Review: A long-overdue revival of an underground German gem from 1984, Jurgen Grah and Markus Kammann crafted a sound that fused early new beat, synth-pop and electro with a sharp sense of groove. Collage's 'Mit Den Puppen Tanzen' resurfaces as making it a hidden treasure for fans of forward-thinking dance music. The title track is a sleek blend of disco and electro, layering pulsating synths over a club-ready rhythm that still feels ahead of its time. 'Schwarze Nacht' twists post-disco elements into something funkier, reinterpreting familiar grooves with fresh energy. 'Harter Film' leans further into an edgy new wave sound, its electro beat driving a tense yet undeniably danceable atmosphere. Balancing underground cool with accessible hooks, this is a record that effortlessly bridged electronic experimentation and dancefloor appeal. A vital listen for those who appreciate the history of an exciting time between post-disco, house music and the 80s new wave sound.
Review: The latest awakening from DFA Records hears James Murphy and company lift but a single little finger, precipitating an avalanche of anticipation, as this is their first material in three years. First premiering on NTS to clamorous acclaim, the band's first release since 2022 comes with minimal promo text, and packs bubbling synths with grinding drums, creating a familiar yet refined sound. Echoing the band's early style, it now comes on an exclusive 12" inverted by the 'Extended Trash Can Dub', which brings found, street-larked spring-sound, and vision-questing whispers, to a stomping indie romp, a potentiality promised but not entirely delivered by the original track.
Review: TC.KYLIE x The Hourglass deliver a dynamic jazz fusion outing here that mixes up Hong Kong, Japanese, and British cultures in a top debut album. Jazz fusion pianist Kylie leads her band with great energy while playing keyboard and synth keytar that is a little reminiscent of Japanese jazz rock. Based in Hong Kong and London, she's inspired by Shaun Martin, Robert Glasper and Japanese acid jazz groups like Fox Capture Plan and Jabberloop and that shows in these sounds. They are bright, happy and uplifting with the majestic flute leads of 'Merry-go-round Of Life ' impossible not to fill you with excitement and joy.
(The System Of) Doctor Tarr & Professor Fether (4:19)
The Fall 0f The House Of Usher: I: Prelude/II: Arrival/III: Intermezzo/IV: Pavane/V: Fall (15:06)
To One In Paradise (4:16)
The Raven (single version) (3:15)
(The System Of) Doctor Tarr & Professor Fether (single version) (3:24)
The One In Paradise (single version) (3:51)
Review: An album known for its extraordinary musical interpretation of some of Poe's most iconic works, this 1976 release still fascinates listeners today. With an intricate fusion of progressive rock, orchestral arrangements and innovative studio techniques, the album takes the listener in a dark, cinematic journey through Poe's literary universe. Parsons' production expertise is evident throughout, weaving together synthesisers, guitars, glockenspiel and dramatic orchestration, while eerie sound effects and narration enhance the album's haunting atmosphere. This reissue sound terrific aided by each side being pressed at 45rpm for extra fidelity. The instrumental opener, 'A Dream Within a Dream', sets an ominous mood, which features Orson Welles' narration. 'The Raven' employs an EMI vocoder and a boys' choir, crafting an eerie, chamber-like sound. Arthur Brown's impassioned vocals on 'The Tell-Tale Heart' heighten the track's intensity, mirroring the protagonist's growing madness. 'The Cask of Amontillado' and 'The System of Doctor Tarr and Professor Fether' showcase the album's dynamic range, moving between grand orchestration and progressive rock energy. The 20-minute instrumental epic 'The Fall of the House of Usher' is a masterclass in atmosphere-building, from the baroque horror of its 'Prelude' to the unsettling climax in 'Fall'. The closing ballad, 'To One in Paradise', softens the album's brooding intensity with melancholic beauty. A stunning fusion of literature and music, it is one of the most inventive and evocative progressive rock albums ever recorded.
Review: Heavyweight vinyl is always that much more satisfying to hold, so hats off to Au Pairs and their team for issuing their classic first album in this sought-after format. Musically, Au Pairs were at their most overtly post-punk here, with funky rhythms and scratchy Gang Of Four-esque guitar stylings. 'We're So Cool' sounds like the best that moments of Hanover underground group 39 Clocks; 'Repetition' sounds like it could have influenced Goat Girl's first moves as a band signed to Rough Trade; while 'Come Again' is up there with anything by The Slits, and 'Love Song' is reminiscent of Entertainment!-era Gang Of Four. The most striking cut here, however, is 'Headache For Michelle', which sits beautifully in the middle of the album and offers a bit of respite from the generally high-octane rhythms. It's a dreamy cut, seemingly about drugs and government overreach. The following stinging, bitter lines, delivered with so much heart, bring this epic number from a cracking album to a beautiful close: "They are closing down - communications / They're taking control - of our situations."
Review: Blk Odyssy's third studio album 1-800 Fantasy, as any artist long player really should, marks a sonic shift. It takes him away from his dark r&b and G-funk blend to a brighter, more upbeat alternative sound. This concept album tells the coming-of-age story of a teenage boy in the 90s exploring love and lust. The 13 tracks include singles like 'Want You,' 'XXX' (feat. Wiz Khalifa), 'Stank Rose' (feat. Joey Bada$$) and 'Changes' along with the new track 'Phase.' With this album, Blk Odyssy embraces a new era in his career, blending fresh storytelling with innovative production. It proves again he is a boundary-pushing artist.
Review: Originally forming in 2016 as a YouTube parody band providing metal renditions of well-known pop songs, it wouldn't take long for Bloodywood to realise their full potential as India's most successful metal act to date. Following on from their 2022 debut full-length Rakshak, the group return with their highly anticipated sophomore effort Nu Delhi, serving as both a tribute to their city of origin as well as their embracing of nu-metal and rap metal styles, combining low-end grooves and bilingual verses delivered in both English and Hindi, though the language palette is expanded to Japanese for the BABYMETAL featuring 'Bekhauf'.
Review: Sometimes rockabilly-touting Stray Cats member Brian Setzer's big band revival reaches full throttle on this high-energy release, where rockabilly flair meets swing-era showmanship. 'Gettin' in the Mood' kicks off with a playful nod to Glenn Miller's 'In the Mood', reworking it into a brass-laden dancefloor shaker. Elsewhere, Setzer tackles 'Mack the Knife' with effortless swagger, his sharp guitar licks cutting through bold horn arrangements. The collection thrives on its ability to modernise the big band sound without losing its vintage charm, fusing the finesse of jazz standards with the drive of rock & roll. Brian Setzer's big band revival strikes an electrifying balance between rockabilly grit and the exuberance of swing-era showmanship. Opening with a fresh take on Glenn Miller's 'In the Mood', Setzer transforms the iconic brass-heavy tune into a high-energy anthem, infused with his trademark guitar swagger. It's a bold reinterpretation that never lets up. On 'Mack the Knife', Setzer's precise guitar licks cut through the brash brass arrangements with the kind of effortless cool that's become his signature. But it's not just a nostalgia tripihe brings a contemporary edge to these swing standards, revamping them without losing their original flair. Tracks like 'Gettin' in the Mood' highlight Setzer's uncanny ability to update the sound of a bygone era, blending vintage swagger with a rock & roll punch. The result is an album that fuses the sophistication of big band jazz with the raw energy of rockabilly.
Ever Fallen In Love (With Someone You Shouldn't Have Fallen In Love With) (2:39)
What Do I Get? (2:41)
Oh Shit! (1:48)
Fast Cars (3:56)
Review: Following a near-decade of inactivity, Buzzcocks made their glorious return in 1989 majorly making up for lost time with new material and numerous tour dates, with their now iconic performance at L'Arapho Club in Paris on April 12th 1995 often regarded as a prime example of the group at their slightly seasoned peak. Immortalised on the live album known simply as French, this captured performance only featured the first 20 songs of that night's initial setlist, with the remaining ten cuts from their three encores later released in 1999 as the originally fan club-only Encore Du Pain, where old school fan favourites such as 'I Don't Know What to Do With My Life,' 'Orgasm Addict' and 'Ever Fallen in Love?' would appear. Though the pair would ultimately be compiled into the French et Encore Du Pain double live collection, this singular LP is all about the encores of that evening, clearing up any doubts about Buzzcocks delivering a lazy, cash-grabbing 10-song set of 3-minute cuts to an avid, paying fanbase. Think of this as more arriving late to a legendary set just in time to catch all of the most highly anticipated golden oldies of the night.
… Read more
! low stock$26.72
Artikel 1 bis 50 von 722 auf Seite 1 von 15 anzeigen
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.