Indierock | Alternative

Die ersten Aufnahmen für Skeleton Tree wurden Ende 2014 in den Reatreat Studios, Brighton gemacht, weitere Sessions fanden in den La Frette Studios in Frankreich im Herbst 2015 statt. Gemischt wurde Skeleton Tree in den AIR Studios, London Anfang 2016. Die Songs werden erstmalig im Film One More Time With Feeling zu hören sein, bei dem Andrew Dominik Regie geführt hat (Chopper, The Assassination of Jesse James by the Coward Robert Ford, Killing Them Softly). Der Film wird am 8. September 2016 in mehr als 650 Kinos weltweit gezeigt, bevor dann einen Tag später Skeleton Tree seine Veröffentlichung feiert.Dominik tauchte bei seiner Arbeit immer mehr ein in die Hintergründe des Schreibens und Aufnehmens, wodurch sich das ursprüngliche Performance-Konzept des Films zu etwas viel Bedeutsamerem entwickelte. Der Film bietet neben Live-Performances der neuen Songs auch Interwies und zusätzliches Bildmaterial, sowie Cave's Erzählungen und einen Einblick in seine Grübeleien.Der Film wurde in schwarz-weiß und in Farbe gedreht, sowie in 3D und 2D. Das Resultat ist karg, fragil, rau - das Vermächtnis eines Künstlers, der versucht, seinen Weg durch die Dunkelheit zu finden.

“22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.”The bulk of the album was recorded and produced at April Base Studios in Fall Creek, Wisconsin with pieces recorded in London, England and just outside Lisbon, Portugal. Collaborators included Colin Stetson, S. Carey, Poliça’s Ryan Olson, and Richard Buckner.This deluxe edition includes the brandnew record and "22/10" 12inch. Only one copy per customer!

Here's something very special for the heads, limited to 300 copies on black wax.In fall 2015, the Cosmic Compositions crew came up with a beautiful compilation showcasing a range of psychedelic, punk & surf rock from around the globe and we at hhv.de are very pleased to present this quality release on vinyl now. Artists included here are Jitwan, Pacific Yew, Ashes Holland, Anderson Mahalek, Salami Rose Joe Lewis, Christoph El Truento and many more.

Calico Review' was recorded at the iconic Valentine Recording Studio, which gave the group access to historic recording equipment such as a 1964 Universal Audio 610 soundboard - the same board on which The Beach Boys recorded Pet Sounds. Now you know what to expect.

Jack White Acoustic Recordings 1998-2016 collects 26 acoustic songs from throughout White’s wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased tracks. The album, arranged in chronological order, includes acoustic songs made famous by The White Stripes, beginning with “Sugar Never Tasted So Good” (originally found on The White Stripes’ second-ever 7-inch single) and then lighting upon favorites like “Apple Blossom” and “I’m Bound To Pack It Up” (remixed here from the original recordings on 2000’s De Stijl), “Hotel Yorba” and “We’re Going To Be Friends” (from 2001’s White Blood Cells), “You’ve Got Her In Your Pocket” and “Well It’s True That We Love One Another” (from 2003’s Grammy® Award-winning Elephant), “Forever For Her (Is Over For Me),” “White Moon” and “As Ugly As I Seem” (from 2005’s Get Behind Me Satan) “Effect & Cause” (from 2007’s Icky Thump), and the Beck-produced “Honey, We Can’t Afford To Look This Cheap,” first found on the B-side to The White Stripes’ final single, 2007’s “Conquest.” Also featured are “Never Far Away” (recorded for 2003’s Cold Mountain: Music From The Miramax Motion Picture) and “Love Is The Truth” (written and recorded for Coca-Cola’s 2006 What Goes Around campaign) as well as the Bluegrass Version of “Top Yourself” and an acoustic mix of the epic murder ballad, “Carolina Drama,” both written by White and Brendan Benson for The Raconteurs’ Grammy® Award-winning 2008 album, Consolers Of The Lonely. White’s two chart-topping solo albums, 2012’s Blunderbuss and 2014’s Lazaretto, are represented by a remarkably diverse range of material including “Love Interruption,” “On And On And On,” “Blunderbuss,” “Entitlement,” “Want And Able,” and alternative mixes of “Hip (Eponymous) Poor Boy,” “Just One Drink,” “I Guess I Should Go To Sleep,” and B-side, “Machine Gun Silhouette.” The 26 tracks featured on Jack White Acoustic Recordings 1998-2016 were remastered earlier this year by Andrew Mendelson at Nashville, TN’s Georgetown Masters. All songs were written and produced exclusively by Jack White, except “Never Far Away” (produced by T Bone Burnett), “Honey, We Can’t Afford To Look This Cheap” (produced by Beck), “Top Yourself (Bluegrass Version)” and “Carolina Drama” (written & produced by White & Brendan Benson), and “Machine Gun Silhouette” (written by White & Rob Jones). The complete track listing is below.

Using the word ‘mature’ to describe a band’s new album is often a euphemism for a record devoid of the ideas or spirit that made them interesting in the first place. Bassist Jenny Lee Lindberg has labelled Warpaint’s third album exactly that, but there’s no need to panic: these LA ladies have broken with tradition and made a ‘mature’ album that doesn’t mean they’ve bypassed fun.Where the Californian quartet’s previous records (2010’s ‘The Fool’, 2014’s ‘Warpaint’) have focused heavily on building an intense mood, ‘Heads Up’ instantly feels more spontaneous and relaxed. Its glittering peak, ‘New Song’, was born out of the band larking around and singing about playing a, well, new song. It’s easily their best tune to date; a huge slab of euphoric pop that begs you to hit the repeat button. The title track shares a similar nagging energy, but manifests it in a Cure-style bassline and Emily Kokal and Theresa Wayman’s gleaming post-punk guitars.In interviews, the group have said they wanted to make the album more representative of the excitement of their live shows. To do so, they’ve brought their dancier influences to the fore, stripping away a lot of the hazy, brooding atmospherics they used to cloak their songs in and ending up with a sound that’s 10 times more immediate. ‘So Good’ bounces along on Lindberg’s elastic bassline and the minimal ‘By Your Side’ is an ode to female friendship that has them singing “Got my girls, I’m not alone” to drummer Stella Mozgawa’s twitchy, hip-hop-inspired beat. Like their self-titled album’s ‘Biggy’, ‘Heads Up’ also makes reference to an iconic hip-hop star. ‘Dre’ doesn’t sound overtly like its namesake – it’s too languid and lacking even the slightest vigour – but it apes the genre he works in with a foundation of processed beats and synths, and guitars that are chopped up to sound like they’ve been sampled. It’s symptomatic of the album as a whole – more adventurous and free-spirited than the ‘Warpaint’ of before, but retaining the laid-back DNA at their core. For once, Warpaint sound like they’re having fun – and it suits them. - NME 4/5

An intuitively smart, warmly communicative, & fearlessly generous record. Pressed to limited transluscent purple vinyl

“22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.”The bulk of the album was recorded and produced at April Base Studios in Fall Creek, Wisconsin with pieces recorded in London, England and just outside Lisbon, Portugal. Collaborators included Colin Stetson, S. Carey, Poliça’s Ryan Olson, and Richard Buckner.

In the grayness by concrete of the Amsterdam suburbs we find Pascal Pinkert (Dollkraut) working on his darker wave salvation, going by the moniker of De Ambassade.DIY in sound and design, the arrangement of De Ambassade catalogue blend perfectly on Knekelhuis Records!This debut EP forming an alliance between the past and the present deliver one take recordings, drowned in reverb, using preferably older recording methods.The result are poppy wave tracks that shiver your spine and let you chant along to lyrics from the dutch lowlands.Limited repress on yellow vinyl. Mastering by Rude66.

Deluxe gatefold sleeve, remastered from the original analog tapes and pressed on virgin black vinyl. Still contains the vinyl-only bonus track "Take Me Away" (a Blue Oyster Cult cover). Latest version of the gatefold sleeve has the imagery in "60's" green.

Returning with a more psychedelic sound and a range of guest vocalists that slice through the starkest of electro beats, 'Mystère' sees La Femme celebrating all that's wonderful about their city Paris. Recorded between a castle in Brittany and a Paris basement before being finished up with Sonny Diperri (Animal Collective) in LA, 'Mystère' once again sees backgrounds blurred and worlds collide. The band's chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as previously, but now layered with an elegant fusion of influences including Ennio Morricone, Marie Et Les Garcons, The Velvet Underground, oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia, and mainstays s.a. Brian Eno and Pink Floyd.

Away with the mystics, here it is: Radiohead's ninth long player combining art rock and psychedilc folk.A cursory glance at A Moon Shaped Pool may suggest a certain measure of indifference on the part of Radiohead. Its 11 songs are sequenced in alphabetical order -- a stunt befitting a Pixies concert or perhaps a Frank Black box set, not a proper album -- and many of these tunes are of an older vintage: the group began work on the opening "Burn the Witch" at the turn of the century, while the closing "True Love Waits" first appeared in concerts way back in 1995. These are the elements of a clearinghouse, but with Radiohead appearances are always deceiving. A Moon Shaped Pool doesn't play like an ill-considered collection of leftovers; it unfurls with understated ease, each silvery song shimmering into the next. The pulse rarely quickens and the arrangements seldom agitate, yet the album never quite feels monochromatic. Sly, dissonant strings grace some cuts, acoustic guitars provide a pastoral counterpoint to an electronic pulse, Thom Yorke's voice floats through the music, often functioning as nothing more than an element of a mix; what he's saying matters not as much as how he murmurs. Such subtle, shifting textures emphasize Radiohead's musicianship, a point underscored when this version of "True Love Waits" is compared to its 2001 incarnation. There, Yorke accompanied himself with a simple acoustic guitar and he seemed earnest and yearning, but here, supported by piano and strings, he sounds weary and weathered, a man who has lost his innocence. What he and Radiohead have gained, however, is some measure of maturity, and with this, their music has deepened. Certainly, sections of A Moon Shaped Pool contain an eerie, disconcerting glimmer, usually attained through power kept in reserve -- nothing stabs as hard as the sawing fanfare of "Burn the Witch," while the winding, intersecting guitars that conclude "Identikit" provide the noisiest element -- yet the album as a whole doesn't feel unsettling. Instead, there's a melancholic comfort to its ebb and flow, a gentle rocking motion that feels comforting; it's a tonic to the cloistered, scattered King of Limbs and even the sleek alienation of Kid A. Radiohead are recognizably the same band that made that pioneering piece of electronica-rock but they're older and wiser on A Moon Shaped Pool, deciding not to push at the borders of their sound but rather settle into the territory they've marked as their own. This may not result in a radical shift in sound but rather a welcome change in tone: for the first time Radiohead feel comfortable in their own skin. - allmusic.com

Back in print on limited edition vinyl!

New collaborative project helmed by Anika with a backup lineup featuring Mexico-based producers Martin Thulin, Hugo Quezada, & Amon Melgarejo

Wisconsin artist Bon Iver's debut release. One of the most loved records of 2008!

Pearl Jam commemorate two decades since they released their 1996 album, No Code, with a deluxe vinyl reissue.It’s the first time the album has been made available on vinyl since the original release. Grammy-winning engineer Bob Ludwig remastered No Code specifically for the format and the package will include recreations of the original artwork with nine random replica Polaroid/lyric cards.

Grammy Award-winning band Ghost have announced the Popestar U.S. headlining tour - a 34 city run that will include two rituals at The Wiltern in Los Angeles this October. To support this, the band will be releasing a brand new EP by the same name, Popestar. This new EP features one new original song and five newly recorded cover songs.

The Chicago band Wilco will release their 10th studio album, Schmilco, on Sept. 9, with a special early release for vinyl on Tuesday, September 6. Schmilco features 12 new songs written by Jeff Tweedy and is the band's third release on their own dBpm Records. It follows Star Wars, which was released for free and as a surprise in July 2015.Mostly an acoustic collection, Schmilco bears neither the vicious, fuzz-glam guitars of Star Wars, nor the dazzling, baroque-ish arrangements that fans have come to expect from Wilco. But in their place is a spaciousness and chaos that might feel welcome after 20-some years of enjoyed but now-familiar Wilco releases. It is an intentionally loose affair. Schmilco finds band leader Tweedy in a state of alienation: how to cope with dissonance between self-identity and the public perception of his band – to maintain an innocence and earnestness even as some have come to see him as more (or less) than human, and Wilco as something other than six musicians?''I think this record is 'joyously negative','' Tweedy said. ''It's sad in a lot of ways but not in any that reach a conclusion of doom or hopelessness… I just had a lot of fun being sour about the things that upset me.''On Thursday, Wilco shared ''Locator'' from the forthcoming album and today shares ''If I Ever Was A Child.'' Both songs are available as an instant download upon pre-ordering the album in the band's store, on iTunes or Amazon.Recorded at the band's Chicago studio the Loft, Schmilco is produced by Jeff Tweedy and Tom Schick.Wilco is Jeff Tweedy, John Stirratt, Nels Cline, Glenn Kotche, Patrick Sansone and Mikael Jorgensen. 145G Opaque Pink colored vinyl includes a coupon for a full album download. Track Listing:SIDE ANormal American KidsIf I Ever Was A ChildCry All DayCommon SenseNopeSomeone To LoseSIDE BHappinessQuartersLocatorShrug and DestroyWe Aren't The World (Safety Girl)Just Say Goodbye

Emerging from the distant light is the new double-LP from John Dwyer’s Thee Oh Sees—the first studio recordings to capture the muscular rhythm section of twin drummers Ryan Moutinho and Dan Rincon with ringer bassist Tim Hellman cracking spines. The groove and bludgeon one has come to expect from the band’s live shows is captured seamlessly here—they go from zero to head-splitter, and on the rare occasions they do let up on the gas a bit, you’re treated to some locked-in hypnotizers, too. The guitar sounds more colossal and ethereal at the same time, riding roughshod over the vacuum-sealed rhythm section, spiraling skywards, and diving into the emerald depths so quick your guts tingle. Synths, strings and smoke-soaked things crawl behind the scenes to make an extra far-out party platter, served on 45 RPM plates for most excellent listening quality.

An intuitively smart, warmly communicative, & fearlessly generous record. Pressed to limited transluscent purple vinyl

One of the most distinctive voices in British music, Jamie T releases his hugely anticipated fourth album “Trick”. Trick arrives after a gap of less than two years shot through with the kind of vibrancy that can only come from a man who’s rediscovered his love of writing, recording and performing. Recorded in London and Detroit, Michigan, “Trick” features co-production and all instruments played by Jamie and long-time creative partner James Dring and is the kind of brave and eclectic rock/punk/reggae/rap/pop celebration that only Jamie T could make. Inspired by claustrophobic London Summers, the album is a proud, punchy summing-up of all Jamie’s unique signatures – Clash-like anthems, youthful reminiscence, high-speed raps, earworm choruses and snarky humour.

Calico Review' was recorded at the iconic Valentine Recording Studio, which gave the group access to historic recording equipment such as a 1964 Universal Audio 610 soundboard - the same board on which The Beach Boys recorded Pet Sounds. Now you know what to expect.

In a world where everything is relative, this may well bethe final nail in the truth’s coffin. From the past to the present and the present to the past,of stories forgotten and to be told. Murray, labelboss from the great Contort Yourself label,created a library full of edited (un)forgotten cassette material from the first part of the 80’s.This compilation featuresDie Form, Fan Tan, Nocturnal Emissions, AGem, Beats Per Minute and Parazite: tracks to take you back to the future on the modern day dancefloor.

On Midnite Spares, Australian music devotees András and Instant Peterson hold a candle to overlooked avant-pop and electronic works by antipodean artists and outsiders working through the 80s and 90s. Through co-presenting weekly radio show Strange Holiday, the duo slowly upturned their locale for inspiration - archives, country bookstores, private collections and convenience stores, searching for a place to anchor their own identities in the oceans of the island continent. The 10 tracks acknowledge a minor history, passed on via a network of friends, friends of friends, the libraries of radio station 3RRR and more often than not, the artists themselves. Renowned mixed media artist Maria Kozic enters with the mysterious downbeat of Trust Me, her partner Philip Brophy responsible for digital and analogue sonic construction.

Remastered!

This reissue is remastered and finally available on vinyl again.

Back in print on limited edition vinyl!

First album in 6 years, a collection of 12 songs about life and love. The effortless work of a band entirely confident in their own craft

In the wake of OK Computer, it became taken for granted among serious rock fans of all ages that Radiohead not only saved rock from itself, but paved the way toward the future. High praise, but given the static nature of rock in the last half of the '90s, it was easy to see why fans and critics eagerly harnessed their hopes to the one great rock band that wanted to push the limits of its creativity, without grandstanding or pandering. Daunting expectations for anyone, even for a band eager to meet them, so it's little wonder that Kid A was so difficult to complete. Radiohead’s creative breakthrough arrived when the band embraced electronica -- which was nearly a cliché by the end of the '90s, when everyone from U2 to Rickie Lee Jones dabbled in trip-hop or techno. The difference is that the wholehearted conversion on Kid A fits, since OK Computer had already flirted with electronica and its chilly feel. Plus, instead of simply adding club beats or sonic collage techniques, Radiohead strove for the unsettling "intelligent techno" sound of Autechre and Aphex Twin, with skittering beats and stylishly dark sonic surfaces. To their immense credit, Radiohead don't sound like carpetbaggers, because they share the same post-post-modern vantage point as their inspirations. As perhaps befitting an album that’s coolly, self-consciously alienating, Kid A takes time to unfold; multiple plays are necessary just to discern the music's form, to get a handle on quiet, drifting, minimally arranged songs with no hooks. This emphasis on texture, this reliance on elliptical songs, means that Kid A is easily the most successful electronica album from a rock band: it doesn't even sound like the work of a rock band, even if it does sound like Radiohead. - allmusic.com

BEHOLD! The inaugural long player from Wick Records - The Mystery Lights! In an era when the city kvetches that there are no good NYC bands, when half of the music scene has split for sunny California, the Mystery Lights are an anomaly. Not only did these bold young men reverse the direction - optimistically migrating east against the tide from the west coast, but they also immersed themselves in the action and diversity of New York City. Organically unfolding over the nights, months and years, the Lights' sound has evolved into a fuzz-fueled, hopped-up 21st Century take on '60s garage pebbles, and artful '70s punk, that is all their own.If you've ever seen the Mystery Lights live, then you've experienced the otherworldly energy and conviction they exude on stage, compelling their rabid fans to emphatically entwine themselves into an electrified mob. This album is a testament to that. Recorded at The Daptone House Of Soul by (Grammy Award winning) engineer, Wayne Gordon - shortly after their debut single sold out - it marries the Lights' youthful, visceral energy with seasoned song-craft and musicianship far beyond their years.The Mystery Lights are living proof that vital contemporary music, in this case real-deal rock 'n roll, can still be dreamed, constructed, and thankfully recorded in the Empire City.

Timely reissue on 180 gram wax!

2nd full-length features the same crisp John Lennon/Phil Spector era homegrown lush production that could have walked out of GeoffEmerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now.

Timely reissue on 180 gram wax!

Philosophy/Religion. Where GOD IS GOOD was the first step in a more ornate and sophisticated direction for OM, ADVAITIC SONGS achieves a level of composition that would've been impossible to foresee. There remains the singularity of purpose that is the core of all OM records, but no single reason can account for this comprehensive nature of their evolution. On this album the core primary sound of OM remains, yet everything reaches further and becomes more of itself. Whatever drone-doom camp that OM had previously been placed in has been decimated by the sheer imagination and expansive quality of this recording. For a band that has continually followed its own course, and stood alone in its sound and approach, ADVAITIC SONGS for certain, is the band’s most focussed, progressive document.

Everybody's favorite new band debuts their seminal self-titled album. What an amazing amalgam of 80s Wave, Postmodern Folk, syncopated R&B madness and UK Bass culture. One of those rare albums that virtually nobody has anything to complain about.

The Ape Of Naples is Coil's highly celebrated final album completed by Peter Christopherson following the tragic death of Jhonn Balance in 2004. Often noted for being a fan favorite, The Ape Of Naples uses Balance's final recordings and material recorded at Trent Reznor's studio in New Orleans to create a deep, heavy masterpiece.This first printing of 2000 copies is packaged in a heavy duty case wrapped, tip-on style jacket with Ian Johnstone's original artwork coated in a custom spot gloss. Each LP is house in a printed inner sleeve and side D contains all three original etchings. Ape's lyrics are spread across the gatefold.

Das letzte The Divine Comedy Album "Bang Goes The Knighthood" stammt aus dem Jahr 2010. Dazwischen lagen diverse musikalische Kollaborationen und ein Themen-Album ("The Duckworth Lewis Method"), das dem Cricket Sport gewidmet war. Die erste Singleauskopplung aus "Foreverland" ist "Catherine The Great". Ein wunderbarer Song, doch Neil Hannon gesteht: "es ist die Art von Liebeslied, das man schreibt, wenn man zu viele Sendungen auf BBC 4 gesehen hat". Auf dem neuen Album wird orchestraler Pop - Streicher und Hörner inklusive - genial mit rockigen Rhythmen und wunderbaren Melodien kombiniert. Neil Hannon hat in seiner Karriere mit Künstlern wie Yann Tiersen, Tom Jones, Charlotte Gainsbourg, Jane Birkin, Air, Ute Lemper und Carl Barat zusammengearbeitet.

Using the textured soundscapes of The Bends as a launching pad, Radiohead delivered another startlingly accomplished set of modern guitar rock with OK Computer. The anthemic guitar heroics present on Pablo Honey and even The Bends are nowhere to be heard here. Radiohead have stripped away many of the obvious elements of guitar rock, creating music that is subtle and textured yet still has the feeling of rock & roll. Even at its most adventurous -- such as the complex, multi-segmented "Paranoid Android" -- the band is tight, melodic, and muscular, and Thom Yorke's voice effortlessly shifts from a sweet falsetto to vicious snarls. It's a thoroughly astonishing demonstration of musical virtuosity and becomes even more impressive with repeated listens, which reveal subtleties like electronica rhythms, eerie keyboards, odd time signatures, and complex syncopations. Yet all of this would simply be showmanship if the songs weren't strong in themselves, and OK Computer is filled with moody masterpieces, from the shimmering "Subterranean Homesick Alien" and the sighing "Karma Police" to the gothic crawl of "Exit Music (For a Film)." OK Computer is the album that establishes Radiohead as one of the most inventive and rewarding guitar rock bands of the '90s. - allmusic.com

Timely reissue on 180 gram wax!

After a few great EP's it's the full length by Elena Tonra, Igor Haefli & Remi Aguileilla!

a musical trip through melancholy, despeartion, confidence and hope on European roads!

All Diese Gewalt ist das Soloprojekt von Max Rieger, den Kenner bereits von Die Nerven kennen dürften. Unter dem Namen All diese Gewalt hat Max Rieger nun sein zweites Soloalbum aufgenommen: Es heißt „Welt in Klammern“ und ist ein dunkelbunt funkelnder Strauß aus Geräuschen, Drones, Vogelgezwitscher und wundervollen Melodien, die sich sogleich im Gehör zu verhaken beginnen. Es geht um das Wegfliegen und Loslassenkönnen, um Angst vor der Leichtigkeit und vor dem Verlust, aber auch um das Vertrauen in die heilenden Kräfte der Ambivalenz. All diese Gewalt bewegt sich entlang der musikalischen Linien, die man auch von Die Nerven kennt. Doch sind die schroffen Klänge und die splittrigen Abstraktionen des Postpunk in weiche, fließende Formen geflochten; nicht der Break, der überraschende Wechsel ist hier das Leitmotiv der Dramaturgie, sondern der unmerklich organische Wandel, an dessen Ende man sich fragt, wie man eigentlich in diesen Klang, in diese musikalische Sphäre gelangen konnte. Die Songs sind eigentlich keine Songs, sondern Kräftefelder – Geflechte aus Intensitäten, flirrende Muster: Klangbilder, die erst nachträglich sich in die Zeit zu erstrecken begonnen haben.

Limited one sided 7". Warpaint are back with a seductive single. 'New Song' is the first taste from upcoming third record 'Heads Up'. 'New Song' is a bold move away from the swirling, psychedelia - it's brash and poppy forces you to get up off of your feet and shake all your limbs to the beat.

In 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that his daughters would form a popular music outfit. Austin was certain this would follow suit. With pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Re-cording studios in Revere, Massachusetts to record their sole album, “Philosophy Of The World”, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion). Throughout the album’s simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness. The album failed to fulfill Austin’s expectations of rock stardom, though the group remained to-gether until their father’s death, performing frequently, no further albums were released. That might have been the end of it, until rock band NRBQ discovered a copy at a Massachusetts radio station and re-released it in 1980. Rolling Stone’s reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”. Nearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000. Decades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs. The whole material got newly remastered and the original artwork got restored and expanded to a gatefold jacket with liner notes by legendary musician, writer and compiler, Lenny Kaye (Patti Smith,Nuggets).

The New Backwards, created in 2007, was originally included in the Ape Of Naples box set released on Important in 2008 and was constructed by Peter Christopherson using material from the Backwards sessions, recorded in the early 90's for a planned release on Trent Reznor's Nothing Records label. The New Backwards, like Ape Of Naples, is an intense fan favorite and an essential part of of the Coil catalog.

Auf dem neuen, heiß erwarteten Album von Die Höchste Eisenbahn gibt es immer wieder Stellen, an denen die Musik sich aufschwingt. Die Trampelpfade von dem verlässt, was wir unter "Popmusik" hinzunehmen gelernt haben. Da gibt es immer noch eine schönere Harmonie, noch eine mutigere Wendung: Die Eisenbahn bringt uns hin.Ernsthaft, gibt es sonst noch irgendwo eine Band wie diese? Wer sonstverbindet die Pop-Finesse einer Band wie Steely Dan mit Indierock-Lässigkeitund der Sentimentalität eines betrunkenen Straßenmusikers?Auf ihrem neuen Album haben sie nur zwei Themen, nämlich was wir so tunund wie sich das dann anfühlt. Wir stromern mit Francesco, Felix, Max undMoritz durch die dunklen Großstadtgassen und aus den Fenstern sickern Melodien und Gesprächsfetzen.Wir kennen das alles, worüber die Jungs singen, aber wir haben es lange nicht mehr so deutlich gefühlt: die erste Liebe, neu entdeckt in "Lisbeth". Die angeheiterte Clique in "Gute Leute", die erwachende Liebe in "Blume".Die Höchste Eisenbahn steht für eine erwachsene Popmusik, die endlosverspielt ist. Ihre neue Sammlung von Songs namens "Wer bringt mich jetztzu den Anderen" hat keine Füller, keine Ausfälle, keine Vor-Skip-Nummern.Das Album ist aus einem Guss, man kann sich drauflegen und treiben lassen,bis der Fluss ins Meer geht. - Bernd Begemann

In Rainbows, as a title, implies a sense of comfort and delightfulness. Symbolically, rainbows are more likely to be associated with kittens and warm blankets than the grim and glum circumstances Radiohead is known for soundtracking. There's a slight, if expected, twist at play. The band is more than familiar with the unpleasant moods associated with colors like red, green, and blue -- all of which, of course, are colors within a rainbow -- all of which are present, and even mentioned, during the album. On a couple levels, then, In Rainbows is not any less fitting as a Radiohead album title than "Myxomatosis" is as a Radiohead song title. Despite references to "going off the rails," hitting "the bottom," getting "picked over by the worms," being "dead from the neck up," and feeling "trapped" (twice), along with Radiohead Wordplay Deluxe Home Edition pieces like "comatose" and "nightmare" -- in the same song! double score! -- the one aspect of the album that becomes increasingly perceptible with each listen is how romantic it feels, albeit in the way that one might find the bioport scenes in David Cronenberg's eXistenZ to be extremely hot and somewhat unsettling. Surprisingly, some of the album's lyrics are even more personal/universal and straightforward than anything on The Eraser, the album made by Thom Yorke and Radiohead producer Nigel Godrich. "I'm an animal trapped in your hot car," from "All I Need," has to be one of the saddest, most open-hearted metaphors used to express unrequited love. "House of Cards" begins with "I don't want to be your friend/I just want to be your lover/No matter how it ends/No matter how it starts," and the one with the worms includes "I'd be crazy not to follow/Follow where you lead/Your eyes/They turn me." This effective weaving of disparate elements -- lyrical expressions commonly associated with the band, mixed in with ones suited for everyday love ballads -- goes for the music as well. The album is very song-oriented, with each track constantly moving forward and developing, yet there are abstract electronic layers and studio-as-instrument elements to prevent it from sounding like a regression. In Rainbows will hopefully be remembered as Radiohead's most stimulating synthesis of accessible songs and abstract sounds, rather than their first pick-your-price download. - allmusic.com

Damon Albarn's brainchild which includes the massive hit Clint Eastwood feat. Del!

Nach einem Jahr voller Konzerte und ihrer EP „Wird Schon Irgendwie Gehen“ erscheint nun ihr erstes richtiges Album "Alles Nix Konkretes“. Drei Kölner. Alle Anfang 20. Alle mit einem Namen. Christopher Annen, Henning May und Severin Kantereit. Zusammen sind sie AnnenMayKantereit. Seit 2014 ist auch Malte Huck dabei. Sie machen Musik so wie sie ihnen gefällt. Gesungen wird hauptsächlich auf Deutsch. Ohne Pathos, stattdessen mit Fingerspitzengefühl und dem eigenen Erfahrungsschatz geht es in ihren Liedern um Liebe, Freundschaft, Verlust; das Leben. Wütende Jugend trifft dabei auf einfühlsame Balladen, beschwingter Blues auf temperamentvollen Pop und auch die Bewegungshungrigen kommen auf ihre Kosten.

This is the new format: ULTRA!* 180 gram single vinyl LP* single-pocket tip-on jacket* mp3 download* 2 vinyl-only hidden tracks hidden beneath the center labels* 1 hidden track plays at 78 RPM, one plays at 45 RPM, making this a 3-speed record* Side A plays from the outside in* Dual-groove technology: plays an electric or acoustic intro for ''Just One Drink'' depending on where needle is dropped. The grooves meet for the body of the song.* Matte finish on Side B, giving the appearance of an un-played 78 RPM record* Both sides end with locked grooves* Vinyl pressed in seldom-used flat-edged format* Dead wax area on Side A contains a hand-etched hologram by Tristan Duke of Infinity Light Science, the first of its kind on a vinyl record* Absolutely zero compression used during recording, mixing and mastering* Different running order from the CD/digital version* LP utilizes some mixes different from those used on CD and digital version

One of the most important albums of the 90s and beyond - period.180g Version

Timely reissue on 180 gram wax!

The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynthstyled songs by Kavinsky & Lovefoxxx (“Nightcall”), The Chromatics(“Tick of the Clock”), Desire (“Under Your Spell”), College featuring Electric Youth (“A Real Hero”), and Riziero Ortolani featuring Katyna Ranieri (“Oh My Love”). Rolling Stone Magazine named Drive the No. 1 movie of 2011.

Finally this classic Verve album gets an official reissue. This edition got fully remastered.

Finally Beck's Odelay is available again as official reissue for Bong Loads 25th anniversary and the 20th anniversary of the original album release.

“22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.”The bulk of the album was recorded and produced at April Base Studios in Fall Creek, Wisconsin with pieces recorded in London, England and just outside Lisbon, Portugal. Collaborators included Colin Stetson, S. Carey, Poliça’s Ryan Olson, and Richard Buckner.

The second full-length statement from Memphis’ Nots, Cosmetic fearlessly attacks the rough edges between desire, deceit, appearance and reality. Not chanting down Babylon, Natalie Hoffmann screams straight into its face. In this Game Of Death, Nots run through the maze of mirrors with sledgehammers— oh, the sound of mirrors smashing—let’s smash some more! Nots are still a wild guitar band, but above and below the guitar, bass and drum pound, Alexandra Eastburn’s analog synth blurps melodies and nonsense, teasing squiggles of freedom which defy the false grid of modern life. With Hoffmann on guitar and vocals, Eastburn on synth, Charlotte Watson beating drums, and Meredith Lones steering a solid path through the chaos on bass, Nots are neither content with the smug “stare at your shoes” approach of bands from both coasts, nor an Earth-hugging “we need to get back to nature” hippie cop-out. There might not be any answers here. That might be the point. Nots have arrived at the next level of their attack with confidence and music that lays waste to the wasteland without romantic attachments..