zu der Musik schrieb, die Max und Co. beim Jammen kreierten, begann Orton damit, dass Eno und Max gemeinsam schrieben, bevor sie die Band hinzufügten. Mit weniger Zeit im Studio und einer neuen Art, über die Entstehung von Songs nachzudenken, gelang es dem Duo, Entscheidungen über den Sound von "Pull The Rope" schneller und instinktiv zu treffen als zuvor. Bei der Verschmelzung ihres Songwriting-Prozesses haben Grunhard und Williams das Kunststück vollbracht, IBIBIO SOUND MACHINE zu einer strafferen Band als je zuvor zu machen, die sich von ihrem Kern aus in einer Weise entwickelt, die die elektrisierende Gruppe von Musikern, mit denen sie spielen, hervorhebt. Anstatt mit der gesamten Band im Raum aufzunehmen, wurde "Pull The Rope" von Grunhard, Williams und Orton geformt, Elemente hinzugefügt und während des Prozesses endgültig gestaltet. Die Botschaft ihres fantastischen neuen Albums "Pull The Rope" ist Hoffnung in der Dunkelheit, Glückseligkeit trotz Tristesse. Wieder einmal sind IBIBIO SOUND MACHINE hier, um den Soundtrack für die beste Nacht deines Lebens und die bessere Welt zu liefern.

Karate Boogaloo aus Melbourne, Australien präsentieren mit Stolz "Hold Your Horses", ihre fesselnde neue Langspielplatte mit originalen Instrumentalstücken. Henry Jenkins, Hudson Whitlock, Callum Riley und Darvid Thor sind das Herzstück von Melbournes aufkeimender Instrumental-Soul-Bewegung und machen seit ihrer Schulzeit gemeinsam Musik. Die vier Freunde lernten sich in der Highschool kennen und haben die großen Instrumental-Bands wie Booker T & The MG's und The Meters genau studiert. "Hold Your Horses" ist Karate Boogaloos eigene Interpretation von instrumentalem Funk. Eine echte Reise vom Anfang bis zum Ende, bei der jedes Stück nahtlos in das nächste übergeht und eine Welt mit kinematischen Momenten, skurrilen Melodien und unheimlichen Dissonanzen erschafft, und von unbestreitbarem Super Heavyfunk untermauert wird. Alle Songs für "Hold Your Horses" wurden gemeinsam im Studio geschrieben, ohne dass eines der Mitglieder vorgefertigtes Material einbrachte. Es ist ein Prozess, der speziell darauf ausgelegt ist, die Stärken der Band und ihre Beziehung zueinander zu maximieren. Um das Erlebnis noch zu verstärken, erzeugt das LP-Cover (entworfen von dem in Melbourne lebenden visuellen Künstler Drez) ein interaktives optisches Kunsterlebnis, wenn die Innenhülle aus dem Umschlag entfernt wird. Karate Boogaloo ist ein Quartett, das mehr ist als die Summe seiner Teile; und die Teile allein sind sehr, sehr gut.

Limted version on 2LP transparent violet vinyl in gatefold sleeve, 300 copies! ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.



'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with HONEY (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, STUFF. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like ECHT!, Stellar Legions and TUKAN. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3:
"Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This album aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horse-mouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating in-strumental music all together!

"Black Sheep" ist ein spannendes Hörerlebnis mit einigen der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa. Er bringt die Stimmen von außen zum Schweigen und nutzt voll und ganz seine Vielseitigkeit: melodischere Hooklines, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und von Honey Dijon über Injury Reserve bis zu Rye Rye mit allen zusammengearbeitet.

"Black Sheep" ist ein spannendes Hörerlebnis mit einigen der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa. Er bringt die Stimmen von außen zum Schweigen und nutzt voll und ganz seine Vielseitigkeit: melodischere Hooklines, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und von Honey Dijon über Injury Reserve bis zu Rye Rye mit allen zusammengearbeitet.

Backwater Collage ist das erste Soloalbum von James Hoare, das er unter dem Namen Penny Arcade veröffentlicht. Dem ein oder anderen wird er als Musiker/Songwriter bei Bands wie Veronica Falls, The Proper Ornaments oder Ultimate Painting bereits über den Weg gelaufen sein. Backwater Collage ist in der Tat ein Album bei dem die Gesamtheit der Songs als Ganzes wirken und nicht einzelne Songs die anderen überstrahlen oder ausblenden. Vom ersten bis zum letzten Ton hält die Stimmung und begleitet den Hörer auf seiner ganz persönlichen Reise. Die elf vertraut klingenden Songs, die das Album ausmachen, sind in bester Homerecording-Tradition entstanden, aber dennoch (behutsam) produziert. James entwickelt und entfaltet reine, unaufgeregte Melodien, in denen sich seine sanfte, melancholische Stimme mit dem weichen, warmen Gesang von Nathalia Bruno vermischt. Angedeutete Gitarrensoli unterbrechen manchmal die klare, ungeschliffene musikalische Linie. Der langjährige Freund Max Claps hat Keyboard-Parts beigesteuert, die die minimale Nostalgie der Tracks aufgreift und dabei jeglichem tränenreichen Pathos entgegenwirken. Um diesen homogenen Sound, diese Sounddichte zu erreichen hat James sich Zeit gelassen. Das er seine Songs aus verschiedenen Aufnahmesessions retten musste, die von einer Reihe von Missgeschicken geprägt waren, an die er, wie er amüsiert zugibt, gewöhnt ist: kaputte Multitracks, versagende Tonbandmaschinen oder selten verfügbare Schlagzeuger, die in der Hauptstadt leben, kam ihm dabei sicherlich zu Hilfe. Ähnlich wie Jack Name oder Syd Barrett - nur weniger psychedelisch - sitzt Hoare auf dem schwarz-weißen Sofa von Velvet Underground und verleiht seinem Album eine unterirdische Note. Zeitweise unruhig, aber leichtfüßig, ohne unnötige Effekte, tritt die Platte in die Fußstapfen einer weniger lauten, aber ebenso rohen und schmucklosen Jesus and Mary Chain. Mit Backwater Collage, allein am Ruder unter einem stürmischen Himmel, lädt James Hoare seine Hörer ein, es sich bei einer Tasse Tee gemütlich zu machen.

Backwater Collage ist das erste Soloalbum von James Hoare, das er unter dem Namen Penny Arcade veröffentlicht. Dem ein oder anderen wird er als Musiker/Songwriter bei Bands wie Veronica Falls, The Proper Ornaments oder Ultimate Painting bereits über den Weg gelaufen sein. Backwater Collage ist in der Tat ein Album bei dem die Gesamtheit der Songs als Ganzes wirken und nicht einzelne Songs die anderen überstrahlen oder ausblenden. Vom ersten bis zum letzten Ton hält die Stimmung und begleitet den Hörer auf seiner ganz persönlichen Reise. Die elf vertraut klingenden Songs, die das Album ausmachen, sind in bester Homerecording-Tradition entstanden, aber dennoch (behutsam) produziert. James entwickelt und entfaltet reine, unaufgeregte Melodien, in denen sich seine sanfte, melancholische Stimme mit dem weichen, warmen Gesang von Nathalia Bruno vermischt. Angedeutete Gitarrensoli unterbrechen manchmal die klare, ungeschliffene musikalische Linie. Der langjährige Freund Max Claps hat Keyboard-Parts beigesteuert, die die minimale Nostalgie der Tracks aufgreift und dabei jeglichem tränenreichen Pathos entgegenwirken. Um diesen homogenen Sound, diese Sounddichte zu erreichen hat James sich Zeit gelassen. Das er seine Songs aus verschiedenen Aufnahmesessions retten musste, die von einer Reihe von Missgeschicken geprägt waren, an die er, wie er amüsiert zugibt, gewöhnt ist: kaputte Multitracks, versagende Tonbandmaschinen oder selten verfügbare Schlagzeuger, die in der Hauptstadt leben, kam ihm dabei sicherlich zu Hilfe. Ähnlich wie Jack Name oder Syd Barrett - nur weniger psychedelisch - sitzt Hoare auf dem schwarz-weißen Sofa von Velvet Underground und verleiht seinem Album eine unterirdische Note. Zeitweise unruhig, aber leichtfüßig, ohne unnötige Effekte, tritt die Platte in die Fußstapfen einer weniger lauten, aber ebenso rohen und schmucklosen Jesus and Mary Chain. Mit Backwater Collage, allein am Ruder unter einem stürmischen Himmel, lädt James Hoare seine Hörer ein, es sich bei einer Tasse Tee gemütlich zu machen.

"Black Sheep" ist ein spannendes Hörerlebnis mit einigen der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa. Er bringt die Stimmen von außen zum Schweigen und nutzt voll und ganz seine Vielseitigkeit: melodischere Hooklines, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und von Honey Dijon über Injury Reserve bis zu Rye Rye mit allen zusammengearbeitet.

Live recording of the final show of SANAM's debut European 2023 tour at London's home for experiemntal music, Cafe Oto.

Beirut's SANAM burst on the scene in 2023 with their debut album Aykathani Malakon, chosen by The Guardian as one of their 5-star albums from 2023: "Aykathani Malakon thoroughly embodies their originating influences, whipping up kosmische, post-punk, psych rock, free jazz and Levantine folklore into an alchemical tour de force delivered with a defiant, DIY disposition".

Under difficult conditions, the band took to the road for a European tour in November 2023 with the final show at Café Oto. From their incendiary European debut earlier that month at LeGuessWho then rapturous, sold out shows in Switzerland, Belgium, Germany and the UK, spirits for the Cafe Oto gig were high and it was destined to be a tour highlight. 'Live at Café Oto' captures the intensity of the shows, a ritual where improvised rock, free jazz and noise underscored an exorcism of traditional Egyptian song and Arabic poetry.

Drummer Pascal Semerdjian adds: "On this tour, I felt the album evolve from being a set of improvised tracks captured spontaneously, into ripe solid songs. Playing these shows back-to-back, our chemistry kept growing, we got closer, and our live sets, at least to me, were an embodiment of this evolution. In a way, this was the real birth of the band"

Vocalist Sandy Chamoun: "We started the tour with a great push at LeGuessWho, and we kept this energy throughout the whole tour. Every gig felt like I was playing the songs for the first time, providing a new and fresh experience for me. We finished the tour with an emotionally intense gig at Cafe Oto, a dream venue. The audience was incredible, as if we had known each other for a long time and the energy was intense and intimate at the same time; it felt like we were in a small circle of fire together, both us and the audience."

"There was definitely magic in the air for our show at cafe oto - an iconic, humble and warm venue and the last show of the tour – it felt like everything was in the right place. It was my favourite show by far, specially that we were also comfortably able to talk about Palestine, the atrocity we have to live with and can't ignore." Pascal Semerdjian

The opening line of Emily Dickinson’s short poem ‘‘Hope’ is the thing with feathers’ inspired the central image of Emily Barker’s new single ‘Feathered Thing’, written while she navigated cumulative grief.

When Barker was first introduced to producer Luke Potashnick (Gabrielle Aplin, Jack Savoretti, Katie Melua) in May 2022, she brought with her a full album’s worth of songs. But after visiting Potashnick’s storied studio, The Wool Hall and hearing his ambitious production ideas, she was inspired to write one more song.

“I also needed to process some heavy news” she comments. Barker and her husband Lukas Drinkwater had been trying to start a family. Following a couple of failed IVF cycles (and other “starts that we’d lost”), they investigated adoption and had decided to relocate to Australia to be closer to Barker’s family.

“It felt like we couldn’t work out what we wanted, but we finally reached a point where we both felt at peace with not having kids,” Barker recalls. “It had been an incredibly intense time, coinciding with a house move and the pandemic.”

And then Barker found she was pregnant. “We’d done all these things to try to make it happen, and then it happened naturally (and against all biological odds). Having previously navigated losses throughout our pregnancy journey, we now had to get our heads around what having this new person in our lives might look like - emotionally and practically.”

Soon after work began on the album, Barker had a miscarriage.

“Songwriting has always been a way of processing throughout my life.” Barker reveals how the new song came quickly as she sat at her piano at home. She shared an early version with Potashnick and remembers him politely asking, “Do you mind telling me what this is about?”

“I think I’d left it too abstract, initially,” she reflects. “It was difficult to open up about the miscarriage, but Luke was very supportive and encouraged me to dig a little deeper without necessarily being specific. I revisited the lyrics, and the result is much stronger.”

“I went to the burnt-out woods/ A tourist with some damaged goods/ Remembered how the trees withstood fires before…”

“The opening line is a metaphor for knowing that I’ll get through this,” Barker clarifies. “It’s about recovery and hope, allowing yourself both the space to grieve and permission to move on”. But Barker’s optimism is never misplaced – she knows the imprint of imagined futures and lost children are carried in hearts and minds forever:

“It’s so hard to let go, wanted to know wanted to know you …”

“I think that it's important to share and normalise these stories, which are all too common, yet not openly spoken about. People hide their pain and don’t want to burden friends and family. I think behind all this anguish, there’s a deep, often untold story.”

Now that Barker is settled back in Western Australia, she’s embracing being an auntie. “I’ve got three younger siblings over here who I’m close to, and they all have kids,” she enthuses. “I look after my brother's kids, aged two and five, one morning a week.”

Recorded - along with the entirety of the new album - at The Wool Hall, ‘Feathered Thing’ begins gently, with oscillating piano and distant drums, until the arrangement gradually transforms into an instrumental dervish of vibrant strings, bass drones and cymbal crashes. Throughout, Barker’s vocals float tantalisingly like a slipstreaming feather.

Watch the video, filmed at The Wool Hall here. The Wool Hall is a studio in Beckington, Somerset, set up by Tears for Fears in the 1980s and used by artists including The Smiths, Pretenders, Joni Mitchell and many more.

Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the hugely successful BBC crime drama ‘Wallander’ starring Kenneth Branagh.

Her last album, 2020's ‘A Dark Murmuration of Words’, was produced by Greg Freeman and recorded at StudiOwz, a converted chapel in the Welsh countryside. Lyrically probing, by turns both dark and optimistic, Barker searches for meaning through the deafening clamour of fake news and algorithmically filtered conversation, delivering a timely exploration of the grand themes of our age. It garnered widespread acclaim, with Uncut calling it “…a kind of Australian equivalent of PJ Harvey’s Let England Shake”.

Barker has released music and toured as a solo artist as well as with various bands and collaborations, most notably her long association with Frank Turner, and has written for TV and film, including composing the soundtrack for Jake Gavin’s lauded debut feature ‘Hector’ starring Peter Mullan and Keith Allen.

‘Fragile as Humans’ is scheduled for release on May 3rd 2024 through Everyone Sang/Kartel Music Group. The album will also feature earlier singles: the vast, cinematic ‘Wild to be Sharing This Moment’ and the meditative, crestfallen ‘Loneliness’.

In the dynamic landscape of contemporary jazz, Scottish pianist and composer Fergus McCreadie has carved a remarkable niche. Since 2021, his career has skyrocketed, marked by two acclaimed album releases that propelled him into the limelight – shortlisted for the Mercury Prize and clinching the Scottish Album of the Year (SAY) for "Forest Floor." His debut with Edition Records, "Cairn" (2021), set the stage for a journey deeply rooted in natural themes. McCreadie's latest venture, "Stream," continues this intriguing exploration, this time delving into the essence of water. Accompanied by his long-standing comrades, David Bowden and Stephen Henderson, the album flows with the fluidity of its namesake. It's a musical stream that flows through the rich landscapes of Scottish folklore and the sophisticated avenues of contemporary jazz, blending them seamlessly. The album's narrative is a testament to the trio's evolving musical identity, meticulously crafted to mirror a journey from darkness to light. McCreadie shares, "What I like most about this album is that it evolves from dark to light as the album goes on. It's a sort of cloudy skies to sunnier skies journey, quite different from previous albums where the track sequence was more arbitrary." Their sound, a nuanced tapestry woven with delicate touches and bold strokes, speaks of their confidence and exuberance in forging a distinct path. "Stream" is an exploration of shared passions and expressions, pushing the boundaries of their musical language and vocabulary to new depths. With "Stream," Fergus McCreadie, Bowden, and Henderson offer a refreshing antidote to the predictable. Their music is a celebration of individuality, a journey that resonates with the trio's unique voice. It's an invitation to listeners to immerse themselves in a soundscape that's both familiar in its Scottish roots and revolutionary in its jazz execution – a goal every artist aspires to achieve. "Stream" is a musical narrative that flows like water – sometimes calm, sometimes tempestuous, but always moving forward. For those seeking a fresh, engaging, and authentic musical journey, Fergus McCreadie's "Stream" is a listening adventure not to be missed.

Stream by Fergus Mccreadie, released 3 May 2024, includes the following tracks: "Driftwood", "Sun Pillars", "Stony Gate", "Coastline" and more.

For as long as they've been a band, teen suicide's catalog has been as alluring as it has been elusive. Now the first time, two of the band's most sought after early EPs, dc snuff film and waste yrself, will be available together across all formats via Run For Cover Records this winter. These 18 tracks have been remastered to provide the best sound quality possible while still retaining the noisy, lo-fi sound that is an integral part of the teen suicide's essence. This collection will feature brand new artwork, including never-before seen photos & a lyric sheet for both EPs in one volume.

Based near Nantes & just 30 years old, Dj King Flow has almost 20 years of beatmaking under his belt, with numerous trips back and forth between France and the USA. His many travels have enabled him to network with a large number of independent MCs.
Today he presents Halftime, his first project on vinyl, which speaks volumes when you see the many names of hip-hop legends such as Rase Kass, O.C., Tragedy Khadafi, Goodie Mob, Shabaam Sahdeeq and other lesser-known but equally talented names!
The osmosis operates on King Flow's beatmaking style, with a mix of 90s, Sudist and boombap influences!

A new vinyl bomb for all lovers of good hip-hop music !!!!

Die Liverpooler YOBS veröffentlichen ihr selbstbetiteltes Debütalbum am 3. Mai 2024 über Fuzz Club und folgen damit ihrer ersten Doppelsingle "Fortune Teller b/w Cemetery Man", mit der die vierköpfige Band die Szene mit einem herrlich schmutzigen und hedonistischen Feuerwerk betrat.

Das Clash Magazine schrieb über YOBS: "Schädelzerschmetternde Riffs und halluzinogene Effekte". YOBS liefern primitive Garage-Punk/Noise-Rock-Salven, die mit erschlagender Intensität vorbeirasen. Auf den zehn Tracks des Albums und der
rasanten 26-minütigen Spielzeit schwelgt die Band in einem rauen, spaßigen Rock'n'Roll, der deine Knochen genauso zum Vibrieren bringt wie deine Lautsprecher. YOBS, die aus den Trümmern der inzwischen aufgelösten Liverpooler Bands Weird Sex und Ohmns entstanden sind, wurden 2022 gegründet und bestehen aus Joey Ackland (Gesang), Alex Smith (Bass/Gesang), Michael Quinlan (Gitarre/Gesang) und George Gebbie (Schlagzeug).

Ihr Debütalbum, das sie in vier Tagen in den Hackney Road Studios mit James Aparicio aufgenommen haben, ist das Ergebnis eines Jahres 2023, in dem sie mit Bands wie A Place To Bury Strangers, Mark Sultan, C.O.F.F.I.N, Alien Nosejob und anderen raue, ohrenbetäubende Shows gespielt haben.

Laura Quirke and Claire Kinsella’s collaboration charms audiences into a world of intimate observations and uncomfortable questions with irresistible chemistry, charisma, and humour. ‘Why are all the good men, too old, taken or dead?’ The rare alchemy of the duo’s voices together cuts through a minimal and dramatic soundscape; coloured by the warmth and grit of Kinsella’s Cello, and distinctly underpinned by Quirke’s cyclical, trance-like guitar playing. While embedded in Irish and Folk roots, Lemoncello’s sound embraces the freedom of carving out its own song structures, entwined with a love of off-kilter Indie Pop, Jazz extemporisation and Romantic and Contemporary Classical music. A vital voice in the thriving alternative folk scene in Ireland, Lemoncello have been nominated for Best Folk Song and Best Emerging Folk Act at the RTE Radio 1 Folk Awards and opened for and collaborated with many esteemed artists such as Lisa O'Neill, Sam Amidon, Glen Hansard, Cormac Begley & Joshua Burnside. Now, they present their self-titled debut album, available on CD & vinyl.

Dachböden haben schon immer eine unwiderstehliche Anziehungskraft auf David Js Fantasie ausgeübt. Sie können leuchtende Juwelen zum Vorschein bringen, die durch Zeit und Staub verloren schienen. Mit "Tracks from the Attic" lädt uns der Bauhaus- und Love and Rockets-Mitbegründer ein, mit ihm die Leiter hinaufzuklettern.

Es beginnt eine faszinierende Reise: Wir durchstöbern Kisten mit Tonbändern und lernen einen Künstler wieder kennen, den wir schon lange kennen - doch die intimen Songs, die er über drei Jahrzehnte hinweg in Einsamkeit aufgenommen hat, offenbaren neue Seiten an ihm. Selbst als er mit seinen beiden legendären Gruppen beschäftigt war, sprudelte David J. nur so vor Liedern. Dies ist eine aufregende Auswahl von Aufnahmen, die er zwischen 1983 und 2004 gemacht hat, einige im Studio und die meisten zu Hause, nur mit der Hilfe seiner Muse, einem Aufnahmegerät und einer brennenden Kerze. Wie alle guten Dachbodenfunde wurden auch diese Songs auf Band aufgenommen und gerieten fast in Vergessenheit - erst als ein Fan vorschlug, seine Digitalisierungskünste anzubieten, dachte David J daran, sie wieder aufleben zu lassen. Alle, mit Ausnahme des Titels "This Town", waren zuvor noch nie zu hören.

Die Tatsache, dass die meisten dieser Stücke nicht zu beliebten Klassikern geworden sind (etwas, mit dem sich die Ohren kaum abfinden können, wenn man erst einmal auf Play gedrückt hat), ist nur ein Zeichen für David Js emsiges Schaffen. Die größtenteils auf der Akustikgitarre komponierten Stücke werden langjährigen Fans unerwartete Offenbarungen bieten, da sie Facetten seines musikalischen Selbst ans Licht bringen, die in einem Bandkontext nicht vollständig zum Ausdruck gebracht werden konnten. Es ist in der Tat faszinierend, die Entwicklung von David Js Umgang mit Songs über die Jahrzehnte hinweg zu verfolgen, von den beobachtenden lyrischen Montagen der frühen Tage bis hin zu einer späteren, selbstbewussten Umarmung des zutiefst Persönlichen. Gleichzeitig kann "Tracks from the Attic" auch als eindrucksvolle Einführung für Neulinge gesehen werden - es fühlt sich tatsächlich so an, als würde man einen der großen britischen Singer-Songwriter zum ersten Mal treffen. 'Oh No! Not Another Songwriter!", ruft einer der Höhepunkte des Boxsets frech aus. Nun, dieses Box-Set wirft ein, dass dies nicht irgendein Songwriter ist