Buscar:will i am

Rhiannon Giddens reunites with her former Carolina Chocolate Drops bandmate Justin Robinson on What Did the Blackbird Say to the Crow, an album of North Carolina fiddle and banjo music. Produced by Giddens and Joseph "joebass" DeJarnette, the album features Giddens on banjo and Robinson on fiddle, with the duo playing eighteen of their favourite North Carolina tunes: a mix of instrumentals and tunes with words.

Many were learned from their late mentor, the legendary North Carolina Piedmont musician Joe Thompson; one is from another musical hero, the late Etta Baker, from whom they also learned by listening to recordings of her playing. Giddens and Robinson recorded the album outdoors and on location at Thompson’s and Baker’s North Carolina homes, as well as the former plantation Mill Prong House. They were accompanied by the sounds of nature, including two different broods of cicadas, which had not emerged simultaneously since 1803, creating a true once-in-a-lifetime soundscape. The duo, along with four other string musicians including the multi-instrumentalist Dirk Powell, will embark on the Rhiannon Giddens & The Old-Time Revue North America tour in April.

“With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way,” Giddens says. “With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes.

“What is the role of music in our society?” she wonders. “How do we de-couple it from unfettered capitalism, where music is a product and musicians are incidental? How do we use the tools and system that we have been bequeathed in a way that reminds us of other ways of being?” Robinson adds, "Recording this album felt like being back in the saddle. Just this time Joe is not here, and his fiddle is under my chin. The album is about home, the cicadas, the storms, the music, and the people who make it feel like home."

Thompson was one of the last musicians of his era and his community to carry on the southern Black string band tradition. He played a crucial role in the lives of Giddens and Robinson, who, along with their Carolina Chocolate Drops bandmate Dom Flemons, spent their formative years learning from Thompson in traditional apprentice/mentor relationships. His influence has guided all of their artistic journeys as well as their mission to keep the legacy of the Black string band tradition alive.

In further tribute to Giddens’ North Carolina roots, What Did the Blackbird Say to the Crow will arrive just a week before Biscuits & Banjos, the inaugural edition of her first festival, which highlights the deep roots and enduring legacy of Black music, art, and culture while fostering community and storytelling. The sold-out festival will feature a much-anticipated Carolina Chocolate Drops reunion, their first performance together in more than a decade.

"Vicious Rumors are an American power metal band, originally formed in 1979 in the San Francisco Bay Area. The band was conceived by founder and guitarist/vocalist Geoff Thorpe, and has been actively recording and touring worldwide since their full-length recording debut in 1985. Their first Atlantic release was the self-titled Vicious Rumors in 1990. One of the finest moments in their lengthy career. At times sounding like hybrid of Bruce Dickinson and Geoff Tate on vocals with Judas Priest as a backing band. The band subsequently began their first full US tour—which lasted for over three months and shot their first official video, ""Don't Wait for Me"", directed by Gore Verbinski. This tour was quickly placed in rotation on MTV's Headbangers Ball. Die-hard fans will celebrate this reissue, and those who missed the boat the first time will be well-served in taking this for a spin.

Vicious Rumors is available as limited numbered edition of 1500 copies on translucent blue coloured vinyl and comes with an insert."

Tornamented Walls is the first result of a collaboration that began in 2022. The album is a freeze-frame of emergence: personal preparations prior and minor aside, the album was live and improvised. Rosa Anschütz sings, speaks, plays harmonium, and utilizes a looper as an instrument in itself. Her symbolic prose is at the heart of the music, emotionally direct yet haunted by a translucent potential of meaning. In lockstep with the voice, Tennota dissolve the dense rhythmic complexity of their recent work into a creeping mantra, the material interrogated until the patina of the sound is the music itself.

Tornamented Walls floats on top of a wave of slow-motion techno influences, a deepened ambient and experimental perspective, and a feel of subtle and subdued lyricism not strictly limited to its vocal parts. It is a record of darkly ambient and abstracted techno pop, listening music to be played loud. More disenchanted than dark, it is confrontational through its fearless incorporation of a widely varying set of different states of mind.

Tennota are Tom Wheatley & Grundik Kasyansky. Since 2019, they have been reimagining the relationship between physical and digital worlds through music, using gut strings, sine waves, tree sap, and feedback, and flexing them over contemporary technologies into an elemental suspension. Not futuristic, but rather an alternative present.

Rosa Anschütz is an artist and musician whose sound-based practice is framed by sculpture, installation, and scenography. Her meditative and sometimes haunting compositions combine the dark ambiance of post-punk and cold wave with ethereal polyphony, synth-driven melodies, and spoken word.

Теnnota & Rosa Anschütz will be touring in April, stopping over in Eupen on April 18th for a concert night at the Galerie vorn und oben. Further on the bill that night will be Tristwch Y Fenywod.

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

Valhalore wurde 2013 von Gitarrist Anthony Willis und Sänger Lachlan Neate gegründet und entwickelte sich schnell zu einer unaufhaltsamen Kraft in der australischen Metalszene, mit einer einzigartigen Mischung aus Melodic Death, Power und Symphonic Metal mit Folk-Einfl üssen. Nach dem VÖ ihres Debüts "Voyage Into Eternity", gefolgt von Tourneen und Shows im Vorprogramm von Blind Guardian, Hammerfall u.a., wird die Band nun im April 2025 mit ihrem zweiten Album "Beyond The Stars" die Welt erobern

Repressed in coloured vinyl ! prod.by Ill Bill, DJ Muggs, DJ Premier, Necro, DJ Lethal, T-Ray, Sicknature, Cynic & Hero / Raekwon the Chef, Immortal Technique, Tech N9ne, Vinnie Paz (Jedi Mind Tricks), La Coka Nostra, B-Real, Howard Jones (Killswitch Engage), Bad Brains, Max Cavalera (Sepultura/Soulfly), Necro and others.

For Fans Of The Indie/Americana, Punk ‘N’ Roll, Streetwalkin’ Cheetahs, Fear, Supersuckers, Tom Petty, MC5. Living Between the Lines is the debut solo LP from Frank Meyer. A long time coming, Meyer’s been hinting at it for a while now with Bandcamp exclusive tracks, covers on tribute albums, acoustic solo shows, and his acclaimed collaboration album with Eddie Spaghetti of the Supersuckers. Like the Eddie collab, LBTL is out on Kitten Robot Records. The 11-song album adds touches of blues and soul to Meyer’s expected high-energy rock ‘n’ roll, revealing a more mature voice. He is joined for duets by longtime friend and collaborator Lisa Kekaula of the Bellrays on the title track, Runaways icon Cherie Currie on “Piece of Me” and Spaghetti himself on “Partners In Crime.” An award-winning musician, filmmaker and author, Meyer has a track record that covers rock ‘n’ roll, punk, heavy metal, blues, and country. Known for his work with everyone from Rock ‘n’ Roll Hall of Famers James Williamson (Iggy & the Stooges) and Wayne Kramer (MC5) to legendary punk act FEAR, Meyer has carved out a career full of unlikely collaborations, hard work, searing guitar playing, and ace songwriting skills. “I have rarely seen the public leave so enthusiastic by the pure rock ‘n’ roll download that they had just witnessed. Frank Meyer is an incomparable frontman who lives rock ‘n’ roll 24/7 and always gives his all!” Popular 1 Magazine.

Valhalore wurde 2013 von Gitarrist Anthony Willis und Sänger Lachlan Neate gegründet und entwickelte sich schnell zu einer unaufhaltsamen Kraft in der australischen Metalszene, mit einer einzigartigen Mischung aus Melodic Death, Power und Symphonic Metal mit Folk-Einfl üssen. Nach dem VÖ ihres Debüts "Voyage Into Eternity", gefolgt von Tourneen und Shows im Vorprogramm von Blind Guardian, Hammerfall u.a., wird die Band nun im April 2025 mit ihrem zweiten Album "Beyond The Stars" die Welt erobern

No less deep, in fact debatably deeper still, Ghost Dubs aka Michael Fiedler returns after the runaway success of his highly acclaimed 'Damaged' 2LP (1500 units sold and 'Dub/Reggae album of the year' for 2024 in The Wire Magazine), with 'Extended Damaged Versions'. Six dubbed out reworks of tracks from last year's album, deconstructed by the man himself, again for The Bug's PRESSURE label. Kicking off with the irresistible seismic grind of 'Dub Regulator', a dancefloor driven beast that miraculously eclipses the original mix, the opening cut increases in weight and intensity seductively, upping the fx drenched madness with its incessant droid hypnotics. The album's mutant dub techno relentlessly probes, stretches and disfigures all of the previous originals, version by version, on this fascinating follow up release to 'Damaged'.

As Fiedler surgically splices and dices his own original source material into successively more warped variants, gleefully atomizing the originals into molten space echo fragments. 'Thin Dub' is a masterclass in simultaneous saturation and evaporation, wilfully liquified in the heart of the echo chamber. Anyone already smitten by 'Damaged' (ie Pole, JK Flesh, Echospace, Valentina Magaletti etc have all graciously, recently acknowledged its greatness), will definitely find further reverb drenched nourishment on 'Chemical Version', which releases a whirlpool of heavily sedated delay trails, and ends up sounding like a wall of sound mirage, vaguely resembling prime Porter Ricks at their sub aquatic peak. Finally, the ambient pulsations of 'Lobotomy Version' sets the album adrift in deepest space, as this superbly crafted collection reflects Michael Fiedler doing what he does best, getting lost in his own mixing desk sorcery, whilst reflecting the captivating morphology of his live shows, where he magically revamps his heavyweight tracks into pure voodoo, casting spells effortlessly....Not an attempt to just milk 'Damaged', 'EDV' is itself a standalone triumph, an invaluable transformation of the original album's material into an epic, fresh, dub odyssey.

LP 1 is Original Reissue, LP 2 is the Instrumentals. This album, originally released in 2019, was highly lauded with esteemed praise, topping many Album Of The Year lists inlcuding NPR, Pitchfork, Rolling Stone, Time Magazine. This vinyl has been out of print and in high demand, repress is restricted to limited quantities and will be out of print again in under a year. Now includes a 2nd LP featuring the never before available Hiding Places instrumentals from Kenny Segal. Fully produced by Kenny Segal, (Project Blowed, Kenstrumentals beat tape Series, Happy Little Trees). LP has unique gatefold artwork by Myra Musgrove and features custom “oakwood” coloured vinyls. Hiding Places is a collaborative album from Brooklyn-based rapper billy woods and Los Angeles beat scene veteran Kenny Segal. As a label, we at Backwoodz take a lot of pride in our physical products; in creating original artwork that will stand the test of time, and in issuing limited-pressings that stay limited. We had always resisted repressing a piece of vinyl and even when the demand for Hiding Places built to a fever pitch during 2019, we stuck to our guns. Still, by the end of the year, as the AOTY nominations kept rolling in, we knew that we needed to do something. But we also were determined not to sacrifice the uniqueness of that first pressing. So we decided to commission all-new artwork, and press up the instrumentals as well and put it all together as a GATEFOLD 2XLP. So, on top of the best album of 2019, you get Kenny’s incredible instrumentals, available on wax for the first time! On its face, it seemed an unlikely pairing; woods who moonlights as ½ of dissonant rap duo Armand Hammer is a chaotic force, the warped relic of an NY indie-rap wave that never happened. Meanwhile, Segal has been in L.A. for twenty years; from paying dues with Project Blowed to pushing the culture forward with Busdriver and Milo. All the while, his soulful, dreamlike production precariously tethered to earth by the right drums or rumbling bass. But look closer and it makes more sense. After all, Segal lent his production to a couple of songs on Paraffin, Armand Hammer’s critically-acclaimed opus, and the two artists have more than a few shared collaborators: Open Mike Eagle, ELUCID, and Hemlock Ernst amongst them. Hiding Places finds both artists deep in the labyrinth. Segal’s lush soundscapes have a new edge, woods’ writing is, paradoxically, at its most direct. Hiding Places is a child’s game: funny and cruel, as brutal as a fairy tale. The album features familiar names from both artists’ well of collaborators with ELUCID, Self-Jupiter, Blockhead and MOTHERMARY making contributions.

"No Warranty Dubs" is made by a logic powerhouse combination, Jimi Tenor & Kabukabu meets DJ Sotofett, with most of what you can expect from all parts involved. You're served Afro Dub & Jazz in a bold and classic sonic execution. Through all 15 cuts the echoes are real and rhythms upfront, with proper extended Disco Dubs and versions of Afrobeat and Free Jazz contrasting body and soul. The album is tuneful and rugged, some cuts have vocals & synth swimming alone, while others glue the drummers groove to slick piano from beginning till end.

Followers of Jimi Tenor's life in music will be able to dive into his trademark song writing, signature flute breathing and indistinguishable style of saxophone playing, as well as his tender and electrifuingly psychedelic vocals known from early days of Puu/Sähkö and Warp releases. Kabukabu's heavyweight instrumental performance trancends regular studio recordings with joy and precision as a core element. Kabukabu's Ekow Alabi Savage aka Ekowmania (from last years "Dr.Afrodub" album) embeds deep rhythm knowledge throughout the entire musical landscape. Last in the chain is DJ Sotofett, producing and mixing his probably most classically crafted output to date. With silky gloves and clanking wrenches every element has been tweaked, re-mixed & dubbed excessively to justify a fully musical, psychedelic, warm and rhythmically rich experience.

"No Warranty Dubs" is as warm as the chords of "Money Palaver (Extra Warm Mix)", and as bombastic as opening track "Fujitronic (Flute Mix)". The album reaches it's most tender moments with the sweet "Musical Message (Disco Dub)" and dives straight into obscurity when guest drummer Ilmari Heikinheimo contributes to "Otto Part 4", a rare freejazz cut with TR-909 tickering from start til end. The simplicity of "Tronic Rhythms (Flute Dub)" is worthy a tear in an eye, while brittle souls can scatter to the thunderous horns and drenched rhythms of "Kabu Anthem (Cosmic Dub)".

Sophie Löw alias SOPHIA BLENDA ist Multiinstrumentalistin, Songwriterin und Sängerin der Band CULK. Bereits auf ihrem ersten Soloalbum "Die Neue Heiterkeit" (2022) stemmte sich die Wienerin mit schwermütig am Klavier vertontem und poetisch betextetem Kammerpop gegen das lähmende Grundrauschen gesellschaftlicher Zwänge. Die Musik von SOPHIA BLENDA ist ein leiser, aber wirkungsvoller Protest. "DIE SUMME DER VEREINZELUNG" ist eine Anklage, und ein feministischer Weckruf. Wie viele Einzelfälle, fragt das neue Album von SOPHIA BLENDA, müssen es noch werden, damit sie begreifen, dass es keine Einzelfälle gibt. Der Albumtitel spricht Bände. Denn was ist die Summe aus den vielen einzelnen Geschichten, als ein gewaltsames System, das FLINTA* und queere Menschen ignoriert, diskriminiert und herabwürdigt. Trotzdem wird den Betroffenen oft gar nicht erst geglaubt oder wenn doch, keine Bedeutung beigemessen. "Dem will ich mein Album entgegenstellen", sagt SOPHIA BLENDA. "Es beschäftigt mich schon lange, dass weiblich gelesener und queerer Schmerz in unserer Gesellschaft so verharmlost wird. Ich will diese Geschichten erzählen, ohne irgendetwas kleinzureden. Hier wird nichts nebenbei oder am Rande verhandelt. Die Lieder geben den Geschichten den Stellenwert, den sie verdienen." Ihr Kampf als Musikerin ist ein Kampf gegen den Verlust der eigenen Geschichten, Gedanken und Gefühle im Sturm der Gegenwart. Und ein Gegenentwurf zur Vereinzelung, Vereinsamung und Isolation, die im mehrdeutigen Titel des neuen Albums schon mit angelegt ist. Entstehen tun die gesellschaftskritischen und unheilvoll drängenden Kompositionen alleine am Klavier zu Hause in Wien. Von dort aus wachsen die intim vorgetragenen Lieder zu etwas Kollektivem. Ganz im Sinne von: Zusammen sind wir weniger alleine. "DIE SUMME DER VEREINZELUNG" ist ein starkes Pop-Statement. Eine furchtlose Seelenverortung. Kritisch, suchend, fragend. Ein Mahnmal für das eigene Selbst. Oder um es mit einem Songtext SOPHIA BLENDAS zu sagen: "Ein Frühlingserwachen / Meine Mahnwache / Meine eigene Revolution / Ich bin nicht wie du mich willst" Sophie Löws Perspektiven, musikalisch wie inhaltlich, ob krachend-düster oder zart-dunkel, ob mit CULK oder durch SOPHIA BLENDA vorgetragen, sind nicht einfach zugänglich, aber von einer schmerzenden Wahrhaftigkeit, welche in uns nachwirken sollte.

Marathon is an Amsterdam-based band rooted in the intensity of the underground scene and the post-punk revival. With a blend of punk, shoegaze, and indie, they create a sound where emotion and raw energy converge. Founded ten years ago, the band found its unique identity after finding its way through the vibrant Amsterdam music scene. Marathon’s music captures the anxieties of the 21st century with powerful drum lines by Lennart, gritty vocals by Kay, and deep basslines from Nina, enhanced by guitar and keyboard from Sofie and Victor. The result is an explosive “wall of sound” filled with post-punk, grunge, and noise, where the beauty and chaos of modern existence resonate. Despite a dark tone, they transform postmodern frustrations into moments of hope and reflection. Known for their intense live shows, Marathon has performed at festivals such as Best Kept Secret and Reeperbahn Festival. They have caught the attention of both national and international media, including 3voor12 and de Volkskrant. Their debut album, Fading Image, will be released in spring 2025, exploring themes of transience and resilience and unveiling a world where hope and despair meet. Recognized as an “artist to watch” by 3voor12, KINK, and de Volkskrant, Marathon is ready to continue their exploration of sound—a mysterious adventure calling to those willing to listen closely.

Marathon is an Amsterdam-based band rooted in the intensity of the underground scene and the post-punk revival. With a blend of punk, shoegaze, and indie, they create a sound where emotion and raw energy converge. Founded ten years ago, the band found its unique identity after finding its way through the vibrant Amsterdam music scene. Marathon’s music captures the anxieties of the 21st century with powerful drum lines by Lennart, gritty vocals by Kay, and deep basslines from Nina, enhanced by guitar and keyboard from Sofie and Victor. The result is an explosive “wall of sound” filled with post-punk, grunge, and noise, where the beauty and chaos of modern existence resonate. Despite a dark tone, they transform postmodern frustrations into moments of hope and reflection. Known for their intense live shows, Marathon has performed at festivals such as Best Kept Secret and Reeperbahn Festival. They have caught the attention of both national and international media, including 3voor12 and de Volkskrant. Their debut album, Fading Image, will be released in spring 2025, exploring themes of transience and resilience and unveiling a world where hope and despair meet. Recognized as an “artist to watch” by 3voor12, KINK, and de Volkskrant, Marathon is ready to continue their exploration of sound—a mysterious adventure calling to those willing to listen closely.

Die in Naarm/Melbourne ansässige Rockband Floodlights kündigt ihr drittes Album 'Underneath' an, das am 21. März 2025 über PIAS Australia veröffentlicht wird.

'Underneath' entstand inmitten ausgedehnter Tourneen durch Großbritannien und Europa, Australien und den USA, und wurde von einer surrealen Phase im Leben der Bandmitglieder geprägt - voller Premieren, der Erkundung neuer Orte und den bisher größten Gigs und Festivals.

Trotz der Vergänglichkeit ihres neuen Lebens auf der Straße erwies sich der Schreibprozess als eine äußerst intime Zeit, die von ruhigen, gemeinsamen Momenten der Kontemplation geprägt war. Die Songs, die dabei entstanden sind, repräsentieren einen Prozess der Abrechnung, der Katharsis und des Wachstums innerhalb der Gruppe. Sie verschmelzen die prägnanten gesellschaftlichen Reflexionen, für die sie bekannt sind, mit persönlicheren Meditationen über Trauer, Erinnerungen und Orte und geben schließlich den unzähligen Emotionen und Erfahrungen, die unter der Oberfläche schlummern, Gestalt. Mit ihren einhüllenden Alt-Rock-Klanglandschaften malen Floodlights auf 'Underneath' eine Metamorphose in Bewegung, während sie im Kern erforschen, was es bedeutet, ein Mensch zu sein.

Diese Show dürfen Sie nicht verpassen! Steffi Irmen, der Star des Theaters des Westens (Romeo & Julia / Ku'damm 59), schlüpft in ihre wohl kultigste Rolle: "Die Amme". Und diesmal erfahren wir die wahre Geschichte von Romeo und Julia - und das mit einer gehörigen Portion Humor. Steffi Irmen deckt auf, was Shakespeare uns verschwiegen hat, und sorgt dafür, dass kein Auge trocken bleibt.

Musikalische Highlights inklusive! Mit den größten Hits aus 35 Jahren der Erfolgs-Komponisten Peter Plate und Ulf Leo Sommer - von "Ich bin ich" bis "Vincent". Und natürlich dürfen auch brandneue Songs aus der Feder der beiden nicht fehlen.
Ein Highlight jagt das Nächste, und schon nach wenigen Minuten wird klar: Hier werden die Lachmuskeln trainiert!

Die Premiere steigt am 10.04.2025 - und dann heißt es jeden Freitag im Theater des Westens: "Lachen, weinen und staunen."

Und wenn Sie letztes Frühjahr keine Karten ergattern konnten: Achtung! Die Shows waren in 8 Minuten restlos ausverkauft! Also schnell sein, bevor wieder alles weg ist!

Lustigster Abend des Jahres garantiert - Seien Sie dabei!

Elori Saxl's soundtrack for the VR film Texada is an exploration of the smallness of human existence within the grand scope of geologic time, mirroring the film's exploration of Texada Island's limestone-rich landscape. Saxl, inspired by her own experiences of island life on Madeline Island, assembled a soundscape that captures both the vastness of Earth's ancient processes and the intimate moments of human existence. Using analog synthesizers, baritone saxophone (performed by Henry Solomon), and processed field recordings of water and rocks, she created ambient layers that evoke cycles, waves, and the transformative forces of nature. The score begins with an exploration of Earth's origins and the emptiness of a rocky planet before life emerged. This foundation grows into pieces like "The Quarry," where the central geological feature, limestone, takes on a dynamic presence. As loops and rumbling textures evoke the rise and movement of stone over millennia, as abstracted creatures spiral upwards, full of life. The album concludes with "The Most Special Place," which serves as a final bridge between the cosmic and the intimate, leaving a lasting impression of how deeply human lives are intertwined with the ancient geology beneath our feet. Saxl's compositional process itself mirrors the themes of transformation and cycles. Working with limited time and resources, she recorded Solomon's saxophone parts early in the project, later repurposing fragments through re-pitching, stretching, and digital effects. As she explains, "I experimented with bringing out the human character of the saxophone by highlighting breath and imperfections while also pushing it into an alien/unrecognizable/bigger world through digital processing and effects." The result is a soundtrack that feels both organic and otherworldly, capturing the grand scope of Earth's timeline while remaining grounded in human emotion and connection.

Als neuen Stern am modernen Rock-Himmel kann man Those Damn Crows nach fast zehn Jahren Band-Geschichte sicher nicht mehr bezeichnen. Den frischen Wind, den die Waliser in die härteren Gefi lde bringen, sollte man jedoch hervorheben. Denn insbesondere ihr 5. Album "God Shaped Hole" ist vor allem eines: Berstend voll mit Ohrwürmern! Bereits der Opener will laut gespielt werden, und zu allen folgenden Titeln wippt man mindestens mit dem Fuß, wenn man sie nicht direkt mitsummt. Stimmlich zwischen Creed und STP gelegen, reißt Sänger Shane Greenhall mit, und die Band schafft genug Abwechslung, um jedem Song eine ganz eigene, aber leicht wiederzuerkennende Note zu verleihen.

Als neuen Stern am modernen Rock-Himmel kann man Those Damn Crows nach fast zehn Jahren Band-Geschichte sicher nicht mehr bezeichnen. Den frischen Wind, den die Waliser in die härteren Gefi lde bringen, sollte man jedoch hervorheben. Denn insbesondere ihr 5. Album "God Shaped Hole" ist vor allem eines: Berstend voll mit Ohrwürmern! Bereits der Opener will laut gespielt werden, und zu allen folgenden Titeln wippt man mindestens mit dem Fuß, wenn man sie nicht direkt mitsummt. Stimmlich zwischen Creed und STP gelegen, reißt Sänger Shane Greenhall mit, und die Band schafft genug Abwechslung, um jedem Song eine ganz eigene, aber leicht wiederzuerkennende Note zu verleihen.

Bryan Beller's (Joe Satriani, Aristocrats, Dethklok) epic progressive double concept 2019 album feat. 26 all-star musicians now on Blue Swirl 2LP in gatefold jacket available! Bassist/composer Bryan Beller (The Aristocrats, Joe Satriani, Dethklok, Steve Vai) presents a sweeping, epic-scale modern progressive double concept album that asks the question: When the storm comes for us, the big one after which things will not be the same, who are we and what do we become in those defining moments? What do we keep, and what do we let go? "Scenes From The Flood" employs an all-star cast of 26 musicians to explore themes of ambition and loss, intentionality and reality, hope and disillusionment. It uses every second of its 18-song, 88-minute running order to tell an emotionally consuming and unforgettable musical story. Produced and composed by Bryan Beller (except "Angles & Exits," composed by Janet Feder), mixed and mastered by Forrester Savell. "Scenes From The Flood" is performed by: Christopher Allis, Bryan Beller, Nili Brosh, Paul Cartwright, Darran Charles, Julian Coryell, Mike Dawes, Janet Feder, Guthrie Govan, Ray Hearne, Gene Hoglan, Mike Keneally, Jamie Kime, Fred Kron, Teddy Kumpel, Jake Howsam Lowe, Evan Mazunik, Nate Morton, Rick Musallam, Mike Olekshy, Griff Peters, John Petrucci, Matt Rohde, Joe Satriani, Rishabh Seen, Joe Travers, Leah Zeger.

Magnolia Park doesn't do subtle Since 2018, the Orlando quintet has fused punk, rock, pop, hip-hop, and metalcore into a genre- smashing whirlwind that's as thrilling live as it is on record. With viral Halloween Mixtape, their breakout debut Baku's Revenge, and tours alongside Simple Plan and Sum 41, they've cemented their spot as a must- see act at festivals like Welcome To Rockville, When We Were Young , Reading and Leeds.

Magnolia Park, featuring vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, drummer Joe Horsham and bassist Vincent Ernst - are set to unleash their most ambitious effort yet: VAMP, a neo-gothic concept album diving deep into the dark, anime- inspired world of Nocturne Nexus. Think Star Wars meets Dracula, where rulers and rebels clash in a fght for the future.

Recorded with top-tier producers like Andrew Wade and Zakk Cervini, VAMP is a sonic juggernaut - industrial undertones, colossal breakdowns, and vocalist Joshua Roberts' electrifying delivery. Magnolia Park has gone bold, heavy, and unforgettable. This is the album that will leave fans craving more.

An exclusive 7" re-release of this psychedelic funk ballad from Tulsa's "Outback" Band. As featured on Now-Again's 'More Loving On The Flipside' compilation, "Strangers (In Our Homeland)" epitomises the expression of social & political change during an era of psychedlia infused music. In partnership with the two surviving members of Outback, both Symphonical & Now-Again are proud to showcase the voice of independent artists.

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The origin of "Outback" dates back to the late 50s, a five-piece blues outfit named "Little Lo and the Rest of Us" included music educator & bass guitarist Edward "Cha-Cha" Cherry, saxophonists Eugene "Buggy" Roach & James "Flab" Farley whom, alongside drummer Roscoe J. Dabney III "Roach", Ronnie Wilson on trumpet, guitarists Roy "Rochester" Walker & Michael Collins, would form The Magnificent Seven, the house band for Tulsa's 'Rose Room'.


Alumni of Booker T. Washington High School, The Magnificent Seven influenced & set the standard for the Tulsa sound, as demonstrated through their only single, recorded in 1966, the two part 'Pluck-A-Pluck'. 'The Sevenettes', the groups' female vocal trio, included the rotation of Lena Luckey Wilson, Gwendolyn French, Rose Brewer Lewis, Jeanetta Williams & Maxayn. The Magnificent Seven, led by "Cha-Cha", toured nationally throughout the 60s with their infectious, raw R&B sound, and were the platform for many of Tulsa's talent including Ronnie & Charlie Wilson who would later create the GAP Band.


Roscoe J. Dabney III, the first Black Panther to establish the Tulsa chapter in 1969 known as the NCCF (National Committee to Combat Fascism), proposed the name change to "Outback" in the early 70s. Their sound & formation was changing from R&B to Psychedelic, from the grit to the phase, epitomised by their unique line-up of having two bassists playing simultaneously, both Reggie Cherry & "Chilly" Willie Lewis, the musical foundation to their only recorded single, "Strangers (In Our Homeland)" & "Reggie's Thang".


Song writer & band affiliate, Maurice Pope, produced the lyrics to "Strangers (In Our Homeland)" and handed over the musical attributes to Willie Lewis & Outback to convey his message, as sung by Lena Luckey Wilson. Dabney recalls the song is based on religious scriptures, whilst highlighting the parallel of Black slavery in the U.S.


"Reggie's Thang", written by Dabney's cousin, bassist Reggie Cherry, provides a psychedelic instrumental, a sound which Lena recalls is what set apart Outback from other Tulsa groups. As well as playing clubs, the seated shows provided an environment for the group to showcase their musicianship to those who wanted to be immersed & listen.


Their single, released on Empathy, was recorded in 1972, and are the only known recordings by Outback. Recorded live onto 8-track at a studio located at on East Pine St in the heart of Tulsa's Black community, an independent & unknown studio located on a strip mall.


The Outback members who recorded are:


Lena Luckey Wilson - Vocals

Roscoe J. Dabney III "Roach" - Drums

"Chilly" Willie Lewis - Bass

Reggie Cherry - Bass

Edward "Cha-Cha" Cherry - Keys

Joyce Daws - Trumpet

Roy Walker "Rochester" - Guitar

Robert Luckey "Uncle Bobby"- Percussion

Fredy Berry "Freddy" - Tenor Sax


Band leader & group manager: Edward "Cha-Cha" Cherry

Booking Agent: Ernie Fields Sr.

In 1973 whilst performing in Ft. Worth, TX, Buck Ram approached Willie Lewis backstage and invited him to join The Platters, Lewis accepted. Supposedly, a recording deal was offered to Outback in exchange, which never happened.


The group continued in various formations after Lewis left, however as an integral member, the feeling never equalled their original form and soon after dissolved.


Leon Russell approached Lena Lucky Wilson in 1974 to go on tour with the GAP Band as their backing singer, upon returning Tulsa Lena moved to Los Angeles to pursue her musical career with Leon & Mary Russell amongst various others.


Dabney continued music and became a TV producer & director in 1976.


The only surviving members of Outback today are Lena Luckey Wilson & Roscoe J. Dabney III.

Audio alchemist Damian Lazarus continues to redefine the boundaries of electronic music with his fifth studio album, ‘Magickal’.

Renowned for his unparalleled ability to craft transformative sonic journeys, Damian Lazarus is a master of rhythm, melody, and vibration—a true pioneer among his generation’s visionary artists. Damian’s broad depth of experience encompasses a variety of disciplines: tastemaker, selector, label owner, A&R and a Grammy-nominated artist in his own right - each informed by his unique ear for sound. He is chief wizard of the hugely influential and culture-defining Crosstown Rebels label, a globally renowned DJ with a penchant for exotic outdoor locations and a highly regarded recording artist with four albums and a plethora of solo cuts, collaborations and remixes in his sprawling discography.

With his fifth album, ‘Magickal’, Damian steps into his next evolutionary phase, combining his newly found sobriety with a more mature outlook while still pushing boundaries and creating unforgettable moments. At the root of it all is the magical power of togetherness and human connection that only music can facilitate. Driven by this core ethos, Damian continues on his mission to share his heartfelt music, taking the dance floor into unexplored realms of experience, facilitating moments of transcendence, bliss and pure, unadulterated magic.

Damian Lazarus, the avant-garde architect of spiritually nourishing sounds, is joined by a stellar lineup of collaborators on his latest excursion. It’s imaginative and mystical, rhythmically captivating and daring in its own way, as is typical of Damian’s approach. Taking consideration of his past, the album references his previous work to create a tapestry of compositions that tap into the energy of key moments from his discography. Drawing on his existing catalogue creates cohesive through lines and thematically serves as a continuation of previous stories. November’s single, ‘Sunrise Generation’, for instance, works as a companion to ‘Vermillion’, which was recorded by Damian with his band The Ancient Moons and vocalist Moses Sumney back in 2015. ‘Sunrise Generation’, featuring the beautiful vocals of Fink, was Damian’s first major release since his Grammy-nominated 2021 collaboration ‘Don’t Be Afraid’ with Diplo and Jungle, and continues to take inspiration from global gatherings at solstice and those moments of collective awe at sunrise.

Indeed, the album’s themes of mental elevation and psychedelic sonic journeys are evident throughout. Damian channels this energy through tracks like the soulful ‘So Low’, featuring the incredible Zoe Kypri, and the luminous ‘Searchin’, with Jem Cooke, whose collaboration with Damian dates back to ‘Flourish’ (2020) and lead single ‘Into The Sun’. Uplifting is the operative word here, as Damian aims straight for our hearts and inner selves, stripping away the layers to take us on a trip inwards, and out into the ether all at once. There’s a clear nod to Damian’s appreciation of amapiano when he teams up with Ghanaian interdisciplinary healer Jojo Abot on ‘Warrior Dance’. Old friend and inspirer Mathew Jonson brings his virtuoso touch to ‘Are You Dreaming?’, while TEED and A-Trak form an awesome alliance for ‘Falling Down’ with its heartrending vocals. ‘Alive’ features the Bloom Twins, and also additional production from acclaimed producer Mark Ralph, who incidentally worked on Damian’s debut album ‘Smoke The Monster Out’ in 2009 and forms another throughline to the past. ‘Alive’ blends pop sensibilities and song structure with Damian’s inimitable sound - and could become one of Damian’s biggest moments to date. ‘La Hija De Juan Simon’ delves into the Latin energy synonymous with vibrancy and self-expression as Damian teams up with acclaimed Spanish flamenco-influenced duo Mëstiza. On a solo tip, he rolls out with the eight-minute-plus soulful funk flex ‘Why Don’t U’.

In a suitably aligned instance of serendipity, the arrival of ‘Magickal’ comes at a pivotal period in Damian’s life, just as it has been with previous album concepts. Albums made and released during big shifts in his life speak to the correlation between growth, personal evolution, creativity, catharsis and sharing that process musically. The last album ‘Flourish’, for instance, was recorded and released in the space of a few months during the first summer of the global pandemic. As a result, there’s a kind of vulnerability in the music, a subtle story that’s being told with emotional touchpoints that will be relevant to anyone listening. The universal human experience and spectrum of emotions are things almost everyone can relate to. With the enhanced clarity of his sobriety, Damian’s compositions embody the uplifting nature of simply being alive, connected and unified in our love for music and one another.

Day Zero, Damian’s iconic annual festival, is intrinsically linked to ‘Magickal’. It’s the setting for his imagination when producing the music, it’s the launchpad for each year’s kaleidoscopic adventures around the world, and this year’s edition will be the backdrop to the release of ‘Magickal’. As the pinnacle of Damian’s annual experiences, Day Zero marks a vital milestone for his artistry, an extension of his inner realm, carefully curated and created for his global family of lovers and dancers to revel in the awe-inspiring beauty of Mother Nature. Central to the ethos of Day Zero is its sustainability practices and deep consideration for the locality within which it is held. Connections with local elders embolden its depth, cultivating a strongly aligned purpose with the ritual, customs and energy of the land and its people.

‘Magickal’ will be released in the same week as Day Zero, tying the two projects together in a neat dovetail. 12 years since it started, Day Zero continues to play a significant role in the music Damian makes, curates and plays. For him, it’s the epitome of his vision: a stunning natural setting, the very best party people from around the world, an unparalleled lineup of friends and family, high production values, eco-centric policies and music from another dimension. With these interdimensional transmissions, Damian channels his inner alchemist, which, in turn, permeates into the vibrational framework of ‘Magickal’.

Never one to adhere to convention, Damian has opted for a disruptive album release. ‘Magickal’ is to be kept under wraps and then announced and released on Crosstown Rebels on 8th January 2025, bypassing the modern trend of prolonged single drops and ‘tombstone’ album releases. ‘Magickal’ is the embodiment of Damian and his intentional, against-the-grain approach and reinforces the album as a complete artistic statement, offering listeners the full cohesive experience from the very beginning. This is a return to the album as the pinnacle moment and not the afterthought. Singles, edits and remixes will follow the ‘Magickal album’ release, and, of course, there will be a world tour to promote the album (including Glastonbury and Coachella) and a chance to present the album in exciting, innovative and unique ways.

Forever dreaming, a sincere student of magic, new and old, social sorcerer, lover of nature and master of musical wizardry, Damian Lazarus is a potent force. With ‘Magickal’, he reaffirms his place as one of electronic music’s most influential figures, taking listeners on a profound journey into sound, spirit, and connection.

Repress!

Echospace Detroit is the label launched by Rod Modell (Deepchord) and Soultek's Steven Hitchell, two leading lights of the minimal dub techno scene. And as with anything Deepchord, the entire release has an air of mystery to it. Previously, as a near-mythical vinyl pressing with minimal packaging and restricted pressings, everything about Vantage Isle was geared toward the underground, or 'those who know.' However, there's nothing but love of craft driving these grooves, and now a lot more people will finally be able to hear this absolutely brilliant collection of spacial dub wonder on CD. Vantage Isle Sessions consists of a whopping 13 takes of the title track, reworked by Modell and Hitchell in various guises (cv313, Deepchord, Echospace, Spacecho), as well as a guest spot (and first ever remix) from Gerard Hanson (Convextion). Across their 13 versions, Modell and Hitchell manage to take the Deepchord template (analog synths, deep bass, gently throbbing beats, bursts of static and noise, and deep, deep chords) into a surprising variety of directions, akin to looking at the same giant glacier from a helicopter from every angle possible: some are beatless and undulating, some are pulsing and dynamic, some are looking up from under the ice and some are towering overhead. The aforementioned Convextion version is revelatory. It's built on cascading and echoing pieces of the original that are layered like shifting sands, for a distinctly dark and shimmering journey to the bottom of the frozen ocean and back. It's remarkable enough to get all these takes on one basic template to sound somewhat different, given that the source material is really just a skeletal array of sound sheets. Vantage Isle Sessions is for anyone looking for the logical successors to the Basic Channel throne, or just looking for something mellow for those steamy late summer nights. A stone-cold classic of the genre. Don't miss it." -Todd Hutlock, Stylus Magazine/Beatz by the Pound

"Steeped in mystery, Detroit musicians Rod Modell and Mike Schommer (aka Deepchord) are legendary for their hard to find twelve-inch dub techno releases. Their sound is heavily influenced by Berlin dub techno producers like Maurizio, Basic Channel, Chain Reaction, Rhythm & Sound, Blue Train and Pole. While the German sound often has a futuristic metallic edge, Deepchord are known more for the rust and grease, which is part and parcel of those metal parts. Static, analog sounds, deep bass thumps and, of course, deep chords blend in a timeless minimal manner. However, the real gems on this disc are the drifty ambient cuts devoid of beats. This is an excellent album that is on par with the classics from a decade ago!" -Exclaim


"In terms of ambient dub, if Basic Channel is the Father (the source, remote and inaccessible and very powerful) and Pole is the Son (dazzling but ultimately stranded halfway between man and the divine), than Rod Modell’s Deepchord and his Echospace label he run with Steve Hitchell is definitely the Holy Spirit." -Popmatters


"Deepchord’s dub-techno stealthily peels away melody, leaving a bare chassis of beats to ghost-ride down Woodward Avenue. Vantage Isle Sessions, which collects remixes of a 2002 Detroit Electronic Music Festival performance, finds the duo swerving through empty, neon-smeared streets, and recalls Berlin’s Chain Reaction label, minus the anemic minimalism." -XLR8R

"The album scales a magnificent peak in “Spacecho Dub II - Extended Mix” when smeary chords ricochet over a massively deep, bass-heavy pulse, and Hanson's light-speed missile of vaporous propulsion (“Convextion Remix”) is beautiful too.
Long may they run." -Textura

‘Vantage Isle’ is a tremendous achievement that will most likely be held up as a high water mark of the genre for years to come." -Resident Advisor

"My favorite mix is by Convextion (his first remix for another artist). Reedy, distant synth tones sound like a science fiction soundtrack overheard rooms away. An undercurrent of echoes, many difficult to describe, drift in a sonic syrup." -Gridface

"Modell’s music always seems to be in this suspended animation, adrift and afloat in a majestic emptiness." -Dusted Mag

CREDITS:
Written & Produced by Deepchord. Redesigned and Reshaped by Convextion (Gerard Hanson) cv313 (Stephen Hitchell) echospace / spacecho (Rod Modell + Stephen Hitchell)
Additional Mastering, Mixing and Engineering by Ron Murphy @ NSC Mastering, Detroit, USA. Side E/F Remastering and Lacquer cutting by Dietrich @ Complete, NYC, USA. (2018)

Saṃsāra Cycles – A Spiritual and Ode to Dance Music Trilogy by B From E

Rising French label Happiness Therapy unveils Saṃsāra Cycles, an extraordinary trilogy of EPs crafted by Danish treasure B From E. This ambitious and evocative project dives deep into the spiritual dimensions of music while paying homage to the transformative power of dance.

Through Saṃsāra Cycles, B From E demonstrates the full breadth of his artistic and technical mastery. Spanning ethereal dream house, uplifting garage / piano house and hypnotic neo trance, each record in the trilogy is a testament to his unparalleled versatility and creativity.

This trilogy, available on vinyl and digital formats, will be released between February and April 2025. Each EP embodies a unique stage of the Saṃsāra cycle, creating a cohesive narrative that connects sound, spirituality, and the energy of the dancefloor.

A dancehall anthem is being released on an official 7-inch vinyl for the very first time. It has been 15 years since Serani's 'No Games' was originally released. The song quickly became a part of pop culture, thanks in part to artists like Sean Paul, who helped pave the way for dancehall’s crossover success. To date, it has garnered over 166 million streams on Spotify, along with 50 million views on the video on YouTube and remains a popular sing-along track at parties. This special 7-inch vinyl will be produced in ruby red to commemorate the anniversary year.

Breakbeat Downtempo very Electro and progressive, Hip Hop form sometime... Creative and powerfull. This is an excellent production from south of France that will please everybody !

Presenting an official reissue of Coke’s audacious, engrossing self-titled album from 1972, originally released on Manuel J. Mato’s collectible Sound Triangle Records imprint. It’s a heavy hit of Miami Latin-funk, dosed up with psychedelic garage rock and gritty soul excellence, making for an intoxicating blend of styles and genres on this highly sought-after LP.

Predominately sung in English, Coke’s only album under this moniker is a sumptuous melting pot of influences, tied together with bright funk drumming, flavourful organs and zesty horns. With a garage band attitude and sensibility, the lineup consisted of Paul Garcia on guitar, Ariel Hernandez on bass, Ruben Perez on drums, Jose Rubio on the keys, a host of guest horn players and Peter Fernandez on vocals, whose tone and delivery was often mistaken for that of a woman.

Produced by Mato, the record and band were well-received in Miami and Southern Florida at the time. Due to a lack of promotion outside of Florida and the threat of a lawsuit from the Coca-Cola corporation for usage of their name, the band fell into relative obscurity, becoming Opus following the dispute.

They say the cream always rises to the top though, with Coke being rediscovered by diggers and collectors searching for a rare groove. One of the standout cuts on the album 'Na Na' was recently featured on the soundtrack to the Netflix drama 'Griselda' (a biopic of Miami/Cuban crime boss Griselda Blanco). Other highlights include the crooner-jazz-rock ‘Got to Touch Your Face’, the psych ballad 'You Turn Me On' with a guitar line reminiscent of The Doors, and the Latin-rock groover, 'Te Amo Mas'.

Coke is a sensational crossover record, that draws from a sea of different influences. Fans of early Santana, garage-pysch, Nu Yorican and Latin-funk productions should all investigate this cherished album - it will have something for you.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves. Much of Are We All Angels grapples with Scowl’s newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single “Not Hell, Not Heaven” outright rejects the narratives cast onto them by outsiders. “It’s about feeling victimized and being a victim, but not wanting to identify with being a victim,” explains vocalist Kat Moss. “It’s trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain’t working for me.” The band breaks from a sense of disassociation to seek deeper connections on “Fantasy.” “It’s incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated,” Moss says. “‘Fantasy’ is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard.” The album ends in a philosophical place on the closing, titular track, “Are We All Angels,” asking questions like, “Is this all there is?” and ultimately putting it on the listener to decide. “It’s about the personal struggle between good and evil. It doesn’t matter how ‘good’ or ‘bad’ you are, there are systems that will try to rewrite your narrative no matter what you actually do,” explains Moss, noting that punctuation on “Are We All Angels” has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl’s debut, 2021’s How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record’s sonic outlier, a cleaner interlude called “Seeds to Sow,” that, true to its name, planted the seed for what was to come for the band. “It kind of laid out this destiny for us, and I feel like now we’re fulfilling that,” says drummer Cole Gilbert. The band continued to expand their sound on 2023’s widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next. Scowl’s growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band’s scope. “Will would say, ‘Everything you have here is correct, but it’s in the wrong place,’” says Gilbert. Moss adds: “Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses.” But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. “Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate,” says guitarist Malachi Greene. “At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves. Much of Are We All Angels grapples with Scowl’s newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single “Not Hell, Not Heaven” outright rejects the narratives cast onto them by outsiders. “It’s about feeling victimized and being a victim, but not wanting to identify with being a victim,” explains vocalist Kat Moss. “It’s trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain’t working for me.” The band breaks from a sense of disassociation to seek deeper connections on “Fantasy.” “It’s incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated,” Moss says. “‘Fantasy’ is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard.” The album ends in a philosophical place on the closing, titular track, “Are We All Angels,” asking questions like, “Is this all there is?” and ultimately putting it on the listener to decide. “It’s about the personal struggle between good and evil. It doesn’t matter how ‘good’ or ‘bad’ you are, there are systems that will try to rewrite your narrative no matter what you actually do,” explains Moss, noting that punctuation on “Are We All Angels” has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl’s debut, 2021’s How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record’s sonic outlier, a cleaner interlude called “Seeds to Sow,” that, true to its name, planted the seed for what was to come for the band. “It kind of laid out this destiny for us, and I feel like now we’re fulfilling that,” says drummer Cole Gilbert. The band continued to expand their sound on 2023’s widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next. Scowl’s growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band’s scope. “Will would say, ‘Everything you have here is correct, but it’s in the wrong place,’” says Gilbert. Moss adds: “Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses.” But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. “Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate,” says guitarist Malachi Greene. “At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes.

Martin had been a surprise choice for the commission.

It was the Spring of 1977 and two Interstellar Mariners were to be sent hurtling into deep space. Glass was to provide weekly "sonologues" of their progress, audio diarist for a pair of mute mechanical adventurers.

Delivered with a near fanatical diligence over the course of nearly three decades, these stuttering musical biographies would soon bewilder those who had first asked for them.

Martin's work, they judged, had begun to plot its own eccentric orbit, charting more than just the ships' material progress, but rather their imagined psychogeography ("What will they say about me?" "I will never conserve my instruments" "Nobody has gone further").

With his sonic dispatches increasingly ignored and unheard, all funding for the project swiftly fell to dust.

The very best of these scores, chosen from a vast compendium of source material, are now assembled here for the first time. Their muses, two arthritic spacecrafts now nearly half a century old, limp on through deep space, forever onwards and onwards forever...

Scientist's name will be found on many dub releases in peoples record collections.His connection to King Tubby's studio is inseparable and many say when the dub end of Reggae music had fallen on quieter times it was Scientist with his often stripped back style and at other times, wild off the wall remixes that breathed life back into the dub cannon.

Scientist (born Overton Brownie,1960, Jamaica) was in many ways King Tubby's apprentice. Having helped his own father out repairing televisions and such like, he would help Tubby on winding transformer coils, that the amps of the day all needed. His interest in recording grew as he watched the many sessions taking place at Tubby's Dromilly Avenue Studio, learning the ropes as the musicians came and went. His first break happened when King Jammy (then Prince Jammy) was too tired to work on a session booked for producer Errol 'Don' Mais. Scientist engineered the session to every one’s bewilderment and great satisfaction.

His first hit would be a mix of Barrington Levy's 'Collie Weed' and his reputation built on the many versions he cut at Tubby's where he would become the engineer of choice. His pared down mixing style suited the new Dancehall reggae sound that came at the tail end of the 1970's and rolled into the 1980's. Such was his stature that albums were now sold with his name on their jacket, 'Scientist Vs Prince Jammy, 'Scientist meets The Space Invaders' to name but two.

His time at King Tubby's was followed as chief engineer working for the Hookim Brothers at the mighty Channel 1 Studio's and on many of top producer Henry 'Junjo' Lawes tracks, that were hit after hit at the time.

We have compiled some tuff tracks from the late 70's / early 80's just before everything went digital. Some great dub versions to some killer tracks that rocked the dancehalls around this golden time.The mighty Tristan Palmer whose killer cuts 'BadBoys','Stop Spreading Rumours','Eveready' and 'The Greatest Lover’ alongside Michael Palmer's debut release 'Mr Landlord' and Robert Trench's 'Mr Babylon'. The songs stand back-to-back with Tony Tuff's timeless 'Never Trouble Trouble' and the biblical Rod Taylor's 'The Lord is My Light'. Sammy Dread's 'Wah Dah Wah' and the always respectful Dennis Brown's 'Time and Place' all benefited a touch of magic from The Scientist and his laboratory of effects.

Hope you enjoy the set.....

Wie Hip-Hop nach Hamburg kam
Die Compilation ist als Zeitreise zu den Anfängen der Hamburger Hip-Hop-Kultur konzipiert und umfasst über 100 weitgehend unveröffentlichte Songs und Skits. Begleitet wird das Triple-Vinyl von einem 96-seitigen Booklet, das von den frühen Jahren von Hip-Hop, Rap und DJing in Hamburg erzählt. Präsentiert wird das Werk von den Herausgebern des Buchs und den Kuratoren der Museumsausstellung EINE STADT WIRD BUNT.

Kennt eigentlich noch jemand Easy Business? Was wie ein Ratgeber Video auf YouTube klingt, ist der Name einer der ersten Hamburger Rap-Gruppen. Die vierköpfige Formation aus Steilshoop gründete sich schon in den späten 1980er Jahren und begann bald erste englischsprachige Texte zu schreiben. 1989 nahmen sie gemeinsam mit Mario von Hacht den Song „Money“ in einem Jenfelder Jugendzentrum auf.
Als House-Produzent verfügte Von Hacht über ein vergleichsweise schon recht ansehnliches Produktions-Equipment. Selbst die legendäre Roland TR-808, analoger Drumcomputer und Allzweckwaffe von Hip-Hop-Produzenten, war bereits 1989 Teil seines Maschinenparks. Nur hatte er sie eben nicht für Rap genutzt – bis Easy Business anklopften. Und so öffnete ein Musik-Nerd und Technik-Freak dem Hip-Hop eine Tür in Hamburg. Von Hachts Offenheit für den neuen Musikstil sollte sich auszahlen: 1995 produzierte er mit „Nordisch by Nature“ den ersten Chartstürmer von Fettes Brot.

Es sind Geschichten wie diese aus der Gründerzeit des Rap in Hamburg, um die sich die 3-Vinyl-Compilation EINE STADT WIRD BUNT dreht. Unter den über 100 Songs und Skits aus den frühen Jahren des Rap in Hamburg finden sich neben dem Song „Money“ von Easy Business auch ein Mitschnitt eines Auftritts der Gruppe in der Fabrik im Mai 1991.
Von frühen Aufnahmen von MC Africa True, der später unter dem Namen Nana einige Hits landen würde, bis zu den Britcore-Veteranen von Readykill, von 2 Ruff, deren Mitglied Simple Simon zu den ersten Hip-Hop-Produzenten der Stadt gehörte, bis zu den Reim Banditen, die als eine der ersten hiesigen Bands mit einem Majorlabel-Vertrag als Hamburger Antwort auf die Fantastischen Vier positioniert werden sollten, vereint das Triple-Vinyl eine einzigartige Sammlung musikhistorischer Zeitdokumente. In Kombination mit dem begleitenden Booklet vermitteln sie ein authentisches – und überaus unterhaltsames – Bild von den Anfängen des Rap in Hamburg.

Nach dem preisgekrönten, 2021 erschienenen Buch „EINE STADT WIRD BUNT. Hamburg Graffiti History 1980-1999“ und der gleichnamigen Ausstellung, die bis Anfang Januar 2024, als eine der erfolgreichsten aller Zeiten, im Museum für Hamburgische Geschichte gezeigt wurde, folgt mit der Compilation nun also eine weitere Dokumentation Hamburger Subkultur Geschichte der 1980er und 1990er Jahre. Im Fokus diesmal: die Pioniere des Rap in der Hansestadt.
Zum Team hinter dem Triple-Vinyl gehören neben den vier Herausgebern von EINE STADT WIRD BUNT. Oliver Nebel, Frank Petering, Mirko Reisser und Andreas Timm drei ausgewiesene Kenner der deutschen Hip-Hop-Szene. Oliver Herbst, einst DJ der Hip-Hop-Band City Nord, betreibt heute ein Musiklabel, auf dem die Platte erscheint, und konnte im Zuge der Recherche an viele alte Kontakte anknüpfen. Ebenfalls mit an Bord: der langjährige Chefredakteur des Hip-Hop-Magazins Backspin Dennis Kraus und der Musikjournalist und Moderator Falk Schacht.
Über einen Zeitraum von über zwei Jahren hinweg hat sich das Team auf Recherche begeben. Sie nahmen Kontakt zu Bands, Rapper*innen, DJs und Produzenten auf, die in den 1980er und 1990er Jahren in und um Hamburg aktiv waren. Sie sichteten und archivierten unzählige Stunden von Radio-Shows, Tapes, Demo-DATs und Live-Mitschnitten und führten Interviews mit Hip-Hop-Pionieren aus der Hansestadt. „Unser Ziel war es, ein kaum beleuchtetes Kapitel Hamburger Subkulturgeschichte zu erzählen“, sagt Mirko Reisser.
Begleitet werden die Platten deshalb von einem rund 80-seitigen, reich bebilderten Booklet im Vinyl-Format, das in aufwändig recherchierten Texten nachzeichnet, wie der neue Musikstil ab Mitte der 1980er Jahre in Hamburg langsam heimisch wurde. Zu den zentralen Themen dieser Erzählung gehört die Abwesenheit von technischem Equipment – und der Umgang der jungen Szene mit diesem Mangel.
Ein Vierspur Kassettenrekorder musste für die ersten Aufnahmen im Kinderzimmer reichen. Und wer DJ werden wollte, übte Scratchen mit dem Plattenspieler der Eltern. Anders als heute, wo man mit einem Smartphone in der Hand theoretisch ein Millionenpublikum erreichen kann, stellte die Aufnahmetechnik damals eine große Hürde dar. Wer jedoch über die technischen Voraussetzungen verfügte, Songs aufzunehmen, wurde schnell zur Anlaufstelle für die junge Rap-Szene.
Parallel zu dieser Ära der Technik-Autodidakten, öffneten die Rapper*innen der frühen 1990er Jahre ebenfalls ein Fenster in eine neue Welt: Indem sie anfingen, auf Deutsch zu rappen, grenzten sie sich bewusst von den amerikanischen Vorbildern ab und schufen ein ganz neues Selbstbewusstsein der jungen Subkultur. Und ganz nebenbei auch ein ganz neues Bewusstsein für die Möglichkeiten der deutschen Sprache. „Hier wurde etwas gänzlich Neues erschaffen“, sagt Oliver Herbst.

Viele Künstler, die auf der Compilation vertreten sind, dürften heute nur noch echten Hip-Hop-Nerds bekannt sein. Doch es finden sich auch bekannte Namen auf der Tracklist. Jan Eißfeldt etwa, der heute solo als Jan Delay oder als Teil der Beginner Konzerthallen füllt. Oder Fettes Brot, die von einem Hip-Hop-Trio aus dem Hamburger Umland zu einer der erfolgreichsten deutschen Popbands der Gegenwart heranwuchsen. Oder Deichkind, die zu einem massentauglichen Universal Kunstprojekt avanciert sind.

Wie schon das gleichnamige Buch und die Museumsausstellung, so blickt auch die Compilation EINE STADT WIRD BUNT. hinter die Kulissen einer jungen Subkultur – und erzählt parallel spannende Kapitel Musik-, Technik- und Stadtgeschichte aus der Hip-Hop-Hochburg an der Elbe.

INTERPRETEN
Fettes Brot, Absolute Beginner, Deichkind, Das Bo, Ferris MC, Mr. Schnabel, Sleepwalker, Kastrierte Philosophen, Mellow Mark, David Fascher, Easy Business, Reim Banditen, Readykill, TobiTob, I.L.L. Will, City Nord, MK Cram (Poets of Peeze), Dialektik, 2 Ruff, Nina, Flashmaster Ray, Dennis Deutschland, 2BIAS, MC Africa True alias Nana, Vers Chaoten, Die Erstausgabe, THC (Ter Hartchor), R.A.F. (Reimende Antifaschisten), Direkt Aktion, Fogmoor, Syren, Mental Disorda (Crime Code Barets), Dennis the Menace, Selma, 08/15, Hamburg Royal, Skunk Funk, B-Low, Gizmo, AJ, SMG, Phantom Black, Leon Le Pro alias EL’OMC, Paolo 77, Monti, Hanseknaller, Schlechta Umgang u.v.a.

ZITATE VON
André Luth, Jan Eißfeldt, Mathias Arfmann, Ale Dumbsky, David Fascher, Fatih Akin, Carsten Bohn, Schiffmeister (Björn Beton), Pasha Kamber (DJ MPK), Boris Ekambi, Sleepwalker, Mr. Schnabel, Nana Abrokwa, Simon Vegas u.a.

PRODUCER
Mario von Hacht (Super Mario), Sleepwalker, B-Base, Bubblez, TobiTob, X-Ray, Simple Simon

Produziert von Will Yip (Turnstile, Title Fight, Mannequin Pussy, etc.), der auch schon an der 2023er "Psychic Dance Routine" EP der Hardcore-Band Scowl aus Santa Cruz mitgewirkt hat, findet man auf "Are We All Angels" die giftige und antagonistische Band, die ihre Aggression durch eine expansivere Version ihrer selbst leitet. Das Album wurde von Rich Costey (Fiona Apple, My Chemical Romance, Vampire Weekend, etc.) gemischt. "Are We All Angels" ist geprägt von Entfremdung, Trauer und Kontrollverlust, und setzt sich größtenteils mit ihrem neu gefundenen Platz in der Hardcore-Szene auseinander, einer Gemeinschaft, die die Band in den letzten Jahren sowohl umarmt als auch zu einer Art Blitzableiter gemacht hat. Auf "Are We All Angels" erkunden Scowl auf Schritt und Tritt ehrgeizige neue Richtungen und verbiegen Genre-Normen. Sängerin Kat Moss macht die am unmittelbarsten erkennbare Entwicklung, indem sie einen strukturierteren und manchmal zarten Ansatz wählt. Sie spielt mit Harmonien und melodischem Feingefühl, das selbst die eingefleischtesten Scowl-Fans überraschen dürfte. Moss nennt eine breite Palette von Einflüssen außerhalb des harten Rock - alles von Billie Eilish bis Radiohead, Car Seat Headrest bis Julien Baker. "Die meisten von uns waren wirklich keine geübten Musiker, als die Band begann", gibt sie zu. "Es war in dieser Hinsicht sehr Germs-esque, wie die erste Hardcore-Band eines Babys, was großartig ist. Jetzt wissen wir vielleicht immer noch nicht, was wir tun, aber wir haben eine bessere Vorstellung davon, was wir tun wollen." Instrumental gibt die Band Einflüsse von Negative Approach, Bad Brains, Hole, Mudhoney, Garbage, Ramones, Pixies, Sonic Youth, Rocket From The Crypt und anderen an. Bassist Bailey Lupo merkt an: "Das Songwriting für die neue Platte war das bisher kollaborativste in der Geschichte von Scowl. Jeder hat so viele Ideen eingebracht, und wir konnten sie alle in Ruhe analysieren und uns Zeit nehmen. Wir haben alle so unterschiedliche Geschmäcker, Einflüsse und Persönlichkeiten, und das kann man auf diesem Album wirklich in jeder Ecke hören." Selbst durch diesen eklektischen Ansatz verlieren Scowl nichts von ihrer Schärfe und schaffen es immer noch, die Wut und Frustration zu vermitteln, die dahinter steckt. Sie sind zutiefst dem Ethos des Punk und seinem Gemeinschaftssinn verpflichtet. "Hardcore und Punk haben uns geprägt, wie wir arbeiten, was wir als Band tun wollen und wie wir uns beteiligen", sagt Greene. "Im Kern sind wir eine Punk- und Hardcore-Band, unabhängig davon, wie sich der Song verändert." Das Album wird von dem bereits veröffentlichten "Special" eröffnet, einen Song mit großer, hymnischer Energie, der die rohe Intensität von Scowl beibehält. Scowl haben sich schnell als einer der dynamischsten und fleißigsten Acts in der Rockszene etabliert und ausgiebig in den USA und international mit Bands wie Limp Bizkit, Destroy Boys, The Bronx, Militarie Gun, Show Me The Body, Zulu, Touche Amore, A Day To Remember, Speed, Sunami und vielen anderen getourt, sowie Festivalauftritte beim Coachella, Reading & Leeds, No Values, Outbreak, Primavera und Sick New World, um nur einige zu nennen, absolviert. Die Band - Malachi Greene (Gitarre), Bailey Lupo (Bass), Cole Gilbert (Schlagzeug), Mikey Bifolco (Gitarre) und Kat Moss (Gesang) - gründete sich 2019 und feierte 2021 mit ihrem Debütalbum "How Flowers Grow" ihren Durchbruch. Seitdem sind sie unaufhaltsam auf dem Vormarsch.

Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."

So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.

Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.

Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.

“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.

“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.

Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.

“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.

RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)

Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.

Black Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

Petrol Green Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.

In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.

Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.

In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.

Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.

On April 4th, Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes will release her fifth full-length album ‘A Requiem’. It comes alongside news of her signing to London imprint, One Little Independent Records. ‘A Requiem’ collects ten haunting, ambient soundscapes - incantations of dreams and nightmares, of death and grief, as well as power and autonomy. Carnal, transcendent cello drones are used to exorcise historical and generational traumas in an evocative and macabre piece of gothic experimentalism.

Seeking solitude for what she knew would be an intense and cathartic writing experience, Trappes travelled to Scotland and isolated completely. Amidst meditative and psychedelic states, she channeled demons and accessed parts of herself she’d long desired to cleanse. During candle-lit recording sessions she found herself drawn to cello, an instrument she has no formal training in, she explains, “I always felt an affinity toward the cello, I embraced it, held it, and became one with it as a way to accompany my voice. The nerve-like strings of the cello became external chords of my vocal folds… I scratched on them, leaned into them, and conjured all of the textures I could muster”.

‘A Requiem’ is a musical service in honour of the dead, a sanctuary Trappes built for herself to explore familial chaos and history. “I was looking for an equilibrium between a ‘heaven' and a ‘hell’” she explains, “screaming out to the wisdom of our foremothers - surfacing and leading me into true strength and beauty. I listened to the sorrow closely. Death is a part of our reality. Inevitable. Omnipresent. But nightmares can be beautiful”.

She continues, “This album is my personal requiem for my parents, my ties to the land where I was born, along with all of my epigenetically connected ancestors before them. The songs helped me summon up the strength to move through my own awareness of mortality, death, and impending loss. This album is a living funeral. It’s a ceremonial collection of music. It’s an externalising of the power and strength to fight the generations of abuse and darkness that my parents self-admittedly played out in their parenting and to keep it away from my own social patterns and my psyche. It’s not an uncommon thing in the world and this lamented warcry goes out to everyone to help exorcise patriarchal, political, and religious systems of abuses of power”.