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On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

Mit seinem neuen Doppel-Album "Baroque Colours" präsentiert Martin Stadtfeld eine einzigartige Palette farbenreicher Werke des Barocks. Und das in einer ganz besonderen Form: Für den ersten Teil wählte er 19 wunderbare kleine Originalstücke aus, u.a. von Bach, Rameau oder Händel, aber auch von weniger bekannten Komponisten wie Johann Kuhnau oder Joseph-Nicolas-Pancrace Royer. Für den zweiten Teil hat Stadtfeld einige seiner Lieblingstücke des Barocks ausgewählt und für Klavier neu bearbeitet. So gibt es aus Vivaldis berühmten "Vier Jahreszeiten" die mitreißenden Melodien aus dem "Sommer" und dem "Winter" neu zu erleben - als kurze, wunderbar klingende Piano-Stücke. Oder den berühmten "Kanon" von Johann Pachelbel in einer neuen Fassung für Klavier zu vier Händen, die Martin Stadtfeld mit der Pianistin Lilian Akopova eingespielt hat. Diese ist auch seine Partnerin bei den vierhändigen Fassungen des ersten Präludiums von Bach sowie der "Passacaglia" aus Lullys Oper "Armida". Ein Erlebnis sind auch die Klavierfassungen von Purcells Musik aus der Oper "Fairy Queen". Nahezu meditativ klingen Stadtfelds Improvisationen über Themen von Bach (u.a. das berühmte "Air" und "Menuett"), über Werke von Arcangelo Corelli sowie über das Kirchenlied "Ach bleib mit Deiner Gnade". Aufgenommen wurden die insgesamt 45 Stücke mit einem modernen Steinway mit einem sehr nahen und warmen Klangbild, so dass sich die Farbenpracht und Intensität unmittelbar auf den Hörer überträgt. Es ist, als ob man vor einem farbenreichen barocken Gemälde stehen würde und dabei immer neue Farben entdeckt.

Dear gourmets of audio-aesthetic rapture, dear sound poets, please welcome - Pop Ambient 2024. Twenty-four. Twenty-four can be divided by two, four, six, eight, twelve and itself. If something can be divided by itself, it is not really divisible. Truthfulness knows no formulas. Beauty knows no formulas. Beauty saves the world for no reason whatsoever. “Beauty is a promise that beyond mediocrity there is something where calmness reigns. Beauty calms the nerves. Beauty is not a good intention but a fact. Beauty is provocation, rigor, responsibility. And beauty has its price”.

In addition to the official version of Pop Ambient 2024, there will be an art/music edition limited to 10 pieces, consisting of an exclusive mini bonus album (vinyl dubplate) from Blank Gloss, in combination with 10 individual fine art print artworks by Veronika Unland. The edition will be available via kompakt.fm/art exclusively on November 24th, 2023.

Ladies and Gentlemen please welcome, Pop Ambient 2024
Liebe Gourmets audio-ästhetischer Verzückung, liebe Klang-Poeten, please welcome - Pop Ambient 2024. Vierundzwanzig. Vierundzwanzig lässt sich durch zwei, vier, sechs, acht, zwölf und sich selbst teilen. Wenn sich etwas durch sich selbst teilen lässt, ist es nicht wirklich teilbar. Wahrhaftigkeit kennt keine Formeln. Schönheit kennt keine Formeln. Schönheit rettet die Welt ohne jeden Grund. „Schönheit ist ein Versprechen, dass es jenseits der Mittelmäßigkeit etwas gibt, wo Ruhe herrscht. Schönheit besänftigt die Nerven. Schönheit ist keine gute Absicht, aber eine Tatsache. Schönheit ist Provokation, Strenge, Verantwortung. Und Schönheit hat ihren Preis“.

Neben der offiziellen Ausgabe von Pop Ambient 2024, wird es eine auf 10 Stück limitierte Kunst/Musik Edition geben, bestehend aus einem exklusiven Bonus Mini-Album (Vinyl Dubplate) von Blank Gloss, in Kombination mit 10 individuellen Fine-Art-Print Artworks von Veronika Unland. Die Edition wird am 24.11.2023 exklusiv über kompakt.fm/art erhältlich sein.

Ladies and Gentlemen please welcome, Pop Ambient 2024

“Incident At a Free Festival” is a tribute to the mid-afternoon slots at Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton – early 70s festivals that don’t get the column inches afforded the Isle of Wight or Glastonbury Fayre, but which would have been rites of passage for thousands of kids. Bands lower down the bill would have been charged with waking up the gentle hippies and appealing to both the greasy bikers and the girls in knee-high boots who wanted to wiggle their hips. And the best way to do that was with volume, riffs and percussion.

Compiled by the venerated Bob Stanley and Pete Wiggs of Saint Etienne, this is the heavier side of the early 70s they summarised on the acclaimed “English Weather” collection. There’s an air of menace and illicit thrills among tracks by Andwella, Stack Waddy and Leaf Hound (whose “Growers of Mushroom” album is worth well over £1,000). Bigger names include the rabble-rousing Edgar Broughton Band and kings of the festival freakout, Hawkwind. They are represented by their rare version of ‘Ejection’

For every mystical Tyrannosaurus Rex performance there was something like Atomic Rooster’s Tomorrow Night or Curved Air’s Back Street Luv to capture the spirit of the day and stir the loins of festival goers; the tracks on “Incident At a Free Festival” were inspired by both Chicago’s percussive wig-outs and the Pink Fairies’ anarchic spirit. The sounds were heavy and frequently funky, with a definite scent of danger. Their message was clear and simple: clap your hands, stamp your feet, hold on to your mind.

So, put on your wellies in your living room, drop the needle and enjoy...

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Singing with an enigmatic allure, CHILLEMI’s style paints with broad strokes of cinematic themes. The solo project of Brian Chillemi (Rose Cologne, Junk Boys), his debut album With Woman was released in April 2021 on Swiss indie label Taxi Gauche Records. After moving to Los Angeles from his native home of New York City just months before the pandemic, CHILLEMI returned to Manhattan to put the finishing touches on this LP.

Collecting orders for repress!

Afro Dub Funk & Punk Of Recreational Records '81-‘82

Emotional Rescue returns to what it does best by unearthing musical gems of the British post punk scene with a double pack compilation of Bristol's short lived Recreational Records.

Teaming up with Bristol Archive Records, 10 songs are remastered, reissued and cut loud for DJs and collectors. What is most striking is, although created in the space of just two years, with a disparate collection of artists, musicians and producers coming together, the music holds a considerable cohesive sound.

Set up in 1981 by Bristol based shop, Revolver Records, Recreational was formed as an independent label with its own distribution, as part of the co-operative, Cartel. The label was a natural progression from the shop's punk's DIY aesthetic, acting as a hang out and inspiration for local artists from Mark Stewart to later staff member, Daddy G.

'Get It Right' starts with a one-off project in Scream + Dance, who similarly, alongside local bands Glaxo Babies, Maximum Joy and Rip Rig & Panic, explored post-punk with funk and jazz all underpinned with heavy tribal and dub influenced rhythms. 'In Rhythm', with its infectious groove, acts as a call to arms for the compilation, coming in two parts, the latter dropping away to explore the links with dub.

Next is possibly the label's biggest band in Talisman, going on to be active up to today, their release 'Run Come Girl / Wicked Dem' are both featured in long 12" mixes that explore the classic 'discomix' of vocal and dub in longform.

Animal Magic lead with the pack's title, 'Get It Right' a short-driven punk funk burst that captures the label's sound to perfection. However, much of the compilation is given over to the more experimental side of the bands, with a high percentage the B sides where they headed to the mixing desk for echo chambered dub inspired versions.

X-Certs' 'Untogether; Electric Guitars' 'Don't Wake The Baby' and Animal Magic's 'Trash The Blad' are culled from the flips of various 7" singles and all are a fusion of percussive rhythms, studio trickery and dub inspired techniques, played out against the "Do it Yourself" aesthetic of the time.

To complete is London based, soukous, kwela and afrobeat inspired collective, Ivory Coasters' 'Mungaka Makossa' and two rhythmic curveballs by Scream + Dance in 'Giocometti (Wicked Mix)' and their riotous (and short) closer, 'In Pink & Black'. "Get it right this time, get it right!".

Artists like Jalen Ngonda come around once in a lifetime, so it is our privilege and distinct pleasure to announce the release of his debut album Come Around and Love Me.


Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm-disarming packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung. Plans for the album were struck just months before the COVID 19 pandemic shut the world down. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family.

The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment. Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, "I love music from the 20th century- I listen to it all the time, but I?m in this world and the 21st century. ...to a stranger, I?d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between." Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation-leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone?s hallmark.
Now it's your turn to come around and love one of the finest soul albums of the decade.

"Serenity / Rage" focuses on the contradictory human capacity to do both good and evil, where clarity and insight can turn to blind overwhelming rage and how we find ourselves moving back and forth across this vast expanse of human emotions. With hints of classic Death Industrial and a unique cover version of Brighter Death Now's classic track "Necroses Evangelicum", Johan Levin exposes a new facet of his expanding discography. Nothing is Black nor White, we all fade to Grey…

CD Edition of 300 copies in 4 panel Digipak. 6 Tracks. Running Time 36:41 EAN: 0679628554211
Vinyl Edition of 300 copies, 3mm sleeve, Matt Lamination with printed inner sleeve. 6 Tracks. Running Time 36:41

Zum 30-jährigem Jubiläum erweiterte Neuauflage des nächsten Klassikers der Lemonheads aus dem Jahr 1993, inklusive neuem Cover-Artwork. Die bahnbrechende Platte, die auf It's A Shame About Ray und "Mrs. Robinson" folgte, den amerikanischen Alt-Rock weltweit bekannt machte und Evan Dando in die Herzen einer ganzen Generation katapultierte. Mit einer Fülle von unveröffentlichten Demos, alternativen Versionen und Raritäten - darunter Coverversionen von Victoria Williams, Buddy Holly und den Flying Burrito Brothers sowie The Lemonheads' Interpretation des Cole Porter-Standards "Miss Otis Regrets". In den 90er Jahren produzierten Evan's Lemonheads einen Alternative-Hit nach dem anderen, eine Reihe von wirklich guten Singles: 'Big Gay Heart', 'Into Your Arms', 'It's About Time' und 'The Great Big NO'. Pures Genie, das über's Radio ging und die Indie-Herzen eroberte. Heute ist Evan immer noch ein Meister des Songwritings und 'Come On Feel The Lemonheads' klingt nebenbei noch so frisch wie eh und je. Inmitten der Hits der Originalplatte findet sich aber für noch mehr magische Musik, und diese Deluxe-Edition fügt nun eine zweite Disc mit Demos und Akustikversionen hinzu, sowie eine Vielzahl von Tracks aus Sessions und von Compilations, die dem Mythos und seiner Entstehung weitere Farbe verleihen. So covert die Band liebevoll Victoria Williams' "Frying Pan" von ihrem "Sweet Relief"-Album. Dazu gesellen sich eine Reihe von Flipsides und Out-Takes, wie ihre Version des Garagen-Punk-Knüllers "Little Black Egg" von The Nightcrawlers, Evans Hommage an Gram Parsons "Streets Of Baltimore" und Buddy Hollys melancholisches "Learning The Game". Evan erkennt einen guten Song, wenn er ihn hört, und wie 'Come On Feel The Lemonheads' beweist, kann er auch selbst gar keine schlechten schreiben. Unabhängig davon, dass der Vorgänger ,It's A Shame About Ray" als der Klassiker der LEMONHEADS dargestellt wird, hat der Nachfolger ... seine ganz eigene Geschichte. Erneut gab Juliana Hatfield mit den Ton an, ... auch wenn auf diesem Album Nic Dalton hauptsächlich den Bass einspielte. Es geht insgesamt ruhiger zur Sache, orientiert man sich nur an den Singleauskopplungen ,Into your arms", ,The great big no", ,It's about time" oder ,Big gay heart"." - OX 2015 "Dabei hat Evan Dando seine musikalische Palette wieder erweitert: Neben reinen Country-Songs mit Slide-Gitarre und den poppigen Parts, blitzen plötzlich doch wieder nach vorne treibende punkige Tracks auf. Und diese Mischung passt so gut, dass selbst Pop-Göttin Belinda Carlisle (!) mal singen und auch Punk-Ikone Rick James seinen Part beisteuern darf." - Visions 1993

The soundtrack to the comic strip "Lou! Sonata 2" will plunge you into the heart of Dead Dung Fest, the music festival organised by the heroine and her friends. The ten (fictional, created by the Krystal Zealot collective) bands who perform there are present on this record.

Existential bossa nova (Le Marquis du Néant), Swedish electronic folk (Frikoppling), steamy fusion (Cyriak's Oak) or relaxed disco pop (Fur Pants): each track reinterprets the themes of the story and the moods of the characters.

The vinyl edition includes several bonus tracks based on the world of "Lou! Sonata" and the Dead Dung Fest: a poster, a series of 10 illustrated album covers corresponding to the different groups, the flyer and the official festival woven bracelet.

Wildly acclaimed, Grammy-winning artist Flume is releasing his surprise album; a surprise package of unheard music from the last decade ‘Things Don’t Always Go the Way You Plan’ on vinyl on November 17th via Transgressive Records.

‘Things Don’t Always Go The Way You Plan’, released via Transgressive Records, features tracks with Injury Reserve, Panda Bear and Isabella Manfredi - with whom Flume previously collaborated on “The Greatest View” and “TRUST.” The collection is an immersive dive into the various eras of Flume with a combination of experimental and vocal material. There’s uplifting cinematic moments, “Close 1.2 2016 Export Wav,” wonky mixtape era beats, “Nice 2 Know U 1.5.3 2020 Export Wav,” a return to hip hop, “Counting Sheep (V2) [2018 Export Wav],” and classic song driven material, “Rhinestone 1.7.2 [2018 Export Wav].” It’s all very Flume and consistent with the eclecticism that has earned him his unique lane in electronic music and popular culture.

[a] 1."Counting Sheep (V2) [2018 Export Wav]" (feat Injury Reserve)
[b] 2."Nice 2 Know U 1.5.3 [2020 Export Wav]"
[c] 3."Why 1.3 [2012 Export Wav]"
[d] 4."Rhinestone 1.7.2 [2018 Export Wav]" (feat Isabella Manfredi)
[e] 1."Dream 1.2.2 [2016 Export Wav]"
[f] 2."Beat 58.1.1 [2020 Export Wav]"
[g] 3."Close 1.2 [2016 Export Wav]"
[h] 4."One Step Closer 1.4 [2021 Export Wav]" (feat Panda Bear)
[i] 5."SPOKE 2 ALIENS FINALLY 1.3 [2020 Export Wav]"
[j] 6."Things Don't Always Go The Way You Plan 1.2 [2020 Export Wav]"

Nachdem The National den Soundcheck für ihren Auftritt in Vancouver am 5. Juni 2023 beendet hatten, spielte die Band einfach weiter. Etwas braute sich zusammen: Die prägnanten Gitarrenparts von Aaron und Bryce Dessner trafen auf den Signature-Drumbeat von Bryan Devendorf. Als der Bassist Scott Devendorf loslegte, fing Matt Berninger an, einige Zeilen zu singen, die schon seit ein paar Jahren in ihm reiften. " Smoke detector, smoke detector / All you need to do is protect her", intonierte er. Ihr Tontechniker ließ die Aufnahme laufen und plötzlich war es ein 12 Minuten-Jam. Sie wussten, dass sie etwas Besonderes hatten, und nahmen die Live-Aufnahme bald darauf in Aarons Studio mit. Sie haben ein paar Minuten gekürzt, aber ansonsten das beibehalten, was auf der Bühne in Vancouver passiert ist. Dieser Song, "Smoke Detector", ist der krönende Abschluss von "Laugh Track", die überraschende zweite Hälfte eines Doppelalbums, das im April mit "First Two Pages of Frankenstein" begann. Es erwies sich als das letzte Kapitel eines Werks, das ansonsten neben dem Schwesteralbum geschrieben wurde - der Schlussakt einer Katharsis, die zeigt, was The National in den letzten drei Jahren durchgemacht haben. Vor zwei Jahren war die "Smoke Detector"-Zeile einer der wenigen Fetzen, die Matt während einer lähmenden Depression schreiben konnte und das zu einer Zeit, in der sich die Band fragte, ob sie jemals wieder ein Album machen würde. Nach der Pandemie belebte ihr neuer Glaube aneinander die kreativen Fähigkeiten wieder. "Weird Goodbyes", das bereits im August 2022 erschien, war ihr erster Durchbruch und der erste Vorgeschmack auf diese neue Ära. "Wir haben es wirklich schnell veröffentlicht, weil es wie ein Baby war, das in der Dunkelheit geboren wurde, oder so", lacht Matt. "Wir mussten es den Menschen zeigen". Aber als sie schließlich mit diesem umfangreichen Werk vorankamen, entschieden sie sich, "Weird Goodbyes" nicht auf das Frankenstein-Album zu nehmen. "Es fühlte sich an, als ob die Geschichte bereits erzählt worden wäre. Es war eine eigene Sache", sagt Aaron. "Aber es fühlte sich auch so an, als hätte es einen Bezug zu dem, was wir taten. Das war ein Teil der Logik für die Aufnahme einer weiteren Platte - wir wollten "Weird Goodbyes" ein eigenes Zuhause geben." "Laugh Track" ist das vielleicht musikalisch bedingungsloseste Album, welches die Band seit Jahren gemacht hat. Es ist aufmüpfig und dennoch leichtfüßig, doch es enthält ebenso viel seltene, ungebremste Schönheit wie Trostlosigkeit. Thematisch gibt es keine absichtliche Trennung zwischen "Frankenstein" und "Laugh Track". Während Matt auf "Frankenstein" eher auf der Suche nach einem Zufluchtsort war, hat er hier eine neue, klare Sicht auf das, was zählt. Sein dringendes Bedürfnis nach Intimität wird durch eine immer größere Angst vor der Unwirklichkeit des modernen Lebens noch verstärkt. Die Charaktere auf diesem Album (keine Vornamen, abgesehen von einer Tourmanagerin namens Alice - nur "ich" und "du") decken einander, träumen füreinander und helfen, den Schein zu wahren - und lösen damit das Versprechen von der gegenseitigen Fürsorge ein, das Matt auf dem Frankenstein-Schlusslied "Send for Me" gegeben hat. Wenn "Frankenstein" ein Zeichen für die Wiederherstellung des Vertrauens zwischen den einzelnen Bandelementen war, so ist das lebendige und neugierige "Laugh Track" das selbstbewusste Produkt dieses Prozesses und eine Absichtserklärung für jetzt und die Zukunft.

After two years, Carl and Andreas present their second album, and once again, it opens up a wide associative space for us. What strikes us initially is the uncommon instrumentation: a church organ, harpsichord, glass tubes, and more. Like their first album (The Aporias of Futurism), it is mysterious and dark. But it also carries a strong touch of rebellion and adrenaline, sometimes quite pointedly. The pieces are now shorter and feature intricate yet irresistible rhythms. The impact is immediate, yet it maintains a sense of solemnity and ceremony. The Apollonian complexity of the rhythms and subtle melodic interweavings is transformed into a Dionysian, ecstatic, hypnotic, and at times tribal context. "Music for Unknown Rituals" oscillates between primitive instincts and avant-garde intrigues.

The process began in Döblitz, a small village on the Saale river in Germany, inside an old church that houses an organ built in 1886 by Johann Adolph Ibach. Carl and Andreas gained access and secluded themselves there for a few days, accompanied by the organ, an instrument made of glass tubes, and a set of modular synthesizers. After recording the basic tracks in Döblitz, the work continued in Munich and Berlin. Carl played electric guitars, harpsichord, bass, metallophone, xylophone, Indian harmonium, and various percussive instruments. Andreas added layers of electronic sounds, noises, and atmospheric drones. He also created percussive structures extracted and derived from recorded material of technical and industrial noises, which contrasted with the acoustic drums played by Carl. The antithetical approach continues with the dichotomous arrangement of the instruments, often panned hard left and right in the stereo field, creating an antiphonic communication. Some parts, especially the use of the electric guitar, evoke memories of the psychedelic sixties. However, this is anything but a nostalgic album—these musical references are merely remnants, set pieces, and fragments used from a contemporary, post-modern, post-youth-cultural, and post-romantic perspective.

Although Andreas and Carl continue on their chosen path of composing music with an almost literary narrative structure, this album is conceptually and formally completely different from their first effort. If “The Aporias of Futurism” was a revolutionary manifesto (in a pataphysical sense), "Music for Unknown Rituals" is more like the implementation in action; it is the practical application of the previous statement. To put it another way, if "The Aporias of Futurism” was the conceptual manifesto of a dark utopia of modernity, "Music for Unknown Rituals" is the staging of free will surrendering to the myths and catharsis of a Greek tragedy. And in response to this, the artwork features a leitmotif of histrionics with hands, the hands being the first and intuitive part of the body to express something: a ritual, a prayer, a defeat...

— Andreas Gerth is one half of Driftmachine, and Carl Osterhelt is part of F.S.K and collaborates with Hans-Joachim Irmler of Faust. Both became connected through their participation in the Tied & Tickled Trio.

Salvation - ursprünglich 1997 veröffentlicht - ist das 5. Alphaville-Album und markiert eine turbulente Zeit für die Band: Ricky Echolette hatte Alphaville während der Produktion verlassen und Marian Gold und Bernhard Lloyd mussten das Album alleine fertigstellen.

Drei Titel des Albums wurden als Singles veröffentlicht: "Wishful Thinking", "Flame", und "Soul Messiah". Das Album wurde trotz der problematischen Produktion ein Erfolg. Es wurde der Rückkehr der Band zu ihren Synthpop-Wurzeln zugeschrieben. Die Rückbesinnung auf ihre eingängigeren, einfacheren und poppigeren Wurzeln zeigt
stilistische Ähnlichkeiten zu Forever Young. Das Album wird zum ersten Mal auf Vinyl veröffentlicht. Die 3-CD-Extended-Version enthält mehrere Mixe und alternative Versionen.

- 2LP - remastered, Trifold-Hülle plus 24-seitiges Booklet

- 3CD - enthält die Original-CD plus zwei zusätzliche Discs mit Tracks, die nur auf Vinyl erhältlich waren die nur auf 12"-Vinyl erhältlich waren, und eine 5"-Maxi-CD mit Mixen, alternativen Versionen usw.

The debut album of soul singer, Maiiah is also the third full-length by Hamburg collective, Angels of Libra, following on from the success of their collaboration with Irish singer, Nathan Johnston.

Maiiah is a singer with roots in the Balkans but residing in Düsseldorf, the city of the legendary Unique Club and the label of the same name. Soul left its mark on her early on, and when she met Hamburg producer, musician and composer Dennis Rux (Hamburg Spinners/Yeah! Yeah! Yeah! Studios) during the pandemic, the two realized they shared a similar musical vision. Their common love of soul music and old rhythm & blues brought them together, and they started recording music together in Hamburg with the Angels of Libra. Lo and behold, their first single together "Obey" got into rotation at tastemaker station Radioeins and confirmed them as a winning team.



Following in the footsteps of many a classic soul tune, second single, "No No No (I'm So Broke)" is a social critique and commentary. In it Maiiah literally wears her heart on her sleeve, as she sings about the back- breaking job she was working at the time and the poor earnings as a hotel service employee.



But naturally life has more to offer than just work and so a large part of the songs on this record revolve around love. Maiiah gives her own spin to the classic "I'm A Good Woman", which the spirited singer has performed live many times. The story goes that the late DJ and Unique Records label owner Henry Storch sent Maiiah the original song by Barbara Lynn to comfort her after a heavy heartbreak. The song thus holds a very important place in Maiiah's heart, and it was released as the third advance single, recorded during her tour with Nathan Johnston at Bekegg Studios in Rastede, Lower Saxony.



With Dennis Rux at her side and the powerful arrangements of the Angels of Libra, Maiiah has found the right partners for her personal debut. On "Kava" & "Plenty of Life", Hamburg's jack-of-all-trades Carsten Meyer aka Erobique is featured as a guest on the keyboards, so here the rhythm section of the Hamburg Spinners comes together again. The love for old soul, rhythm & blues and the analog sound of the sixties is also fully expressed on this album. The longings and deep feelings in Maiiah's lyrics are carefully picked up musically, whether as a classic R&B song as in "Please Come Home" or in boogaloo party mode as in the Croatian-sung "Kava", the fourth single. "Plenty of Life" is a song for self-cheering and a call to open up to the beautiful sides of life despite all adversity. In "I wanna go", on the other hand, Maiiah longs for her Croatian homeland. The crowning finale of the album is the intense "Infinity" about life's phases and the recurring ups and downs as the essence of human existence.



The ingredients of Maiiah and the Angels of Libra's recipe are authentic lyrics, to the point arrangements, tight horns, rousing background vocals and the spirit of the golden age of soul music, as it was shaped by labels like Motown and Stax. Recorded in part with original equipment from the 50s. Producer Dennis Rux says, "We wanted to create a record that people would go dance to at the Komet" (a neighborhood club on St. Pauli in Hamburg, the band's second home). The joint album combines the Hamburg soul of the Angels of Libra with the passion of Maiiah, who can fully live out her temperament on the mic.

Low Cut Connie’s neues Album "ART DEALERS" folgt auf das von der Kritik hochgelobte Album „Private Lives“ aus dem Jahr 2020 und „Tough Cookies: Best of the Quarantine Broadcasts“ aus dem Jahr 2021, das aus ihren zweimal wöchentlich live gestreamten Rock- und Soul-Varieté-Shows hervorging, die den New Yorker dazu veranlassten, Weiner zur „Pandemic Person of the Year“ zu küren. Es ist die zweite Kooperation nach „Private Lives“ zwischen Low Cut Connie's eigenem Label „Contender Records“ und „Haldern Pop Recordings“ dem Label des Haldern Pop Festivals.

- “Eine Prise Pub Rock, eine Prise Old-Time Rock’n’Roll und ein Spritzer Soul – mit diesem Rezept brilliert die Band aus Philadelphia um Sänger und Songschreiber Adam Weiner auch auf ihrem siebten Album, „Art Dealers“” - Rolling Stone, Germany
- "Die Platte ist ganz stark im zweiten Teil, mit leichter Ladehemmung zu Beginn. Wer sich auf Deer Tick, Elton John, Dawes oder das Debüt von John Grant verständigen kann, der liegt mit Low Cut Connie richtig" - Classic Rock

Most of Gen X-ers who grew up in the mid-1980s Indonesia must have seen Soedjarwoto Soemarsono, known with his nom de guerre “Gombloh” performing on a state-run television station, playing some of his biggest hits from that era, pop gems like “Kugadaikan Cintaku (I Pawn Off My Love)”, “Setengah Gila (Half-Crazy).”

But of course, it is not fair to judge Gombloh only from these hits. Dig deeper and you will find buried treasure in his early stuff from Indra Records, and there are many of them.

His album with the band Lemon Tree’s Anno ‘69 (yes, that’s the name of the band) is all remarkable, but what he did for Chandra Records was no less spectacular. How can you go wrong with songs like “Kebyar-Kebyar”, the unofficial national anthem for Indonesia, dan “Berita Cuaca” one of the better epic songs in a catalogue full of epochal songs? These were all long out of print and in our journey to source the original master for these albums we met Bob Djumara of Nirwana Records, the Surabaya, East Java-based label which broke Gombloh into the mainstream in the mid-1980s. Almost all albums Gombloh recorded for his early labels, Indra Records and Chandra Records were critically acclaimed, but commercially they bombed, big time. Nirwana Records came up with an ingenious plan. What if they recorded Gombloh performing live and release it as is. After all, the first song in Gombloh debut record Nadia & Atmospheer is him strumming on his guitar backed by the cheering of a crowd, who could be heard going wild when he hurled that epithet “bastard” at the end of the song

The end result is a brilliant recording which despite being recorded live the sound quality so pristine leading many to doubt the claim of being live. Regardless, Nirwana shipped a decent number of units and Gombloh could buy his first car, a Katana Jeep, with money from the royalty.

One of the best things about Live Gila is its perfect sequencing, beginning with Gombloh’s social commentary on the rich’s debauched lifestyle of preying on young boys and girls, one of the most popular subjects allowed by the censoring machine of the New Order authoritarian government. The second song “Untuk Persada” is a soaring ode to the nation. For this song, Gombloh could be heard drawing his inspiration from The Police, which was undoubtedly popular in the early 1980s, even in a faraway port city like Surabaya.

Listening to this record as a whole (we omitted the last song from the original master tape “Bagimu Negeri” which sounds too jingoistic), we could not help but point to some of similarities it has with Bob Dylan’s Blood on the Tracks. Not a single composition in this record sound indigenous (the Malay-influenced rock of Panbers or Koes Plus come to mind); they all sound modern and effortlessly catchy, and had it not been for the language, this album could be mistaken for a musical output from someone growing up in Laurel Canyon or Southern France.

There are only limited copies of vinyl records in the second-hand market today available for Gombloh music, if at all. For his ardent fans, they have to scavenge for old cassettes to continue to be able to enjoy his music and have to pay top dollar for that. In Indonesia, where he was a superstar in the early 1980s, Gombloh was largely forgotten. With this project, we can only hope that the time is ripe for Gombloh to reemerge and now, more than ever, his music could speak to a bigger audience.

Back To Titanic is an album by Ost, released in 2023. Back To Titanic includes a.o. the following tracks: “Titanic Suite”, “Alexander's Ragtime Band - I. Salonisti”, “Lament”, “A Shore Never Reached” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve original soundtrack 2-LP.

Australia post-punk duo The Native Cats - bassist Julian Teakle and singer and electronics operator Chloe Alison Escott (who released solo album Stars Under Contract via Chapter in 2020). Spiritual forebears to the current wave of speak-singing post-punk a la Dry Cleaning and Sleaford Mods, The Native Cats have grown a sizable cult following from their home in Tasmania (Australia's remote and chilly island state) since the late 2000s. Their minimal bass and drums rumble is offset by Chloe's lyrics which twist, confound and linger. The band have toured the US and played Memphis' legendary Goner Fest, been written up by the likes of Stereogum, NPR and Brooklyn Vegan, and performed at the Sydney Opera House. In 2020, they were riding a growing wave of recognition and admiration following their best run of records to date, culminating in killer double A-side single Two Creation Myths. But the pandemic and Australia's extended lockdowns brought with them a period of intense loneliness, isolation and despair. Chloe's confidence as a lyricist, singer and performer was at an all-time low. Even in those low times, the apparition of Native Cats LP #5 just kept on calling out. Julian never stopped recording instrumental demos and emailing them to Chloe. Chloe never stopped writing, and even began revisiting lyrics that had previously felt too raw or revealing to include.. Small moments of inspiration grew into more substantial ones. The band committed to weekly songwriting sessions, started to accept invitations to perform again, and had crowds fall instantly in love with their new songs. Recorded with producer Ben von Fürstenberg, The Way On is the Way Off takes a meticulous, painterly approach to the band's heavy, scorching songs. Every element is chosen for its thematic resonance and emotional impact. Chloe's lyrics arise from deep-rooted trauma and identity issues she is finally facing head-on, as well as reflections on post-punk history and lineage - the title of the album is drawn from the rules and principles David Thomas wrote for his band Pere Ubu. With the setbacks and self-doubt now a distant memory, The Way On is the Way Off is everything The Native Cats believed it could be when its completion seemed impossible, and everything they have been working towards since the day they began.

After her album with producer High John on MPM in 2019 and collaborations with agajon, Àbáse, KUOKO, Cap Kendricks and Move 78, soul singer douniah returns with her debut solo project!

douniah imparts her debut solo project "A Lot, Not Too Much" to an unexpecting audience. Thoughtfully, the singer-songwriter invites us to embark on our own saviour. The collection of songs is steeped in artistic and emotional integrity. Production was ledand executed by Dhanya Langer, one half of band project Modha, and producer of JujuRogers' 2019 album "40 Acres N Sum Mula". Written amid the pandemic, this piece is aneffort of immense proportions - experimenting with her sound in time, wading through spirals of arduous personal challenges. 'A first impression of how my journey sounds.'Agadir-born and Hamburg-raised, douniah engages in the practice of interpreting herspirit, impressively, in German, Darija and English. We find here, a body of work that threads together the tenets of free-form poetry and romanticism, backdropped by neo-experimental jazz tendencies. In euphony, a worldly array of instruments act insymbiosis to carry us through "A Lot, Not Too Much". douniah's voice is one to fall into; her message is enunciated with every word, delivered delicately with an inventory ofriffs and ranged tone. The utilisation of choppy, note-like, freestyles bridges the EP's strong singles, into a rhapsodic whole.

KOU is the new project by Apolline Schöser (half of Nina Harker) & Thomas Coquelet.

Apolline & Thomas have been performing since 2022 under the KOU guise with 24 electronic harmoniums. Producing dense layers of tones & overtones. On their debut album KOU steers in another direction. The harmonium appears occasionally, but more prominent are delicate guitar pluckings, distant vocal effects, synths, flutes, piano strokes, a touch of musical magic and Apolline’s jazz not jazz vocals.

As soon as the needle drops it’s clear we are jump-cutting straight to the other side of the mirror. Cats purr, a woman sings as if asleep, drum machines stutter and warp and Alvin Lucier is not 'sitting in a room that is not different to the one you are not in now’. If you’re already confused, join the club. But, it’s the good kind of confused, a bewildering experience akin to the first time hearing the Faust Tapes or watching Inland Empire. Wait though, as pigeons coo and the tape machine clunk-clicks a gorgeous weirdo version of Roger's and Hart’s Blue Moon emerges to let you know this isn’t just dada splurge, there’s a genius pop sensibility at work here too. Side two takes us further into the murk with mournful detuned brass, stoned Joan La Barbara-esque vocalese and a droning Farfisa hymn, before ending with another too-tempting snatch of DIY pop. Some of the references are recognisable. All kinds of 70s/80s European art prog - think early Battiato, Pierot Lunaire’s Gudrun, Lucia Bosè and Gregorio Paniagua's Io Pomodoro etc etc. There’s a strong whiff of 90s us goof-off surrealism too- Bongwater, Siltbreeze, Royal Trux’s Twin infinitives, the damaged folkier side of Alastair Galbraith, Half-Japanese, early Beck even all feel relevant.

Like an oddball group of friends you might meet by chance and end up weirding-out with for days, the minds behind this deliciously odd music allow you to stay for a while in their strange subcultural world. You might not want to live here forever but a short trip, while it lasts, rewires your brain for the better.

Mit sperrig und kontrapunktisch kann man "Wider" untertiteln, ebenso mit eigenständig und -sinnig. Ja, Leto waren und sind deutschsprachiger Post-Punk mit Emo-, Hardcore-und Indie-Einflüssen. Obendrein passiert in wechselnden Melodien und eingängigen Rephrains viel Überraschendes und Abwechslungsreiches in den zehn Songs; so finden sich neuerdings auch rockige Momente, posenfrei und ohne Peinlichkeit, in Songs wie "Keine Reaktion", "Katzenwäsche" und "Blau". Leto treiben sich und die Hörer*innen in vielen Passagen regelrecht durch "Wider", häufige 200 BPM sprechen fürs Tempo und insbesondere Phills Gitarrenspiel unterstreicht die genre-untypischen Instrumentalteile. Die Hardcore-und Emo-Vergangenheit einzelner Bandmitglieder scheint in harten, schreienden Passagen immer wieder durch, bestes Beispiel ist mit "Kammerflimmern" der Song, den Jörkk Mechenbier (Love A, Schreng Schreng & La La, Trixsi) gemeinsam mit Jannes und Paul eingesungen beziehungsweise -geschrien hat. Der Entstehungsprozess lief bei "Wider" schneller und zielstrebiger als bei "Vor die Hunde", schrieb die Band die Songs diesmal am Stück, und das Album klingt entsprechend mehr aus einem Guss als das Debüt, dessen Titel in einem Zeitraum von zwei Jahren entstanden waren. Produzent Kristian Kühl, der Bands wie Leoniden und Schrottgrenze aufgenommen hat und selbst Gitarre bei Trixsiund Shatten spielt, hat "Wider" mit seinem dynamischen Mix maßgebliche Impulse gegeben. Eines scheint gleichzubleiben: Leto nehmen ihre Alben in Krisenzeiten auf: Entstand die Produktion von "Vor die Hunde" während des G20 Gipfels, ist "Wider" ein Kind der Pandemie. Gemastert wurde die Platte von Helge Hasselberg, das Artwork stammt wie bereits beim Debüt von Julius Dettmer.

Classic Hip-hop meets minimalism and dusty vinyl on Anchovies Cali Agents alum Planet Asia is as sharp as ever with his lyrical smithing. Apollo Brown's style is evident behind the dust and grime of these smoky samples. The Detroit producer approached this album like a director would a movie. Apollo painstakingly laid out every detail of the project and knew what he wanted from the finished product. He knew that only one rapper could execute his vision. Enter Planet Asia. The West Coast legend was able to fit directly into the plan and bring his talents to the album, creating a perfect match.
Planet Asia. The West Coast legend was able to fit directly into the plan and bring
his talents to the album, creating a perfect match.

„Ich habe den gottgegebenen Glanz seiner Stimme immer bewundert“, hat Placido Domingo einmal über den strahlenden Tenor Pavarottis gesagt und zu kaum einem Fest könnte dieser Glanz besser passen als zu Weihnachten.

Christmas with Pavarotti, das die Weihnachtszeit mit innigen Interpretationen des Ausnahmekünstlers bereichert und gleichzeitig ein eindrucksvolles musikalisches Porträt eines der größten Sänger aller Zeiten geworden ist, erscheint nun erstmals als farbige (blaue) Vinyl.

Das vielseitige Album präsentiert eine Auswahl der schönsten Weihnachtslieder und Klassiker aus aller Welt darunter „Ave Maria“, „O Holy Night“, „Panis Angelicus“ u.v.a. CD: + Zitat

Mit Christmas with Pavarotti erscheint nun ein stimmungsvolles Doppelalbum, das die Weihnachtszeit mit innigen Interpretationen des Ausnahmekünstlers bereichert und gleichzeitig ein eindrucksvolles musikalisches Porträt eines der größten Sänger aller Zeiten geworden ist. Das vielseitige Album präsentiert eine Auswahl der schönsten Weihnachtslieder und Klassiker aus aller Welt darunter „Oh Tannenbaum“, „Jingle Bells“, „Silent Night“, „Panis Angelicus“, „Feliz Navidad“, „Ave Maria“ u.v.a. Natürlich ist auch das Traumgespann der Drei Tenöre mit dabei sowie als Duettpartner viele mit Pavarotti befreundete Weltstars wie Sting, Eric Clapton, Lionel Richie, Stevie Wonder oder Zucchero.

Singer-songwriter Thom Morecroft releases his sophomore album, “Waiting For Leo.” Drawing inspiration from the rich songwriting style of 1970s folk-rock and infusing it with the distinctive aesthetic lens of Glasgow’s C86 scene, Morecroft delivers a captivating lo-fi experience that pays homage to the past while carving its own unique path. Think Crosby, Stills, Nash & Young meets the infectious energy of Teenage Fanclub’s “Bandwagonesque.” During the pandemic-induced lockdowns of 2020 and beyond, Thom embarked on a remarkable creative journey, offering his Patreon subscribers a new digital album every month. It is within these prolific collections that the songs for “Waiting For Leo” were born. With an abundance of time and the freedom to explore his creative impulses, Morecroft crafted a collection of songs that are reflective, philosophical, and deeply personal. Some look towards the future with hope, others reminisce about the past, while some capture the essence of the present moment, and a few wander into realms of pure fantasy. As Thom navigated the challenge of selecting the final tracklist, he honed and refined each composition, adding production elements and creating a cohesive sonic tapestry. “Waiting For Leo” is an album that manages to strike a delicate balance, emanating a sense of contentment and carefree spirit while simultaneously delving into themes of family, alcoholism, grief, and loss. The introspective nature of these songs, born out of a period devoid of external stimulation, allows listeners to embark on a thought-provoking journey alongside Morecroft. Reflecting on the album’s title, Thom shares, “The album is called ‘Waiting for Leo’ because the songs were written and recorded during the period before my partner and I discovered we were expecting our son. There is also the famous Samuel Beckett play called ‘Waiting for Godot,’ which I must confess I have never seen. Is it good?” “Waiting For Leo” stands as a testament to Thom Morecroft’s artistic growth and showcases his ability to merge captivating songwriting with a distinct sonic aesthetic. As listeners immerse themselves in the intimate world he has created, they will discover a tapestry of emotions that resonate deeply.

Yellow / black marbled vinyl. The Sensitives is a rough-haired mixed race dog of punk, rock'n'roll, SKA and folk! It's been touring around Europe, playing over 300 shows, spreading its musical wild oat resulting in a solid fanbase of people who, to their knockout punk, raises their middle finger to racism and sexism. The band have always kept the energy on a constant high, jumping between different styles and switching between the two singers Martin and Paulina, driven by the never resting Magnus behind the drums! The new album, Patch It Up and Go! is no different! The frustration from no touring during the pandemic and the emotional shock from a year of heavy touring as soon as the restrictions were lifted resulted in a worn out and damaged band coming home to lick their wounds. But they did what they've always done, turned their experiences and battles into songs, patched themselves up to go for it again! The result is the new album, Patch It Up and Go! and it covers topics like sex, mental health, animal rights and the importance of celebrating the good times we have while we have them! All of that in a high tempo with a positive vibe and high intensity, Patch It Up and Go! is the most personal and probably the best album from The Sensitives so far! Feet will be moving, hips will be shaking and throats will be singing!

Zero Years Kid is the alter ego of Joachim Badenhorst, one of the most fascinating and adventurous Belgian jazz musicians from the last 2 decades. He plays with the international band Carate Urio Orchestra but also as musician with Naima Joris or Chantal Acda.
Zero Years Kid started of as a solo project, but has grown into a full and organic live band.

Badenhorst sees Zero Years Kid as a kindergarten to explore other ideas and interests besides of jazz. Together with Jan de Vroede, Lennart Heyndels and Erik Heestermans he brings a colorful amalgam of hip-hop, pop, dance and r&b with playful and poetic lyrics in his native language: Dutch. Next to his clarinet and sax he adds samples and electronica which results in a surprising fantasy world where it is wonderful to wander.

In 2019 debut album Ongerijmde Rijmen was released. Successor Geen Grenzen is ready and will be released on November 10th of this year on Klein. Geen Grenzen is an ode to breaking boundaries, to color outside the lines and to don’t get hung up on expectations.
The title track is a rework of No Limits by 2Unlimited. The song got translated, slowed-down and distorted to the universe of Zero Years Kid. The album is a poetic and humorous trip with a melancholic twist, and themes like the covid pandemic, intense arguments that are forgiven, writers-block, desire and love.

Hailing from Cape Town, tenor saxophonist Winston Mankunku Ngozi (1943-2009) is a venerated
figure in the pantheon of South African jazz. Inspired by Coltrane while rooted in indigenous folklore,
he released the classic album Yakhal’ Inkomo at the outset of his career with the Mankunku Quartet in
1969. Backed by the Cliffs, Alex Express documents Mankunku’s return to the studio in 1975 with a
handful of new and original compositions and his inimitable tone on full display. Shaking off the burden
of Yakhal’ Inkomo, which was heralded as an earnest manifesto for modern South African jazz, the
album is a carefree affair that leans into township grooves with joyful exuberance. In addition to a
collaborative project with Mike Makhalemele entitled The Bull and the Lion, Alex Express is the first of
just two rare snapshots of Mankunku in the 1970s. Disillusioned by the recording industry, it would
take until his resurgence in the 1990s for Mankunku to flesh out his recorded legacy.

Miguel Atwood-Ferguson lebt in seiner Heimatstadt Los Angeles und ist einer der herausragenden Musiker, Orchestratoren, Arrangeure und Komponisten unserer Zeit. „Les Jardins Mystiques Vol.1“ ist sein lang erwartetes Debütalbum. Es präsentiert uns eine leidenschaftliche Liebeserklärung und ein Reich der schönen Möglichkeiten.

Es gibt eine Fülle von Möglichkeiten, sich Miguel Atwood-Fergusons Musik zu nähern - und es gibt keine Grenzen, wohin sie jemanden führen könnte. Als Komponist, Arrangeur, Multiinstrumentalist und Produzent hat er an mehr als 600 Alben und Soundtracks für genreübergreifende Künstler:innen gearbeitet, darunter Flying Lotus, Thundercat, Anderson .Paak, Mary J. Blige oder Seu Jorge. Seine Klangpalette umfasst Jazz, Klassik, Hiphop, Electronica, Avantgarde, Pop und vieles mehr. Zu seinen gefeierten Live- und Aufnahmeprojekten gehören die innovative orchestrale Neuinterpretation des Repertoires von J Dilla, „Suite For Ma Dukes“ (2009), seine produktiven Werke mit seinem langjährigen Freund und Kollaborateur Carlos Niño, darunter das improvisierte Album, „Chicago Waves“ (2020), auf International Anthem, und seine Gruppen wie das Quartetto Fantastico und das Miguel Atwood-Ferguson Ensemble. „Les Jardins Mystiques“ ist ein Projekt, das Miguel Atwood-Fergusons musikalisches Universum offenlegt und mit anderen teilt. Es hat sich über ein Dutzend Jahre hinweg entwickelt, wurde größtenteils von ihm selbst finanziert und zeigt seine ausgesprochen elegante Musikalität (u. a. auf Geige, Bratsche, Cello und Keyboards) sowie seine freigeistigen Dialoge mit mehr als 50 Instrumentalist:innen. ‚Volume 1‘ ist hierbei bloß der erste Teil eines geplanten Triptychons, das insgesamt ganze zehneinhalb Stunden origineller und erfrischend ausladender Musik umfassen wird. Atwood-Ferguson verband sich mit seinen Gastmusiker:innen auf vielfältige Weise: durch gesellige Studiodialoge, durch Fernkommunikation während der Pandemie und durch die Energie von Live-Auftritten in seiner Heimatstadt, darunter im Del Monte Speakeasy (das herrlich belebende, von einem Klavier begleitete „Dream Dance“) und im Bluewhale (u. a. „Ano Yo“ mit dem temperamentvollen Alt-Saxophon von Devin Daniels und den kosmischen Harmonien von „Cho Oyu“). Bennie Maupin, der legendäre US-Multi-Blasinstrumentalist, zu dessen Repertoire auch Miles Davis' Fusion-Opus „Bitches Brew“ gehört, spielt Bassklarinette auf der hinreißenden Eröffnungsnummer „Kiseki“. Im Laufe seiner illustren Karriere hat Miguel Atwood-Ferguson mit Künstler:innen wie Rihanna, Ray Charles, Lana Del Rey, Lady Gaga, Anderson .Paak, Dr. Dre, Kamasi Washington, Mary J. Blige, will.i. am, Big Boi, Arthur Verocai, Bonobo, Lianne La Havas, Kaytranada, Moses Sumney, Seu Jorge, Common, The Roots, The Cinematic Orchestra, Jamael Dean, Shafiq Husayn, Adrian Younge & Ali Shaheed Muhammad, Carlos Niño, Bilal und viele mehr zusammengearbeitet.

Vier Jahre und eine Pandemie nach "Orificial Purge" legt Vastum, die am längsten bestehende Band im 20 Buck Spin-Roster, mit "Inward To Gethsemane" ihr fünftes knüppelhartes Manifest über psychisches Unwohlsein und verlorenen Glauben vor. Wie schon zuvor umgibt der abgrundtiefe Ekel, der in Vastums einzigartiger Herangehensweise schonungslos eingefangen wurde, die Musik mit einer Aura von beunruhigendem Unbehagen.

Die höhlenartige Dichte, die Vastum zu einem Kernelement ihrer Diskografie gemacht hat, bleibt so unmenschlich wie eh und je. Sie taucht weiterhin in dunklere Atmosphären ein, verkommt aber nie zum Ambient-Dunkel; im Gegenteil, sie ist immer strafend und mit einer furchterregenden Dynamik. Der unverkennbar erschütternde Doppelgesang von Daniel Butler und Leila Abdul-Rauf taucht in "Inward..." auf; die besessenen Erzähler der höllischen Unterwelt von Vastum. Der achtminütige Albumabschluss "Corpus Fractum" zeigt eine transformative und sogar experimentelle Seite von Vastum, sowohl musikalisch als auch stimmlich, während er die charakteristische gnadenlose Kraft beibehält, für die die Band über ihre fünf Alben hinweg gefeiert wird.

Mit ihren sporadischen, aber legendären Live-Auftritten und ihrer verehrten Diskografie des modernen True Death Metal sind Vastum zu einem Fackelträger des grausamen und grotesken Undergrounds geworden, sowohl in ihrer Heimat Bay Area als auch weit darüber hinaus. "Inward to Gethsemane" schlägt eine weitere Kerbe in Vastums Totem der Abartigkeit.

Vier Jahre und eine Pandemie nach "Orificial Purge" legt Vastum, die am längsten bestehende Band im 20 Buck Spin-Roster, mit "Inward To Gethsemane" ihr fünftes knüppelhartes Manifest über psychisches Unwohlsein und verlorenen Glauben vor. Wie schon zuvor umgibt der abgrundtiefe Ekel, der in Vastums einzigartiger Herangehensweise schonungslos eingefangen wurde, die Musik mit einer Aura von beunruhigendem Unbehagen.

Die höhlenartige Dichte, die Vastum zu einem Kernelement ihrer Diskografie gemacht hat, bleibt so unmenschlich wie eh und je. Sie taucht weiterhin in dunklere Atmosphären ein, verkommt aber nie zum Ambient-Dunkel; im Gegenteil, sie ist immer strafend und mit einer furchterregenden Dynamik. Der unverkennbar erschütternde Doppelgesang von Daniel Butler und Leila Abdul-Rauf taucht in "Inward..." auf; die besessenen Erzähler der höllischen Unterwelt von Vastum. Der achtminütige Albumabschluss "Corpus Fractum" zeigt eine transformative und sogar experimentelle Seite von Vastum, sowohl musikalisch als auch stimmlich, während er die charakteristische gnadenlose Kraft beibehält, für die die Band über ihre fünf Alben hinweg gefeiert wird.

Mit ihren sporadischen, aber legendären Live-Auftritten und ihrer verehrten Diskografie des modernen True Death Metal sind Vastum zu einem Fackelträger des grausamen und grotesken Undergrounds geworden, sowohl in ihrer Heimat Bay Area als auch weit darüber hinaus. "Inward to Gethsemane" schlägt eine weitere Kerbe in Vastums Totem der Abartigkeit.

Shatter And Fall - mächtiger Melodic Death Metal in all seinen finstersten Nuancen

Die aufstrebende US-amerikanische Melodic Death Metal Band HINAYANA veröffentlicht am 10. November 2023 ihr zweites Studioalbum Shatter and Fall via Napalm Records. Das Werk besticht mit beeindruckendem Songwriting und den namhaften Feature-Gästen Vincent Jackson Jones (Aether Realm) und Tuomas Saukkonen (Wolfheart). Produziert von Frontmann Casey Hurd und Kevin Butler, wurde Shatter and Fall von Dan Swanö in seinem Unisound-Studio gemastert.

Wie keine zweiten lassen die Texaner moderne Elemente in ihren Melodic Death Metal einfließen womit sie sich von Genregrößen wie Insomnium, Amorphis und Swallow the Sun abheben und ihrem markanten Sound ein frisches Alleinstellungsmerkmal verleihen. Nach der Veröffentlichung der ersten Demo EP sicherte sich die 2014 gegründete Band mit dem Debütalbum Order Divine (2018) einen festen Platz in der Metal Szene und zog zugleich die Aufmerksamkeit von Napalm Records auf sich. Es folgte die Veröffentlichung der Labeldebüt-EP Death Of The Cosmic (2020), mit der HINAYANA der Pandemie strotzten.

Nun sind sie bereit ihre elf neuen Songs diesen Herbst auf der großen Europa Tour mit ihren Labelkollegen von Wolfheart und Before The Dawn zu präsentieren.

Celebrating the 30 anniversary of this legendary cult band from Argentina, with more than 150 releases in labels from Japan, Europe, Oceania, Latin America and USA and shows played and their music presented all over the world. A nondescript, experimental, truly original band with a story to match their legacy. LP includes fold out insert. At last! A comprehensive compilation documenting the exciting career of the legendary experimental Argentinian cult band. A career overview through eight of their most mesmerizing compositions. The fact that their drummer and singer Miguel Tomasin has down syndrome not only makes them one of the longest-running and most notable inclusive rock bands of all time, but also allows us to appreciate the importance of Miguel's creative contribution, both for his singular way of singing and for his inimitable verbal inventions. For his work with the band, Miguel stands as one of the most relevant personalities with down's syndrome in the world and his name appears mentioned in diverse books of neuroscience and neurodiversity. Their long list of collaborators includes luminaries such as Lee Ranaldo (Sonic Youth), Pauline Oliveiros, Damo Suzuki (Can), The Nihilist Spasm Band, Michael Snow, N U Unruh (Einstürzende Neubauten), Alan Licht, Pajarito Zaguri, Acid Mothers Temple, John Oswald and many more.

A hidden gem of Uruguayan music, Los Terapeutas's second album, released in 1990, is an original take on candombe and its hypnotic groove, blending pop songcraft with expansive soundscapes, never losing their rhythmic pulse. Los Terapeutas is a band of songs, where new wave, candombe beat, funk and rock were mixed in a unique way, with a strange frontman who had traces of Eduardo Mateo, Damo Suzuki, Frank Zappa and David Byrne. "Candombe del no sé quien soy" is related to what the group did live at that time: looking for a state of hypnotic hanging with their songs. The playing of the candombe drums was obviously an inspiration to look for that trance state, as was the music of Mateo and that of Opa, but influences can also be traced from the rhythmic experiments of German band Can of the 70s. The album was released in the late 1990s, a complicated time for Uruguayan music. The album was released on vinyl, a format that was losing weight compared to the CD. They would not release an album together again until 1997. In the 2000s, Los Terapeutas slowly expanded their audience, while also leaning towards a more electric sound. The new generation of Uruguayan musicians recognized the pioneering work of the band and Alberto Wolf was seen as a kind of godfather by several of the rock groups that were beginning to become massive.

I want to introduce this work ‘Halos of Perception’ to you in the way Lisa introduced me to it, through the sharing of experiences.

Lisa and I met for a walk near South Yarra station to talk about this work, when inclement weather made it too wet to visit the tunnels. Moving almost seamlessly from a world of leisurewear, infinite milk alternatives and blaring neons to stretches of green by the water that brimmed with sounds and life, we saw a few people climbing the Burnley bouldering wall, butterflies suspended in the hot wind and lots of plants I wish I knew the names of. Overhead the cars rumbled like a ceaseless animal as we talked about hidden ecosystems, imagined spaces and networks of care.

Stemming from a serendipitous encounter with an original Cave Clan member that led to many underground adventures, this work explores the worlds that exist outside of our perceptions. By the river, I leafed through a selection of tunnel photos Lisa had printed off at Officeworks, revealing alien textures, tunnels that stretch on into abysses of their own, underground flowing streams. Light is sparse and delicate, something reflected by the flickering and wavering in Lisa’s piano compositions.

As we walked, we noticed the ways in which infrastructure is often designed to keep people out—cut doors into fencing and clipped wires show an active and ongoing defiance of this. We spoke about how her Cave Clan friend used to go down to this painted room and read in solitude, using candles for light. The way sound exists underground, encased in these hollow cement tunnels, a painted room with its own deep hum. How people used to hold underground shows, how there were rules for safety (no exploring after rain, never alone) that was shared with each other. This warmth and absorption of other’s experiences is present in Lisa’s work—it’s immersive, like wading in water.

We paused on the walk to eat berries and talk about how The Caretaker creates transitory worlds with recorded sound, how this technology captures memory, and the exploratory pursuits of Pauline Oliveros’ Deep Listening Band. These citations of memory and deep listening inform Lisa’s use of analogue and classical instruments, playback artefacts and acoustic feedback in her own world-building. When speaking about ‘Halos of Perception’, she describes it as a fascination with timbre and acoustic artefacts.

Ideas of networks and enmeshment are felt deeply in Lisa’s compositions, motifs overlaid over each other evoking the image of many hands interlinking playfully, tenderly, softly. The way her compositions delve into refraction and echo makes me think about the tunnels and the way they splinter off into many possibilities. Manipulated textures reminiscent of the chalky, earthy, moss air that perfumes the tunnels’ subterranean air. Tactile details that gesture towards close attention, verging on obsession.

This work is also about imagining ecosystems of potential. Lisa shared with me that during this project, she has been reimagining subterranean networks in dreams, thinking about oral traditions, and the way water moves—from the sky to the earth, through the ground, connecting all these spheres. Realised in collaboration with hyperreal video artist Tristan Jalleh, Lisa’s dream landscape melds waterfalls, leaks, flower graffiti, and hidden messages lit up by imagined light sources with existing subterranean networks. There’s a real sense of wonder in this world she has built, how the city can reveal itself to you with some patience and care, how the city and its secrets can find its way into your dreams.

— Panda Wong