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Boombox Seance

Boombox Séance is equal parts indie-folk and dance-floor electronica. Their sound involves heavy beats, keys and ukuleles played through loop pedals and features the acrobatic vocal harmonies of Baltimore's Victoria Vox and Seattle's Aaron English. The music is urgent, uplifting and danceable, while the lyrics address often-taboo social issues such as addiction and domestic violence with hope, honesty, humor and a message of empowerment. The two members of Boombox Séance met in June 2012 at the SteelBridge Songfest, an event in Sturgeon Bay, WI that brings together songwriters from all over the world for a week of collaborative writing and performances. Vox and English (along with Alabama-based songwriter Jim Troglen) co-wrote their first songs together, 'Trouble' and 'Denial', at the festival...and Boombox Séance was born. The debut album was recorded in October and December 2012 in Seattle with producer, Geoff Stanfield (Sun Kil Moon, Firehorse). Baltimore-based singer-songwriter and ukulele player Victoria Vox has been touring throughout North America, Europe and Australia since 2006. She has been featured on NPR, The Tonight Show with Jay Leno, and in independent films, and performed at uke festivals around the world. Her songs have won top prizes in the International Acoustic Music Awards, Independent Music Awards, and Washington (DC) Area Music Awards. Seattle-based singer-songwriter and keyboardist Aaron English has toured the U.S. with his world-beat/rock ensemble, The Aaron English Band, since 2005. Along the way, he scored a Top 20 hit on U.S. radio with his song 'Believe' and a Top 5 hit on Italian radio with his interpretation of The Beatles' classic 'Norwegian Wood'. English's songs have been featured in the Fox TV drama Bones and in ads for Google, Motorola and Chevrolet.

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Price: 20.35 EUR excl. shipping

Millions

The Weapons Factory stems from the brainchild of Nick Welch, and the result of a year of intense work creating a solid bed of Electro Ambient D+B mixes as a 15 year old Computer Game and DJ mix fanatic. The mixes were created as one of Nick's bedroom studio hobbies, with the intent to produce just a limited edition for friends and to sell to a few local boutiques and specialised gift stores to cover costs. An opportunity to move to California near silicon valley and the world of computer game development put a hold on any further energies being directed to the music projects., so the CD's and mixes ended up among his Dad's CD archives. Some years later, his father, a musician and producer, revisited the old mixes, and enthused by the sounds and possibilities, brought them to IMMG's studio to explore development and re-mastering. Experimental melodic layers were added, and so began a years work of additional vocals and instrumentation. As the layers and contributing artists grew, so did the excitement around the results. By the time the fourth track was finished, it was obvious that something exciting and releasable was in creation. By the end of the year, the debut 'Weapons Factory' album 'Millions' was complete, and a further selection of tracks laid down for the follow up of WF2. REVIEW: Artist: The Weapons Factory Album: Millions Review by Matthew Forss The electronic wizardry of ambient drum 'n' bass composer and DJ fanatic, Nick Welch, is refreshingly hip and cool with all the fixings for a delicious dance session. The music is largely composed of jazzy, ambient-centered tracks with some dub, trance, and new age elements, too. Nick is joined by sax player, arranger, and vocalist Robin Welch, along with producer, guitarist, and songwriter John Perkins. The performance repertoire is diverse with many musical layers of sound that reach far into the outer reaches of space and time. "Love Don't Live Here" begins with a light percussive sound of drum set swooshes, synth washes, and a single exhaling human voice before the music moves into a scattered break-beat pattern with the addition of a few sax notes. The beat speeds up as a female voice sings a few melismatic vocals, as another voice provides spoken word accompaniment. The break-beat, drum 'n' bass sound is definitely indicative of the music from other groups, including Lamb, Maxinquaye, or Massive Attack. The fast beat sound cuts in and out with room for the spoken word accompaniment, intermittent sax, and vocal melisma. The cascading sounds of the bass-like melody, dub sounds, synth washes, and selected vocals provide a good listening experience with room to dance, daydream, or drift away to a far-off land. "Forsaken" is a song with a gritty opening of equally-measured sounds that slowly speed up into a dance-laden concoction of mixed, male scat vocals. The song takes on an Eastern flair with a bit of bluesy/Western guitar work that would be a perfect addition to HBO's True Blood soundtrack. The haunting vocals are reminiscent of a monastic choir at times, with the guitar work bordering on anything by Chris Isaak, and the dance beats of any trance group. Despite the multi-faceted depiction, the music seems to work together without reverting to anything melancholic. "Desert Dolphins" opens with a few electronic sounds, light percussive swooshes, and a sax intro before the dub 'n' bass leads the song into various directions of electronic blurbs, watery gurgles, and ambient soundscapes. The melodies merge into a heavy, dance track with electronic blurbs, sax accompaniment, and ambient washes. Though, the sax seems to be a pervasive theme throughout the song, and album, it may not be particularly necessary for a majority of the songs. This is mostly due to the electronic, ambient, dance track structure that does not necessarily need sax accompaniment. However, the sax does provide a dub 'n' bass, drum 'n' bass, and jazzy-trance ambiance that smoothes or cools the fiery dance tracks. "New Age Suite" opens with singing birds, water sounds, and synth washes, before a break-beat rhythm dives right into a heavy, dance medley with occasional ambient washes. The sax appears throughout, as muffled and staticky voices break-up the instrumental continuity. Different and clearer scat vocals are repeated a bit near the middle of the song. The electronic blurbs, ambient washes, dance beat, haunting, but indeterminate voices, and the jazzy elements seems to be something that would emanate from a 'New Age' suite. "Millions" begins with an earthy, ambient intro, light sax solo, and a frenzied break-beat rhythm. The slower, jazz elements and fast break-beat rhythm are complete opposites, but work well due to their instrumental polarization. The sax and ambient washes break-up the fast pace, though the rhythm slows half-way through the song, as a mix of radio or television interference and electronic voices take over. Nick Welch is a talented and diverse musician with a clear vision for his music. The incorporation of jazzy elements and electronic music seemed to be divergent, though the musical relationships to jazz and dance music are closer than other forms of music. Millions is an album with danceable tracks and some of the lighter, ambient fare. The scat vocals and mostly unintelligible vocals added a level of mystery to the music. At times, the sax did not seem to be a necessary addition to the songs, but it was not used too pervasively to warrant any major qualms. All in all, the album featured seven songs running around forty-five minutes. The musical arsenal of The Weapons Factory is an exciting contribution to the world of break-beat, trance, dub 'n' bass, and drum 'n' bass. Review by Matthew Forss Rating: 4 stars (out of 5)

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Price: 17.79 EUR excl. shipping

All the New Mistakes

Imagine Jonathan Richman, early Elvis Costello, Thee Headcoats mixed with Ren and stimpy and you're getting close. Bucky are a 2 piece band with ace tunes and lots and lots of love from the Bath/ Bristol fanzine scene. The drummer Joff has one hand who plays unlike Def Leppards drummer- he does it the hard way with one stick and his stump. Singer and guitarist Simon plays a spasmodic Silvertone guitar which would make Billy Childish proud. The tunes are Richmond-esque with daft lyrics that make you laugh 'I'm a pony, but soon i'll be a horse' with a shambolic yet harmonic live show. If you haven't heard or seen them check out the website please. Let me know what you think? good? bad? have you seen them- I don't think they've ever played in London- can we start a campaign to bring them round the country. Check out the video on the site to see live crazyness and one handed drumming for real... - barbelithunderground.com ------------------------------------------------------------------------------------------------------------ It's Ritalin all round as attention-deficit-disorder duo Bucky begin to start getting around to commencing. Their clowning, distracted asides and high-jink japery draws the crowd closer and they have warmth in spades. They are the unholy love child of Sparks, They Might Be Giants and Momus, with songs about teenage hormonal misery, moody stropping and the vaingloriously misunderstood. Rocket-speed pocket opera jammed into square peg, round hole two-minute miniatures. -Venue ----------------------------------------------------------------------------------------------------------- BUCKY - Adorably manic country-rock two piece with awesome tunes and hilarious lyrics. Probably the only band in Bristol that is loved by everyone in town. -Venue ------------------------------------------------------------- B u c k y The most loved, sharp-witted, danceable, fun, energetic and hilariously demented band in Bristol. Far from being a novelty act, Joff (drumming, yelps) and Simon (guitar, handsome voice) have a knowledge and enthusiasm for music that takes in gospel, country, Motown, doo wop and bubblegum pop, but they come across like if punk rock happened in the fifties, like a hardcore buddy holly... and they are as eclectic in their songwriting, with subjects concerning everything from boy-trouble to libraries to dogs to Mary Wilson. You have to try really hard not to love this band. ^#^they've made devoted fans of everyone from The Seconds, the Rogers Sisters, erase errata and Kula Shaker ! and soon you! -LOCAL KID ------------------------------------------------------------------------------------------------------------ They're a 2-man guitar and drums garage rock revelation. If the only album Jonathan Richman ever owned was by the Sonics, you'd be halfway to defining their sound. Thay boast a set of melody-charged breakneck-speed songs that tackle some very strange subject matter (horses, The Beatles, Mary Wilson's demise after falling out with Diana Ross) and salute the greats of U.S. garage punk and country (Standells, Lovin' Spoonful, Sonics, Creedence). They rock with raw, feedbacking joy and more than a dash of eccentricity. 'Sheer, unadulterated pleasure' -Venue Bucky are fantastic. It's a kind of free-fall no brakes punk-skiffle assault course of ramshackle melodies frankly bursting into your face. There are two of them but that is more than enough... a drumming, guitaring, double voxed splurt of entertainment to be utterly recommended. -ARTROCKER Bucky are great and suck the audience into their one-off world with a kinda sound-tracked love-in. Bucky should be a religion. -ARTROCKER Bucky is a band of no future, no past, of the moment - and what a brilliant moment! The brightest light of the night, they are some kind of punk rock equivalent to Lenny Bruce (if you don't know, look him up, he's the father of every thing). A blitz of 2-minute songs, inspired lunacy, affection and intelligence, commentary without judgement, they are cool beyond cool and you can't not love 'em. We love you Bucky! - MOLES CLUB Bucky have graced the Purr stage 8 times (or was that 9) and somehow this was the first time for me! 2 blokes, a drummer with one hand (the handless arm a drumstick!!) and a singer with two hands and a guitar! Cavorting around like loose cannons, they played fantastic short sharp shots of wide-eyed-pop-piss-takes, Radiohead and Travis bearing the brunt. Where these guys blast the fun into 'serious', they do it such a way that it's less an insult and more a flipside reaction. Bucky are radicals true to a pure punk ethos, reactionary, funny, political and well aware of the media portholes that try to make sense of the ever- changing seas of popular music. Their sense of humour is chemical and utterly shambolic with tales of how they love the library (and librarians!), and in love with the unsung heroines that aren't Diana Ross in the Supremes! Genius! - MOLES CLUB REVIEW ----------------------------------------------------------------------------------------------------------- Another band that should be massive. Silly, funny and charming, but still able to rock out with the best of them. More entertaining than electrocuting a bath full of kittens. Rockin' good fun. -Miles The Munter Two things must be explained about Bucky, of whom there are two, Joff and Simon, old school pals. First, they are not simply a two-piece playing the finest skiffle pop delights in the West Country (if not the World), no, Bucky are also an hilariously endearing comedy double act that would make Reeves & Mortimer consider enrolling on a team-building course. Second, Joff does not use a bass drum. This would normally be strange enough in itself, except Joff only has one hand. You'd think a drummer only able to use one stick would make as much use of his feet as possible, but instead Joff bangs out his bass beat on a floor tom with his stump as his drum kit runs away from him. This shouldn't be funny but it really, really is. These two things are important because it means Bucky are 4 songs into their set before you actually notice- due to being so distracted by Joff's brilliant and original drum skills, their endearing enthusiasm, their heart warming rapport and side splitting ad-libs. By the time you've observed, considered and made aesthetic judgements about their fast-paced, double vocal, stop start style, they've so thoroughly won you over that it is impossible not to love them so much you want to take them home and put them on your mantelpiece. There they could stay, bopping along singing about dogs ('Hi-Fido', 'The Greasy One'), Libraries ('I Love the Library'), 'The Beatles', teenagers, bicycles and best of all ... Ponies. "I'm a pony/soon I will be a horse" rings out their final song, which the whole of Moles sings along with them in glorious, grinning abandon, before they are dragged back out for an encore. - GIGWISE.CO.UK Bucky are the class clowns you'd love to swap for your irritating older brother and proudly introduce to all your friends and family. Self-deprecating and hilarious, they hide masterfully brilliant and wildly imaginative lyrics under a carefree careering set of 2-chord skiffle pop anthems. 'Hi-Fido' is a song with 2 chords (C&F) as Simon handily demonstrates. The barking is inspired. However, we are also treated to the genius that is 'I Am Dark' ("I am serious/always mysterious/can I read you my thesis"). I'm laughing too hard to make notes but luckily I got an advance copy of the forthcoming album so I know all the lyrics off by heart. Which is lucky as you are far too distracted by the interplay and banter between madcap Joff and faux-serious Simon. If you haven't seen Bucky live then there is a big hole in your life. -GIGWISE.CO.UK.

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Price: 14.16 EUR excl. shipping

Lime Green Bindi

About Hypnotic Gurus: Defying one-dimensional descriptors, crossing boundaries and erasing them, Hypnotic Gurus draws inspiration from many sources: Indian and western, ancient and modern, acoustic and electronic. A sonic curry that both soothes and satisfies, Hypnotic Gurus appeals to an eclectic audience gathering from distinct yet complimentary backgrounds: yoga, trip hop, ambient, urban. Produced by drummer Sunil Narang for CPDC Artists, Hypnotic Gurus infuses sitar into an atmosphere driven by his trademark deep pocket drum grooves and tinged with electronics. Through the sitar, AJ Rikhi Ram invokes the divine and summons the eternal yet exists in the here and now, sculpting textures from lush and melodic to sparse and moody. Flowing like the Ganges, a great musical tradition transmits from father to son, from wise master to young virtuoso. Since 1920, Rikhi Ram Musical Instruments Manufacturing Company has hand-crafted sitar, sarod, tanpura, surbahar, sarangi, tabla and harmonium. Founded by Pandit Rikhi Ram, continued by his dedicated son, Pandit Bishan Das Sharma and now, under the direction of his son, Ajay Sharma a.k.a. AJ Rikhi Ram, this lineage, unbroken, stretches into a new millennium where technology and tradition effortlessly intertwine. Exalted around the globe, the Rikhi Ram family has placed instruments and imparted instruction into the hands of musicians such as George Harrison of the Beatles. Hypnotic Gurus has released the album, Lime Green Bindi, on indie label, CPDC Artists. Comprised of seven transcendent tracks, Lime Green Bindi takes the listener many places- some familiar, some surprising, but all vital to heightened awareness guided by inner light. The first track, 'City', glides along streets bustling with traffic, redolent with heat and exhaust, bristling with excitement. Next, 'Night', an emotional tribute to AJ's father, the late Pandit Bishan Das Sharma, connects our mortal flesh to the eternal soul. The title track, 'Lime Green Bindi', lays down an insistent groove, beckoning all to dance. 'Sagaai', opens with a sweet and solemn proposal to join together two as one. In 'Time', the beat carries one forward, step by step, moment by moment, to return home to a welcoming face. Through 'Memory', the listener indulges the sentimental, the romantic, the uplifting as refuge from the day's trials. Rising from a verdant valley, snow capped mountains as backdrop, the listener as traveler reaches the sonic comfort of 'Hill Station' where precious moments sooth and recharge body and soul. Infectious, elevating and danceable, minimalist and fractal, each track breaks the box to crossover into receptive minds longing for a fresh outlook.

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Price: 19.60 EUR excl. shipping

Soul Social

The latest CD offering from McKeesport's funky little Bonedog Records label is classic soul and R&B, sung by one the soulmen who's a classic himself -- Pittsburgh's Gus Collins. The album itself is pretty much an all-Burgh production, with 10 songs from the prolific Mike Sweeney, and a band that includes work by Dave Avery, Zack Weisinger, Jimmy Britton, Robbie Klein, Steve Delach, Robert Peckman and Sweeney himself. And more. Then there's Collins. This is his first solo album, even though he's been performing since he began singing on the streets of the North Side in the 1950s. By the time he was 11, he was singing with his first group, Sammy and the Belltones. He moved on to sing lead for the Lateers, an R&B group, which charted in '62 and '63 with 'Dance Party' and 'Sweet Cadillac.' He kind of retired from '78 to '95, then returned to sing with the Marcels, and currently, Elmoz Fire. What you get in 2010 is a powerful vintage soulful singer who knows what to do with his voice, whether it's sweet soul ('The Rain Can't Reach') or gritty R&B ('Don't Lie About Me' - and I won't tell the truth about you). 'A Thousand Thunders' is an especially punchy track with some fine call-and-response gospel overtones -- Stevee Wellons' backup vocals soar right along with Collins -- nothing better than music that's churchy and danceable. Here's a sample of that track: Collins vocals just basically pump high-octane soul into all these tracks. The title track is pure funky soul, poured on thick with a shouted falsetto opening, slipping smoothly into a tough groove for the rest of the track. 'Seven Day Lover' is another soul-scorcher with horn fills that make me remeber sax players who used to lie on their backs on the stage, legs kicking wildly, sax roaring. Now those were the days! There's even a torchy, broken-hearted tale of love gone wrong on 'Outside of Ohio.' It's hard to say enough good things about Collins' classic, painfully expressive singing, but the band hits it's own share of high notes with horns that whisper and shout in the best soul tradition, tough piano and organ from Britton, and great all-around support that sounds like it was born in 1955. I think that Jeff Ingersoll, the guy who runs Bonedog and the Boneyard, deserves special mention here. He's been working hard for about 15 years now, recapturing and re-creating this great old American music -- rock, soul, R&B and blues -- and doing it deep in the heart of the Pittsburgh area, where some of that music took root before anyone else in the country knew what was happening. This is American classical music. Catch it live while you can. Jim White - Pittsburgh Post-Gazette.

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Price: 21.50 EUR excl. shipping

Devolver

JAMIE LENMAN (Ex-Reuben) mit seinem zweiten Album. Produziert von Space (The Prodigy, Idles) liefert das Album einen abgespeckten und fokussierten Sound.JAMIE LENMAN (Ex-Reuben) mit seinem zweiten Album. Produziert von Space (The Prodigy, Idles) liefert das Album einen abgespeckten und fokussierten Sound. JAMIE LENMAN has announced details of his brilliant, brand new studio album 'Devolver', via Big Scary Monsters. Produced by Space (The Prodigy, Idles), the album sees a departure from Jamie's debut solo album (the double album of country and thrash metal, 'Muscle Memory') with a slimlined, direct and focused sound across all 11 tracks on 'Devolver'. As the ex-Reuben man explains himself: I wanted to create a shorter, more concise album with plenty of digital elements and danceable rhythms. Like the two singles that came out earlier in the year, the record brings together the riffs and the melodies into the same space, which is how I naturally write, and is the kind of music I like to hear. A lot of the songs are built around the drum beats, which as a drummer myself is often where I start in the writing process. In several places there are long breaks of just the percussion on its own, and it's been really great to have that space, to let the tracks simmer in their own juices so to speak. There's an element of risk throughout - on every track there is something that I've not done before, in terms of song structure or instrumentation or performance. Very often during the writing process I would get to a point where I could see the way I'd normally continue and I chose to purposely go in the opposite direction in order to create something different. TRACKS: 1. Hard Beat 2. Waterloo Teeth 3. Personal 4. Body Popping 5. Comfort Animal 6. Mississippi 7. Hell In A Fast Car 8. I Don't Know Anything 9. Bones 10. All Of England Is A City 11. Devolver

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Price: 28.90 EUR excl. shipping

Stellar Moments

In a recent conversation, Dale Fielder mentioned that he was a musician. When asked what instrument he played, he answered without hesitation, "I play all four saxophones." Over his recorded career, it is hard to pen down which saxophone is Fielder's primary instrument or which one he sounds best on. He plays them all equally well. He has displayed them all throughout thirteen recordings starting in 1993. Most recently, he has concentrated on the baritone sax through his last three recordings: Howling Monk (2003), Baritone Sunride (2005) and Plays The Music of Pepper Adams (2007). On this new recording, Stellar Moments, Fielder plays no baritone and concentrates the bulk of the material on the tenor sax, also performing two compositions on soprano and one on alto. Fielder also has a penchant for finding new or unheard jazz talent. He brought back the legendary ex-Mingus pianist Jane Getz from obscurity and introduced pianist Danny Grissett who is now with Tom Harrell and taking NYC by storm. Here in his new group, Angel City Quartet, he introduces another considerable jazz talent in pianist Greg Gordon Smith. And along with bassist Bill Markus (who looks and sounds like the late Albert Stinson) and the ubiquitous Thomas White on drums, Angel City Quartet sounds like a tight, cohesive ensemble that belies the fact that they have only been together just over a year. They play like a band, not like a collection of separate individuals just getting through the session like a day at the office. There's a lot of passion here. The music contained in Stellar Moments flows like a movie soundtrack as it is sequenced much like a suite. The first three compositions are from Fielder's own pen. From the opening bars of the title cut, you can tell that this is not your father's jazz! The shifting 7/4-4/4 composition is a most exciting 4:30 minutes of jazz! It flows into the trance-like The Quickening where Fielder makes his only appearance on alto conjuring up Bird meeting Trane in an impassioned solo. The loose interplay of the rhythm section during Smith's solo is sublime. Next is the elegant Patricia's Flow, a 7/4 ballad where Fielder introduces his tenor. Next up is an intelligent and swinging rendition of the Joe Henderson classic, Punjab followed by the sprightly, danceable Fielder bossa original, Escapade With Ese, which incidentally has an affectuous melody. Wayne Shorter's Yes And No is certainly a standout composition that should see quite a bit of airplay. Fielder's re-arrangement gives it a 'Maiden Voyage' rhythm which gives this tune a definite contemporary flavor. The standard The Night Has A Thousand Eyes is given a straight down the middle straight-ahead jazz treatment with White displaying some deft brush work. Fielder's sensuous writing is displayed on Mulu, a 6/8 Latin tune that again features White. The closer is Thelonius Monk's I Mean You, where Markus opens the soloing with an incredible arco solo. Dale Fielder is an anachronism. Yet he sounds thoroughly modern and up to date. One can imagine Fielder on the bandstand comfortably sidling up next to a Kenny Dorham or Art Farmer as his sound is classic. Fielder himself has said that of all the saxophonists currently playing, he feels more in common with saxophonist Scott Hamilton. Perhaps this is because Fielder is also a product of the 1970s, the so-called lost generation that spawned such other underrated sax greats such as Billy Harper, Bobby Watson and Bennie Maupin. In any event, Stellar Moments should go a long way to bringing Fielder closer to the recognition he so rightly deserves. This for the simple fact that so few are unabashedly and unapologetically pursuing this type of modern, updated, straight-ahead jazz today. Most of today's current artists attempt to distance themselves from traditional jazz and seek a fusion with other world music influences. They do so in an attempt to be considered 'contemporary' because traditional or straight ahead jazz has been judged old fashioned. Yet here in Stellar Moments, while embracing the tradition, Fielder sounds completely contemporary. Fielder has been quoted as saying that he is not ashamed of the word jazz. Thank God for that!

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Price: 23.16 EUR excl. shipping

Devolver

JAMIE LENMAN (Ex-Reuben) mit seinem zweiten Album. Produziert von Space (The Prodigy, Idles) liefert das Album einen abgespeckten und fokussierten Sound.JAMIE LENMAN (Ex-Reuben) mit seinem zweiten Album. Produziert von Space (The Prodigy, Idles) liefert das Album einen abgespeckten und fokussierten Sound. JAMIE LENMAN has announced details of his brilliant, brand new studio album 'Devolver', via Big Scary Monsters. Produced by Space (The Prodigy, Idles), the album sees a departure from Jamie's debut solo album (the double album of country and thrash metal, 'Muscle Memory') with a slimlined, direct and focused sound across all 11 tracks on 'Devolver'. As the ex-Reuben man explains himself: I wanted to create a shorter, more concise album with plenty of digital elements and danceable rhythms. Like the two singles that came out earlier in the year, the record brings together the riffs and the melodies into the same space, which is how I naturally write, and is the kind of music I like to hear. A lot of the songs are built around the drum beats, which as a drummer myself is often where I start in the writing process. In several places there are long breaks of just the percussion on its own, and it's been really great to have that space, to let the tracks simmer in their own juices so to speak. There's an element of risk throughout - on every track there is something that I've not done before, in terms of song structure or instrumentation or performance. Very often during the writing process I would get to a point where I could see the way I'd normally continue and I chose to purposely go in the opposite direction in order to create something different. TRACKS: 1. Hard Beat 2. Waterloo Teeth 3. Personal 4. Body Popping 5. Comfort Animal 6. Mississippi 7. Hell In A Fast Car 8. I Don't Know Anything 9. Bones 10. All Of England Is A City 11. Devolver

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Price: 15.90 EUR excl. shipping

Wild Heart

Annelise Walley offers listeners her beautiful, wild heart with her young, edgy country/pop sound that is danceable, singable, and emotional. Her debut album will draw new fans and leave them wanting to hear more from this Alabama teen. Her hip lyrics, great grooves, and monster vocals are sure to bring great delight as listeners get to know this new artist.

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Price: 25.46 EUR excl. shipping

Seize The Means

Radio Wonderland nähert sich dem typischen Formatradio, sampelt es in Echtzeit und baut es mit selbstgebauten Controllern live neu und funky zusammen.Radio Wonderland nähert sich dem typischen Formatradio, sampelt es in Echtzeit und baut es mit selbstgebauten Controllern live neu und funky zusammen. RADIO WONDERLAND turns live commercial FM radio into recombinant funk and all the sounds originate from an old boom-box, playing radio LIVE. Controllers are a vintage Buick steering wheel, old shoes hit with sticks, and some gizmos. Live radio bits become danceable grooves, taking the audience every step of the way. Radio Wonderland is a new recording artist so there is no support yet from key online blogs and portals, though lots of past press interviews and reviews for Joshua Fried (the artist behind Radio Wonderland). TRACKS: 1 Radio Family 2 Good To Be Back In LA 3 Deep Rehearsal 4 Miley Cyrus 5 Seize The Means, Part 1 6 Seize The Means, Part 2 7 Get Off At Halsey St.

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Price: 18.28 EUR excl. shipping

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