Поиск:rich p

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

GREEN AND WHITE MARBLE VINYL.

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

Patrice Bart Williams, also known as Patrice, is a singer,composer, producer and director from Germany and Sierra Leone. His career took off in 1999 with the release of the Lions EP. In 20 years, he has released a dozen albums. His music is a blend of reggae, soul, punk, folk and hip-hop. Over the years,
he has established his own unique style. He settled in Jamaica in 2020 and decided to build a studio in the
middle of the forest. This atypical location became a meeting place for artists and inspired Patrice to explore new territory. The "Super Sundays", live concerts held on the studio rooftop, were attended
by artists such as Richie Spice and Jesse Royal. In 2022, Patrice unveiled the Super Album, an unplugged best of where he reinterpreted his greatest hits including 'Soulstorm', 'Hippies With Guns', and 'Burning Bridges'.
Patrice returns in 2023 with a new album entitled '9', marked by rebirth and the symbolism of the colour blue. This album is the result of seven years' work, a veritable introspection into the depths of his emotions. "I was born on the 9th, the day my grandfather passed away. The notion of rebirth has always been present in my life, from my very first day. For my ninth studio album, I took the time to withdraw, to rebuild myself. The last seven years have been devoted to self-discovery, and it's this inner journey that has given life to this album." - Patrice

Sean La’Brooy is an Australian producer and composer currently based in New York, who’s work traverses ambient, jazz and house music. He is the co-founder of Australian ambient label Analogue Attic Recordings. With this release, La’Brooy has hooked up with the Scissor and Thread label to put out Merchant - five dreamy and versatile tracks featuring his distinct style of harmonically complex pads mixed with jazz-influenced instrumental melodies and solos. Snow Storm starts the journey, coupling field recordings with snippets of gentle jazz lines and wandering percussion. Cargo is the most dancefloor-oriented of the release, and locks into a driving groove early on, featuring various synth and piano fragments to add and flow through the track. Pilot is a track that also finds an off-kilter groove, embellished with dubbed-out percussion by fellow Australian Joseph Batrouney and samples. Storage too features a guest—New York based drummer Leo Yucht—who delivers a rolling breakbeat which is intertwined with live percussion, airy pads and snippets of piano to build a rich atmosphere. The closing piece is Helipad, a dubby bassline providing the anchor for an intricate rhythm of bongos and synth to support a light-as-a-feather melody.

Introducing Elli Acula's latest pounder "BFF"! Packed with high-octane energy, vibrant contrasts, and explosive changes - this track got heavily road tested and sets dance floors ablaze. Kicking off with a hard-hitting and relentless kick drum that lays the groundwork for what's to come. As you delve deeper, you'll meet mesmerizing glitchy vocal cuts that add an ethereal dimension to it. But it doesn't end here - a nasty synth line with shuffling stabs and a captivating melody keep you hooked. The sheer contrast and dynamic shifts offer some serious shakes and a heavy dose of breakbeats in the B-part. Get your slice! Welcome to "Vape Nation" by trans-disciplinary artist Claus, a track referencing the rich heritage of big room and minimal techno. This peak time tool is based on a screaming lead melody and a subtle acid baseline, creating thrilling tension and discharge on point. The lead phrase radiates an ecstatic bitter sweetness and deploys the minimalist power of hypnosis to its full extent. "Vape Nation" seems to mediate the utopian moments of techno futures through their endless repetition - time for some contemplations on the dance floors! "Tek Tek Tek"by FJAAK is a rhythmic 4-stepper that explores dynamic beat changes and percussion-driven elements. At its core, it features a heavy, punchy kick drum that sets the tone to make a warehouse shake. The track's smacking synth line adds a unique texture, while short vocal snippets follow the song's title, creating a sense of intrigue and anticipation. "Tek Tek Tek" invites listeners to immerse themselves in its minimal & groovy world, where the rhythmic focus meets the dance floor.

Place of longing Paris - with the cellist Gautier Capuçon "Gautier Capuçon is like a diamond in a ring and sparkles on its setting", with enthusiasm the New York Times resorted to figurative comparisons. With such effusive praise, it is no wonder that the famous cellist's albums are also absolute bestsellers.

Intuition, Emotions and Sensations are now followed by his next album with a ravishing program: Destination Paris is dedicated to atmospheric evergreens and ranges from popular film music to French chansons and classical works.

Shrouded in darkness for over a decade, ever since the disturbing events that lead to the band's inception, B R I Q U E V I L L E have been bewitchingaudiences with a hypnotizing dirge that evokes the heaviest elements of doom metal and post-rock before mixing them with eerie field recordings, found sounds and haunting traditional instrumentation. On November 3rd, 2023, as winter takes back the night, B R I Q U E V I L L E will unveil `IV' - their latest exploration into the darkest depths of the soul. The Belgian collective's pulsating, repetitive rhythms and penetrating, guttural guitar work return alongside a more prominent vocal presence with ethereal melodies and brooding lyricism further exploring the deeper, richer sonic palette first heard on 2020's `Quelle.' Drawing from members of different local scenes, B R I Q U E V I L L E first assembled with the ambition of improvising around a single, droned note. Having latched onto something raw and powerful, the band suddenly found themselves confronted by a stranger telling tales of a hatred years in the making. Floored by such a fateful meeting, B R I Q U E V I L L E have anonymised themselves behind sweeping black robes and occult golden masks ever since; unifying the collective as one sound, a singular faceless force hellbent on converting audiences around the world. With `IV' however, B R I Q U E V I L L E are beginning to lift the veil. Alongside the aural despair that the band have been handcrafting ever since their eponymous debut full-length in 2014, `IV' is imbued with an intriguing duplicity. Within the mournful melancholy and grinding, icy orchestration is the faintest glimmer of hope as the collective explores the idea of creativity free from the confinement of morals, expectations and time. `IV' sees subtle, tonal shifts and brief periods of warmth and richness now intersperse the band's fearsome outbursts of unrivalled heaviness in a new, intoxicating transformation of their formidable sound. DO be careful though, B R I Q U E V I L L E may be stepping out of the shadows, but they can easily drag us back. FFO Sleep, Bong, ISIS, Pelican, Mogwai, Sunn O))), Godspeed You! Black Emperor, Amenra Ltd Single Coloured XX Edition Vinyl, sleeve w/ gold foil embossing!

Foundation Music is proud to present ‘The Flowers EP’ by Foremost Poets aka Johnny Dangerous. Back in the news after being featured on the Grammy winning Alien Superstar from Beyonce’s latest album - but for those that know - he has never gone away as he is always on someone’s dance floor.

Foremost Poets productions and his vocals are simply devastating and label head, Ross Allen, has been a fan since he first heard the Nu Groove classic ‘Reason’s to Be Dismal’ on the reworked Richard Long Edition. It was a record that blew him away then and now, recently played by Pete Tong on Radio One, with Sven Vath including it on his anniversary compilation too. Ross signed this record when he hooked up with Johnny in New York 3 years, but wanted to wait until the time was right. That time is now.

‘Flowers In the Attic’ is no normal dance record, clocking in at thirteen minutes. It’s an epic Johnny D production, falling into that place where funk and house come together in the most magical, danceable way. It’s long but enticing, taking you through different phases and surprises you as it sucks you in, twists you up, and pulls you out.

‘Escape From Dubai’ is almost trance like but with that New York lean that keeps it very much on the right side of the Foundation Music fence. Full of funk, it has a deepness that builds and swells into an epic journey that takes you to another dimension.

The broken beat of ‘Don’t Shut Your Eyes’ closes out and is another piece of New York/ New Jersey up-tempo funk, syncopated and grooving with a repetitive hook, that goes deep via its Hammond organ solo and jazzy vocal.

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

Get Up! ist ein moderner Blues-Klassiker in der großen, aber allzu seltenen Tradition der Zusammenarbeit von Künstlern auf einem ganzen Album. Harpers zwölftes Studioalbum, das 2013 bei Stax Records erschienen ist, vereint Gospel, Roots, Country und R&B. Die fließende Chemie zwischen den beiden Künstlern trägt dazu bei, dass sich sein vielschichtiges Werk wie nie zuvor entfaltet. Harper, Musselwhite und die Band (Gitarrist Jason Mozersky, Bassist Jesse Ingalls und Schlagzeuger Jordan Richardson) spielen diesen intensiven und emotionalen Song-Zyklus mit sparsamer Härte.

Get Up! wurde von Harper produziert, wobei der Tontechniker Sheldon Gomberg, die Bandmitglieder und der GRAMMY©-prämierte Roots Musikproduzent Chris Goldsmith als Co-Produzenten fungierten. Das Album erreichte Platz 27 der Billboard 200 Charts und debütierte auf Platz 1 der Blues-Album-Charts. Das Album wurde mit einem GRAMMY© für das beste Blues-Album ausgezeichnet und ”You Found Another Lover (I Lost Another Friend)” wurde mit Gold zertifiziert.

Das Album erscheint als Vinyl.

THE KORGIS’ latest album release ‘Orchestrations’ beautifully re-imagines in amazingly inventive and unexpected ways the greatest songs of this inspirational chart-topping band with a fully-orchestrated classical treatment.

Opening with the immortal line “Change your Heart, look around you, change your Heart, it will astound you” from international hit and one of the greatest love songs ever, “Everybody’s Got To Learn Sometime”, these brand new classical interpretations weave their way through the The Korgis’ rich tapestry of song-writing.

Featuring the1979 Andy Davis-penned debut hit “If I Had You”, The Beatles homage “Something About The Beatles”, enduring fan favourite “All The Love In The World”, original Trevor Horn production and South American hit “Don’t Look Back”, concluding with prophetically-entitled James Warren and Andy Davis collaboration “This World’s For Everyone”, ‘Orchestrations’ is a fitting tribute to over 40 years of class song-writing.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Brazilian Bruno Furlan returns to Hot Creations once again with his ‘La Fiesta’ EP, featuring two scorching house tracks.

One of Brazil’s leading house artists, Bruno Furlan continues to build a dedicated following across the globe, with his current US tour welcoming memorable performances at Club Space in Miami to Club Vinyl in Denver. His return to Hot Creations comes following the success of his ‘Bongoloco’ EP on the label to open 2023, alongside a slew of other releases on the likes of DIRTYBIRD, Club Sweat, Fool’s Gold Records, and his very own Track ID imprint. Delivering two fresh cuts for his fourth outing on Hot Creations Furlan showcases his growing sound once more here with ‘La Fiesta’.

Leading with a spicy fusion of rattling percussions and vibrant bongo drums, the title track ‘La Fiesta’ ignites a Dancefloor frenzy, honouring his roots through rich, pounding beats and impassioned vocals. Next up ‘Give Me That Bass’ is another production built with main stage energy, bringing punchy stabs and alluring calls to get people locked into the groove.

Leading with a spicy fusion of rattling percussions and vibrant bongo drums, the title track ‘La Fiesta’ ignites a Dancefloor frenzy, honouring his roots through rich, pounding beats and impassioned vocals. Next up ‘Give Me That Bass’ is another production built with main stage energy, bringing punchy stabs and alluring calls to get people locked into the groove.

Following on from the Primal Scream frontman’s brilliantly-received previous release for Ace, ‘Sunday Mornin’ Comin’ Down’ (accolades included being short-listed for Rough Trade’s compilation of the year), Bobby Gillespie brings us another slice of the music that soundtracks his life. And in this case, it’s his touring life. Drawing on the experience of ‘the way that the noise and clamour of the road can tire you out, wear you down and frazzle your nerves to shattered fragments of jangled exhaustion’, these are the records Bobby turns to for solace, for comfort, for empathy and for resourcefulness.

The compilation features an introduction from the man himself, talking us through his personal choices as though he’s sitting cross-legged on the carpet going through records with you in his lounge. Also long-time cohort of the band, Kris Needs has written extensive liner-notes, serving up an intensive track by track insight and analysis.

Titled after and kicking off with the Willie Nelson track of the same name, ‘I Still Can’t Believe You’re Gone’ leads us through a darker and deeper exploration than its predecessor, featuring Nick Cave’s funereal version of ‘By The Time I Get To Phoenix’ and Ry Cooder’s sparse and beautiful reworking of ‘Dark End Of The Street’. And we get there via such greats as Bob Dylan, JJ Cale, Donnie Fritts, Crazy Horse, Lee Hazlewood, Al Green, Thin Lizzy and so many more.

In Bobby’s own words: ‘These songs are soul savers to soothe frayed and battered nerves and to ease and settle the heart. They work on me like medicine every time. I would like to share this wonderful music that has given me strength, joy and inspiration over the years with you the listener, so that you too might get the same feelings of protection and inspiration that I do whenever I listen to these songs. We're all travellers on some kind of road through this life, and we all need respite from time-to-time - the music on this compilation is soul food of the highest order - I hope you enjoy it.’.

For fans of Brian May, Slash, Zack Wylde, Classic Rock and Guitar Heroes! The Guitar Zeus 25th Anniversary 4LP/3CD set is a massive collection featuring the greatest guitar players ever including Slash, Brian May, Ted Nugent, Yngwie Malmsteem, Neal Schon, Richie Sambora, Zakk Wylde and many, many more. With 2 never released tracks featuring Tommy Thayer of KISS and Derek Sherinian (ex Dream Theater). This is the ultimate collection for any guitar enthusiast, there is nowhere else you can find this many guitar greats on one release! Curated by drum legend Carmine Appice who set the grooves for the groundbreaking psychedelic debut by Vanilla Fudge in 1967. Post-Fudge, Bogert and Appice formed Cactus (seen as an influence on King‘s X and Van Halen). Post-Cactus, the rhythm section found Grammy winning Guitar Hero Jeff Beck to form the first supergroup: Beck, Bogert & Appice (BBA). One of the premier showmen in rock, Appice became known worldwide for his astonishing live performances, in addition to becoming a highly sought-after session drummer, recording with countless artists throughout his career. In ‘76, he joined the Rod Stewart Band, touring, recording and writing two of Stewart‘s biggest hits, “Do Ya Think I‘m Sexy” and “Young Turks”. He would go on to form King Kobra, tour with Ozzy Osbourne and Blue Murder with John Sykes (Whitesnake) and Tony Franklin (The Firm)

"Intrinsic Rhythm is proud to welcome and release a new record by Westcoast Goddess. The enigmatic producer provides 4 r&b flecked sample led tracks which borrow and take influence from the classic machine soul from Chicago, Detroit and NY. The EP kicks off with the musically rich " Fallin' " which uses melody and emotive machine and sample programming to welcome you to a brilliantly unique record. The title track " Time 4 Change " takes a classic tactile Chicago groove and concocts a deep hybrid of strings, evocative synth and vocal sample programming to take the listener and dancefloor to a deeper level. " Change Is Comin' " is next and takes influence from classic Gospel house music and uses classic drum machine programming combined with a chord driven lead to create a mesmerising twist on machine soul. Finally "One O' These Days" uses Boogie. New Jack Swing and Deep House variations to bring the listener through a classic song structure which builds from beginning to end. IR005 contains 4 tracks brought through the unique lens of the Westcoast Goddess and is available on limited vinyl

Das mit Spannung erwartete neue Album der U.S.-amerikanischen Power/Progressive-Metal-Band THEOCRACY ist endlich da. Sieben Jahre nach dem hochgelobten "Ghost Ship" melden sich Mastermind Matt Smith und seine Truppe mit ihrem neuen Meisterwerk "Mosaic" zurück. THEOCRACY startete 2002 als Soloprojekt von Smith, mittlerweile ist daraus eine richtige Band mit stetig wachsender Fanbase geworden.

Ihre rasante Mischung aus Power- und Progressive-Metal ist im Laufe der Jahre immer einzigartiger geworden - das Ergebnis einer Vielzahl von Einflüssen. Der Sound von THEOCRACY begeistert Fans von Avantasia bis Symphony X. Ihr herausragendes Gespür für starke
Melodien und fantastische Arrangements sucht seinesgleichen.

Das mit Spannung erwartete neue Album der U.S.-amerikanischen Power/Progressive-Metal-Band THEOCRACY ist endlich da. Sieben Jahre nach dem hochgelobten "Ghost Ship" melden sich Mastermind Matt Smith und seine Truppe mit ihrem neuen Meisterwerk "Mosaic" zurück. THEOCRACY startete 2002 als Soloprojekt von Smith, mittlerweile ist daraus eine richtige Band mit stetig wachsender Fanbase geworden.

Ihre rasante Mischung aus Power- und Progressive-Metal ist im Laufe der Jahre immer einzigartiger geworden - das Ergebnis einer Vielzahl von Einflüssen. Der Sound von THEOCRACY begeistert Fans von Avantasia bis Symphony X. Ihr herausragendes Gespür für starke
Melodien und fantastische Arrangements sucht seinesgleichen.

Bread & Souls is an ensemble of musicians, singers, DJs, producers and, most of all, long term friends: a globally-spread family re-gathered by Franco Fusari – entrepreneur, music lover and dreamer.

“Find the Beauty” on 7″ is the project preview (which precedes the release of the whole project late 2023), featuring Detroit-based Paul Randolph on vocals, the amazing Tommaso Cappellato on drums, Marcus Machado on guitar and Taku Hirano on percussion, all directed by eclectic project leader and producer Mark de Clive-Lowe, a pianist and true electronic-jazz pioneer.

The complete Bread & Souls project will be released as 4×12” EPs, with original music produced by Mark de Clive-Lowe and featuring Tommaso Cappellato, Bembé Segué, Vanessa Freeman, Paul Randolph, Rich Medina, and many more; remixes from: Mr. Scruff with Kaidi Tatham, Domu, Volcov, LTJ Xperience, Alex Attias and G&D.

On "Tambor De Cura", producer Daniel David (The Pendletons) and Bay Area staples Jazz Mafia team up with Rio De Janeiro artist Guinu to cook up a genre defying dancefloor hitter that blends dirty analog Brazilian funk, sci-fi synth sounds and raw horn lines with an unstoppable bass hook. Midway, the song transitions into a Samba break with a beautiful trumpet solo, while seamlessly returning to its infectious house tempo. Guinu's passionate vocals highlight the healing power of the music.

On "Devotion", producer/singer and multi-instrumentalist Daniel David (The Pendletons) teams up with Jazz Mafia to bring a rich up-tempo offering. Building off of a hypnotic jazzy house piano and tapestry of congas and live percussion, Daniel soulfully paints a picture of connecting to spirit through one's inner world. Jazz Mafia's driving horns build throughout, propelling the track, with relief by an energetic drum breakdown and conga solo.

The sixth full-length release for the Scottish indie pop band was produced by Bright Eyes' Mike Mogis. Since the band started in 1987, the Trash Can Sinatras have always been reliable. Every record has delivered exactly what people needed from them: lovely guitar pop songs done with a light touch, deep emotional feelings, and melodies as rich and warm as a late-autumn heat wave. Since their original run ended in the '90s, they've come back regularly to remind people that they are just about the best guitar pop band still going, with a new album roughly every five years or so. Wild Pendulum finds the band in fine form, expectedly. It also finds them doing a bit of sonic experimentation, unexpectedly. With former Adventures in Stereo mastermind Simon Dine on board providing the kind of ""sonic scenery"" he added to many recent Paul Weller albums and producer Mike Mogis capturing fuller arrangements than usually heard on TCS albums, it's the most sonically interesting album of their long career.

2CD DIGIFILE/2LP MIT RICHARD HAWLEYS BELIEBTESTEN TITELN.

Die erste Best-Of-Sammlung von Richard Hawley (Pulp, Longpigs), die seine über 20-jährige Solo-Karriere umspannt, enthält Titel der für den Mercury Prize nominierten Alben Coles Corner (2005) und Standing at
the Sky's Edge (2012).
Kuratiert von Richard Hawley und Colin Elliot. Enthält außerdem eine brandneue, exklusive Bearbeitung von Not The Only Road, die in der Fernsehserie The Full Monty zu hören war.

Im Vorfeld der Aufführung von Standing at the Sky's Edge im Londoner West End (23. Februar) und des brandneuen Albums im Jahr 2024 wird sich "Now Then" sowohl auf das alte als auch auf das neue Publikum von Richard Hawley konzentrieren.

"Now Then" erscheint als Doppel-CD im Digifile (32 Songs) und Deluxe-Doppelvinyl im Gatefold Sleeve (22 Songs) mit halb schwarzem/halb blauem sowie halb weissem/halb blauem Vinyl.

Das fing mit Superpunk Mitte der 90er vollkommen ambitionslos an. Plan war es, eine Band zu gründen, um auf Partys Kracher aus den Sixties zu spielen. Leider scheiterte die Band bereits an relativ simplen Garage-Rock-Klassikern wie "I need you" von den Kinks. Und wer hätte gedacht, dass "Friday on my mind" derart viele Akkorde hat? Das kann sich doch nun wirklich kein Mensch merken. Da erschien es erheblich einfacher, sich eigene Songs auszudenken, konnten andere schließlich auch. Aber erst mal musste ein Name her. Zur Auswahl standen "Fifi", "Schnellbus", "Hamburg Spinners", "Superminister Riesenhuber" und "Superpunk". Mit einfacher Mehrheit und wie immer ohne viel nachzudenken, entschied man sich für letzteres Mit den ersten eigenen Songs wurden dann richtige Konzerte gespielt, die zum Teil gut ankamen. Bei einem dieser Auftritte war auch Thies. Dem gefiel, dass die Band, jetzt aus dem Stegreif memoriert, "wie eine total zerkratzte Ray-Charles-Platte auf falscher Geschwindigkeit" klang. So gut gefiel das dem Thies, dass er fortan als Keyboarder dabei war. Und das ist auch wirklich eine treffende Beschreibung für den frühen Superpunk-Sound. So, jetzt aber: Es wurden fleißig eigene Songs gemacht und als genügend da waren, dachte sich die Band: "Die könnten wir eigentlich mal aufnehmen." Auf der Straße, irgendwo zwischen "Eis-Gerd" und "Pudel" trafen sie Bernd Begemann, der sagte: "Ich habe einen 4-Spur-Kassettenrekorder, ich nehme euch auf!". "Toll, danke, Bernd!" Und so brachte Bernd seinen Kassettenrekorder, mehrere Kassetten (die teuren, Chrome II), Mikrophone und eine seltsame Apparatur (ein Stimmgerät) mit in den Übungsraum im Bunker bei der Apostelkirche und nahm mit einer Engelsgeduld das Album auf. Auf der Straße, irgendwo zwischen "Heinz Karmer"s" und "Komet" traf die Band dann Bernd Kroschewski, der sagte: "Ich habe ein Label, ich bring euer Album raus!" "Toll, danke, Bernd", hieß es erneut. Und so erschien ziemlich genau vor 25 Jahren "A bisserl was geht immer" auf Fidel Bastro. Da waren, muss man zugeben, etliche Hits drauf: "Matula, hau mich raus", "Ich kann nicht nein sagen", "Das ist heute nicht Dein Tag", "Die Axt im Walde". Aus der ambitionslosen, verhinderten Partyband wurde dann doch noch eine (beinahe) richtige Band, mit Platte und Label und dem ganzen Schnick Schnack. Sogar auf Tour sind Superpunk mit dem Album gegangen, das war was, zwischen Hölle (null Zahlende in Kassel) und Himmel (ausverkaufter Pudel, Rekordgage von 300 Mark + gekühlte Freigetränke). Falls ihr noch nie "A bisserl was geht immer" gehört habt, stellt euch eine Mischung aus 39 Clocks, Cockney Rejects und dem Ramsey Lewis Trio vor. Zugegeben, leichte Kost ist das nicht, aber einer, wenn nicht der einzige Meilenstein des Hamburger DIY/ Outsider/Beats

Musical innovators, Red Snapper, have announced that they will release a new album on Lo Recordings on the 20th of October 2023.

‘Live at The Moth Club’, the follow up to 2022’s acclaimed ‘Everybody Is Somebody’ long player, features nine tracks from a vast and impressive back catalogue on Warp Records and Lo Recordings and captures perfectly the energy of their celebrated sold out London show from May 2022 in Hackney.

With an incredible and genre bursting career that spans nearly thirty years, the new album demonstrates the band’s ability to constantly rework classic and new tracks, keeping them impassioned, experimental and relevant. The collection includes a version of ‘Suckerpunch’ which originally appeared on their 1998 album ‘Making Bones’ and will now be released as a single on the 15th of September 2023.

Notorious for casting convention aside, and remaining one of the UK’s most forward thinking and rule breaking live bands, Red Snapper embrace a unique blend of live, euphoric Afro-Jazz, Future Funk, Dub, Dark Hip-Hop and fragile soundscapes.

Formed in 1994, the original line up of Rich Thair (drums), Ali Friend (double bass) and David Ayers (guitar) released three EPs on Rich Thair and Dean Thatcher’s label Flaw Recordings. The first EP ‘Snapper’ featured Beth Orton on vocals.

Over the initial years the band released the sonically pioneering albums; ‘Reeled and Skinned’, ‘Prince Blimey’, ‘Making Bones’ and ‘Our Aim Is To Satisfy Red Snapper’ (Warp records), touring globally and supporting the likes of Massive Attack, Bjork, The Prodigy, De La Soul and The Fugees. They also acquired a reputation for innovative and expansive remixing – reworking tunes by Trouble Funk, David Holmes, Sabres of Paradise, Garbage, Lamb, S-Express and Edwyn Collins amongst others.

Since then the band have released the eponymous ‘Red Snapper’ and ‘A Pale Blue Dot’ on Lo Recordings followed by ‘Key’ on V2 Records which featured the track ‘Spikey’ which was on the soundtrack for El Camino, the Netflix Breaking Bad film directed by Vince Gilligan in 2019.

In 2013 Red Snapper composed a new soundtrack to the 1970’s Senegalese, psychedelic road movie Touki Bouki which had been restored by Martin Scorsese. The band toured Europe performing the soundtrack live to the film, culminating in the celebrated sell-out show at The Queen Elizabeth Hall on London’s Southbank. In 2014 the album ‘Hyena’ was released on Lo Recordings featuring all the music from their original film score.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Die einzigartigen Aufnahmen von Charles Mingus' Konzertreihe im weltberühmten Birdland, von 1961 bis 1962 - zum ersten Mal veröffentlicht!

Die originalen Tonbänder, die zur Aufnahme der Radiosendungen verwendet wurden, wurden speziell für diese Veröffentlichung aufgespürt, gereinigt und neu gemastert. Die beiliegenden Aufnahmen, die bisher nur in Form von Bootlegs veröffentlicht wurden, zeigen Mingus inmitten einer höchst kreativen Phase. Abwechselnd am Bass und am Klavier spielt er mit einer wechselnden Band, darunter Yusef Lateef, Roland Kirk, Jaki Byard, Booker Ervin, Pepper Adams sowie die Mingus Charles McPherson, Dannie Richmond und andere.
Diese unglaublich seltenen Aufnahmen, die in einem Keller in der Bronx untergebracht sind, bekommen ihre beste klangliche Aufbereitung seit 1962. Das Herzstück dieses Paketes ist ein 44-seitiges Buch mit einem Vorwort von Christian McBride, einem höchst informativen 15.000 Wörter umfassenden Essay von Brian Priestley und einem neuen Interview mit Charles McPherson, das Kontext und Insider-Informationen zu den Daten und der Zeit liefert. All dies ist Design und mit seltenen Fotos und Ephemera illustriert durchgehend illustriert.

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Sea Blue in Coke Bottle Clear Vinyl LP + artist signed art print. Only 200 available.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Auf den 12 Tracks von "God Games" stoßen Alison Mosshart und Jamie Hince in neue klangliche Gefilde vor, ohne dabei die für die Band typische Bravour zu verlieren. Nach der Doppelsingle "New York/LA Hex" vom Juli 2023 wird die Albumankündigung am 30. August von der Single "103" begleitet. Während "LA Hex" seinen Blick auf die emotionalen und zwischenmenschlichen Realitäten des modernen Lebens in Los Angeles richtete, beleuchtet "103" (Fahrenheit) die brutale Realität der beängstigenden Unbewohnbarkeit der Stadt durch die Linse eines dunklen, verdrehten Liebesliedes - Mosshart singt schneidende Texte wie "stick with me under the last palm tree / and sip a little water from the dirty fountain meant to be / the sum of it all".
"God Games" konzentriert sich auf das ursprüngliche Call-and-Response zwischen Mossharts ganzkörperlicher Stimmkatharsis und Hince' schwadronierendem, guillotine-glatten Gitarrenspiel. Sie haben den typischen Sound der beiden erweitert und sich entschieden, aus neuen Perspektiven zu schreiben. Zum ersten Mal hat das Duo hauptsächlich auf dem Klavier geschrieben und innovative Elektronik- und Bläsertexturen, eine kristallklare Produktion und zutiefst menschliche Texte sowie eine Zusammenarbeit mit dem Compton Kidz Club Choir bei "LA Hex" und "My Girls My Girls" einbezogen. Die Arbeit am Album begann 2019 und das Duo zog in eine alte Kirche, um das Album mit dem Academy®- und GRAMMY®-Award-prämierten Produzenten Paul Epworth Adele, Paul McCartney aufzunehmen, der 2002 ihr allererster Soundmann war.

Auf den 12 Tracks von "God Games" stoßen Alison Mosshart und Jamie Hince in neue klangliche Gefilde vor, ohne dabei die für die Band typische Bravour zu verlieren. Nach der Doppelsingle "New York/LA Hex" vom Juli 2023 wird die Albumankündigung am 30. August von der Single "103" begleitet. Während "LA Hex" seinen Blick auf die emotionalen und zwischenmenschlichen Realitäten des modernen Lebens in Los Angeles richtete, beleuchtet "103" (Fahrenheit) die brutale Realität der beängstigenden Unbewohnbarkeit der Stadt durch die Linse eines dunklen, verdrehten Liebesliedes - Mosshart singt schneidende Texte wie "stick with me under the last palm tree / and sip a little water from the dirty fountain meant to be / the sum of it all".
"God Games" konzentriert sich auf das ursprüngliche Call-and-Response zwischen Mossharts ganzkörperlicher Stimmkatharsis und Hince' schwadronierendem, guillotine-glatten Gitarrenspiel. Sie haben den typischen Sound der beiden erweitert und sich entschieden, aus neuen Perspektiven zu schreiben. Zum ersten Mal hat das Duo hauptsächlich auf dem Klavier geschrieben und innovative Elektronik- und Bläsertexturen, eine kristallklare Produktion und zutiefst menschliche Texte sowie eine Zusammenarbeit mit dem Compton Kidz Club Choir bei "LA Hex" und "My Girls My Girls" einbezogen. Die Arbeit am Album begann 2019 und das Duo zog in eine alte Kirche, um das Album mit dem Academy®- und GRAMMY®-Award-prämierten Produzenten Paul Epworth Adele, Paul McCartney aufzunehmen, der 2002 ihr allererster Soundmann war.

Sechs Jahre nach Ihrem Debüt und direkt nach ihrer Tournee als Special Guest für Depeche Mode erscheint mit „Navel" das langerwartete zweite HOPE Album auf Haldern Pop Recordings.

NAVEL, das zweite Album der Berliner Band Hope ist eine Übung in Verletzlichkeit. Die vier Musiker*innen wagen sich hinter den Soundwänden hervor, die sie in der Vergangenheit um sich herum errichtet hatten, und zeigen, wie sie hinter den Barrikaden sind: sanft, nah- und fehlbar.
Das hat zum einen mit einer inneren Entwicklung der Sängerin Christine Börsch-Supan zu tun und mit der sich daraus ergebenden neuen musikalischen Richtung der Band. Wo früher Wut und Wucht war, ist heute so etwas wie Ruhe. An die Stelle von Monumentalität ist Meditation getreten. Erzählte das 2017 erschienene HOPE in seinem vollkommen eigenständigen dunklen, dystopischen Noise-Sound von Zwängen, unterdrückten Gefühlen und Gewalt, stellt sich auf NAVEL nun Heilung ein. „Solace“ singt Christine Börsch-Supan mit ihrer genauso klaren wie warmen Stimme im gleichnamigen Song immer wieder: Trost, Trost, Trost.Die Sängerin, auf deren eigener Gefühlswelt die Texte der Band basieren – und damit auch ihr emotionaler Klangraum –, hat sich in den vergangenen Jahren von einer Essstörung befreit und damit von der großen Wut, der anklagenden Haltung und dem Aufbegehren, die die Musik von Hope lange bestimmten. Mit NAVEL hat die Band nun eine Art Zen-Garten errichtet. Einen offenen, auf das Maximale reduzierten, luftigen Raum, der dazu einlädt, ihn zu durchschreiten, der sich aber nicht aufdrängt – und der niemandem eine Deutung aufzwingt. Die Moog-Sounds, die zarten Gitarrenakkorde, das Schlagzeug, oft nur so auf den Fellen der Trommel gespielt, dass ein Sound entsteht, der wirkt wie elektronisch erzeugt – alles auf NAVEL ist durch die Weite bestimmt, die sich zwischen den Elementen auftut. Für NAVEL hat sich die Band von der Idee von Perfektion und Kontrolle verabschiedet und damit – schönstes Paradox – ein nahezu perfektes Stück Musik geschaffen.

Seltene Tracks von Alex Chilton, produziert von Chris Bell. Linernotes von Rich Tupica und Elizabeth Hoehn (alias Lesa Aldridge). Jetzt zum ersten Mal auf 12"-Vinyl.

Es ist Mitte bis Ende 1975, was von Big Star übrig geblieben ist, gibt es nicht mehr, Third/Sister Lovers steht im Regal und Alex Chilton ist in Memphis an einem Tiefpunkt angelangt. Chris Bell verbrachte einen großen Teil des Jahres in London und versuchte, einen Solo-Plattenvertrag zu bekommen, ging aber leer aus und flog im Spätsommer nach Hause, um seine Familie zu besuchen. Während er zu Hause war, nahm Bell bei Ardent weitere Solotitel auf, von denen einer, "You And Your Sister", einen Harmoniegesang brauchte, so dass er Alex hinzuzog.

Fans haben lange geglaubt, dass dies die letzte Aufnahme war, bei der Bell und Chilton im Studio zusammenarbeiteten, aber nur wenige Tage nach dieser Session waren sie wieder zusammen im Studio, wobei Bell eine Reihe von Demos für Alex aufnahm. Chilton nahm frühe Takes von "My Rival" (später für das Like Flies On Sherbert-Album umgeschnitten) und "All Of The Time" (später für die Singer Not The Song-EP und das Bach's Bottom-Album umgeschnitten) sowie die damals unveröffentlichten Tracks "She Might Look My Way" (das zuerst auf dem 1978er-Album Losing You To Sleep von Co-Autor Tommy Hoehn erschien) und "Windows Hotel" (das schließlich 2015 auf dem Live-Album Ocean Club '77 veröffentlicht wurde) auf. Leider war weder eine Zusammenarbeit noch eine wie auch immer geartete Big Star-Reunion geplant.

Full Time Men is a part time venture of Fleshtone - Keith Streng (guitar and lead vocals), devoted to “Rock’n’ Roll, Good Times and Wild Music”. The group also features Gordon Spaeth (sax, harp),
Robert Warren (bass, vocals). and Bill Milhizer (drums), all full time members of New York's wild and crazy Fleshtones, and Rich Thomas (lead guitar, vocals) from LESR (That's Lower East Side Rockers
for you out-of-towners), a short-lived rock'n' roll band that would frequent the dingiest of Manhattan's Bowery nightclubs. Dig their honorary guest list: Peter Zaremba (Fleshtones), Pat DiNizio
(Smithereens), Jeff Connolly (Lyres), Dave Faulkner (Hoodoo Gurus), Stiv Bators and Pete Buck (now what band is he In again?). This collection is culled from their 1984 self-titled LP and the 1998 album,
Your Face My Fist

■ In den frühen bis mittleren 60er Jahren war Gene McDaniels ein erfolgreicher Gesangstar. Er andete in den Charts mit den Singles "A Hundred Pounds of Clay", "Tower of Strength" und "Chip
Chip". McDaniels war jedoch ein nachdenklicherer und politisch bewussterer Mensch, als seine Hits vermuten lassen würden, und nach der Ermordung von Martin Luther King verließ er Amerika, um in
Europa zu leben und sich auf das Songwriting zu konzentrieren. Als er 1970 in die USA zurückkehrte, nannte er sich Eugene McDaniels the Left Rev. Mc D und seine Musik nahm eine scharfe Wendung in
eine neue Richtung.


"Outlaw" ist eine Sammlung von Songs, die sich an der Grenze zwischen Jazz, Rock und Funk bewegen. Am wichtigsten ist jedoch, dass McDaniels als Songwriter die Gegenkultur und die damaligen gesellschaftlichen Themen begeistert aufgriff, und "Outlaw" ist voll von klugen, pointierten Texten, die von Rasse, Klasse und kultureller Spaltung sprechen. Die Musiker (darunter Größen wie
Ron Carter, Hugh McCracken und Ray Lucas) bringen eine unauffällige Virtuosität in ihre Darbietungen ein. In einer Zeit, in der das Bewusstsein der Afroamerikaner in der populären Musik in
neue und provokative Richtungen explodierte, zeigt "Outlaw", dass Eugene McDaniels an der Spitze dieser Revolution stand

YELKA, die sich tatsächlich erst während der Corona-Pandemie als Band gefunden haben, bleiben jedenfalls ihrem "10 Alben in 3 Jahren"-Masterplan wider aller Umstände treu. Klar, das tun Volkswagen und die EZB auch: Wachstum forever!

Aber bei YELKA reden wir erstmal nur von limitierten 300er Vinyl-Auflagen. Und wie schon bei den Vorgängeralben „Nowhere Jive“ & “1976“ wurde wieder im Berliner Popschutz-Album aufgenommen und die Musik von Norman Nietzsche fertig gemischt und gemastert.
Die Cover-Zeichnung von Chriegl Farner ist mit Sicherheit das auffälligste Motiv der bisher erschienenen YELKA-Alben.

Überhaupt hat man das Gefühl, dieses Trio hat sich jetzt richtig eingespielt. „Can I use your name!? Can I use your dream?!“, fragen YELKA im Album-Opener und erinnern mit dem stoischen Beat, der Dub-Remix kompatiblen Bassline und seinen No-Wave-Gitarren
an die Au Pairs oder SLITS. Durch diverse Interlude-Wurmlöcher hindurch landen wir plötzlich in einer postkrautigen Coverversion von "Tausendmal Du" - im Original von Münchener Freiheit! Ein Song, der sich aber erstaunlich gut ins bisherige YELKA-Repertoire einfügt zwischen Chicago-Postrock, Ruhrpott-Kraut und Berliner Elektronik-Schule.