quête:növö

Bright & Findlay - James Alexander Bright und Tom Findlay (Groove Armada) - eint ihre gemeinsame Liebe zu Machine-Funk, Outsider-Soul, 70'/80'er Nautica und Basement-Disco des 21. Jahrhunderts. Auf ihrem Debütalbum 'Everything Is Slow' auf Athens Of The North präsentieren sie eine atemberaubende Bewegung und Atmosphäre, vollgepackt mit Sunshine Boogie, Cosmic Disco, einer Prise balearischem Funk und Inspirationen und Widmungen von Dâm Funk bis Metro Area.

The story of Lucia Rango, an Apulian singer who was active for a short period during the Sixties, rightfully belongs to that category and meets all requirements for becoming a legend. In 1967, when she was almost unknown, she recorded Lucia Rango Show, an entire album made of songs taken from the repertoire of her friend Piero Ciampi, who worked closely with her on their selection and arrangements. Being one of the most maudit and personal authors of national songwriting, Ciampi had always been a perfect outsider: blunt, shy, extremely talented, and unable to adapt to the rules of the music business. But above all, the Leghorn-born singer was a superb songwriter. The match between his songs and Rango's classical voice and ethereal beauty looked like a very promising one, but never brought any success.
Arranged and orchestrated by Maestro Elvio Monti, and embellished by the participation of Alessandro Alessandroni's I Cantori Moderni, the record is a perfect child of the Sixties, featuring beat tunes and “yè-yès”, Italian canzone, intense ballads, Brigitte Fontaine-like atmospheres and a rediscovered duet of Lucia with her friend Piero, Non chiedermi più, whose recording was known among insiders at the time but sadly appeared to be lost forever. Ciampi's voice lives again in a song that has remained unreleased for more than 50 years within this new expanded version of Lucia Rango Show, thanks to the long research of journalist Lucilla Chiodi (Musica Jazz). Needless to say, the album is an enormously valuable historical document for all fans of Ciampi's output and Italian music in general: along with classics such as Fino all'ultimo minuto, Quando il giorno tornerà and Hai lasciato a casa il tuo sorriso – all originally included in Ciampi's first LP released under the alias Piero Litaliano in 1963 – Lucia Rango's voice consigns to history as many as six songs conceived and written specifically for her recording debut by Ciampi along with Elvio Monti. To date, Rango's invaluable interpretations are the only versions ever recorded of Samba per un amore, Il tuo volto, Stasera resta qui, Primavera a Roma, Ti ho sognato and Sono stanca.

In collaboration with Croatian label Sareni Ducan, Discom proudly presents an official reissue of a very rare self-titled album of Yugoslavian 80’s funk band Boom Selekcija.

Boom Selekcija was a short-living group of musicians from Belgrade, active from 1979 to 1983. They recorded their debut and only album for the label Diskos in 1983 and after that disbanded. The line-up included musicians from Boban Petrovic’s backing band and Silva Delovska from Kim Band on vocals. The quality of recorded material and the complete lack of information about the band set them as a cult act among DJs and crate diggers. This is one of the albums which makes you ask ”What is this?” when you hear it, but nobody around could tell you an honest answer.

A side of the record begins with a track called Moje Cake (eng. My Tricks). It is a groovy theme with mellow vocals-a story of the poser who thinks he is very interesting. The same groove continues in the song Rokenrol Štipaljke (Rock And Roll Easy Girls) where friends are preparing for a crazy go out in a discotheque. It ends in a Balearic atmosphere in the songs Studentski San ( eng. A Student’s Dream)- a song about dreaming luxurious life on the Adriatic coastline) and Vladina Gitara (eng. Vlad’s guitar)-a nice dreamy guitar instrumental in the 70’s Yugoslavian style.

Equally groovy and interesting B side portrays naive and charming 80’s Belgrade: discotheques, parties, girls, tough guys, urban stories about real-common people and their destinies … all packed with such style and grace like you are in New York City suburbs in the late ’70s and enjoy perfect funk/soul musicianship. In this sense, you can hear: amazing slap bass by Vladan Mracic in the song Zuljas Me ( eng. You Are Going To My Nerves); cool funky guitar licks by Aleksandar Stefanovic in the song Bora Klej; authentic soul singing style of Mile Perisic and beautiful electric piano solo of Oliver Polak in song Frizerka Nada (eng. Nada, The Hairdresser) and convincing funk rhythm drumming by Zoran SImovski all way through.

This record will remain a significant point for investigating Yugoslavian funk history and it will be welcomed on every dance floor in the world that favors lesser-known grooves. We hope that we will manage to bring it closer to the younger audience and show how people used to live and have a good time in Belgrade and Yugoslavia.

The Acid Series celebrates over 10 years of No Way Back, with music that directly references that experience. This is the third volume in the series, to be followed by BMG & Derek Plaslaiko, and there will be four more after this pair, with records by Tin Man & Ectomorph, Dona, Romans, and Pervocet (Patrick Russell & Jasen Loveland) yet to come. They all arrive in a unique sleeve especially created for this series, inspired by the decorations of NWB. Jordan Zawideh's music perfectly reflects his personal migration from Detroit to Chicago. It somehow combines the raw elegance of a Larry Heard demo (listen to the demos of "A Path" or "Acid Dreams" and cry) with Detroit Techno and an unconscious take on the sonic exploration of Drexciya, showcased in songs like "Magellanic Cloud" and "Trails of Sophia". In Jordan's sound, the raw power of the cassette era of Chicago House combines with a Detroit Acid Dream. His debut record was on K Starke Records in 2014, and while he was working at the store,
the concept for "No One (Jacks The Box)" came together. Kevin Starke proposed a concept for a collaboration, using an old Chicago radio ad, so Jordan borrowed a 303 & 707 from Kevin and some gear from Beau Wanzer, but Kevin never made the session. Ultimately we had master editor Gay Marvine edit this instant lost classic. Jordan has also released on the Nation box set, and is part of the No Way Back family. Jordan lives like a monk, in total dedication to learning his machines and advancing his craft. He is also an accomplished DJ. BMG on his edit of "Magellanic Cloud" - this is my fantasy version of this jam, its so lost in it, like a cool mature Chicago take on Gerald's jam for the Silicon Ghetto series on Accelerate, or Mika Vainio's "Spirality".

Repress

The Acid Series Celebrates Over 10 Years Of No Way Back, With Music That Directly References That Experience. This Is The Fourth Volume In The Series, To Be Paired Withvol 3 By Jordan Zawideh. There Will Be Four More After This Pair, With Records By Tin Man & Ectomorph, Dona, Romans, And Pervocet (patrick Russell & Jasen Loveland) Yet To Come. They All Arrive In A Unique Sleeve Especially Created For This Series, Inspired By The Decorations Of Nwb. This Is The 3rd Collaboration Between Bmg & Derek Plaslaiko, Each Collaboration Has Been Inspired By No Way Back. For This One, Bmg Was Working On A Modular Based Acid Live Show For The No Way Back 10th Anniversary, And From That Vibe We Created These Songs. The A Side References Sonic's Rendezvous Band's Best Lost Single, They Were A Legendary Detroit Rock Band From The Mid 70s Featuring Founding Members Of The Mc5 And The Stooges. The B Side Was The Opening Salvo Of This 3rd Collaboration, A Day After A Detroit Party We Had Played Together. We Had Just Received The Terrible News About So Many Of Our Friends In Oakland, We Could Think Of Nothing Else. This Is Our Sonic Reaction. The B Side Concludes With An Open Jam Presented As A Bonus Beat, The Perfect Conclusion To These Feelings.

U.S legendary producer Debonaire returns to Fdb Records to deliver his third EP to date!!! Thirteen years after “The Rise Of The Bass Planet” on French imprint run by Vstee, one of the Miami Bass pioneers, Claudio Barrella introduces “Badass”, a future classic EP taken from his eponymous album published in 2022 on Debonaire Records Inc.

Fulfilled with timeless electro references, this collection of four untouchable joints pushes once again the boundaries of old-school sound to the next-level. Ode to the glorious days of electrofunk, relentless “He Is The Master” on A side serves up a brilliantly dancefloor Hip-Hop/Electro monster enhanced by a nice flow of cut’n’paste samples featuring Newcleus, Schooly D, Dynamix II, Man Parrish, Cybotron and thousands of other unmissable classics. Here comes an outstanding Time Machine that will definitely break out your linoleum.

Second tune of the opus, slow “Badass Reprise (Wax Version)” signs a hip-rock masterpiece a la Rage Against The Machines characterized by a dirty Californian spirit. Fat!On the flipside, robotic “Computer Program”, written along with his partner in crime DJX aka Maggotron, offers a cutting-edge mayhem bas(s)ed upon crystal clear sororities, some heading vocoder robot lyrics fusing with Sci-Fi tones in the background. Ace!

The Absolute climax of the 12’’, “You Feel Me Now” brings a massive cocktail of beats and low frequencies, injecting serious 80's vibes over frantic scratches and sharp 808 programming.

Packed in a beautiful white sleeve and brilliantly illustrated by DJ and Plastic designer Julien Dumaine, this collectible wax will provide intense cyber vocals and retro flavored electro to your subwoofers! Must have!

"Eux sont de ceux qui trament en accordant desseins sur dessins." MinimalRome is back with the second volume of Trame compilation. A full lenght 2xLP release gathering Legowelt (as Phalangius), Heinrich Dressel, Alessandro Adriani, Ian Martin, Teslasonic, Polysick, C-34, Iron Blue and David Kristian among others. Traveling through these eighteen ambient cosmic tracks from true heirs of library music, you'll expand the surrounding space. Limited to 300 copies

Green Vinyl

For its fifth release, french label The Bass Academy goes back into time!!! Originally written by legendary Man Parrish, "Boogie Down Bronx", a cult classic from 1984, sees a mighty resurrection with a "fresh mix" rework from UK Electro veteran Bass Junkie. Not the first time Phil Klein (Battle Trax, Breakin' Records) remixes Man Parrish as he committed in 2002 the heavy “Bass Junkie's Boogie Down Bass Mix” of “Hip Hop Re Bop”. Today, he serves up an uncompromising electro funk mayhem made of old schoolish samples, vintage synth melodies, retro congas, relentless scratches and pounding 808 beats. This brand new Sci-Fi anthem, enhanced with the legitimate legacy from the past, will invite you for some irresistible B-Boy breakdancing movements on the linoleum!!! Tuuuuuunnne! On the flipside, Phil teams up once again with long time partner in crime Simon “The Dexorcist” Brown. Together, as Gods Of Technology, (Battle Trax), they revisit another untouchable song, “Future Computer”, an exclusive to TBA track written by Jamie Jupitor and published in 2017 (TBA02). Metallic sororities melt with nasty vocoder sequences and imparable whispers turn the cut into an ode to the dancefloor thanks to harsh and hammering beats. What a timeless monster in pure West Coast tradition! With abrasive outings to appear on the forthcoming months including an incredible album with Matt Whitehead on Dominance Electricity, Phil Klein definitively returns to studios stronger than ever, putting a end to a short blackout. Rush in this hypnotizing collector 12”, limited as usual to 150 copies as it marks one of Phil Klein’s best releases to date!

Simoncino is back again on SKYLAX with the volume 2 of the Resurrection series ! The made in Perugia prodigy delivers us once again 3 titles paying homage to the sound of chicago, the fabulous triplet lost tape 1, 2 & 3. On A1, the aptly named Lost tape 1 us leads into the meanders of the jungle house in direct tribute to the great marshall Jefferson all sprinkled with some "detroit" sauce, this peaktime track will delight the most humid and demanding dancefloors. Lost tape 2 is more airy with these sparkling bells and its bass that lifts your guts, mental we tell you ! A bit as if paris gray was remixed in a hovering dub version. On lost tape 3, it is clearly the quintessence of the spirit of simoncino, his genius. This way of creating a universe that is both a tribute to the original chicago house and the italian dream house straight from the 90s. Completely trippy. And cherry on the cake on B2, we have a remix of the now classic "on the dancefloor", a title created in collaboration with Merwyn Sanders from Virgo Four (Chicago), from Detroit legend : Marcellus Pittmann ! 9 mn of pure madness. The Detroit - Chicago axis has never been so obvious. A must. Comes out on clear vinyl. Note that on the label's bandcamp, with the purchase of the vinyl, you can get 1 exclusive bonus track (& what a track !) : Simoncino & Merwyn Sanders of Virgo Four "On The Dance Floor" (Marcellus Pittman smooth remix).

Twoonky, the brothers duo from Brescia (Italy) formed by Michele and Simone Bornati, is back on Macadam Mambo for a second album. After their brillantissimo ‘Dezzo’ from 2019, which was well noticed by the underground scene, the new opus ‘Ottico’ won’t leave you static. This is the kind of masterpiece that the more you listen, the more you love.

At the opposite of grandiloquent music that would have immediate effect, ‘Ottico’ is much more subtile, surfing on a cool wave of styles, a collage of vibes going from 70’s Kraut to 90’s Trip-Hop, where the analog sounds of guitars, synths, distorded voices, saxo, samples and electronics FX match so well, creating an ensemble in the unique mutant flow of the Twoonky’s that makes it so intemporal and so modern in the meanwile. It’s not about being curious, it’s about being open on crossing boundaries, like they are used to do with their unique place called Spettro in Brescia, where all the avant-garde of the electronic scene is coming to perform.

‘Ottico’ could be a kind of representation of the spirit of Spettro, and possibly one of the most interesting release of 2023. We don’t know why, but it’s true, Italians do it better 

Bruce Falkian is a world famous contemporary artist who exhibits at the world's most prestigious art galleries and fairs. Bruce Falkian moonlights as an agent of espionage against the Terrorism Industrial Complex. Wait... what?

To understand Bruce Falkian we first must understand the link between image and war. In the late 1800s the precursor to the video camera was invented. It was directly inspired by guns, specifically, Samuel Colt's Revolver. It borrowed not only its barrel mechanics, swapping bullets for exposures, but its terminology too. Load, point, scope, aim, shoot, flash. The camera and the gun, united by cordite, would go on to prove the most efficacious tools in shaping the modern world.

The 20th century was a laboratory when it comes to killing and image making, glorified through Hollywood and the Western genre. Propaganda would prove highly effective in creating and sustaining support for militaries fighting for ideological global control. Devised first in the aptly title 'Propaganda' (1928) by Edward Bernays, a nephew of Sigmund Freud, Advertising and Public Relations became the leading media industries, learning how to control the population through images, usually just to buy random crap they didn't need, but other times to overthrow democratically elected politicians in foreign countries. Eventually Western Liberal Democracy assumed domination, built of course on the enslavement of all peoples and nations who didn't fall in line with its specific ideas of living. The Red Scare inspired countless anti-leftist, anti-communist works of art throughout the Cold War, notably and most bizarre, funding the abstract expressionist movement as a non-ideological alternative to socialist realism art. When the Soviet Union fell, Western Liberal Democracy was able to promulgate its unhindered views around the world through its various media empires and actor states. Is it a coincidence that a third of the almost $85 billion dollar global camera equipment market is represented by the greatest propaganda beast the world has ever seen, the USA?

Guns are dangerous because of the obvious. Images are dangerous because we are bad at perceiving what is real (as any jump scare, deepfake, newsreel will attest to.) Videos aren't technically real, they are only a collection of rapidly changing static images which give the illusion of movement. It's easy for us to collectively decide that a video is real, because that's the way our brains perceive reality. People who lead the world of media understand this, which is how they are able to control us, make us invade foreign countries, vote for specific politicians, feel ugly or fat etc. However, ubiquitous as they are, it seems that the image is in crisis. It seems that we've run out of them. Or perhaps our understanding of an image is changing, with the aid of near instantaneous text-to-image AI technology. So what does this mean for guns? What does this mean for war? How will images be used as an aid to war in the 21st century? It remains to be seen, but Bruce Falkian will be a useful agent.

Naarm alchemists Sleep D's revelatory new synthetic 'Electronic Arts' is ready for circulation.

Having released 4 EPs of mind-altering club tackle since 2019's 'Rebel Force', the duo overcome second album syndrome, boiling down their chaos with a more developed sense of songwriting. Never banging one drum, 'Electronic Arts' mirrors the anything goes mania of their DJ sets, tactfully shifting through different sounds and styles. Tempos intensify and decelerate, at times pushing the threshold to 150 bpm from docile canine dreamscapes to full tilt Space Invaders in AR mind games.

Largely built on road tested material from their live performances, the album is a tangible Butter Sessions gathering, busting out the gate with Martian rave initiation Planet Waves, Outdoor System's polyrhythmic beatdown and the Orb-like hero dose affirmations of Sunrise In The Crater (I Exist). While 'Electronic Arts' is otherwise a self-dependent effort, Punch Drunk is brewed ever more potent by the hypnagogic vocals and lucid trumpet cycles of former futsal team member YL Hooi. Their unified energy incidentally manifests a profound matrix of ambient techno, motorik, Don Cherry and Everything But the Girl.

Also touching on apocalyptic doof and minimal, the album is not exclusively peak time with Maryos Syawish and Corey Kikos' specialty curveballs also playing their part. From Village To Empire finds the duo rooting down in Syawish's heritage with a tapestry of purposefully deployed Iraqi and Syrian ethnographic samples and field recordings, dubbed within range of Muslimgauze and On-U Sound. As minimal techno finale Textile trails off into footsteps wandering back to base camp with a satisfied exhale, one wonders where Sleep D's existential pathfinding could possibly take us next?

A Colourful Storm presents Seance, a new set of songs by Maxine Funke.

Following a productive recording period beginning with Silk (2018) and ending with Forest Photographer (2020), Seance marks a remarkable levitation of Funke’s tender, softly spoken songcraft first documented on Lace (2008) and Felt (2012) into new creative heights. Folksong confessionals with the burden of memory. Ghostly confines, murmurs from the cracks. Soil, blood and skin. The beauty and mundanity of the everyday.

The voice of Funke is a distinctive instrument, one which perfectly elucidates her sometimes confessional, at other times deeply inward allusions to love, loss, joy and disquiet. Lyrics grounded in observation and adventure (“Eyeballs, asphalt, grass clippings, peppercorns”) unravel into uneasy truths daubed in self-consciousness and forbidden desire (“I’m not shy / There's just a sparkle in your eye and I don't feel right”). The simplest things can be the most difficult to express.

Opener ’Fairy Baby’ and ‘Homage’ are sensuous and probing, celebrating new beginnings while cautiously closing old chapters. ‘Quiet Shore’, a seven-minute reverie of guitar strum and poetry, conjures spirits long forgotten and shines as Funke’s first solo foray into longform songwriting. A perfect accompaniment to the album’s centrepiece, ‘Lucky Penny’, a euphoric, entrancing rush foreshadowing the delicate dreamspeak still to come.

An assertive, visionary recording by one of New Zealand’s most extraordinary voices, Seance is a lover’s lament, a revealing of self and a secluded wander through fields of enchantment.

AVKRVST wurde von Martin Utby und Simon Bergseth gegründet - zwei Musikern und Freunden, die zusammen aufwuchsen und einen Pakt schlossen, dass sie eine Band gründen würden, wenn sie älter sind. Jetzt, 22 Jahre später, ist ein Album fertig: 49 Minuten Musik, inspiriert von allem, was sie in ihrer Kindheit gehört haben - von Mew, Anekdoten und Porcupine Tree bis hin zu Opeth, Neal Morse und King Crimson. "The Approbation" ist ein Konzeptalbum über eine düstere Seele, die nur mit ihren Gedanken allein gelassen wird, isoliert in einer Hütte tief in den dunklen Wäldern, weit weg von der Zivilisation. Das Album führt den Hörer durch die Gedanken eines Mannes, der mit der Akzeptanz des Todes kämpft und in den Abgrund gezogen wird. Klanglich ist "The Approbation" ein wuchtig klingendes Stück Musik: Es bietet alles von üppigen, melancholischen Stimmungen bis hin zu schweren, aggressiven Atmosphären. Es versucht, das Gefühl eines kalten, düsteren Herbstes einzufangen - ein dunkler Himmel, gefüllt mit Sternen, die über dem Nebel schweben. Das gesamte Album wurde in einer Hütte in Alvdal (Norwegen) während eines regnerischen, kalten Herbstes und Winters geschrieben und aufgenommen. Während des gesamten Albums kann man Regengeräusche und das Hupen eines Zuges aus der Ferne hören, die tatsächlich nachts unter dem Sternenhimmel in der Hütte aufgenommen wurden. Das Artwork von "The Approbation" ist ein Werk von Mastermind Eliran Kantor, der Folgendes über das Cover zu sagen hat: "Ich wollte das Element der vergehenden Zeit während einer Zeit der Abgeschiedenheit und Selbstreflexion in einer Waldhütte finden und dachte an die Sterne über mir. Alles auf dem Boden schläft und schlummert, während direkt über uns das Universum auf niemanden wartet. Das passte gut zu vielen Texten, da in ihnen die Elemente des Himmels immer die Rolle spielen, die unaufhaltsam ist und ständig auf den Menschen da unten einwirkt, der nach oben starrt und sich von der Schwerkraft seiner Umgebung mitreißen lässt und wie sie ihn zum Nachdenken anregt."

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Diese Companion EPs enthalten dazu Gastauftritte von Johanna and Klara Söderberg (aka First Aid Kit), Gillian Welch und Alynda Segarra (Hurray For The Riff Raff) sowie eine Coverversionen von "Wrecking Ball" von Gillian Welch. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

„Emotional Contracts“, das erste Album von Deer Tick seit 2017, ist das bisher kollaborativste Werk der Band und zeigt alle vier Mitglieder in Höchstform. Produziert von Dave Fridmann, bietet die 10 Songs Auftritte von Gastmusiker wie Steve Berlin (Los Lobos) und Hintergrundgesang von Courtney Marie Andrews, Vanessa Carlton, Kam Franklin, Angela Miller und Sheree Smith. Das Debüt von Deer Tick bei ATO Records verleiht ihrer mitreißenden Sammlung von zeitlosem Rock'n'Roll noch mehr Vitalität.

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Diese Companion EP enthält dazu Gastauftritte von Johanna and Klara Söderberg (aka First Aid Kit) und Alynda Segarra (Hurray For The Riff Raff) sowie eine Coverversionen "When You Were Mine" von Prince. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

Als Sänger mit einem außergewöhnlichen Stimmumfang (von Bassbariton bis Countertenor), der sich auf der Bühne mit einer New-Wave-Band oder bei einer Purcell-Arie wohlfühlt, mit dem Aussehen eines körperlosen Außerirdischen, der die Massen faszinierte, als Europäer, der aber in New York lebte, war Klaus Nomi ein komplexer und talentierter Künstler. 1979 hatte David Bowie, der damals gerade in seiner Berliner Zeit war, wie üblich vor fast allen anderen das aufkommende Phänomen wahrgenommen. Platin- und Goldplatten, ekstatische Konzertsäle, eine faszinierte Modewelt: Klaus erlebte zwischen '79 und '82 einen meteoritenhaften Aufstieg. Anlässlich des 40. Todestages von Klaus Nomi veröffentlicht Sony Music / Legacy seine gesamte offizielle Diskografie neu: Seine beiden Studioalben "Klaus Nomi" und "Simple Man" als Digipack-CD // Sein Album "In Concert" von 1986 zum ersten Mal als Digipack-CD // Sein Album "Encore" von 1986 zum ersten Mal als Digipack-CD. // Seine Kompilation "Encore: Nomi's Best" zum ersten Mal als CD Digipack und wieder auf Vinyl // zudem eine wunderschöne, limitierte 4LP Deluxe Box inkl. exklusive «In Concert-LP»

Ace Records freut sich, mit Singer-Songwriter, Ex-Pulp-Tour-Gitarrist und Sheffield-Legende Richard Hawley an diesem ersten Teil einer Compilation-Reihe mit von Hawley ausgewählten Lieblingssingles zusammenzuarbeiten. Dies ist eine Auswahl von 28 7inch-Singles, die Hawley auf seinen Tourneen gesammelt hat: Secondhand-Shop-Funde, Kneipen-Jukebox-Juwelen und alles dazwischen. Hawley bezeichnet den Klebstoff, der diese Auswahl zusammenhält, als "Little Bangers", da es sich bei allen um Mini-Handgranaten handelt; helle Lichter, die explodieren und verpuffen, einige große Namen, einige Raritäten, einige verlorene Seelen, einige Obskuritäten, einige von Künstlern, von denen er fast nichts weiß, außer dass sie ihn zum Tanzen bringen wollen. Viele sind Garagen-Instrumentals mit Gitarrenlinie als Lead-Melodie und der Kunst, eine Geschichte ohne Text zu erzählen. Eine 7inch-Single kann nur eine limitierte Menge an musikalischer Info enthalten - es muss knallen. The Shadows, Link Wray, The Troggs, The Champs, Jimmy Gordon und viele mehr zeigen wie das funktioniert. Kuratiert von Richard Hawley für CD und Doppel-LP mit umfangreichen, informativen Liner Notes.

Das vierte Album der Clark Sisters für Westbound-Sublabel Sound Of Gospel ist jenes, das sie fest in den Crossover-Markt gedrängt hat. Während es in Tracks wie 'My Cup Runneth Over' traditionelle Soul-basierte Gospel-Kost gibt, zogen einen die Disco-beeinflussten Juwelen 'My Life Is Complete With Jesus' oder 'Everything Is Gonna Be Alright' auf die Tanzfläche. Die Clark Sisters waren eine der großen Gospelgruppen und auch Teil einer großen Gospel-Dynastie um Mattie Moss Clark und Bill Moss. Geschrieben, produziert und arrangiert von Kernmitglied Elbernita 'Twinkie' Clark, enthält das Album instrumentale Beiträge von Detroiter Soul-Songschreibern wie Melvin Davis und Leroy Emmanuel von den Counts. Obwohl die Clark Sisters eine der meistverkauften Gospelgruppen aller Zeiten sind, ist dies die erste LP-Neuauflage von 'He Gave Me Nothing To Lose' seit seiner Erstveröffentlichung im Jahr 1979.

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

Frisch nach ihrem Vertrag mit From The Vaults kündigen die epischen Doom-Metaller ALTAR OF OBLIVION die Veröffentlichung der EP "Burning Memories" an. Die fünf Tracks wurden 2016 aufgenommen, kurz nach der Fertigstellung der dritten Full-Length der Band. Nun, sieben Jahre später, ist die EP endlich bereit, das Licht der Welt zu erblicken. Auf ihr beschwört die Band klassischen, zeitlosen Epic Doom Metal herauf, während sie gleichzeitig unter der düsteren Ägide dieses nordischen Kollektivs Neuland erkundet. "Epic Doom ist kein Subgenre, an dem sich viele Bands auch nur versuchen, geschweige denn darin brillieren, geschweige denn es ausbauen, daher verdient der Fünfer aus Aalborg ein großes Lob dafür, dass er diesem tiefgründigen Außenseitersound neues Leben einhaucht.

Mit der frostigen Melancholie von Candlemass, der mystischen Dramatik von Solitude Aeturnus und der barbarischen Kraft von Solstice mischen AOO neue Ebenen emotionaler Verletzlichkeit durch den Robert Smith-ähnlichen Gesang von Mik Mentor und verlieren sich nie in schleppender Düsternis, sondern bewahren die traditionellen Metal-Grundlagen mit einer starken, klaren Gesangslinie, einem kräftigen Galopp und einer packenden Melodie" Chris Shantler (Metal Hammer UK).

Tief im glühenden Kessel von Texas haben die Alchemisten von Necrofier (mit Mitgliedern von Night Cobra, Oceans of Slumber, Venomous Maximus, etc.) mit ihrem zweiten Album "Burning Shadows in the Southern Night" eine weitere starke Dosis amerikanischen Black Metals gebraut. Das Vierergespann aus Houston besinnt sich auf die bewährten Tugenden des traditionellen Black und Heavy Metal und wählt einen organischen Klangansatz, indem es den siebenfach Grammy-nominierten Produzenten und Tontechniker Joel Hamilton (Unsane, Tom Waits, Tyler Bryant & The Shakedown, etc.) engagiert, um einen natürlichen Sound zu erzeugen. "Burning Shadows in the Southern Night" wird bei all jenen, die es wagen, dieses bösartige neue Werk zu hören, mit Sicherheit ein Gefühl der Nostalgie hervorrufen.

FFV: Immortal, Rotting Christ, Blackbraid, Uada, Cloak

Tief im glühenden Kessel von Texas haben die Alchemisten von Necrofier (mit Mitgliedern von Night Cobra, Oceans of Slumber, Venomous Maximus, etc.) mit ihrem zweiten Album "Burning Shadows in the Southern Night" eine weitere starke Dosis amerikanischen Black Metals gebraut. Das Vierergespann aus Houston besinnt sich auf die bewährten Tugenden des traditionellen Black und Heavy Metal und wählt einen organischen Klangansatz, indem es den siebenfach Grammy-nominierten Produzenten und Tontechniker Joel Hamilton (Unsane, Tom Waits, Tyler Bryant & The Shakedown, etc.) engagiert, um einen natürlichen Sound zu erzeugen. "Burning Shadows in the Southern Night" wird bei all jenen, die es wagen, dieses bösartige neue Werk zu hören, mit Sicherheit ein Gefühl der Nostalgie hervorrufen.

FFV: Immortal, Rotting Christ, Blackbraid, Uada, Cloak

Stoned Part II is Lewis Taylor's pure, perfect dance-pop album. His second self-released album and fourth album proper, it initially appeared on his own label Slow Reality in 2004. It's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. Gravely misunderstood at the time by hardcore fans and the music press alike, it has aged quite magnificently. An experiment in the sounds of contemporary pop and dance music, Lewis's wonky take on funky pop would annihilate anything kicking around the charts, then or now. If only it were given half a chance.

Stoned Part II is brimming with Lewis's trademark soul, his singing as beautiful as ever, but the rhythms throughout are more upbeat, the overall sound a more smooth and slicker dance-funk presentation. Roughly half the tracks are absolutely essential, fascinating re-workings of tracks from the eternal Stoned Part 1, as Lewis explains: "When we were doing Stoned we were trying different approaches with everything so we ended up with more than one version of nearly all the songs which left us with more than an album's worth of material. There was a lot of really cool house tunes around at the time which we were both really into and that shaped the sound and production, some songs more directly than others." Amen to that.

The swoonsome, string-drenched opener "Madman" is quite the departure, a bleepy, bumping soulful disco-house record with a bassline to die for. Is there anything he can't do? It's followed by another huge dancefloor stomper, "Keep Right On" again riding another killer bassline over funky drums and featuring Lewis's dazzling vocals. There's no let-up with the sparkling "Reconsider" which sounds an awful lot like Daft Punk meets Nile Rodgers (prescient as ever, our Lewis). The wide-eyed French filtered house vibe is to the fore here, and how this wasn't picked up by someone like Kylie and taken wholesale to the top of the charts is something we'll never understand.

Opening the B-Side, "When Will I Ever Learn 2" really slaps, presenting a breezier, more upbeat funk take on the brilliant original and incorporating "From The Day We Met" from Stoned Part I. "Out Of My Head Is The Way I Feel" is absolutely fantastic and one of Lewis's very best songs. The vocals, self-harmonising and virtuoso playing are next level. To close out the side, "Carried Away" is a real standout, Lewis's gorgeous falsetto riding a quasi D&B groove to begin with before adorning a more classically funky 2-step rhythm. The marriage of undulating synths and guitars is stunning, giving way to Lewis indulging his goosebump-inducing Brian Wilson harmonies.

The funky, Rhythm King drum machine soul of "Stoned Part 2" refashions the original in the style of an unearthed Sly Stone classic, circa There's A Riot Going On. Yes, it's that good. On we then glide to "Positively Beautiful 2" which, if it's even possible, manages to be better than the original. The epic, orchestral opening truly captivates before Lewis truly gets down with kaleidoscopic dancefloor-slaying Philly soul-funk. It's surely tracks like this which help explain why he was soon to be tapped up by Dangermouse and Cee-Lo for the musical director role with Gnarls Barkley. "Throw Me A Line" closes out the side

"Shame 2" is a blissful, restrained version of the massive original, without the crazy psych-soul wig-out. Definitely more radio-friendly, that's for sure. The gorgeous mellow vibe continues with "Won't Fade Away", featuring more Beach Boys harmonies over a barely-there pulse (a version of which later pops up in an altered state on The Lost Album). The album bows out with - you guessed it - a psych-soul wig-out! "Keep On Keeping On", a real highlight, opens with looped sampled drums a la Massive Attack and Lewis's multi-layered self-harmonising again very much high in the mix. It amps up gradually to feature vocals dripping with tune and bite before screaming guitars and crashing drums really blast this whole set into the stratosphere.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the twelve tracks over a double LP so it sounds exactly as it should. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned, Part II.

THY CATAFALQUE ist ein metamorphes Gebilde, das sich ständig weiterentwickelt und einen musikalischen Einfallsreichtum zeigt, der ebenso grenzenlos wie gewagt ist.
Alföld" bedeutet so viel wie "Die Erde" und ist in den schweren Anfängen des Avantgarde-Projekts begründet.
Obwohl das Album an die frühen Tage von THY CATAFALQUE angelehnt ist, scheinen die modernen, progressiven Instinkte von Mastermind Tamás Kátai durch, die das Album über den Bereich des Metal as-you-know-it hinausheben und einmal mehr einen bahnbrechenden Sound schaffen, der seiner Zeit weit voraus ist.

Für Fans von SOLEFALD, ARCTURUS, BLUT AUS NORD, ULVER

THY CATAFALQUE ist ein metamorphes Gebilde, das sich ständig weiterentwickelt und einen musikalischen Einfallsreichtum zeigt, der ebenso grenzenlos wie gewagt ist.
Alföld" bedeutet so viel wie "Die Erde" und ist in den schweren Anfängen des Avantgarde-Projekts begründet.
Obwohl das Album an die frühen Tage von THY CATAFALQUE angelehnt ist, scheinen die modernen, progressiven Instinkte von Mastermind Tamás Kátai durch, die das Album über den Bereich des Metal as-you-know-it hinausheben und einmal mehr einen bahnbrechenden Sound schaffen, der seiner Zeit weit voraus ist.

Für Fans von SOLEFALD, ARCTURUS, BLUT AUS NORD, ULVER

Für Fifth Angel-Fans oder Fans von melodischem Power Metal ist dieses Album einfach ein Muss. Die Texte und Themen der letzten Trilogie der Fifth Angel-Alben werden zu einem doppelten Konzeptalbum verwoben, das sich in die Reihe von Helloweens "Keeper of the Seven Keys", Pink Floyds "The Wall" oder Queensryches "Operation Mindcrime" einreiht: "When Angels Kill" ist ein Paradebeispiel für "All Killer No Filler" US Metal. Jeder Song ist ein eigenständiges Werk, und die Doppelvinyl-, CD- und Digitalversionen sind fast siebzig Minuten lang. Fifth Angel melden sich nach ihrem gefeierten "The Third Secret" (2018) mit einem Paukenschlag zurück, der herausragende Tracks wie "When Angels Kill", "On Wings of Steel", "We Are Immortal", "Resist The Tyrant" und "Empire of Hate" zu bieten hat.

Extrem melodischer, eingängiger und makelloser Metal für Fans von Queensryche, Judas Priest und Metal Church ist, was FIFTH ANGEL auf dem Titeltrack ihres vierten Werks "When Angels Kill" liefern. Obwohl die Band in den 80er Jahren gegründet wurde, ist Retro nicht das, was diese Jungs wollen. Das hier ist zeitloser, kraftvoller Metal in seiner besten Form!

Stoned Part I was the first self-released album from lost soul phenomenon Lewis Taylor. His third album proper, it was initially released on his own label Slow Reality in 2002 and it's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. The songs are varied, hook filled and outstanding. Beloved by his legions of diehard fans, it's nothing short of a masterpiece.

After parting ways with Island, and without a label deal, Lewis went back to his home studio and began to record Stoned Part I in 2001. Co-written and co-produced with longtime collaborator Sabina Smyth, Lewis sings and plays all the instruments on this beautiful, emotional and very human album. It represents Lewis at his most accessible and finds him in the middle ground between his two Island releases. In some ways, Stoned Part I distills the best of his musical sensibilities. The flawless production is dense, layered and very early-2000s slick. The bottom end is thick, funky and sexy.

The complex, proggy-soul of title track "Stoned" opens the album and instantly captivates. Deep swinging funk with truly sweet soulful vocals, complemented by wah-wah guitar and swelling acidic synths. As Lewis himself told us, the ad libs at the end of the track were a nod to Paul McCartney at the end of "Hey Jude". Fan favourite "Positively Beautiful" has shades of Curtis and Marvin; its richly layered harmonies propelled by a simple, metronomic click-track that gives way to a more fully fleshed beat for the magnificent coda.

The slow, sweeping majesty of "Lewis IV" is all moody atmosphere, featuring dense, richly textured music and heavenly multi-tracked harmonies. The stop-you-in-your-tracks incredible "Send Me An Angel" could have been a huge AM radio hit, beautifully crafted sophisticated soul-pop songwriting in the vein of the very best Sade records. Yep! *That good* The smooth, psychedelia-lite "Til The Morning Light" is a gorgeous, sun-dappled love song, layered with Lewis' distinctive honey drenched vocals and, again, the type of record you could've easily heard all over the radio at the time of initial release.

The remarkable, wide-eyed "Shame" packs so many shifting styles into one song, it has to be heard to be believed. Opening in a laconic, breezy style, not unlike a Dallas Austin or Rodney Jerkins produced R&B hit of the day, it morphs into a heavy psych-soul Soulaquarians wig-out (the solo bearing an uncanny resemblance to Carlos Santana’s on "She’s Not There") before elegantly sliding into string-assisted symphonic soul and then back around again. And again. Sheer brilliance. The sublime, gentle head-nod funk-soul of "When Will I Ever Learn" (Part 1) is a strikingly well-turned-out tune, a neat, sweet bass-driven guitar-soul jam that ensures our jaw won't be leaving the floor anytime soon. "Lovin’ U More" sounds like a classic turn-of-the-century Neptunes production, the likes of which they'd lay on for JT BITD. A Latin-tinged groover with more than a little Nile Rodgers-driven slick funk stylings, it's yet another instant Lewis bomb with those gorgeous harmonies and chart-friendly irresistible key-changes to boot. Another indisputable (non-)HIT!

The funky seductive swagger of "From The Day We Met - Part II" opens the final side of wax, giving way to the gigantic buzzing synth-funk beast "Lovelight", a track so insouciantly mighty it should have been a massive hit for someone. Wait, what's that? Robbie Williams covered it? Ah, OK, well, I guess that says something about the effortless pop genius contained within. Containing a seemingly unnoticed nod to Kraftwerk’s "Computer World", it's Lewis's favourite song on the album. It's easy to hear why: "Sabina’s production totally nails it. I love the restraint and the subtlety, and that mixture of warmth and sweetness from the singing against the slightly cold, yet beautiful airy-ness of the backing track." To close this phenomenal album, the twisted electronic soul of "Sheneverdid" marries Lewis's beautiful falsetto to his virtuoso playing and an easy-cum-ominous musical backdrop. Stunning.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the eleven tracks over a double LP so, as ever, it sounds sensational. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned.

The Flaming Lips will unveil a new limited-edition vinyl EP entitled Hypnotist on June 16, 2023. It notably collects four fan favourite tracks previously only available on the 6-CD Yoshimi Battles the Pink Robots 20th Anniversary Box Set. Now, they grace the 32-minute Psychedelic Hypnotist Daydream, giving the songs a vinyl release for the very first time. The track listing notably boasts the immersive 24-minute sonic head-trip “Psychedelic Hypnotist Day Dream (demo),” which unfurls as one of the group’s most epic gems to date. Additionally, it includes the “Duck Dodgers Theme (Duck Dodgers Demo: With Wayne Scratch Vocal),” “I Know I’ve Got To Make That Dream The Real Thing (Demo),” and, finally, “Do You Realize?? (Instrumental).”

Cinthie joins the Heist fam with an EP full of lush, epic house music with 3 originals and a St. David remix.

Cinthie is the kind of artist who seems to be everywhere all at once. In the past years, we’ve seen her compile a lush DJ Kicks compilation, release numerous EP’s on labels such as Aus music, run one of Berlin’s finest record stores (Elevate Records), tour the world fiercely, and create an all-new live show. Her EP for Heist has been in the works for a long, long time and it’s an absolute pleasure to finally present the ‘Music for Discotheques’ EP. Spoiler alert: It’s a no holds-back, ‘all killers, no fillers’ record. Just the way we like it.

In classic Cinthie fashion, this EP has the Berlin-based artist explore various sides of house music, starting with the vocal cut ‘Won’t u take me’. Lush pads, shuffling snares and a dreamy female vocal work together to bring a warm and classy house track with a clear nod to 90’s US house, but with its feet firmly rooted in the present.

Piano heaven takes you on an Italo-meets-deephouse excursion straight into…Drum roll…: Piano heaven. A driving 909 groove and a deceptively simple bass form the foundation of the track, but it’s the keys (and strings) that bring this track to its full peak-time potential. The energy in this track is of the ‘hands-in-the-air / screaming-out-loud’ type and it has already become one of the biggest tracks in Cinthie’s live-show.

On the flip, Cinthie explores the pacier electronic side of the dance spectrum, with the footwork inspired jam ‘Masterplan’. Think classic 808’s, loopy synths and a cheeky spoken word piece that lifts the song to a level where it’s extremely danceable and quite simply put; really fun.

The final track of the EP is the expertly crafted remix by Italian house maestro St. David; an artist Cinthie has always been a big fan of. He’s made a dazzling rework of ‘Piano Heaven’: A deep and driving deephouse version that’s layered in sweeps, fx and bleeps for an altogether mesmerizing effect.

We’re thrilled that we can share Cinthie’s music on the label and have her join the family after having played so many shows together and having spoken about doing something together for such a long time. As always, play it loud and dance, dance, dance!

Yours Sincerely,
Maarten & Lars

If a record goes for around $3000 on the second-hand market then you know it's something special. And that is the case with New York vocal soul group The Topics' gold-standard and one-and-only album 'Giving Up'. Now you can own two of the best tunes from it on this new 7" from P-Vibe for a much more reasonable price. The tunes selected are indicative of the heart-achingly sweet and yellow soul sounds explored across the whole album. You get both 'God And You' and 'At Last It's Over' which have some utterly next-level vocal harmonies. Do not sleep on this one.

Brazilian soul, psych, bossa and jazz, reimagined from Berlin, via the Dead Sea, on Moriah Plaza’s dreamy first album for Batov Records.

Moriah Plaza co-founders Tamir Chen and Moosh Lahav first encountered and fell in love with the beautiful and hypnotic sounds of Brazilian bossa nova and samba as children in Tel Aviv in the nineties, via the many local bands and tribute groups that had sprung up since the first wave of bossa had hit swept across the world. Likewise
they developed a fascination with elevator muzak, film soundtracks, and even the hotel pianist performing day-by-day in the lobby of the Sheraton Moriah where Tamir’s mother worked, overlooking the Dead Sea.

Relocating years later to the vastly different environment of Berlin, capital of a country that enjoyed its own Brazilian moment, Tamir and Moosh’s shared passion for Brazilian music would encourage them to create their own songs inspired by the warm pulse of Brazil, albeit a world apart, through a vastly different lens.
Whilst the initial inspiration for Moriah Plaza can be traced back to Tel Aviv and the Dead Sea, the band itself was conceived by Tamir and Moosh in Solarium Studio, Berlin, from the broken fragments of their former shoegaze band, Soda Fabric, who had the honour of backing outsider legend Daniel Johnston. They would go on to write and record their debut album in close collaboration with two Brazilians and fellow Berlin residents,, poet and singer Cecília Erisman, and singer, songwriter, synth operator and Tropical Disco Club founder Flavia Annechini.

The album opens with “Desendereçada”. Dirty drum machine beats thud away under flutes and extraneous noises and a spoken word commentary. The oddness and allure of the intro is a perfect introduction to the world of Moriah Plaza.

The pace picks up on “Mais Amor”. A beautiful Brazilian soul jazz number with a sublime vocal from Flavia Annechini that will surely appeal to the global dancefloor jazz scene. “Te Peço” daws us in deeper with sweetest jazz vocal over an irresistible bassline and bossa drums that transforms halfway through into a modern soul rhythm crowned by flute and horns. A flute solo from Moosh Lahav leads us into the final uplifting refrain.

The Pharoah Sanders meets Ravi Shankar in Rio grooves of “Estelar”
have that fresh feeling that will certainly appeal to fans of modern favourites Rebecca Vasment and Ruby Rushton. Next up, the mysterious “Lagoon de Merim” is practically two songs in one, the first half an atmospheric string-topped number somewhere between Arthur Verocai and Cinematic Orchestra, before snappy drums beats and playful organ chords introduce a slow brassy samba that fills the whole sonic room.

“Teu Porto” is a must for all DJs, mixing calypso, highlife and house, lilting guitars and smooth vocals by Cecilia Erismann.. The deep samba house grooves of “Samba Moosh” close us out. The rich blend of sweet vocals, soaring flute and gritty synths carry us off into the sunset.
Moriah Plaza’s self-titled debut album is a major addition to the global soul and jazz scene. providing the perfect summer soundtrack for music lovers around the world.

Das 5. Studioalbum von Django Django trägt den Titel ”Off Planet” und besteht aus 21 Titeln, die in vier Teile aufgeteilt sind. Ursprünglich sollten es vier experimentelle EPs werden, die aber schnell in ein richtiges Album verwandelt wurden, als die Band das Potenzial der Aufnahmesession erkannte. ”Off Planet” enthält einige der aufregendsten und dynamischsten Stücke, die Django Django je produziert haben. Das Album ist eine Rückbesinnung auf ihre experimentellen und elektronischen Wurzeln und enthält außerdem spannende Gastauftritte von Self Esteem, Jack Penate und vielen anderen.

Jeder Teil des Albums wird digital veröffentlicht und am Tag der Veröffentlichung des vierten Teils wird das gesamte Album auf Doppel-Vinyl und Doppel-CD erscheinen.

Die Power Metal-Szene braucht einen Einlauf - und dieses Album ist einer!
Das neue Album "Out Of The Dark" von FROZEN LAND ist Power Metal der alten Schule - Punkt.
Es ist ein feuchter Traum für alle, die in den 90er Jahren angefangen haben, Power Metal zu hören. Es gibt keine Füllstücke. Es gibt keine nicht-eingängigen Refrains. Es gibt keine langweiligen Gitarrensolos.
Nach der letzten Veröffentlichung machte die Band eine 4-jährige Pause.
Und warum? Weil sie in dieser Zeit ihre Depressionen überwanden - laut augenzwinkernder, eigener Aussage, half LSD dabei - daher auch der Name des Albums, "Out Of The Dark".
Das Album ist im Grunde ein 7 Songs umfassendes Gesamtkunstwerk im traditionellen Power Metal-Sinne.
Aber bei den letzten 2 Tracks wird spannend! Tuomas hat eine perverse Vorliebe für Eurodance der 90er Jahre, was bereits durch das Cover von E-Types "Angels Crying" auf dem Debütalbum der Band durchschimmerte.
Auf diesem Album dachten FROZEN LAND nun, sie nehmen das Hedt selbst in die Hand und mischen Eurodance mit Metal. Nehmt es nicht zu ernst... FROZEN LAND tun das auch nicht!

Die Power Metal-Szene braucht einen Einlauf - und dieses Album ist einer!
Das neue Album "Out Of The Dark" von FROZEN LAND ist Power Metal der alten Schule - Punkt.
Es ist ein feuchter Traum für alle, die in den 90er Jahren angefangen haben, Power Metal zu hören. Es gibt keine Füllstücke. Es gibt keine nicht-eingängigen Refrains. Es gibt keine langweiligen Gitarrensolos.
Nach der letzten Veröffentlichung machte die Band eine 4-jährige Pause.
Und warum? Weil sie in dieser Zeit ihre Depressionen überwanden - laut augenzwinkernder, eigener Aussage, half LSD dabei - daher auch der Name des Albums, "Out Of The Dark".
Das Album ist im Grunde ein 7 Songs umfassendes Gesamtkunstwerk im traditionellen Power Metal-Sinne.
Aber bei den letzten 2 Tracks wird spannend! Tuomas hat eine perverse Vorliebe für Eurodance der 90er Jahre, was bereits durch das Cover von E-Types "Angels Crying" auf dem Debütalbum der Band durchschimmerte.
Auf diesem Album dachten FROZEN LAND nun, sie nehmen das Hedt selbst in die Hand und mischen Eurodance mit Metal. Nehmt es nicht zu ernst... FROZEN LAND tun das auch nicht!

Robert Glasper’s 2005 Blue Note debut Canvas signaled the arrival of a singular new voice in jazz and his 2007 follow-up In My Element solidified his status as a rising star who was taking the music someplace new. Featuring bassist Vicente Archer & drummer Damion Reid, the album expanded the possibilities of where a modern jazz piano trio might go by delving further into his hip-hop & gospel roots.

This 2-LP Blue Note Classic Vinyl Edition was mastered by Kevin Gray and pressed on 180g vinyl at Optimal.