Cerca:tom d

Mynth beenden ihre Irrfahrt
So ähnlich haben sich die letzten Jahre wohl angefühlt - surreal und nicht enden wollend. Irgendwie das Gefühl eine Kreuzung übersehen zu haben und seither in die falsche Richtung zu fahren. Innerhalb von vier Wochen entstand das Album "FOUR". Akustischen Elemente wurden bewusst in den Vordergrund gestellt, um sie sogleich mit charakteristischen Mynth Sounds verschmelzen zu lassen. Für knapp 32 Minuten - eine wohlverdiente Ablenkung, die langersehnte Verschnaufpause.

After more than 20 years, Band Of Brothers is still considered one of HBO’s most important series. Produced by Steven Spielberg and Tom Hanks, the series has won major awards such as the Golden Globe for Best Miniseries and the Emmy Award for Outstanding Miniseries. The series is a war drama miniseries based on historian Stephen E. Ambrose’s 1992 non-fiction same titled book. It follows the story of Easy Company of the U.S. Army 101st Airborne Division and their mission in World War II Europe, from Operation Overlord to V-J Day

The score, composed by the late Michael Kamen, is credited as one of the essential elements in creating the realistic atmosphere of the series. Kamen was best known for scoring movies such as Die Hard, Lethal Weapon and X-Men and received an Academy Award nomination for both Don Juan DeMarco and Robin Hood: Prince Of Thieves.

Revisit the Band Of Brothers score with this deluxe reissue on smoke- coloured vinyl, available as a limited edition of 1500 individually numbered copies. The 2LP is housed in a gatefold with a cast picture on the inside, and includes a large poster and insert.

Spider-Man: Homecoming is a 2017 American superhero film based on the Marvel Comics character Spider-Man. The movie was directed by Jon Watts and the soundtrack composed by Michael Giacchino. Besides the original motion picture soundtrack by the award-winning composer, the score also features the theme from the 1960s cartoon series composed by Paul Francis Webster and Robert “Bob” Harris.

The film follows a young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, who begins to navigate his newfound identity as the web-slinging superhero. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man
– but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.

Spider-Man: Homecoming is available as a limited POP-UP edition of 2000 individually numbered copies on blue coloured vinyl with an etch on Side D. The vinyl package includes a 4-page booklet and movie poster.


[a] A1. Theme (from “Spider Man”) [Original Television Series]

Brand new Berlin based Label and Party Series "kickin' up dust" teams up with German Producer George Davis and brings out their first EP incl. a Kai Alcé NDATL Interpretation.

"Lovedancin" is the name of an event series by kickin’ up dust. Founder Tom Kutsche and his staff have dedicated their energy to bring together a diverse crowd celebrating in a field of Disco, Acid Jazz and Proto House. The bookings have the task of bringing together "from the old to the new" with dinosaur acts like Maurice Fulton, DJ Deep, Alex from Tokyo and Roy Davis Jr paired with new & local talents. Be sure to attend one of the next Lovedancin events and check out the debut release by George Davis on their freshly founded kickin’ up dust label.

Early DJ Support by: DJ Sneak, Honey Dijon, Charles Webster, Terry Farley, DJ Seinfeld, Jimpster, Horse Meat Disco, Robert Owens, Luke Solomon.

“Dancing Around Fire” is the new album by LA-based drummer and composer Tommaso Cappellato in partnership with Pavimento Fertile, the Italian break dance collective founded by Paolo “Frigo” Montesi. Inspired by the energy of dance and improvisation, this album serves up a dynamic fusion of experimental soul and timeless grooves that command the body to move. This unique collaboration between dancer and musician was born out of Cappellato’s live performance at the Pavimento Fertile dance jam in 2021.

Seeing how Cappellato’s rhythms brought out new layers in the dancers’ movements inspired Montesi to commission an album of original music that celebrates the culture of drum breaks and sampling which fuel freestyle dance. The album’s seven tracks, composed by Cappellato in as many days, take the listener straight to the dance floor.

Cappellato weaves the soulful vocals of Lalin St. Juste (on “Made of Golden Light”) and Cameron Kinghorn (on “Heart to Mend”) alongside percussive electronic tracks (like “Battle Moves”) that emphasize the importance of the drum in unleashing the power of human expression.

The third and final chapter of the “Systema Naturae” series with fresh deep techno visions from newcomers Danieli, Alex Tomb and Kontinum plus the collaboration between Berlin based artists Mary Yuzovskaya and Claudio PRC.

a A1. Daniel

First release on the new french label Disques de la Spirale, featuring an experimental motorik-kraut-dub infused, semi-improvised live act built by Tamara Goukassova, Axel Larsen & Théo Delaunay (Panoptique, Succhiamo, Violent Quand on Aime, Radiante Pourpre..) from Simple Music Experience ; featuring Maoupa Mazzocchetti, Fiesta en el Vacío, Ventre de Biche, Kyle Knapp (Deliluh) …
For fans of Faust, Tomaga, Tony Conrad...


French non-jazz trio overflowed by Simple Music Experience’s funders Tamara Goukassova, Théo Delaunay & Alexandre Larcier, offering a 40mn of non-simple music madness, and navigating between a dozen of etiquettes from undecided space rock to motorik-infused-dub, medieval folk, cartoon trance; everything under the seal of psychedelia and half-improvisation.
Built from drums, violin, springs, samples, reiterations, overdubs, trumpets, synths, distortions; and the appearances of L. Cedrón (Fiesta en el Vacío), L. Retraite (Ventre de Biche), K. Knapp (Deliluh), F. Mazzocchetti (Maoupa Mazzocchetti).

Chimera embraced by three members of the Simple Music Experience label, also (co-) liable at one point for the acts of Axel Larsen, (The) Simplists, Violent Quand On Aime, Constance Chlore, T. Goukassova, Radiante Pourpre, Succhiamo or Panoptique; Parasite Jazz emerged in 2016 in the smoke of a suspicious performance on Simple Music TV. An improvised and protean artifact at birth, the project settled down at the end of 2020 as a trio (Axel Larsen, Constance Chlore, Tamara Goukassova) in Marseille, then as a sextet during the Illusio festival in the summer of 2021. A series of concerts with a shifting line-up followed - Kyle Knapp, Luca Retraite and Luna Cedrón sometimes appeared and with them, spontaneous incandescences. This first series of collective hallucinations took the form of an album during a perilous recording at Grrrnd Zero (Lyon) in October 2021, and is completed by live recordings gleaned over the course of the summer episodes.

All tracks are composed and performed by Parasite Jazz:
Alexandre Larcier: bands, FX, springs
Tamara Goukassova: violin
Théo Delaunay: drums, percussion, synthesizer, tapes

Florent Mazzocchetti: trumpet on "Carton Jazz" and "Alarm Twist" (sampled)
Luca Retraite: bass on “Terciopelo” and guitar on “Alarm Twist”
Luna Cedron: vocals on “Terciopelo”
Kyle Knapp: lap steel on “Terciopelo” and “Untitled live at Gigors”
Around Function: Sketches, band lettering

Recorded and mixed by Théo Delaunay at Grrrnd Zero (Lyon) and l'Embobineuse (Marseille) except "Terciopelo" recorded at Illusio (Pradelles) and "Untitled live at Gigors" at La Sye Electric (Gigors-et-Lozeron).

Mastering: Rupert Clerveaux
Cover: Diane Malatesta
Design: Alan Briand
Parasite Jazz thanks: Quentin Mosko, the Groovedge/Illusio crew, Théo & Clyde, Maoupa Mazzocchetti, the 3 jokers Luna Luca and Kyle, Grrrnd & the Embobineuse.

Soul Jazz Records’ new 20th anniversary one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023 of Soul Jazz Records’ classic Studio One Ska.
A blistering collection of non-stop Ska classic tunes from Clement ‘Sir Coxsone’ Dodd’s legendary Studio One Records, Jamaica's foundation label of reggae music. Featuring classic cuts from the originators of Ska alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure fire!
Studio One Records and the seminal in-house band The Skatalites created and defined Ska in the process making Jamaican music famous throughout the world. This compilation features classic vocal and instrumental tracks from The Skatalites, Bob Marley and The Wailers, Delroy Wilson alongside super-rare tracks from the likes of Ken Boothe, The Maytals, Jackie Mittoo, Tommy McCook and many more.
Clement ‘Sir Coxsone’ Dodd’s musical empire was founded on Ska, the first explosive and most exciting music to come out of the newly independent Jamaica, which soon spread across the world. This album is a celebration of the music of Studio One Records’ seminal Ska releases and features a who’s who of the most important artists and musicians in the history of reggae. Studio One is often described as both the University of Reggae and the Motown of Jamaica.

“Every side collected here is a classic” All Music
“Utterly brilliant collection of Ska music. Essential stuff” Q
“Ripping Ska compilation. The sound is tremendous as well thanks to Studio One recording techniques - already superior at the birth of Reggae - and Soul Jazz mastering.
It's a superior Studio One Ska compilation what's not to like?” The Face
"Soul Jazz's exemplary Studio One series continues." The Wire
"There are a million ska compilations around, but this
selection outshines them - yet another
blinder from Soul Jazz." Wallpaper
"This shows the Soul Jazz Records vault
digger’s gold standard of quality.”
Mojo

Boppin’ In Baltimore: Live at the Left Bank is a previously unissued recording of saxophone master Sonny Stitt captured live at the Famous Ballroom in Baltimore, MD on November 11, 1973, for the Left Bank Jazz Society. Recorded by Left Bank founder Vernon Welsh, Boppin’ In Baltimore is an official release in cooperation with the Sonny Stitt Estate and features an all-star rhythm section of pianist Kenny Barron, bassist Sam Jones and drummer Louis Hayes. The deluxe limited-edition 180-gram 2-LP set includes an extensive booklet with rare photos by Christian Rose, Raymond Ross, Tom Copi, Burt Goldblatt and others; liner notes by acclaimed jazz critic Bob Blumenthal; and interviews with Barron, Hayes and saxophone icon Charles McPherson, Muse Records founder and producer Don Schlitten, and an archival interview with Sonny Stitt himself from the early 1970s conducted by Marc Vasey in Canada. The vinyl edition is mastered for vinyl by legendary mastering engineer Bernie Grundman.

Black Moon Circle is a psychedelic space rock band from Trondheim,
Norway
Since the beginning in early 2014 we have released 9 albums and are soon ready
with our tenth effortnamed "Leave the Ghost behind".When the world entered
lockdown a few years ago, so did we in Nautilus Studio with our new team mate,
drummer Tomas Järmyr (Motorpsycho, Årabrot) and entered a creative phase
with song writing and jamming, colored by fuzz, delays and crazy drum breaks.
The resulting album was once again produced and recorded by the band which in
addition to Tomas alsoinclude the brothers Vemund Engan (baritone guitar) and
Øyvin Engan (bass guitar, vocals) together with Scott Heller aka Dr.Space from
Öøresund Space Collective (synthesizer). Thevinyl edition is once again released
by the renowned Trondheim label Crispin Glover Records.The music on the
upcoming album resembles a tug of war between the unpredictable and chaotic
forces of free spaced out improvisation and the more grounded side of structure
provided by the means of songwriting.
180g blue smoke and pink smoke coloured double vinyl, limited to 500 copies for
the world. Lasercut sleeve, and includes a CD insert.

Kaizers Orchestra bringen ihre Alben auf 180g Gatefold-Vinyl neu heraus. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. Nach einer Pause brachte das vierte Album begeistert aufgenommene Veränderung. Entstanden in Ostberlin, abgemischt in LA, produziert von dem Kanadier Mark Howard (Bob Dylan, Tom Waits, Iggy Pop), war 'Maskineri' (2008) ein wichtiger Teil des Bandprozesses mit großartigen Songs, der in Norwegen ebenfalls direkt auf die #1 ging.

Kaizers Orchestra bringen ihre Alben auf 180g Gatefold-Vinyl neu heraus. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. Nach einer Pause brachte das vierte Album begeistert aufgenommene Veränderung. Entstanden in Ostberlin, abgemischt in LA, produziert von dem Kanadier Mark Howard (Bob Dylan, Tom Waits, Iggy Pop), war 'Maskineri' (2008) ein wichtiger Teil des Bandprozesses mit großartigen Songs, der in Norwegen ebenfalls direkt auf die #1 ging.

Behold the might of Rodan, the giant monster from the sky! In 1956, Toho unleashed their first colour kaiju picture: RODAN, directed by Ishiro Honda and produced by Tomoyuki Tanaka, is a terrifying tale from the creators of the original Godzilla that sees a giant Pteranodon rise from a deep underground cave after being disturbed by miners. Like the Big G, Rodan has mutated to excessive size after being exposed to nuclear radiation, subsequently soaring free above Kyushu to cause as much mayhem as possible as the JSDF do their best to protect the island from his bloodthirsty rampaging. It was inevitable that the man behind the music of Godzilla would also take on scoring RODAN, and the great Akira Ifukube created a score with a solemn edge as with Godzilla, which makes the music of RODAN fit in the larger universe while allowing it to feel unique to the character. For the main theme, Ifukube introduces a malevolent low piano and brass phrase before cointerpointing it with horns to create a howling menace worthy of Rodan. In contrast, beautiful but melancholy material represents the carnage the monster has brought upon the Earth; in a more upbeat mode, the composer includes another of his jaunty and jazzy marches for the JDSF in the guise of "Get Rodan". It's another Toho triumph from the great maestro Ifukube! (Charlie Brigden)

For Anyone That Knows You, an album of mostly piano solos by Josiah Steinbrick, was recorded riot for smoothness or posterity but to emphasize the piano as object, the person playing it, and the moment it sounds. On three of the pieces, the saxophone of Sam Gendel hovers ok or the piano like a faint change in the light, adding resonance and gentle reinforcement rather than counterpoint. Three others are delicate renditions: "Green Glass" interprets an untitled recording by Quechuan folk musicians Leandro Apaza Roams and Benjamin Clara Quispe; *Tyne Road" abbreviates one of Malian kora master Toumani Diabatels most tender compositions: and "Lullaby" is an arrangement of a traditional Creole song, originally recorded in 1954 by the Haitian-American guitarist Frantz Casseus.

The Hippo Sound System is a collective formed in 2018 by Bristol UK’s notorious ‘samba junglist’ DJ Hiphoppapotamus.
"Origins" is their long-awaited debut album!
Touring the festival scene across the UK and Europe their explosive live performances have earned them a well trusted reputation for blowing up dancefloors, moving feet and uplifting souls! Their tracks have been featured on BBC Radio 1, BBC Radio 1Xtra, BBC Radio 6 by Jeremiah Asiamiah, Don Letts and Craig Charles. Don Letts also included their track “Into The Jungle” on his “Best of 2020” round up.
Fusing their favourite elements of world music and sound system culture, they explore new possibilities between musical cultures, fusing ancestral rhythms with modern dance music.
Percussive rhythms and heavy bass drive this vibe train as this Hippo and his percussionist/production partner, Munki, draw influence from all over, Including Afro/Latin/world music, Jazz, Hip Hop, House, Breaks, Dub, Drum and Bass & Jungle for their productions. The result? A uniquely high energy and psychedelic global bass sound – complete with the flair of live musicians and the exciting builds and drops of bass music!
Passionate about collaboration with both their recordings and performances, they often call
upon guest features from artists such as K.O.G, Franz Von, Simo Lagnawi (Electric Jalaba), MC Spyda, Dr Syntax and many more. With almost no tempo untouched from 70-180BPM, they’re an extremely eclectic and versatile band that can customise sets for most stages and occasions.

Repress!

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.

A logical follow up to AllChival's recent reissue of Stano's debut LP, Michael O'Shea's self titled LP was originally released on Wire's Dome Imprint in 1982.

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O'Shea was keen to travel and escape the troubles of his home.

Wandering throughout Europe and the Middle East, O'Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O'Shea's idea of combining both instruments as a homebuilt instrument - Mo Chara (Irish for "My Friend").

He later described the process on the back of the LP himself saying:

"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he'd encountered on his travels.

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.

His work with Rick Wakeman never saw the light of day but O'Shea's contact with the world of post-punk London ensured his name would live on.

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O'Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.

Lewis himself said years later of the forgotten masterpiece: 'I always said it was the best job we ever did.'

After an aborted LP with The The's Matt Johnson the following year, O'Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O'Shea was struck by a post van and died a few days later in hospital in London.

This repress on All City's AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

Keyboard player and pianist Charlie Stacey fuses jazz-piano virtuosity with dark synth textures and grooves on his first solo project - a direct-to-disc, one take recording for Night Dreamer Records.



Charlie Stacey: Piano, Rhodes, Synth
Vocals: Vula Malinga
Trumpet: Jay Phelps
Bass: Tom Driessler
Percussion: Mamour Seek
Drums: Oscar Ogden

I"ve been focused on who I am in my music, but now I"m exploring where I am," Alfa Mist says. "I"m asking: how did I get here?" This is the journeying question that underpins Alfa"s fifth album, Variables. Traversing luscious, big band swing, head-nodding boom-bap rhythms and yearning vocal melodies, the record is expansive, soulful and moving, in both body and spirit. On Variables, his second release for ANTI-, Alfa achieves his most fully-realised, expressive musical work to date, coupling his keen ear for looping, memorably emotive piano melodies with intuitive grooves and a free-flowing jazz improvisation. Since the release of his first full-length project Nocturne in 2015, Alfa has established himself as one of the UK"s most focused, indemand and distinct musical voices. He has worked with the likes of Jordan Rakei and Tom Misch. Artists look to him for his unique blend of intimate bedroom production and expansive jazz group orchestration, since Alfa is yet to be boxed into a specific genre. His music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Olafur Arnalds and pioneering jazz label Blue Note. The return to live shows has been a welcome one for Alfa and his fans, resulting in an extensive tour throughout UK and Europe. Including a sold-out headline show at the Barbican in London. Alfa Mist will be touring Europe, UK and North America in 2023 again. It is a balance between feeling and perfectionism that ultimately gives Alfa"s music its depth and capacity for repeated listening. It is also an ethos that has enabled his remarkable work-ethic to date. "I"ve never been a "one album every four years" artist - I want to put out new projects every year," he says. "Music is an extension of my life; it is the practice of creating."

1996. Eure ärzte aus Berlin machen jetzt Ernst. Also: Quatsch. Ein Konzeptalbum. Also: „Konzept“- Album. Nur ein halbes Jahr nach ihrem immer noch anhaltenden Supererfolg „Planet Punk“. Es ist zum
Haare raufen.

„Le Frisur“ steht in der ansehnlichen Reihe von Schnapsideen der Besten Band der Welt unangefochten auf Platz eins. Eigentlich als kleine Spaß-EP zwischendurch geplant, sind es am Ende 17 Songs über Haare.

Warum? Weil es die Idee gibt. Weil es keinerlei Sinn macht. Weil sie es wollen.

In nur 14 mit absurden Einfällen vollgepackten Tagen eingespielt, ist „Le Frisur“ nach herkömmlichen Musikgeschäftskriterien ein eher … äh … durchwachsener Erfolg. Aber Legende. Mit gleich einer Menge
Fan-Lieblings-Geheimtipps à la „Der Afro von Paul Breitner“, „Vokuhila Superstar“ oder „Motherfucker 666“. Die Todesmetall-Anleihe „Dauerwelle vs. Minipli“ wird zum Dauerklassiker auf den Konzerten. Zwei ausgewachsene Allzeit-die ärzte-Hits gibts mit „Mein Baby war beim Friseur“ und „3-Tage-Bart“ obendrein.

Die ärzte: Jetzt mit ganz viel Hair Metal und Videodreh in Los Angeles. Mit fast ganz echtem NeunzigerBoyband-Charme. Und mit Geili-geili-Supertyp.

„Le Frisur“ erscheint ausschließlich als Vinylalbum (inklusive Downloadcode) am 3. Februar 2023.

Hard Techno new release form Italy's Dead Svn Records. Only 100 pressed 80 copies available.

"Plastic Music For Deep Thinkers" is a peculiar fusion of electronic music inspired by a cross-section of Warp Records releases, enriched with intelligently used elements of jazz, hip-hop and experiment. This multicolor creates an original mixture with a very emotional expression. Post-hip-hop, irregular beats intertwine with the club pulse and jazz harmonies, and the omnipresent sounds of synthesizers meet organic samples.

"Conceptually, this album is the result of an insight into the current state of the apogee of "plasticity" and confusion of the world, and at the same time its downfall in shape we know it. The title, full of contradictions, speaks of an artificial and exaggerated reality, but also of necessary, deeper reflection on it. Plastic, integrated circuits and synthetic sounds tell the story of human transformation in modern realities."

As the author himself admits with a grain of salt: "This record sounds familiar, but it is similar to nothing - like the reality I observe."
Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Frech, wild und ohne Kompromisse: THE HELLFREAKS verbinden modernen Metal mit rotzigem PunkEinschlag!
THE HELLFREKS, Ungarns rebellischster Punk/Metal Export, veröffentlichen am 14. April 2023 das neue Album, Pitch Black Sunset, über Napalm Records. Darauf liefert das Quartett aus Budapest eine packende Mischung aus Modern Metal und Post-Hardcore mit einschlägigen Skate Punk Elementen. Die 2009 gegründete Band kann bereits auf eine spannende Diskografie zurückblicken, die unter anderem Highlights wie den Psychobilly-Punk-Hit „Boogie Man“ enthält. THE HELLFREAKS sind in zahlreichen europäischen Ländern aufgetreten und eroberten die US-amerikanischen Bühnen auf ihrer Tournee im Jahr 2015.

Nun setzen sie mit ihrem fünften Album Pitch Black Sunset einen neuen Meilenstein mit ihrer einzigartigen Mischung aus Metal, Post Hardcore und Punk.

Bereits der Album-Opener „Old Tomorrows” ist ein gelungener Kick Off und erstklassiger Repräsentant, der mit groovigen Metalbeats und den intensiven, frechen Screams von Zsuzsa „Shakey Sue” Radnóti unmittelbar ein Ausrufezeichen setzt und die In-Your-Face-Attitüde der Band hervorhebt. THE HELLFREAKS demonstrieren zudem gekonnt ihre Qualität als individuelle Musiker, während sie mühelos schwere Riffs mit starken Beats und aggressiven Shouts verschmelzen lassen. Dabei liefern bittersüße Gesangslinien den perfekten Kontrast. So beweisen THE HELLFREAKS mit Pitch Black Sunset eindeutig, dass sie bereit sind, ihr nächstes Kapitel aufzuschlagen!

"Plastic Music For Deep Thinkers" is a peculiar fusion of electronic music inspired by a cross-section of Warp Records releases, enriched with intelligently used elements of jazz, hip-hop and experiment. This multicolor creates an original mixture with a very emotional expression. Post-hip-hop, irregular beats intertwine with the club pulse and jazz harmonies, and the omnipresent sounds of synthesizers meet organic samples.

"Conceptually, this album is the result of an insight into the current state of the apogee of "plasticity" and confusion of the world, and at the same time its downfall in shape we know it. The title, full of contradictions, speaks of an artificial and exaggerated reality, but also of necessary, deeper reflection on it. Plastic, integrated circuits and synthetic sounds tell the story of human transformation in modern realities."

As the author himself admits with a grain of salt: "This record sounds familiar, but it is similar to nothing - like the reality I observe."
Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Das vierte Temples Album 'Exotico', das von Sean Ono Lennon produziert wurde, spielt in dieser wundersamen Umgebung einer utopischen Insel, die sich Sänger/Gitarrist James Bagshaw, Bassist Tom Walmsley, Keyboarder/Gitarrist Adam Smith und Schlagzeuger Rens Ottink ausgedacht haben. Mit ihrer schillernden Collage aus Psychedelia, Glamrock und Dream-Pop erweckt 'Exotico' diese bunte Welt mit gefühlvollen Melodien, futuristischen Synthesizern und fesselnden Gitarrenriffs zum Leben und erkundet dabei ein ganzes Spektrum existenzieller Themen. "The idea of the record is that we’re transporting people to a place they’ve never experienced, a beautiful destination that’s meant for everybody", erzählt Bagshaw.

Abgemischt von Dave Fridmann (Beach House, Spoon, The Flaming Lips) und hauptsächlich in Lennons Studio im Bundesstaat New York aufgenommen, setzt 'Exotico' die Zusammenarbeit fort, die auf der von Lennon produzierten Single 'Paraphernalia' (2020) begonnen wurde. Dafür erweiterte die aus Kettering stammenden UK-Band ihre musikalische Palette um eine enorme Bandbreite an Instrumenten - passend für ein Werk, das von klassischen Symphonien über italienische Horror-Soundtracks bis hin zu Girlgroups der Brill Building-Ära inspiriert ist.

ASHRAIN ist eine brandneue Power Metal Band, die vom japanischen Gitarristen und Produzenten Nozomu Wakai (Tommy Aldridge, Paul Shortino und Alcatrazz) gegründet wurde.
Für Ashrain konnte Nozomu hochkarätige Musiker wie Peter Baltes (ex-Accept), Iuri Sanson (Vo, ex-Hibria) und Andy C (Dr, ex-Lords of Black) gewinnen, zusammen haben sie das Debutalbum „Requiem Reloaded“ aufgenommen, ein absolutes Power Metal Meisterwerk mit hohem Tempo, eingängigen Melodien sowie orchestralen Elementen.

Malice was one of the more noteworthy bands of the ‘80s Los Angeles metal scene. License to Kill was their second album and was originally released in 1987. Max Norman produced, engineered, and mixed the album, he’s best known for producing several Ozzy albums during the ‘80s, as well as Megadeth’s Countdown to Extinction, and albums of various other metal bands like Y&T, Armored Saint, Savatage, and Lynch Mob a.o.

Old-school Megadeth fans will be tickled to discover that Mustaine and Dave Ellefson are credited with background vocals on two songs. Another guest appearance was made on this album by Tommy Thayer of Kiss. Founder Jay Reynolds later joined Dave Mustaine’s band Megadeth for a brief spell, and after that became a member of Metal Church.

License To Kill is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

PASCOW beenden die Experimente, die auf dem letzten Album "Jade" zu finden waren. Obwohl sich die Band beim Songwriting erneut am Rande ihrer Möglichkeit bewegt und mit insgesamt 4 Wochen deutlich mehr Zeit mit Kurt Ebelhäuser und Michel Wern im Tonstudio 45 verbrachte, ist "Sieben" geradlinig, verdichtet und klar, wie kein PASCOW Album zuvor. Sowohl musikalisch als auch textlich. 14 Stücke, keine Ballade. Punkrock, Metalriffs, Violinen - dazu Texte über Daniel Johnston, Wall E und Eve, das Bethanien oder die Königin im Ritzen. Was wie eine Mixtur des Grauens klingt, ist auf "Sieben" geschlossen. Hinzu kommt eine Reihe an Gästen: Apokalypse Vega von Acht Eimer Hühnerherzen, Nadine Nevermore von NTÄ oder die Trierer Sängerin Hanna Landwehr seien hier exemplarisch genannt. Das Mastering von "Sieben" übernahm Andi "Dog" Jung in Berlin. Das Artwork stammt von André Nossek (Via Grafik), der bereits das Cover zu "Diene der Party" gestaltete.

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

Während man die neuen Songs hört, fühlt es sich so an, als säße man selbst in diesem Proberaum.
So nah, direkt und auf magische Weise wahrhaftig klingt diese Musik. AnnenMayKantereit waren während der Produktion ihres neuen Albums “Es ist Abend und wir sitzen bei mir” im Sommer 2022 nicht nur Musiker und Songschreiber, sondern immer auch Gastgeber: „Wir hatten wahnsinnig viel Lust darauf, dass Freunde zum Proberaum kommen und mit uns rumhängen.
Einen schönen Abend haben und schauen, was passiert“
– und daraus wurden sehr viele schöne Abende und schließlich ein wunderbares Album.

Im klassischen Teleman-Stil ist 'Good Time/Hard Time' das bisher tanzflächenfreundlichste Album des heutigen Trios. Nachdem sich Keyboarder Jonny Sanders auf Film und Design konzentriert, übernimmt Peter Cattermoul dessen Part. Hiro Amamiya wechselt nahtlos zwischen Drumcomputer, Schlagzeug und manchem Keyboardsolo und fängt den Schwung ausgewählter Perlen aus ihren DJ-Sets ein, wie Metronomy, die Disco-Klassiker von Boney M, Giorgio Moroder, frühe House Music oder 80er-Vibes - alles getränkt im typischen Teleman-Blend aus erhebender Melancholie. 'Man muss die harten Zeiten erleben, um die guten im Leben zu schätzen', erklärt Tom. 'Die meisten Songs handeln von universellen Dingen, mit denen sich jeder identifizieren kann, die kleinen und einfachen Details über schwierige Verbindungen und deren Überwindung.'

Im klassischen Teleman-Stil ist 'Good Time/Hard Time' das bisher tanzflächenfreundlichste Album des heutigen Trios. Nachdem sich Keyboarder Jonny Sanders auf Film und Design konzentriert, übernimmt Peter Cattermoul dessen Part. Hiro Amamiya wechselt nahtlos zwischen Drumcomputer, Schlagzeug und manchem Keyboardsolo und fängt den Schwung ausgewählter Perlen aus ihren DJ-Sets ein, wie Metronomy, die Disco-Klassiker von Boney M, Giorgio Moroder, frühe House Music oder 80er-Vibes - alles getränkt im typischen Teleman-Blend aus erhebender Melancholie. 'Man muss die harten Zeiten erleben, um die guten im Leben zu schätzen', erklärt Tom. 'Die meisten Songs handeln von universellen Dingen, mit denen sich jeder identifizieren kann, die kleinen und einfachen Details über schwierige Verbindungen und deren Überwindung.'

Devon Church ist ein aus Winnipeg, Manitoba, stammender und in New York City lebender Singer-Songwriter. Er war viele Jahre lang Multiinstrumentalist, Co-Autor und Produzent des Dreampop-Duos Exitmusic, dessen Album Passage 2012 bei Secretly Canadian erschien und von Pitchfork als "aufrührerisch, cineastisch und manchmal brillant" beschrieben wurde. 2018, im selben Jahr, in dem Exitmusic ihren Abgesang The Recognitions auf felte veröffentlichte, brachte Church sein Solodebüt We Are Inextricable ebenfalls auf felte heraus, das die texturalen elektronischen Elemente, die er während der Exitmusic-Jahre genutzt hatte, in den Dienst eines Songwriting-Stils stellte, der in der Folk-Rock-Tradition verwurzelt ist. Nachdem Church 2019 in den gesamten USA aufgetreten war (im Vorprogramm von Orville Peck, Adam Green, Kirin J Callinan und Black Marble), machte er sich an die Arbeit, um sein neuestes Werk, Strange Strangers, aufzunehmen, während er in einer Scheune im ländlichen Pennsylvania Zuflucht vor der globalen Pandemie suchte. Das größtenteils selbst produzierte Album klingt, als hätte Eno aus der Apollo-Ära Phil Spector auf halbem Wege zu den Aufnahmen von Death of a Ladies Man die Regler (und die Pistole) entrissen. Die atmosphärischen Elemente von Churchs früheren Produktionen werden auf dem Album sublimiert und in den Dienst von bandgesättigtem Gesang, Combo-Orgeln und Gitarren gestellt. Seine Stimme, die seit seinem Debüt selbstbewusster und zurückhaltender geworden ist, ist immer noch irgendwo zwischen einem lakonischen Lee-Hazelwood und einem rauchigen Tom Waits, aber sie wird bei Stücken wie dem intensiv melodischen und treibenden "Flash of Lightning in a Clear Blue Sky" deutlich ruhiger. Die engelsgleichen Backing Vocals von Churchs Partnerin, der Künstlerin Ada Roth, verleihen dem Bariton des weltmüden Erzählers eine Aura von traumhafter Leichtigkeit. Wenn Roth in gedämpften, an Hope Sandoval erinnernden Tönen in den Vordergrund tritt und einen Text wie "We're so bored of the apocalypse" vorträgt, nehmen die Dinge eine subtil bedrohliche Wendung in Richtung Pop-Surrealismus. Ein Sinn für kosmischen schwarzen Humor hat sich in Churchs Texte eingeschlichen. Strange Strangers leiht sich den Titel von dem Öko-Philosophen Timothy Morton: "The strangeness of strange strangers is itself strange, meaning the more we know about an entity the stranger it becomes."

Nach zwei schwedischen Grammy Awards - zuletzt 2022 für ihr hochgelobtes Studiowerk 'Where the Gloom Becomes Sound', das Platz 12 der deutschen Albumcharts erreichte - sind TRIBULATION nun mit einer neuen EP namens 'Hamartia' zurück. Dies ist ein erster Vorgeschmack auf neue Aufnahmen mit dem neuen Gitarristen Joseph Tholl. Die EP enthält auch eine Coverversion von Blue Öyster Cults 'Vengeance (The Pact)'.'Hamartia' wurde mit Robert Phersson aufgenommen, von Tom Dalgety abgemischt (der zuvor 'Where the Gloom Becomes Sound' abgemischt hat), von Magnus Lindberg gemastert und mit einem Artwork von TRIBULATIONs Gitarrist Adam Zaars versehen.