The Rocket Scientist Pat Battstone is back with his latest in an ever-growing avant-garde catalog. His latest group effort The Last Taxi: In Transit is a collaboration once again with his Italian cohorts and creative like-minded souls Gianna Montecalvo with Antonella Chionna who both appear through the courtesy of Dodicilune Records.
 
EARLY REVIEWS
Battstone, an experienced musician with a experimental direction with a very solid discography, is also a rocket scientist working at Draper Labs, Cambridge, Massachusetts.  Pat manages to combine one with another. Either creative improvisational music helps scientific work, or daring scientific research stimulates musical creativity - one way or another, Battstone is doing well in both spheres.
-Jazzquad (Russia)

Battstone might have started out under Kenton's wing but his fascination with experimental, left leaning stuff has taken over his oeuvre over the years. Here we find him recording in Boston but making us feel like he packed it off to Italy to do it the Euro way.
-Midwest Record

Listen a bit, soar a lot, and embrace the genius of Pat Battstone – he is airbourne!
-Grady Harp, Top 100 Writer
“One’s Destination is never a place, but a new way of looking at things” 
- Henry Miller

Pat Battstone began performing music professionally at the age of 14, playing in various rock, blues, and R&B bands in South Western Ohio. By the time he was 18, he had received lessons from Stan Kenton and Gary Burton, had been mentored by Oscar Treadwell (Oska T), and had played with James Brown’s recording sidemen as well as members of the musical “Hair.”

In 1973, he attended Berklee College of Music and soon after became a student of both Mme Chaloff and Charlie Banacos. One of his bands, which featured hometown friend Grover Mooney, opened the fabled 1369 Club in Cambridge in 1975. During the 80’s, Pat studied the works of Scriabin under the renowned Serge Conus. In 1986, he returned to jazz, studying with Joanne Brackeen for a period of 6 years. During the past decade he has enjoyed the friendship and mentorship of both Paul Bley and Marilyn Crispell.

Though his focus as an artist is creative improvisation, he is skilled and experienced in any setting where jazz (no matter the style) or groove and R&B is needed. He is fluid in both solo appearances as well as leading ensembles; in both acoustic settings as well as electric. His last 6 CDs - Mystic Nights, The Last Taxi, Beyond the Horizon, From Dream to Dream, Rylesonable,and Elements - have all had excellent reviews and have charted into the mid-teens on the CMJ jazz charts for numbers of weeks.

His latest adventures have been in collaboration with the musical circles in Puglia, Italy, namely those of Gianna Montecalvo in Bari and Gianni Lenoci in Monopoli. He recorded and produced 4 CDs with an Italian vocalists since 2016 with 2 more ready for release in the near future, with additional recordings to be produced.

When not performing music, Pat works as a rocket scientist at Draper Labs in Cambridge.
“Each listen to The Last Taxi will create new emotions and visions, and after all, is that not the true language of music, the music of the soul- and the soul is only really in the moment of now, only the mind wanders.
-Jazz Times
The Last Taxi is a transport vehicle. Its routes are many and its destinations are unknown. You have but one chance to board, as its mission is immediate and urgent. Yet you know that you MUST go in, otherwise you will be walking alone in a desolate place.
Once inside the taxi, you are going home, yet you understand that home is an endless journey. What was your world is now seen through the window as a dream that is passing, an obscure and blurred image.

Your traveling companions share the experience of the Last Taxi with you, yet each perception is different from the other’s. The Taxi is a forum of life stories, sometimes you tell yours at other times you listen, sometimes you discuss the stories with a few travelers, other times they all discuss.

Your ride in the Last Taxi is free, you may come

01 As The City Awakens 7:33
02 View From My Balcony 5:11
03 Sur la Voie Rapide 4:42
04 Harbor Lights 3:23
05 And Then What 4:32
06 Creatures of the Night Forest 5:50
07 Immigrant Song 4:46
08 Lonely Avenue 5:16
09 Apocalisse Ora 6:10
10 Adieu Mes Amis 5:18
11 In Transit 1:43

Pat Battstone piano
Chris Rathbun double bass
Richard Poole drums, vibraphone
Ilona Kudina flutes
Todd Brunel clarinet
Gianna Montecalvo vocals, spoken word
Antonella Chionna vocals, spoken word

Gianna Montecalvo and Antonella Chionna appear through the courtesy of Dodicilune Records

Of Certain Elements, the third album from acclaimed jazz vocalist Karla Harris, it can be said that this is a place where lush contemporary comes alongside deft acoustic mainstream jazz to create the potent signature sound of this collection. Intriguingly mystical and invitingly earthy, with an aural quality all its own, the record’s tunes of varying feels – Latin, contemporary, swing, blues-inspired – showcase the velvety, dynamic range of Harris’ considerable talent to compelling effect.
Certain Elements follows up on Harris’ second release, Karla Harris Sings the Dave and Iola Brubeck Songbook, released in 2015 on Summit Records and featuring jazz all-stars Tom Kennedy on bass, drummer Dave Weckl, saxophonist Bob Sheppard and pianist/arranger Ted Howe. Harris’ vocal versions of Brubeck classics proved to be an expertly executed and well-received homage showcasing the singer’s technical chops and interpretive ability. Of the record, jazz reviewer Thomas Cunniffe wrote, “She makes these seldom-heard lyrics come alive,” and Jazziz said, “The Brubecks would be pleased.”
Harris’ new recording demonstrates evolving artistry. She leans creatively into a fuller spectrum of her gifts on Certain Elements, teaming with acclaimed producer Trammell Starks to create tracks where her authenticity and emotive power come shining through. The record’s 12 tracks feature several originals penned by the vocalist, her first outing as a songwriter, and beautifully curated cover tunes, including the album’s first single, a contemporary jazz remake of the 1960s hit “Cherish.” Harris’ “Cherish” gets lush, romantic treatment, thoughtful rhythmic variation, and nuanced delivery of those longing lyrics. Released to contemporary jazz radio mid-September, it’s generating buzz quickly. The tune’s composer, Terry Kirkman, comments that it is a “beautiful surprise” for him, and that Harris’ “rich, warm, depth throughout her range is incredible … truly inspirational.”
“Cherish” was one of the last tracks produced for the collection, which unrolled organically over a period of years. “This project actually started in 2013 – I just didn’t know it at the time,” Harris says. It was then that she recorded in Portland, Oregon, her former home, a cover of the Peter Dello tune and Joe Cocker hit, “Do I Still Figure in Your Life,” at the suggestion of Latin percussionist and bandleader Bobby Torres, who toured with Cocker for years. Torres arranged the song for Harris’ voice, creating a stripped-down ballad version of the tune that packs an emotional punch. The track stayed tucked away following a move that took Harris to Atlanta.
Not too long after that move, she experienced a period of time she describes as “creatively intense, where the muses were kind.” Riding the wave, Harris wrote several songs, six of which are included on Certain Elements. From the poetic, transcendent title track to the whimsical wordplay of the swinging “When Michael;” from the grown-up sensuality of “Folds” to the story-based blues of “Interlude” and more, Harris’ songwriting shows a love for words and wrapping them into a lyric and a melody.
“From the moment they formed, I became committed to these songs, performed them on occasion at live shows to great response, and wanted to record them, simply to complete a creative process,” Harris says. However, after bringing her material to Starks, the vision grew along with the producer’s enthusiasm over what he was hearing from the singer/songwriter. He encouraged Harris to further build out the project, and set to arranging some of her originals.
Meanwhile, Harris pulled in covers of songs arranged for her over the years by close colleagues, including that 2013 track and another done by Torres, a sultry Latin version of the Legrand/Bergman tune, “The Way He Makes Me Feel.” Harris also includes a jazz-influenced take on the Bill Withers classic “Lean on Me,” arranged by pianist Mark Simon, a close friend of Harris’ who passed away before he could finish tracking the tune. His brother, Chicago pianist Fred Simon, completed it for the recording.
The record honors other friendships made across Harris’ musical journey and features many more bright lights, from Portland, Seattle and Atlanta, including pianists Randy Porter, George Colligan, Kevin Bales, Dan Gaynor, Tyrone Jackson; bassists Sam Sims, Damian Erskine, Jeff Johnson, Neal Starkey; saxophonists Sam Skelton, Mace Hibbard; trumpeter Darren English; drummers Todd Strait, Marlon Patton, Lil’ John Roberts, Reinhardt Melz; percussionists Rafael Pereira, Bobby Torres, Carmelo Torres; guitarists Dan Baraszu, Chris Blackwell; and Trammell Starks on keyboards and programming.
“A dancing tendril on the edge of flame.”… It’s a lyric from the album’s first track, a Latin-infused tune of Harris’ called “Set Sophia Free” that carries a powerful message of awakening with its world-music, spiritual vibe. Like that dancing tendril, Harris is set to light a fire within jazz fans’ hearts with Certain Elements.
 
Single release: Cherish
Artist: Karla Harris
From the Album: Certain Elements
Album Release Date: October 5, 2018
Label: gobykar Music
Genre: Jazz
Produced by: Trammell Starks, Karla Harris
 
Album Track Listing
Set Sophia Free
The Way He Makes Me Feel
Certain Elements
Folds
When Michael
Interlude
Do I Still Figure In Your Life
Give This All to Me
Cherish
Lean on Me
Flow
Certain Elements (ATL Groove v.)
 
www.karlaharris.com
www.facebook.com/karlaharrismusic
www.instagram.com/karlaharrisbykjh

Black Cat Buisquit is de winnaar van de Belgian Blues Challenge 2018 en zullen ons land vertegenwoordigen op de 9de European Blues Challenge in Ponta Delgada (Azores) in Portugal op 5 en 6 april, 2019

​Na een tournee langs de zomerfestivals in ons land (Rock Werchter, Pukkelpop, Les Ardentes…), Zwitserland (Paleo) en Frankrijk (Les Vieilles Charrues, les Francos de La Rochelle…) en een resem zaalconcerten (met o.a. twee razendsnel uitverkochte AB-shows op 26 en 27 november), is Angèle klaar voor een volgende stap. Vandaag kondigt ze trots een concert aan in de belangrijkste Brusselse muziektempel. Op zaterdag 25 mei 2019 staat ze op de planken in Vorst Nationaal!
 
Na Stromae en Damso is een nieuw Belgisch wonderkind opgestaan: Angèle, die voluit luistert naar Angèle Van Laeken. Zij is dé hit van dit najaar. De Instagram-sterren volgen elkaar aan de lopende band op, maar Angèle weet zich als geen ander te onderscheiden van de massa die YouTube overspoelt. Als een volwaardig kind van haar tijd overstijgt ze muzikale, vestimentaire sociale en etnische kloven. Ze creërt een geheel eigen urban pop die niet aan één identiteit, klasse, wijk of kleur te verbinden is. Angèle belichaamt perfect haar generatie, beweeglijk en verzoenend, en herleidt grenzen tussen muzikale genres tot een herinnering uit vervlogen tijden. Pop, rap en electro in de mix: ‘Brol’, haar eerste album wordt ongetwijfeld de lekkerste Franse smoothie van het jaar!
 
Angèle staat op zaterdag 25 mei voor de eerste keer op het podium in Vorst Nationaal… een niet te missen concert!

Bekijk de video hier:
https://www.youtube.com/watch?v=teU6yNNefT4
 

Een weidse filmische sound, twangy gitaren, zwoele mariachi trompetten, verdwaalde toetsen en een melancholische stem zijn de vaste kenmerken van TMGS de Belgische band uit Antwerpen/Kalmthout.
Opgericht in 2001 en aanvankelijk een instrumentale band, wordt het debuut album uit 2005 internationaal beschouwd als toonaangevend in moderne spaghetti western muziek. TMGS toerden o.m. in Duitsland, Nederland, Zwitserland en konden rekenen op internationale airplay. Op hun volgende  albums “Open Road (again)”(2007) en “Borders OK”(2010) wordt de sound verder ingekleurd en krijgen vocals een prominente rol. De Belgische nationale zender Radio 1 neemt verschillende singles, zoals o.m. “Heart in Ruin”, “The Void” en “Ocean Bound” van de band op in haar playlists.
13 jaar na hun debuut op het Griekse label Green Cookie records komt TMGS nu met een vijfde album. “Ain’t no place “ combineert met allure de west-coast countryrock van voorganger “Rivers & Coastlines” (2013) met de spaghettiwestern sound uit hun begindagen, en is zondermeer hun meest veelzijdige én beste album tot nu toe.

​
Het album wordt live voorgesteld op  27 Oktober in  Costa in Antwerpen: https://www.cosintandries.be/tmgs

 

TMGS:
Peter Lodiers: zang + gitaar  /  Stof Janssens: gitaar  /  Dirk van Rosendaal: drums
Yves Seyns: keyboards  /  Jeroen Vervloet: bas  /  Bart Raats: trompet  /  Brent Cuveele: trompet
 
Band pages:
https://www.facebook.com/TMGS-300205783650/
http://www.tmgs.be/

Cécile McLorin Salvant Explores Mercurial Nature of Love on Stunning Duo Album with Critically Acclaimed Pianist Sullivan Fortner on The Window
 
Watch Cécile McLorin Salvant & Sullivan Fortner on NPR's Tiny Desk Concert
 
"...an artist with so fresh a point of view that her singing amounts to a kind of re-writing." -- The Nation
 
"Salvant, regularly and rightly, is considered one of the greatest jazz singers of her generation, but that label sells her short." -- Rolling Stone
 
"Salvant returns us to “simpler” times, when just a singer and her acoustic band could command no less than your full and undivided attention and, more importantly, when there were lyrics that implored you to utilize all of your senses in order to feel no less than the gamut of human emotion." -- Pitchfork
 
"She is wry and unflinching, stating the songs so boldly that their male chauvinism, untenable romanticism or high morality start to form a genre of dark humor." -- The New York Times
 
The world first learned of the incredible vocal artistry of Cécile McLorin Salvant when she won the prestigious 2010 Thelonious Monk International Jazz Competition. In just under the span of a decade she has evolved into a multi-GRAMMY® Award-winner (with all three Mack Avenue Records releases receiving nominations, and the last two winning the Best Jazz Vocal Album category) and a prescient and fearless voice in music today.
 
Her newest release, The Window, an album of duets with the pianist Sullivan Fortner, explores and extends the tradition of the piano-vocal duo and its expressive possibilities. With just Fortner’s deft accompaniment to support McLorin Salvant, the two are free to improvise and rhapsodize, to play freely with time, harmony, melody, and phrasing.
 
Each new recording by McLorin Salvant reveals new aspects of her artistry. WomanChild and For One To Love established her style, her command, and interpretive range. Dreams and Daggers is a work that highlights her fresh and fearless approach to art that transcends the conventional—live and in the studio, with a trio and with a string quartet, standards and original compositions—held together by a vocal delivery that cuts against the grain, ever deepening, intensifying, and nuancing the lyrics.
 
Thematically, The Window is a meditative cycle of songs about the mercurial nature of love. The duo explores the theme across a wide repertory that includes Richard Rodgers and Stephen Sondheim, the inner-visionary Stevie Wonder, gems of French cabaret, and early Rhythm and Blues, alongside McLorin Salvant’s brilliant, original compositions. Just as a window frames a view—revealing as much as it hides, connecting as much as it separates—each song on the album offers a shifting and discerning perspective on love’s emotional complexity. McLorin Salvant sings of anticipation and joy, obsession and madness, torment and longing, tactics and coyness. The Window traverses love’s wide universe, from the pleasure of a lover’s touch with its feelings of human communion, to the invisible masks we wear to hide from others and from ourselves.
 
Her gifts as an artist are rooted in her intensive study of the history of American Music and her uncanny ability to curate its treasures for her audience. Her albums are explorations of the immense repository of experience and feeling that abound in popular song. She understands the special role of the musician to find and share the emotions and messages in music that speak to our past, present and future. “I am not interested in the idea of relevance,” she explains. “I am interested in the idea of presence. I want to communicate across time, through time, play with time.”
 
Onstage, her persona is often compared to that of an actress. But, as McLorin Salvant notes, “jazz would not be what it is without its theatrical origins, vaudeville, and minstrel shows.” Through her selection of repertory and brilliant interpretations, she “plays with time,” making the musical past speak to our contemporary world. Historically, her unflinching performance of songs from the minstrel tradition challenge us to think harder about race in America today. Her ironic, even sinister, rendition of songs explore the complex intertwining of sex, gender, and power. Her blues numbers are bawdy and vibrant, melancholic and forlorn, insistent and emancipatory.
 
She sings of the ecstasy and agony of love, of jubilation and dejection, of desire and being desired, of fearlessness and fragility. “I want to get as close to the center of the song as I can,” McLorin Salvant explains. “When I find something, beautiful and touching I try to get close to it and share that with the audience.” Immersed in the song and yet completely in control, McLorin Salvant brings her immense personality to the music—daring, witty, playful, honest, and mischievous. 
 
All of McLorin Salvant’s study, training, creativity, intelligence, and artistry come together in her voice on The Window. The sound of her voice covers the gamut from breathy to bold, deep and husky to high and resonant, limpid to bluesy, with a clarity and richness that is nearly unparalleled. When she first burst onto the jazz scene, many listeners were struck by her ability to recall the sound of Bessie Smith, Sarah Vaughan, or Betty Carter. Yet with each new album, McLorin Salvant’s voice has become more her own, more singular. While conjuring the spirits of the ancestors, her references are controlled, focused, and purposeful. Her remarkable vocal technique never overshadows her rich interpretations of songs both familiar and obscure.
 
Touched at every moment by Cécile McLorin Salvant’s brilliance, The Window is a dazzling new release from an artist who is surely, to quote Duke Ellington, “beyond category.”
 
Cécile McLorin Salvant · The Window
Mack Avenue Records · Release Date: September 28, 2018
 
For more information on Cécile McLorin Salvant, please visit: CecileMcLorinSalvant.com

Album Melds Afro-Carribean, Brazilian Bossa Nova & Baião, Jazz, Pop & Rock Fusion Influences
 
With Gimme 5, prolific Brazilian singer-songwriter Manu Lafer offers listeners a joyful slap of the hand, an enthusiastic greeting to audiences around the world as well, perhaps, as a well-earned celebration for two decades of music-making. Over those 20 years Lafer has penned more than 300 songs, 100 of which have been recorded by some of the most renowned artists in Brazilian music and American jazz – all while maintaining a busy career as a pediatrician.
 
Lafer has collaborated with such stellar artists as Dori Caymmi, John and Bucky Pizzarelli, Toninho Horta, Chuck Redd, Howard Alden, Maude Maggart, Ná Ozzetti, Ken Peplowski, Warren Vaché, and countless others. On Gimme 5, due out October 12 (being distributed through Megaforce Records), Lafer interprets his own deeply personal songs as only a composer can. “When we sing the songs we wrote, we sing them in a special way because we mean what we sing,” Lafer says. “Each song is a different journey, a different musical landscape.”
 
For Lafer, those landscapes are painted with the vivid colors of his own unique influences. His songwriting follows in the breezy, sun-dappled tradition of pioneering songwriters like Dorival Caymmi, Antonio Carlos Jobim, Gilberto Gil and Lafer’s major influence, João Gilberto. Like each of them, he has created a unique sound drawn from his own particular blend of styles: a wealth of Brazilian rhythms from bossa nova to baião, melded with early Brazilian innovators from the days of radio, American songbook classics, contemporary jazz, and pop music of the 60s and 70s.
 
The compositions of Gimme 5 are further enriched by the production and arranging gifts of Sandro Albert, Lafer’s partner in the duo Run N’ Fly, who also plays guitar throughout the album. Albert frames Lafer’s tune with influences from Afro-Caribbean music as well as sleek jazz and rock fusion touches. “Sandro is very different from me, and brings things to my music that nobody can,” Lafer says. “He never wants to stay on the same page and do the same thing. That’s what we have in common.”
 
The music is brought to vibrant life by an international all-star band, including drummers Lionel Cordew (Spyro Gyra) and Cliff Almond (Michel Camilo), bassist Mark Egan (Weather Report), pianist Helio Alves (Claudio Roditi), percussionists Bashiri Johnson (Michael Jackson) and Mino Cinélu (Miles Davis), and vocalists Cindy Mizelle (Steely Dan) and Sachal Vasandani (Wynton Marsalis).
 
Lafer’s diverse range of influences can be heard out of the gate on opener “Era Pra Ser,” which combines the lyricism of Caetano Veloso with the compelling groove of Gilberto Gil. The song, which translates as “it was meant to be,” is the portrait of an idealized romance, the ecstatic thrill of which shines through brilliantly. 
 
“A Jura,” previously recorded by Maude Maggart, is another positive view of love, albeit a more complicated (some might say realistic) one. The song meditates on the way that two people telling each other “I love you” may use the same words but mean entirely different things. While many songwriters may take that as hinting at friction to come, Lafer sees it as a necessary delusion. “The mystery of love is that people love each other for reasons unknown to their partner,” he explains. “Since they say the same thing they stay together, but they never understand what’s really going on. A relationship can be good, even if we never know why.”
 
“Passos” offers Lafer’s take on the characteristic Brazilian sensation of “saudade” – a unique feeling of nostalgic melancholy that is untranslatable in words but can be felt somewhere deeper through the singer’s moving performance. “Even if you don't understand Portuguese, I think you can guess what the lyrics are saying,” he says.
 
While Americans rarely use their middle names, Brazilians tend to invest them with more meaning, giving Lafer the premise for the delectably confused love story of “Clara Maria.” The song’s narrator isn’t torn between two women but between the warring personalities of his one love, represented by her two names. “It’s a man who really loves this woman, but he can’t decide which part of her he likes best,” the songwriter laughs. “So he’s suffering -- but in a good way."
 
The sensual “Amor Primeiro” takes an alluring turn into bolero, drawing inspiration from the songs of Chico Buarque, while “Faz Anos” casts a glance back at Lafer’s own teenage years, when he wrote the song. A young man’s conflicted but starry-eyed view of São Paulo, the tune’s infectious grooves are touched by a hint of Steely Dan cool left over from Run N’ Fly’s more R&B-oriented approach. “Ou Sou Eu” also has personal meaning from Lafer’s past: it was originally recorded by Dori Caymmi for the songwriter’s wedding (and later as a duo on one of Lafer’s earlier albums). It’s a nostalgic view of a bygone Brazil inspired by Lafer’s friendship with the Caymmi musical dynasty.
 
Another revered Brazilian artist, singer and guitarist Toninho Horta, co-wrote and sings with Cindy Mazelle on the English-language “WWI,” an unusual song inspired by the literary works of William Faulkner and Thomas Wolfe. As those authors looked at the faceless soldiers killed in war and saw their individual humanity, so “WWI” uses the nicknames given to nationalities in the First World War – proper names like Jerry and Sammy standing in for Germans or Americans, respectively – to explore the human beings behind the tragic statistics.
 
Two other songs are performed in English as well, translations of favorites from Lafer’s songbook: “Come,” which provided the slang phrase for the album’s title in its simple come-on; and “Did I Need To Repeat,” a more complicated tale of a father and son and the words – never spoken in the lyrics – that have passed between them.
 
The playful “Minha Senhora” is Lafer’s twist on a nursery rhyme, empowering a sleepy child to scare off the phantoms that swarm around their bed. The shifting harmonies of “Pra Voce Viajar” echo the intricacy of bossa nova with more gently propulsive Latin rhythms. The album draws to a close with the gleeful “Um Par,” a love song that toys with the titular idea of “a pair.”
 
Having lived in the U.S. and his native Brazil, and formed deep partnerships with incredible artists in both countries, Lafer is excited to bring his unique blend of the two musical countries to the world via his stellar songwriting. “By saying Gimme 5, I wanted to invite people to come close to the music and listen,” he says. “It’s not a problem if they don't understand the lyrics. People naturally gather around music, so I want to help make that happen.”

About Manu Lafer:
 
Manu Lafer is a composer, singer, and pediatrician from São Paulo, Brazil. He has composed more than 300 songs, more than 100 of which have been recorded. He has developed a unique, signature sound, by drawing upon a vast range of Brazilian and American rhythms and harmonies for his compositions.
 
Manu has had the honor of working with some of Brazil’s most revered composers, arrangers and singers, along with celebrated names abroad. In Brazil he has worked closely with Danilo Caymmi, Dori Caymmi, Nana Caymmi, Luiz Tatit, Ná Ozzetti, Germano Mathias, Cris Aflalo, Lincoln Olivetti, Luiz Brasil, Jacques Morelembaum, Mario Manga, Jetter Garroti Jr., and Fabio Tagliaferri, among others. Outside of Brazil he has collaborated with the tap-dancer Steve Zee, and recorded with guitarists Bucky Pizzarelli, John Pizzarelli and Howard Alden; Ken Peplowski, Warren Vaché, Jeanne Gies and Maude Maggart
 
Manu Lafer · Gimme 5
Release Date: October 12, 2018

To learn more about Manu Lafer, please visit:
ManuLafer.com | Facebook | Instagram | Twitter

​Rock trio Under hebben de gloednieuwe video vrijgegeven voor het nummer ‘Traitors Gate’! De clip, die onlangs op Echoes and Dust in première ging, laat zien dat de band presteert terwijl ze half naakt is gestript, vastgeketend en gekneveld zijn. Gefilmd in een korrelige, verweerde VHS-stijl past het perfect bij het lo-fi, baszware geluid van het trio.
 
Toen hen werd gevraagd naar het thema achter de video, verklaarde de band:
Tekstueel is ‘Traitors Gate’ een tirade over iemand totaal mijden omdat het een stuk stront is. We wilden een video maken die geschikt dement was, ons van streek maakte en onze doe-het-zelf-gedachte weerspiegelde. We laten het aan je verbeelding over waarom we kettingen en maskers zo gemakkelijk bij de hand hadden ".
 
De video voor ‘Traitors Gate’is hier te vinden: https://www.youtube.com/watch?v=kYsiGYCtpE0&feature=youtu.be
 
Hun nieuwe album, ‘Stop Being Naïve’, staat gepland voor release via APF Records op 30 oktober.
 
Under is een trio uit Stockport, Greater Manchester. Gevormd in 2016. Hoewel het geluid geworteld is in de blauwdrukken van Sludge en Doom Metal, is hun geluid moeilijker vast te pinnen omdat er ook elementen van Prog, Noise en Avant Garde binnensluipen. Het is doorspekt met gekartelde, trage riffs die de luisteraar in een vals gevoel van veiligheid onderdompelen met donkere en abstracte lyrics dat een trippy en sinister onbehagen oproept. Het trio vernoemt ter vergelijking graag Swans, Mr. Bungle, The Melvins en Radiohead als voornaamste invloeden.
 
Na het succes van hun debuut EP 'First Attempt' in 2015, bouwde Under een solide reputatie op met frequente live-optredens in en buiten Manchester. In 2016 begonnen ze aan een succesvolle Britse mini-tour met Kurokuma.
 
In 2017 tekenden ze bij APF Records en 'Slick', hun langverwachte debuutalbum, volledig zelf geproduceerd en opgenomen door de band zelf, zag het daglicht. Het trio bouwde met succes voort op alles waar ze aan hadden gewerkt, en zorgde ervoor dat elk detail zorgvuldig werd verfijnd. 'Slick' was een eclectische plaat - boordevol verpletterende riffs, vreemde signaturen en een mix van agressieve schreeuwerige zang en meer ontspannen opgepoetste cleane stukken. Alle drie de bandleden verzorgden de zang en harmoniseerden vaak samen om epische melodieuze texturen te creëren.
 
Ter ondersteuning van de "Slick" heeft de band live shows gespeeld gedurende 2017 en begin 2018: zowel als headliner en als ondersteuning voor Whores, King Parrott, Church of the Cosmic Skull, Slabdragger, Elephant Tree, The Hyena Kill, Hundred Year Old Man, Gurt , Part Chimp, Primitive Man and Slomatics. Ze speelden ook de Dreadfest, Cvltfest en Gizzardfest Fesivals en de APF Records Showcase in Manchester.

​An incredible line-up of world-class musicians and vocalists gathered together, under the helm of Grammy award-winning producers Bob Kulick and Bruce Bouillet, to recreate 11 classics from the catalog of one of music’s greatest, best-loved bands, the icons of theatrical shock rock, the mighty KISS! Originally released as Spin The Bottle in 2004, the resulting album has received a complete makeover this year and will be reissued October 19 with all new artwork. Now titled, Pure Fire - The Ultimate KISS Tribute, the album features unique combinations of A-list performers including former KISS member Bruce Kulick plus some of the bands biggest friends and fans including Tommy Shaw (Styx), Lemmy Kilmister (Motörhead), Dee Snider (Twisted Sister), Steve Lukather (Toto), Chris Jericho (Fozzy), Buzz Osbourne (The Melvins), Dug Pinnick (King's X), C.C. DeVille (Poison) and so many more! 
 
This special multi-media edition also comes with a bonus making-of DVD that features interviews and stories from the artists, including those who are no longer with us, recorded 14 years ago - it’s like a beautifully preserved time capsule showing what these artists looked like, sang like and played like, and what they thought about KISS back then. Hear producer Bob Kulick, Tommy Shaw, Tony Franklin, Aynsley Dunbar, Robin McAuley, Robben Ford , Lemmy , Greg Bissonette, Doug Aldrich, Kip Winger, Carmine Appice, Mike Porcaro,  Fred Coury, and many others share their personal stories and recollections about Paul, Gene, Ace & Peter. No self-respecting KISS fan should be without this release!
 
Track List:
DISC 1: CD
1. Detroit Rock City - Dee Snider, Doug Aldrich, Marco Mendoza, John Tempesta
2. Love Gun - Tommy Shaw, Steve Lukather, Tim Bogert, Jay Schellen
3. Cold Gin - Mark Slaughter, Ryan Roxy, Robben Ford, Phil Soussan, Steve Riley
4. King Of The Night Time World - Chris Jericho, Rich Ward, Mike Inez, Fred Coury
5. I Want You - Kip Winger, Paul Gilbert, Greg Bissonette
6. God Of Thunder - Buzz Osbourne, Bruce Kulick, Blasko, Carmine Appice
7. Calling Dr. Love - Page Hamilton, Mike Porcaro, Greg Bissonette
8. Shout It Out Loud - Lemmy Kilmister, Jennifer Batten, Bob Kulick, Samantha Maloney
9. Parasite - Dug Pinnick, Bob Kulick, John Alderete, Vinnie Colaiuta
10. Strutter - Phil Lewis, Gilby Clarke, Jeff Pilson, Bobby Rock
11. Stole Your Love - Robin McAuley, C.C. DeVille, Tony Franklin, Aynsley Dunbar
 
DISC 2: BONUS DVD
Interviews and stories with:
Paul Gilbert, Bob Kulick, Tommy Shaw, Tony Franklin, Aynsley Dunbar, Robin McAuley, Robben Ford, Lemmy, Greg Bissonette, C.C. DeVille, Doug Aldrich, Kip Winger, Carmine Appice, Mike Porcaro, Fred Coury, Jennifer Batten, Bobby Rock, Mark Slaughter, Page Hamilton, Tim Bogert, Steve Lukather, Samantha Maloney, Chris Jericho and Bruce Kulick
 
Pre-order the CD here: https://www.amazon.com/Pure-Fire-Ultimate-Tribute-Various/dp/B07G228VJT/ref=sr_1_1?ie=UTF8&qid=1537890497&sr=8-1&keywords=Pure+fire+CD
 
“After being friends with KISS, knowing them for years, playing on Paul’s solo record, it was my pleasure to play on this tribute CD. And also working with Bob Kulick was great fun. I thought it came out great. It ROCKS!” - Carmine Appice (Vanilla Fudge/ Beck, Bogert, Appice)
 
“I really liked the new arrangement they had and we screamed through it pretty fast. Wild combinations of players and singers, and in the end a very new twist to some KISS classics.” - Steve Lukather (Toto)
 
“KISS is and forever will be the most exciting band in the land!” - Kip Winger (Winger)
 
“What fun it is to do anything with Bob. Giving KISS some love. I tried to do Gene proud. We’re all parasites, baby!!” - Dug Pinnick (King’s X)
 
“I was thrilled to play on this record, especially with Mark Slaughter and Ryan Roxie, with whom I have played before. The song ‘Cold Gin’ was special for me because of one morning back in 1990 when I was awoken by a phone call from Gene Simmons inviting me to come up on stage to play a song with them that night. It was indeed a great moment for me!” - Phil Soussan (Ozzy Osbourne)
 
“Such an honor to be included then and now, in this list of immensely talented musicians on this KISS tribute. Put your KISS face on and turn it up. Enjoy!!!” - Robin McAuley. ( MSG )
 
“Some seriously great performances by an insane bunch! Being involved on many of the assorted songs, I had the pleasure of enjoying all the different folks and the cool and varied interpretations they all were bringing to the table.” - David Glen Eisley (Giuffria/Dirty White Boy)
 

Over the last few years, Anders Lønne Grønseth has come out with a number of notable projects of genre-crossing nature, such as the poly-stylistic Mini Macro Ensemble, the raga-jazz quintet Bhattacharya/Grønseth/Wessel and his classically influenced duo with pianist David Skinner. With his new quintet, the Norwegian saxophonist and composer seeks back to his jazz roots. Influences from Indian and Arabic music traditions and classical modernism continue to colour his work, but further below the surface than in his recent projects. Multiverse is undoubtfully an offspring of jazz tradition, in one of the genre’s most classic formats.
Six compositions by Grønseth provide a platform for the quintet’s elaborations, where the term “structured freedom” may best describe their way of interpretation. Very little is pre-decided; neither tempos nor grooves, barely form or order, as they maintain an improvisational approach to the material. Rather, the music springs out of the interplay between the five musicians, with Grønseth’s compositions as framework and source of inspiration.
Multiverse is the cosmological idea of parallel universes. Grønseth’s Multiverse is about the microcosmos: The individual perspectives of five musicians on the material they are performing, and how they unite in one musical output. It’s also about the possibility, idea and contrafactual principle that things aren’t necessarily what they seem to be – a simple change in perspective can truly change one’s conception of reality.
Dualism and pluralism are keywords for several aspects within the music. Songs like Parallelism, Holographic and Possible Worlds are constructed of two equivalent melodic lines spun around each other in a contrapuntal web of melodic movements. The listener may choose perspective, zoom in or out, to recognize several melodic levels at once. In Möbiusstrimmel, four simultaneous lines make out the melodic maze.

Grønseth’s use of tonality stands out from conventional major and minor by the presence of several key centers at once. Holographic is based on one of Olivier Messiaen’s famous Modes of Limited Transpositions, while Parallelism, Accelerated Expansion and Möbiusstrimmel are carved out of Grønseth’s self-developed tonality system Bitonal Scales (read more: http://andersgronseth.weebly.com/ideas--thoughts.html).
The effect may be a feeling of weightlessness or ambiguity, when the gravity of conventional functional harmony is challenged. Again, it’s the choice of perspective and the selectivity of the listenening ear that will determine how the music is perceived.
More than anything, Multiverse is a jazz band of five ingenious improvisors, sharing the urge for exploring and going in depth with their material, using interplay as a catalyst for taking the music to new places. This self-titled album is the band’s debut, and a second album is to be expected in Spring 2019

​Anders Lønne Grønseth
(b. 1979) made his debut in 2001 with the quartet Sphinx, who were active for well over a decade, producing six albums and touring in several corners of the world. Coming out of a 1960s expressionistic “post-Coltrane” school, Grønseth sought inspiration in music of other cultures, such as India and the Middle East as well as western classical and contemporary music. This has led him to develop a distinct aesthetic style, as heard in his respective collaborations with British pianists David Skinner and Matthew Bourne, his chamber group Mini Macro Ensemble and the Indo-jazz quartet Bhattacharya/Grønseth/Wessel, comprising musicians from Norway, India and USA.

Hayden Powell
(b. 1983) leads his own trio in addition to being involved in projects like Eyolf Dale’s mini big-band Wolf Valley , Egyptian world music star Natascha Atlas and quintet Bridges with Seamus Blake. Hayden has also been involved with Trondheim Jazz Orchestra on numerous occasions, including a project with his own band Magic Pocket.

Espen Berg
(b.1983) has made quite a mark on the Norwgian jazz scene with his work on solo piano, his own trio and as a composer and band leader in one of Trondheim Jazz Orchestra's recent productions. He is also involved in projects with musicians such as Seamus Blake, Silje Nergaard, Mathias Eick and Marius Neset.

Audun Ellingsen
(b. 1979) has played with Anders Lønne Grønseth since the two met as students in 1998, most notably in the quartet Sphinx. He also leads his own bands, such as jazz-rock group Audun Automat and chamber-pop duo 1816.

Einar Scheving
(b. 1974) is one of Iceland’s most active musicians. He has taken part on well over 100 albums in all genres from rock to symphonic classical music. With his own quartet he has also proven to be anexquisite composer, and has been rewarded on three occasions from the Icelandic Music Awards for his music

Het is bevestigd. Metallica’s WorldWired Tour keert terug naar het Verenigd Koninkrijk en Europa voor een reeks outdoor concerten, die plaats vinden tussen 1 mei en 25 augustus, in stadions, parken en zelfs een kasteel. Op zondag 16 juni 2019 staat Metallica in het Koning Boudewijnstadion in Brussel. 

Van september 2017 tot mei 2018 toerde Metallica ook al indoor door Europa en het VK. In 29 zalen werden nieuwe bezoekersrecords genoteerd. De nieuwe tournee start op 1 mei 2019 in het Estadio Restelo in Lissabon. De 25 net aangekondigde WorldWired concerten brengen Metallica naar 20 landen. Ze doen een aantal steden aan die ze tijdens het vorige luik van de tournee niet bezochten zoals Milaan, Zurich, Dublin, Brussel (voor het eerst sinds 1988 (!)), Berlijn, Moskou, Warschau, Boekarest en Göteborg. Trondheim in Noorwegen, Hämeenlinna in Finland en Tartu in Estland mogen Metallica voor het allereerst verwelkomen.

Special guests Ghost en Bokassa zijn support op alle aangekondigde data.

Het is als vanzelfsprekend dat, met dit tourschema, ook het Wherever I May Roam Black Ticket zijn retour maakt. Het ticket geeft toegang tot het middenplein op elke Metallica show tijdens de komende tournee door Europa en het Verenigd Koninkrijk in 2019. Van A(msterdam) tot Z(urich) en alle steden daartussen. Black Ticket houders kiezen zelf welke shows ze bijwonen en maken daartoe een online reservatie ten laatste 48u voor de start van het concert. Het aanbod is beperkt. Er zullen 750 Black Tickets* beschikbaar gesteld worden voor 598 euro/ticket. Meer info via CID Entertainment.

​Zoals bij de meeste Metallica WorldWired shows, is bij de aankoop van elk ticket** een fysiek of digitaal standaard exemplaar van de band’s 10de en meest recente album Hardwired…To Self-Destruct inbegrepen.

Ook inbegrepen in het ticket: een gratis MP3 download van de bijgewoonde show(s), gemixt en gemasterd door het team achter Hardwired...To Self-Destruct. De gratis full-show downloads kunnen verkregen worden door het scannen of ingeven van de barcode van het concertticket op Livemetallica.com/scan.

De ticketverkoop start op vrijdag 28 september om 10u via proximusgoformusic.be.

 
WATCH THE VIDEO HERE :
https://www.youtube.com/watch?v=WY6tIQOQcY0
​

Grammy Award nominated R&B recording artist and songwriter Leon Bridges has released the official music video for his track “If It Feels Good (Then It Must Be),” produced by French music production company La Blogotheque (Arcade Fire, Alicia Keys, Justin Timberlake). Shot in Paris, the video highlights Leon’s love of dance (he studied choreography in college) as he shares his moves across the rooftop of the historic Philharmonie de Paris.  
“If It Feels Good” is from Leon’s sophomore album, Good Thing, which was released globally on May 4th by Columbia Records. The follow up to Leon’s critically acclaimed, award winning, Certified Gold debut album Coming Home, Good Thing was executive produced by Ricky Reed and Niles City Sound and produced by Ricky Reed.  The new album has garnered praise from Rolling Stone, Esquire, Billboard, Newsweek and more, with Leon sharing breakout tracks including “Beyond,” “Bet Ain’t Worth the Hand,” and “Bad Bad News” (which topped Triple A radio) prior to the release of “If It Feels Good.” 
LIVE : LEON BRIDGES - 02.11.2018 - ANCIENNE BELGIQUE
​

On the occasion of Yasmine Hamdan’s concert @Flagey on 20/10, Crammed Discs and Yasmine share a new video taken for the remix album ‘Jamilat Reprise’, out digitally and – especially - on vinyl !   Listen to the wonderful new version of "Balad” in an Olga Kouklaki remix*.  https://youtu.be/Ja6UaC-h2m8  
 
Yasmine’s new music video for the beautiful "Balad (Olga Kouklaki remix)" is based on home footage filmed by her own sister Alia Hamdan, as well as family & friends and edited by the young upcoming lebanese director/actor Eli Jean Tahchi. Olga Kouklaki*, now based in Paris, is one of Greece’s leading electro ladies: a DJ, producer, singer and songwriter, positioned mainly at the heart of the electroclash genre.
 
Son deuxième album, Al Jamilat (“Les Magnifiques”, au féminin), avait été réalisé par Yasmine Hamdan en association avec les producteurs britanniques Luke Smith (Foals, Depeche Mode, Lily Allen) et Leo Abrahams (Brian Eno, Carl Barât, Regina Spektor), et en compagnie de musiciens new-yorkais tels que Shahzad Ismaily (Laurie Anderson, Lou Reed, John Zorn, Marc Ribot) et Steve Shelley (Sonic Youth).Cet album de reconstructions et de remixes nous livre neuf points de vues sur le passionnant récent album de Yasmine Hamdan, Al Jamilat,  et en dévoile des recoins secrets et des dimensions cachées.
Ces relectures sont l’oeuvre de neuf artistes et producteurs aussi intéressants que divers: le puissant combo parisien Acid Arab, l’excentrique Chilien de Berlin Matias Aguayo, l’élegant ensemble allemand Brandt Brauer Frick, l’artiste techno berlinois Shed (remixeur de Caribou, Moderat etc), le Bruxellois Greg Bauchau (membre de l’équipe de Crammed Discs), Cubenx le Mexicain, la Grecque Olga Kouklaki  et un mystérieux producteur nommé George Bshoum qui, paraît-il, vivrait reclus dans une ville du Moyen-Orient. Yasmine Hamdan pour sa part a contribué à ce disque avec un superbe remix de “La Chay”.  

Fado Zangeres Cuca Roseta - een van de sterke namen in de (hedendaagse) Portugese Fado  - is in Belgie voor 2 concerten in oktober: 4/10 (HB Gent) en 6/10 (A’pen Roma)
In een land waar fadotalenten zich met regelmaat aandienen, is het niet eenvoudig om je te onderscheiden. Des te opmerkelijker is de doorbraak van Cuca Roseta: ze stamt niet uit een muzikale familie, groeide niet op in een volksbuurt in Lissabon en stapte pas op haar achttiende voor het eerst een fadohuis binnen. Maar toen was het ook liefde op het eerste gezicht. Cuca Roseta werd vaste zangeres bij de befaamde Clube de Fado, maakte in 2011 een debuutalbum met de Argentijnse componist en producer Gustavo Santaolalla en brak door met de met goud bekroonde opvolger Raiz. In 2015 volgde nog het album Riû, maar tijdens de volgende concerten in Handelsbeurs en De Roma presenteert ze haar nieuwe album Luz.

​In Portugal is Cuca Roseta inmiddels een ster en volgens insiders staat ze aan de vooravond van een grote internationale carrière. Ze heeft dan ook alles in huis om te blijven schitteren: ze is gezegend met een krachtige en loepzuivere stem en schrijft veel van haar songs en teksten zelf, een unicum in de fadowereld. Bovendien zijn haar liveconcerten een onvergetelijke belevenis: prachtige muziek door topmuzikanten, intense en melancholische vertolkingen en een elegante en innemende verschijning.

Mark Knopfler will release his ninth solo studio album on 16 November 2018 on his own British Grove label via Universal/Virgin EMI. Entitled ‘Down The Road Wherever’ it features 14 unhurriedly elegant new Knopfler songs inspired by a wide range of subjects, including his early days in Deptford with Dire Straits, a stray football fan lost in a strange town, the compulsion of a musician hitching home through the snow, and a man out of time in his local greasy spoon. Mark has a poet’s eye for telling details that infuse his songs with his unique psychogeography – ‘where the Delta meets the Tyne’ as he describes it – and his warm Geordie vocal tone and his deft, richly melodic guitar playing are as breathtaking and thrilling as ever.
 
Knopfler says: “ 'Down The Road Wherever' is a line from 'One Song At A Time.' I remember my pal Chet Atkins once saying that he picked his way out of poverty one song at a time, and it just stuck in my mind. You get to an age where you’ve written quite a few songs. But 'Down The Road Wherever' seems to be appropriate for me just because it's what I've always done. I've always tried to make a record and also to keep my own geography happening in the songs.”
 
Knopfler has assembled the same group of top flight musicians he has worked with for the last few years (with one or two new faces).  As is his way he encourages them to put their own stamp on the material but never interfering in the essence of the song.
 
“I think the business of making a record, from having written a song and then bringing it to musicians, it can be quite a bendy route.  It’s not just motorways all the way….and you can end up in the occasional cul-de-sac, then you have to do a 16 point turn to try to get your truck back out on the main road as unobtrusively as you can.  That’s part of the fun of it.”

‘Down The Road Wherever’ has been produced by Knopfler and Guy Fletcher and was recorded at British Grove Studios in London. The band features Mark Knopfler on guitars, Jim Cox and Guy Fletcher on keyboards, Nigel Hitchcock on saxophone and Tom Walsh on trumpet, John McCusker on fiddle, Mike McGoldrick on whistle and flute, Glenn Worf on bass, Ian ‘Ianto’ Thomas on drums and Danny Cummings on percussion. Richard Bennett and Robbie McIntosh also feature on guitar and Trevor Mires on trombone.  Imelda May, Kris Drever, Lance Ellington,  Beverley Skeete and Katie Kissoon add backing vocals.  All songs are written by Mark Knopfler apart from ‘Just A Boy Away From Home’ where he shares the credits with Rodgers and Hammerstein, as the song uses a piece of ‘You’ll Never Walk Alone’ to spin its tale of a lone Liverpool fan wandering the empty streets of Newcastle after midnight.
 
Mark Knopfler has released eight solo albums as well as recording ‘Neck And Neck’ with guitar great Chet Atkins, and collaborated with Emmylou Harris on ‘All The Roadrunning’.  He has created soundtracks for ‘Local Hero’ and  ‘The Princess Bride’ and ‘Altamira’. In addition to producing his own records Knopfler has also produced albums for Bob Dylan and Randy Newman amongst others. Knopfler was made an OBE in 1999 and was given the prestigious Lifetime Achievement Award at the Ivor Novellos in 2012.
 
‘Down The Road Wherever’ will be available on digital DL, CD, double vinyl (with one bonus track), deluxe CD with two bonus tracks, and a lavish box set that will include the album on both vinyl and deluxe CD and an additional 12”vinyl EP with 4 bonus tracks, a 12” print of the artwork and a 12” guitar tablature of a selected song. 

 
 
MARK KNOPFLER ONLINE
Website | Facebook | Twitter | YouTube
 
 




 

Longbranch/Pennywhistle, the legendary 1969 collaboration between late Eagles co-founder Glenn Frey and longstanding songwriting partner, JD Souther, will make its CD debut as well as return to vinyl for the first time in nearly 50 years on September 28th via Geffen/UMe. The album has been remastered and remixed by acclaimed producer/engineer Elliot Scheiner (Eagles, Steely Dan, Toto) and Souther himself. Released earlier this year as part of the Glenn Frey box-set 'Above The Clouds: The Collection', the eponymous album is being made available as a standalone CD and on 180-gram black vinyl for the first time ever.
Pre-order Longbranch/Pennywhistle now: https://UMe.lnk.to/LongbranchPennywhistle 

Longbranch/Pennywhistle represented the budding essence of a songwriting team that would tap into something quite intuitively special that eventually took flight on such well-loved and enduring Eagles tracks to come such as “Best of My Love,” “New Kid in Town,” “Heartache Tonight” and “The Sad Café.” Agrees Souther, “Longbranch/Pennywhistle gives you some sort of foundation for what’s to come.”

Produced by Tom Thacker, Longbranch/Pennywhistle boasts an impressive list of top-tier collaborators including rockabilly guitar legend James Burton, slide maestro Ry Cooder, pedal-steel legend Buddy Emmons, Wrecking Crew pianist Larry Knechtel, session drummer Jim Gordon, bass master Joe Osborn, and fiddle player nonpareil Doug Kershaw.

A second album was never cut and the band subsequently broke up. Frey went on to co-found the Eagles, occasionally with Souther’s songwriting pen and vocal harmonies in tow, while Souther mainly focused on a successful solo career (“You’re Only Lonely,”) and the occasional duet with the likes of James Taylor (“Her Town, Too”) and Linda Ronstadt (“Prisoner In Disguise”), in addition to authoring signature hits interpreted by the likes of Dixie Chicks (“I’ll Take Care Of You”) that yet again served to redefine the country genre.

Forever intertwined together in Longbranch/Pennywhistle, Souther and Frey will always represent the pioneering So Cal-transplanted songwriting duo who opened the door on a genre that ultimately knows no limits. Songs like album standouts “Kite Woman” and “Run, Boy, Run” serve as the literal seeds of the country-rock movement Frey and the Eagles perfected to a T.

“Glenn Frey was my roommate, best friend, and first songwriting partner in Los Angeles,” Souther says. “We knew we were onto something original, as are most young musicians, including our soon-to-be friends and collaborators Jackson Browne and Don Henley; but quite honestly, we were just trying to do our best work in a very competitive environment. If in doing that we evolved a new architecture of some sort, fine, but remember we were all listening carefully to each other and to the giants before and among us. We listened to Miles, Hank Williams, Laura Nyro, Joni Mitchell, Trane, Bach, Cole Porter, Tim Hardin, Bob Dylan, James Taylor, and Carole King to name a few. We always said that if you want to make great music you should listen to great music. This album was our freshman project."

CD TRACKLISTING

1. Jubilee Anne
2. Run Boy, Run
3. Rebecca
4. Lucky Love
5. Kite Woman
6. Bring Back Funky Women
7. Star-Spangled Bus
8. Mister, Mister
9. Don’t Talk Now
10. Never Have Enough

LP TRACK LISTING

SIDE A
1. Jubilee Anne
2. Run Boy Run
3. Rebecca
4. Lucky Love
5. Kite Woman
6. Bring Back Funky Women

SIDE B
1. Star Spangled Bus
2. Mister, Mister
3. Don’t Talk Now
4. Never Have Enough

20.02.2019
Koninklijk Circus, Brussel
Tickets te koop vanaf dinsdag 2 oktober om 10u

TICKETS

Wie jong was in 1997 herinnert zich ongetwijfeld de door de Dust Brothers (producers van onder andere the Beastie Boys en Beck) geproducete 'MMMBop’. Een oorwurm die in 27 verschillende landen nummer één werd. Op slag vergaten de piepjonge broers Isaac, Taylor en Zac Hanson hun geploeter in de marge.
De jongens hadden voordien al vijf jaar aan hun muziek gewerkt en twee platen in eigen beheer uitgebracht. 'Middle of nowhere’ -hun debuut voor Mercury- oversteeg alle verwachtingen. De plaat bevatte 5 hitsingles ('MMMBop’, 'Where’s the love’, 'I will come to you’, 'Weird’ en 'Thinking of you’) en werd wereldwijd door 10 miljoen gezinnen geadopteerd.
Hun concert in Trix afgelopen jaar veroorzaakte een stormloop en was in een mum van tijd uitverkocht! Op 20 februari komen ze terug naar Koninklijk Circus met hun String Theory Tour, waarbij een full-orkest hun beste hits zal begeleiden. Naast de jubileumplaten 'Middle of Nowhere’, 'The Walk’ en 'Anthems’ zullen ze er ook hun -nog te verschijnen- dubbelplaat 'String Theory’ in de bloemetjes zetten.
Het optreden in Koninklijk Circus wordt een eerbetoon aan hun muziek en fans. Met een snuifje soul, een vleugje rock 'n’ roll en veel harmonie willen ze hun trouwste fans extra verwennen. De voorverkoop voor dit uniek concert start op dinsdag 2 oktober om 10u via greenhousetalent.be. Voor al wie oprecht jong was in 1997 (de broertjes Hanson en hun fans dus), is de countdown begonnen!

Op 21 oktober davert Biebob weer op zijn grondvesten bij de Female Metal Voices Tour 2018.
 
 Die dag staan maar liefst vijf bands op het programma.
 
De Amerikaanse metal sensatie Butcher Babies met frontvrouwen Heidi Shepherd en Carla Harvey, de Canadese hard rockers Kobra And The Lotus, de Britse rockers Skarlett Riot, het Oekraïense oosterse metal gezelschap Ignea en MartYriuM uit Malta!
 
Aftrap wordt gegeven om 18:00u Te Biebob - Vosselaar; laatste noten zullen klinken omstreeks 23:55u
 
Butcher Babies:
https://butcherbabiesofficial.com
https://www.facebook.com/butcherbabies
 
Kobra And The Lotus:
http://kobraandthelotus.com
https://www.facebook.com/KobraAndTheLotus
 
Skarlett Riot:
https://www.skarlettriot.co.uk
https://www.facebook.com/skarlettriotuk
 
Ignea:
https://ignea.band
https://www.facebook.com/ignea.band
 
MartYriuM:
http://www.martyrium.co
https://www.facebook.com/Martyriumhorde
 
Locatie:
Biebob
Antwerpsesteenweg 84
2350 Vosselaar
[email protected]
 
Tickets:
http://www.biebob.be
 

Zojuist heeft Northward (het rockproject waar de Nederlandse Nightwish-zangeres Floor Jansen en de Noorse muzikant Jørn Viggo Lofstad [van Pagan's Mind] met tussenpozen samen ongeveer tien jaar aan hebben gewerkt) de nieuwe single-video ‘Get What You Give’ online gezet, afkomstig van het debuutalbum ‘Northward’ dat op 19 oktober wereldwijd via Nuclear Blast wordt uitgebracht.
 
Net een maandje terug van een wereldtournee van bijna 50 shows met internationale metalband Nightwish voor vele honderdduizenden bezoekers in Noord-Amerika en in Europa (onder meer een headline show voor 85.000 fans op het Duitse Wacken Open Air vorige maand), laat ’s lands grootste rockzangeres in het buitenland Floor Jansen vandaag opnieuw van zich horen met Northward. Vorige maand bracht dit nieuwe muzikale project zijn eerste single-video 'While Love Died' uit
 
Check beide video’s en singles hier:
https://www.northward.rocks
 
Bekom de “While Love Died” single: http://nblast.de/NWWhileLoveDied
Pre-save via Spotify: http://nblast.de/NORTHWARDpreSav

Volgende maand gaat Floor opnieuw op tournee met Nightwish waarmee ze onder meer naar de Antwerpse Lotto Arena (7 november) en naar de Ziggo Dome Amsterdam (26 november) komt.
 
 
Het album is vooraf te bestellen via deze link: http://nblast.de/NWNorthward
 
Tracklist:
While Love Died
Get What You Give
Storm In A Glass
Drifting Islands
Paragon
Let Me Out
Big Boy
Timebomb
Bridle Passion
I Need
Northward
 
Meer info:
https://www.northward.eu
https://www.facebook.com/northwardband
https://instagram.com/northwardband
https://twitter.com/NorthwardBand
​

‘White Album’ Presented with New Mixes in Stereo and 5.1 Surround Audio;
Expanded with Previously Unreleased Demos and Session Recordings
 
AVAILABLE EVERYWHERE NOVEMBER 9, 2018
​
​WATCH THE TRAILER VIDEO HERE
https://youtu.be/1dhy26KIOEI

In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn. On November 9, The Beatles will release a suite of lavishly presented ‘White Album’ packages (Apple Corps Ltd./Capitol/UMe). The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.
 
“We had left Sgt. Pepper’s band to play in his sunny Elysian Fields and were now striding out in new directions without a map,” says Paul McCartney in his written introduction for the new ‘White Album’ releases.
 
This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin.
 
“In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles Martin in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.”
 
The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.
 
The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.
 
Much of the initial songwriting for ‘The White Album’ was done in Rishikesh, India between February and April 1968, when John Lennon, Paul McCartney, George Harrison, and Ringo Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.”
 
During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are included in the new edition’s Deluxe and Super Deluxe packages, sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on ‘The White Album.’
 
The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.
 
The Beatles’ newly adopted method of recording all through the night was time consuming and exhausting for their producer, George Martin. Martin had other duties, including his management of AIR (Associated Independent Recording), and he had also composed the orchestral score for The Beatles’ animated feature film, Yellow Submarine, released in July 1968. After the first three months of ‘White Album’ sessions, Martin took a three-week holiday from the studio, entrusting the control room to his young assistant Chris Thomas and balance engineer Ken Scott. Scott had taken the place of engineer Geoff Emerick, who left the sessions in mid-July. On August 22, Ringo Starr also left the sessions, returning 11 days later to find his drum kit adorned with flowers from his bandmates. While the sessions’ four and a half months of long hours and many takes did spark occasional friction in the studio, the session recordings reveal the closeness, camaraderie, and collaborative strengths within the band, as well as with George Martin.
 
The BEATLES (‘White Album’) was the first Beatles album to be released on the group’s own Apple Records label. Issued in both stereo and mono for the U.K. and in stereo for the U.S., the double album was an immediate bestseller, entering the British chart at number one and remaining there for eight of the 22 weeks it was listed. ‘The White Album’ also debuted at number one on the U.S. chart, holding the top spot for nine weeks of its initial 65-week chart run. In his glowing ‘White Album’ review for Rolling Stone, the magazine’s co-founder Jann Wenner declared: “It is the best album they have ever released, and only The Beatles are capable of making a better one.” In the U.S., ‘The White Album’ is 19-times platinum-certified by the RIAA and in 2000, it was inducted into the Recording Academy’s GRAMMY® Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.”
 
 
THE BEATLES ONLINE
Website | Facebook | Twitter | YouTube

New Album, Intuition: Songs From the Minds of Women, Coming in February 1, 2019
 
Resilience Music Alliance is proud to announce the addition of critically acclaimed and versatile vocalist Alicia Olatuja to the label’s growing eclectic roster. Praised by The New York Times as a “singer with a strong and luscious tone and an amiably regal presence on stage,” Olatuja has conceived a truly unique project that only a visionary artist like herself can execute: an album dedicated to and featuring music all created by inspiring female composers.
 
“Alicia is an incredibly talented singer, songwriter and musical interpreter who breaks down traditional genre boundaries,” says Label Co-Founder and President Steve Ruchefsky. “She has focused her attention for this project to interpret compositions by a wide range of female composers – all of whom, almost by definition, have shown incredible courage and resilience. We are excited to begin this creative partnership with Alicia and realize her vision!”
 
The album, titled Intuition: From the Minds of Women and to be released February 1, 2019, celebrates the achievements of a long list of esteemed female composers while offering a musical perspective unique to Olatuja. Olatuja is joined by Kamau Kenyatta and Ulysses Owens Jr. as producers and features Sullivan Fortner, Billy Childs, David Rosenthal, Ben Williams, Ulysses Owens Jr., Etienne Charles, Jeremy Pelt, and Dayna Stephens.
 
The signing of Alicia Olatuja reinforces the mission of Resilience Music Alliance, a label that transcends genre and focuses on empowering artists exploring our collective elemental condition of resilience while conceptualizing projects that resonate with the human spirit. 
 
"Now could not be a better time to deliver a project that celebrates and champions women and their work," says Olatuja. "The future is female and moving forward as a society is dependent upon everyone being able to create and contribute with courage and conviction, being heard and validated. I truly appreciate that Resilience has given me the platform with which to express this very meaningful project."
 
About Resilience Music Alliance:
 
Resilience Music Alliance (RMA) is an artist/mission-driven record label founded by political/social activist Steve Ruchefsky and celebrated artist Rondi Charleston dedicated to releasing culturally diverse, world-class recordings that recognizes, celebrates and challenges the human condition of Resilience. After years in the legal, finance and investment world, Ruchefsky concluded that the way for real positive change to endure the test of time was to inspire, energize and engage listeners through message-driven music. Since its formation in 2017, RMA has released critically acclaimed albums from Ranky Tanky, Deepak Chopra, Rondi Charleston, Allan Harris and Django Festival All-Stars. In addition, the ground-breaking recording Fandango at the Wall: A Soundtrack for the United States, Mexico and Beyond from multi-GRAMMY® award-winning composer Arturo O'Farrill is set for release on September 28. 2018.
 
For more information on Resilience Music Alliance, please visit: ResilienceMusic.com
 
For more information on Alicia Olatuja, please visit: AliciaOlatuja.com

25.02.2018
Den Atelier, Luxemburg
Verkoop vanaf vrijdag 28 september om 10u

TICKETS

27.02.2019
De Roma, Antwerpen
Verkoop vanaf vrijdag 28 september om 10u

TICKETS

 

Om de 25ste verjaardag van haar iconisch album 'Yes I Am’ te vieren, kondigt Melissa Etheridge een Europese tournee aan die ook halt zal houden in België. Op 27 februari staat ze in De Roma in Antwerpen. Op 25 februari komt ze ook naar Den Atelier in Luxemburg. De Grammy-winnende singer-songwriter zal er songs brengen uit haar omvangrijke oeuvre, waarbij materiaal uit 'Yes I Am’ uiteraard niet mag ontbreken.
Op 'Yes I Am’, dat haar internationale doorbraak betekende, staan enkele van haar bekendste hits waaronder "Come To My Window”, "I’m the Only One” en "If I Wanted To”. Met het album kreeg ze een Grammy Award voor Best Female Rock en Best Female Vocal Performance. Het album behaalde maar liefst zesmaal platinum en stond meer dan twee jaar en half in de album charts. Daarnaast heeft Etheridge ook een Oscar gewonnen voor Best Original Song in 2007 en maakte ze in 2011 haar debuut op Broadway in 'American Idiot’, de rockopera van Greenday, waarin ze Billie Joe Armstrong voor een week verving.
Mis je kans niet op één van de grootste vrouwelijke rockiconen live aan het werk te zien!
Melissa heeft alvast heel veel zin om opnieuw naar Europa af te zakken: "The wait is finally over. It has been way too long since I have been to Europe. I am so excited to bring this tour over the pond to see all of you!”
Tickets voor de show in De Roma op 27 februari gaan in verkoop vanaf vrijdag 28 september om 10u via deroma.be. 

Het Noord-Ierse rocktrio Therapy? Heeft de nieuwe single -video ‘Wreck It Like Beckett’ online gezet, de opvolger van de eerste single-video ‘Callow’ die in mei van dit jaar uitkwam. Beide nummers staan op het nieuwe (15e) studio-album ‘Cleave’ dat over twee weken, op 21 september, via Marshall Records-ADA/Warner wordt uitgebracht.
De video vind je hier: https://www.youtube.com/watch?v=RO5LhMSm73Y


'Wreck It Like Beckett' werd geproduceerd en gemixt door Chris Sheldon, die al lang samenwerkte met de band op 'Troublegum', 'Semi-Detached' en 'High Angst', in Blast Studios in Newcastle en en werd gemastered door Christian Wright op Abbey Road Studios.

Het door oudgediende Chris Sheldon geproduceerde ’Cleave’ is de opvolger van 'Disquiet' uit 2013.
 
Frontman Andy Cairns, grote fan van Beckett: "Dit nummer is afkomstig van onze bassist Michael. Hij vertelde me dat hij een riff had die hem deed denken aan 'She Watch Channel Zero' van Public Enemy en hij stuurde me een basriff, een gitaarriff en een drumbeat. Ik dacht dat de riff ongelooflijk was, en dus hebben we het in de repetitiekamer fijngehakt, om het meer stop-start te maken, zoals de classic Therapy? nummers 'Knives' of 'Screamager', en dat werkte echt.
 
Tekstueel gaat het om opnieuw proberen te beginnen. De reden dat de Ierse toneelschrijver en dichter Samuel Beckett wordt vermeld in de titel is dat elke keer dat Beckett een nieuw project begon hij zich voorstelde dat hij aan een bureau zat en zijn arm over het bureau kon vegen om alle vellen papier weg te ruimen zodat hij een nieuw begin kon maken. Dit is een nummer dat het album als een nieuw hoofdstuk voor therapie maakt ?. "
 
Benelux shows 2018
- Woensdag 10 oktober 2018: Reflektor, Luik (B) UITVERKOCHT
- Donderdag 11 oktober 2018: de Kreun, Kortrijk (B) UITVERKOCHT
- Vrijdag 12 oktober: Victorie, Alkmaar (NL)
- Zaterdag 13 oktober: Beerland (festival) Metropool, Hengelo (NL)
- Zondag 14 oktober: TivoliVredenburg, Utrecht (NL)
- Dinsdag 23 oktober 2018: Het Depot, Leuven(B) UITVERKOCHT
- Woensdag 23 januari 2019: Botanique, Brussel (B)
 
Therapy? 1989-2018
In 1989 opgericht in Noord-Ierland bleken gevoelens van vervreemding, frustratie en ontwrichting voor Therapy? een uitstekende inspiratiebron. Het gevoel van achterdocht en verwarring dat deze eigenwijze band als buitenstaander en eeuwige underdog sinds het begin van zijn carrière voelde en verwoordde in zijn muziek, songteksten en video’s sluit nog immer bij de huidige tijdsgeest aan.

Gecombineerd met een inktzwart en idosyncratisch wereldbeeld kreeg Therapy? de reputatie van één van de meest eigenwijze, compromisloze, creatieve en onafhankelijke bands van zijn generatie.
 
Meer info:
http://www.therapyquestionmark.co.uk
https://www.facebook.com/Therapyofficial
 

Net terug van de UK tournee met Seattle rockband Walking Papers, brengt het Nederlandse rocktrio Paceshifters de single-video ‘Nothing You Can Do’ uit, afkomstig van het nieuwe live-album ‘Paceshifters Live in Concert '17’ dat volgende maand (op 18 oktober) verschijnt.
De video Kan je hier vinden:
https://www.youtube.com/watch?v=CjgvRZe8140
 
 de gelijknamige single is tevens op soundcloud te vinden:
https://soundcloud.com/paceshifters-management/nothing-you-can-do/s-nzzjz  
 
Zanger-gitarist Seb Dokman: “De UK tour was een groot succes. We speelden voor volle zalen en verkochten na elke show flink wat merch. De gasten van Walking Papers zijn super aardig en goeie lui om mee op tour te zijn. In de meeste steden van deze tour speelden we alweer voor de derde keer in een jaar tijd. Het is goed om te zien dat mensen terug blijven komen om ons te zien. Komende tijd gaan we ons volledig focussen op het nieuwe live-album dat volgende maand uitkomt. We hebben bovendien een zeer strak schema waar we ons aan moeten houden. Dat betekent afzien: vroeg naar bed, gezond eten. Waartoe ons schema dient wordt over twee weken pas duidelijk (lacht).”
 
Het nieuwe live-album is in 3 verschillende formaten verkrijgbaar: dubbel CD, dubbel vinyl en een tot slechts 100 exemplaren handgemaakte, gelimiteerde en gesigneerde Wooden Box.
 
Vier studio-albums; een doorgedraaid arrestatieteam op code rood; tienduizenden afgelegde kilometers; een platendeal bij het gerenommeerde Engelse label Hassle Records voor het buitenland; een Edison nominatie en vooral shows, véél shows -van Paaspop, Zwarte Cross, Dauwpop, Pinkpop tot optredens ver buiten onze landsgrenzen zoals Groezrock, Exit, Rock for People, Woodstock (Polen) en zeer succesvolle showcases op SXSW, Global Rock Summit en Musexpo (USA) die een deal met een gevierde buitenlandse agent opleverde.
 
Tourdata
- 4 oktober Carré, Amsterdam: Wende’s Kaleidoscoop
- 13 oktober Pleynpop Pleyn ‘68 , Hazerswoude-Rijndijk
- 14 december Wilhelmina, Eindhoven
- 15 december Ekko, Utrecht
20 december Rotown, Rotterdam
28 december Asteriks, Leeuwarden
 
Paceshifters online
- Website https://www.paceshifters.com
- Facebook https://www.facebook.com/PACESHIFTERS
- Instagram https://www.instagram.com/paceshifters
 

De Keltische metal-songstylist Leah haar nieuwe album ‘The Quest’ verschijnt 5 oktober in Europa en Noord-Amerika via Inner Wound Recordings. ‘The Quest’ werd gemixt en gemasterd door Jacob Hansen (Volbeat, Amaranthe, Evergrey) en bevat gastvertolkingen van Troy Donockley (Nightwish), Timo Somers (Delain), Chen Balbus (Orphaned Land), Barend Courbois (Blind Guardian) en Sander Zoer (ex-Delain).
 
Met een sterke Keltische en fantasy-connectie, enkele progrock-elementen, etherische ambiance, gecombineerd met traditionele symfonische metal-elementen, is dit een album dat Leah met trots presenteert.
 
Om dit album te promoten stelt Leah met trots de eerste lyric video voor voor de eerste single ‘Edge Of Your Sword’. Deze kan je hier bekijken.
https://leahmchenry.lpages.co/eoysvid/
 
De voorverkoop van dit album is reeds van start. Wie meer wil weten over het album surft best naar: https://leahmchenry.lpages.co/thequest
 
Van dit album zijn ook 200 gesigneerde exemplaren verkrijgbaar. Er snel bij zijn is de boodschap want de gesigneerde exemplaren verkopen zoet.
 
Tracklist:
The Quest
Edge of Your Sword
Lion Arises
Heir
Ruins of Illusion
Labyrinth
Abyss
Oblivion (Between Two Worlds)
Ghost Upon a Throne
The Water Is Wide
 
Voor wie liever de digitale versie heeft levert Leah in plaats van een gewone digitale download, een 'Super Download!' inclusief FLAC, WAV, MP3, Instrumentele versie, Artwork, Digital Booklet ... allemaal voor $ 20!
Het album zal voorlopig niet verkrijgbaar zijn op de gebruikelijke download sites. Ze verteld zelf waarom:
 
Leah: “Het is heel eenvoudig! De digitale muziekindustrie heeft een lange weg afgelegd maar heeft nog een hele weg te gaan. In alle transparantie, het is moeilijk om te leven van de inkomsten van digitale downloads en streaming op de wijze waarop het heden ten dage gestructureerd is. Daarom heb ik er voor gekozen om voor onbepaalde periode het album, zowel fysiek als digitaal,  zelf te verdelen via mijn webshop. Hoelang deze periode zal duren kan ik nu nog niet zeggen, mogelijks een maand, mogelijks zes maanden. Ik ben niet die conventionele persoon die doet wat anderen doen en ik besef ook dat niet iedereen hier gelukkig mee zal zijn maar uiteindelijk moet ik op mijn gevoel afgaan. Ik vind het ook belangrijk dat fans beseffen dat het voor een onafhankelijk artiest de beste manier is om je hart voor de kunst van de composities te tonen door ze bij de artiest zelf aan te schaffen. Wil je meer muziek en meer kunst in de toekomst? Koop het dan rechtstreeks van de artiest in volle support!
Ik ben me er van bewust dat vele onder jullie dit reeds doen maar niet iedereen is er zich van bewust dus maak ik het makkelijk door die kans aan te bieden.
Het is een gewaagde keuze van mezelf, zeker als ik me bedenk dat ik hiermee mogelijks een plaats in de charts misloopmaar ik denk tevens ook dat jullie allen beseffen dat charts over ijdelheid en populariteit gaan en niets meer. Ik geef meer om de muziek op zich en van de wereld een betere en eerlijke plaats maken. Een magisch iets, liever nog dan een plaats op een scorebord.
 
Meer info:
http://www.leahmusic.net
https://www.facebook.com/leahthemusic