#nochtwache

[musikblog]

https://www.musikblog.de/2024/05/sam-fischer-tickets-zu-gewinnen/ 16.05.2024 Köln – Blue Shell 17.05.2024 Hamburg – Nochtwache

[chrisryanspeaks]

HNAF (HotNewAlbumFridays): Far Caspian - ‘Last Remaining Light’

8/10 Rating - Great Album  Far Caspian’s new album The Last Remaining Light is an ethereal, expansive and cosmic listening experience that will certainly be on repeat for most listeners. Far Caspian created the whole album himself and played all instruments. He craftfully approaches the work with precision and care, fine-tuning every instrument on the album. His catchy and melodic songs are sure to please you. Check out “Pet Architect” below and let us know your thoughts: Read More: Far Caspian today released his impressive new album The Last Remaining Light via his own Tiny Library Records; stream or purchase it here. The LP and its singles ("Arbitrary Task," "Own," "The Last Remaining Light," and "Pet Architect") arrived to early acclaim via Pitchfork, Bandcamp (New & Notable), Billboard (Cool New Pop Songs), Consequence (Top Songs), Brooklyn Vegan, FLOOD, Treblezine, Northern Transmissions, and more. Far Caspian will embark on a U.S. headlining tour this fall, including shows at his biggest NYC & LA venues to date: Le Poisson Rouge on November 10th and Teragram Ballroom on November 18th. The performances follow his SXSW and Primavera Sound Barcelona festival debuts this year. See below for a full itinerary of upcoming dates. Far Caspian is the project of Leeds, UK-based Irish musician Joel Johnston, and the music he creates is anchored by his dogged attention to detail—he writes, performs, records, and mixes everything himself. As such, Far Caspian’s music consistently feels like its own self-contained world, full of densely packed hooks and guitar-based atmospherics. With The Last Remaining Light, he’s made his most cohesive and compelling work yet. The album is the result of Johnston streamlining his approach in the studio, finding inspiration in peeling back his tracks’ layers in a way that’s both rewarding and immediate in its simplicity. Work on The Last Remaining Light began right after Johnston turned in mixes for his 2021 debut LP Ways To Get Out. Whereas that previous album was the result of almost two years of tinkering and finding his sound, Johnston decided to set clear limits and a hard deadline for its follow up. “This process was more about following my intuition rather than getting in my head and rewriting everything over and over,” he says. Far Caspian Live Dates: 09/19 - Edinburgh, UK - The Speakeasy, Voodoo Rooms 09/21 - Belfast, UK - Ulster Sports Club 09/22 - Dublin, IE - The Workman’s Club 09/24 - Manchester, UK - YES (The Pink Room) 09/26 - Leeds, UK - Brudenell Social Club 09/27 - Nottingham, UK - Bodega Social 09/28 - Bristol, UK - Rough Trade Social 09/30 - London, UK - Islington Assembly Hall 10/07 - Amsterdam, NL - Melkweg 10/09 - Hamburg, DE - Nochtwache 10/10 - Berline, DE - KANTINE AM BERGHAIN 10/12 - Cologne, DE - artheater Köln 10/13 - Brussels, BE - Witloof Bar 10/14 - Paris, FR - Point Éphémère 11/08 - Boston, MA - Deep Cuts 11/09 - Philadelphia, PA - Johnny Brenda’s 11/10 - New York, NY - Le Poisson Rouge 11/11 - Washington DC - Songbyrd 11/13 - Chicago, IL - Subterranean 11/15 - Seattle, WA - Madame Lou’s 11/17 - San Francisco, CA - Popscene @ Rickshaw Stop 11/18 - Los Angeles, CA - Teragram Ballroom Read the full article

[audiofuzz]

HNAF (HotNewAlbumFridays): Far Caspian - ‘Last Remaining Light’

8/10 Rating - Great Album  Far Caspian’s new album The Last Remaining Light is an ethereal, expansive and cosmic listening experience that will certainly be on repeat for most listeners. Far Caspian created the whole album himself and played all instruments. He craftfully approaches the work with precision and care, fine-tuning every instrument on the album. His catchy and melodic songs are sure to please you. Check out “Pet Architect” below and let us know your thoughts: Read More: Far Caspian today released his impressive new album The Last Remaining Light via his own Tiny Library Records; stream or purchase it here. The LP and its singles ("Arbitrary Task," "Own," "The Last Remaining Light," and "Pet Architect") arrived to early acclaim via Pitchfork, Bandcamp (New & Notable), Billboard (Cool New Pop Songs), Consequence (Top Songs), Brooklyn Vegan, FLOOD, Treblezine, Northern Transmissions, and more. Far Caspian will embark on a U.S. headlining tour this fall, including shows at his biggest NYC & LA venues to date: Le Poisson Rouge on November 10th and Teragram Ballroom on November 18th. The performances follow his SXSW and Primavera Sound Barcelona festival debuts this year. See below for a full itinerary of upcoming dates. Far Caspian is the project of Leeds, UK-based Irish musician Joel Johnston, and the music he creates is anchored by his dogged attention to detail—he writes, performs, records, and mixes everything himself. As such, Far Caspian’s music consistently feels like its own self-contained world, full of densely packed hooks and guitar-based atmospherics. With The Last Remaining Light, he’s made his most cohesive and compelling work yet. The album is the result of Johnston streamlining his approach in the studio, finding inspiration in peeling back his tracks’ layers in a way that’s both rewarding and immediate in its simplicity. Work on The Last Remaining Light began right after Johnston turned in mixes for his 2021 debut LP Ways To Get Out. Whereas that previous album was the result of almost two years of tinkering and finding his sound, Johnston decided to set clear limits and a hard deadline for its follow up. “This process was more about following my intuition rather than getting in my head and rewriting everything over and over,” he says. Far Caspian Live Dates: 09/19 - Edinburgh, UK - The Speakeasy, Voodoo Rooms 09/21 - Belfast, UK - Ulster Sports Club 09/22 - Dublin, IE - The Workman’s Club 09/24 - Manchester, UK - YES (The Pink Room) 09/26 - Leeds, UK - Brudenell Social Club 09/27 - Nottingham, UK - Bodega Social 09/28 - Bristol, UK - Rough Trade Social 09/30 - London, UK - Islington Assembly Hall 10/07 - Amsterdam, NL - Melkweg 10/09 - Hamburg, DE - Nochtwache 10/10 - Berline, DE - KANTINE AM BERGHAIN 10/12 - Cologne, DE - artheater Köln 10/13 - Brussels, BE - Witloof Bar 10/14 - Paris, FR - Point Éphémère 11/08 - Boston, MA - Deep Cuts 11/09 - Philadelphia, PA - Johnny Brenda’s 11/10 - New York, NY - Le Poisson Rouge 11/11 - Washington DC - Songbyrd 11/13 - Chicago, IL - Subterranean 11/15 - Seattle, WA - Madame Lou’s 11/17 - San Francisco, CA - Popscene @ Rickshaw Stop 11/18 - Los Angeles, CA - Teragram Ballroom Read the full article

[speakoutmymind]

February 2023 wrap up

Concert’s:

03/02/2023 – Isaac Anderson for Europe Tour 2023 at NOCHTWACHE, Hamburg

27/02/2023 – EDEN for ICYMI Tour 2023 at Kesselhaus in der Kulturbrauerei, Berlin

28/02/2023 – DYLAN for The Greatest Thing I’ll Never Learn Tour at GRETCHEN, Berlin

Books:

The Fine Print by Lauren Asher with 434 pages from 25/01/2023 till 06/02/2023

Dunbridge Academy - Anywhere by Sarah Sprinz with 459 pages from 07/02/2023 till 13/02/2023

Terms and Conditions by Lauren Asher with 496 pages from 13/02/2023 till 18/02/2023

Final Offer by Lauren Asher with 577 pages from 18/02/2023 till 26/02/2023

[ayayayayayu]

🔆🌞🔆 𝗔𝗬 𝗦𝗣𝗥𝗜𝗡𝗚 🔆🌞🔆 23.03. HAMBURG w/ @henryandthewaiter 31.03. ZÜRICH @urbanbikefesival 11.05. GONTENBAD @vivaconagua_ch @panda_lux_ @dabufantastic @gobawelt . . 📸 @tabeaaimee . #ayulive #newcomer #festival #live #gig #concert #hamburg #zürich #appenzell #vivaconagua #urbanbikefestival #goba #nochtwache #ayu #femaleartist #asos #swissmusic #asosmarketplace #covergirl #ay #smilelikeyoumeanit #happy #mondayvibes #letsgo #ayayayu (hier: Canton of Bern) https://www.instagram.com/p/Bu6yGf7nTZD/?utm_source=ig_tumblr_share&igshid=5cty9p71ge1f

[sinceileftyoublog]

Andrew Combs Interview: A Journal of Transformation

Photo by Alysse Gafkjen

BY JORDAN MAINZER

Making music didn’t save Andrew Combs, but it helped return him to homeostasis. 

Around Christmas 2020, Combs suffered a mental breakdown that lasted a few weeks. Exactly how long it lasted, nobody knows; time is indeterminate for such a phenomenon, as it’s not like a flip switches and it’s over. But sitting down and forcing himself to write songs, after practicing transcendental meditation, helped Combs transition from a vulnerable period of time. Specifically, at the suggestion of friend and collaborator Jordan Lehning, Combs would write every week and enter the studio on Sunday to record the song he’d finished that week. Combs spent 7 or 8 of these Sundays recording, and he ended up with an album named after the very day that represented this state of reflection, Sundays, out this Friday via Tone Tree.

Due to the unique recording schedule and the nature of the time, Combs knew he wanted to keep things simple and record in mono. During the initial pandemic lockdown, he had already written two songs, and those were the first Combs, Lehning, and drummer Dominic Billet laid down. Eventually, they tracked more songs as Combs wrote them. At the time the recording of Sundays was going on, Lehning was working on a record with Katie Pruitt that was using woodwinds, and eventually, he suggested to Combs that woodwinds would work on a lot of the Sundays songs, adding texture without taking away from the stripped-down lucidity of the material. After Lehning wrote arrangements, he and Combs added contributory woodwinds from Tyler Summers, as well as some lead guitar from Juan Solorzano. It worked, resulting in a record that’s much more subdued and insular-sounding than past Combs albums like Canyons of my Mind or Ideal Man, while still grappling with big ideas. First single “(God)less” is a soulful treatise on humanity and its capacity for good and evil. “We are capable of such a mess / But God still lives on in godlessness,” Combs sings, finding beauty where he’d least expect it. Yes, there are times when he’s close to giving into despair, as on “Mark Of The Man”, where he waxes about human selfishness and labels it “the mark of the man, not the beast.” For the most part, though, Sundays is a record that sees Combs trying to come to terms with better ways to view himself and the world, realistic about ills but not letting them weigh him down. “It’s the most ‘me’ record I’ve ever done,” he told me over the phone a couple months ago.

As Combs gets ready to release Sundays and embark on a tour of the UK and Europe with Billett and multi-instrumentalist Jerry Bernhardt, he’s not quite ready to get back into the same grueling US touring lifestyle pre-COVID. “The COVID experience was a nice time to take a step back,” he said. His U.S. booking agent decided to leave the music industry, and he parted ways with his managers while nothing was happening. Even though he can now play venues throughout the US, while he’s in his home country, Combs prefers to spend time with his kids, paint, play music at home, and work part time. “Honestly, I’m happier than I’ve ever been because I can be home and don’t have to stress about being on the road and being away,” he said. Really, the experience of Sundays shows that the aforementioned homeostasis is not some sort of scheduling normalcy, but a state of mind conducive to observation and creativity.

Read my conversation with Combs below, edited for length and clarity.

Since I Left You: You said this record is “the most ‘me’ record I’ve ever done.” Why do you say that?

Andrew Combs: I think when I first got into music, I was emulating other folks, which is natural and common. I was sort of projecting myself the way I thought other people--the audience, I guess--would appreciate. Not to say there weren’t parts of me [there]. There were. But this record came about so organically and naturally that I couldn’t help but feel it was the most personal and most connected to a piece of music that I’ve ever been a part of.

SILY: It was written during what was a very vulnerable time for all of us--the pandemic lockdowns--but especially for you, as you had a nervous breakdown. I know you were practicing meditation as a result of your struggles. Why did you decide to write songs as a means of working through things? Has that always been what songwriting has done for you?

AC: I don’t know if that has been what songwriting has been to me. Maybe more so recently. I don’t really know why it came about that way other than it was right in front of me and kind of all I knew, trying to navigating through a weird time. When I was younger, I really thought I had to put in the hours every day. [Songwriting’]s become more of a “take it where it’s available” [thing]. Rely on the muse, but also, “There’s a 20-minute period here where my kid is watching TV, just sit down and try to be present and not overthink anything. Try to have fun and write something that feels good.” At our old house, we had a little shed out back, and I was spending a lot of time there painting and being anxious and trying to get through this weird mental breakdown that I had for a few weeks. Those songs came sort of on the heels of the breakdown. I was getting better. I don’t thing I could have written anything while I was having a hard time, but luckily, Jordan Lehning, who I work on the record with, had an idea for me to get into the studio and try something in mono with no reverb or delay on anything, put my voice really high up front and see what happens. I had a couple songs from the year before. We did those right on the heels of that breakdown. I said, “I’m kind of working through this whole situation right now, so if you’ll bear with me, I’ll try to write every week as I come out of this space.” It ended up working. Some didn’t work, but we would go in every Sunday and record what I had worked on during the week. The whole mono recording situation really complemented these songs, because they’re sparse and subtle.

SILY: Over how many Sundays did this recording take place?

AC: I think there were maybe 7 or 8 Sundays. We tried to do every Sunday, but I know a couple weekends we couldn’t meet up. We’d do the basics. Just three people for the most part, myself, Jordan, and Dom Billet who plays drums. We’d play everything, and later on we added woodwinds. [On] a few songs there’s a lead guitar player, Juan Solorzano. He played steel on one song, too.

SILY: You had worked with Jordan and Dom a lot before. How important was it coming out of this mental state and reflecting on it to work with people you had a trusting working relationship with beforehand?

AC: There’s no way I could have done it without [them]. They’re two of my best buddies. I haven’t even thought about that, but you posing that question, A, it wouldn’t have been fun, but B, we wouldn’t have gotten much good out of it.

SILY: Sonically, what stands out to me in comparison to your past material is the woodwinds. Was there a moment you or somebody decided that would fit on a lot of these songs?

AC: In 2020, when the pandemic started, I was really jazzed about making stuff. I wrote a bunch of songs and put out this EP I recorded in my shed. For the rest of the year, I basically didn’t write anything. I wrote two songs. So when 2021 came around, I had those two songs I was comfortable with. When we did the two songs, it felt really good, and Jordan had this other session with Katie Pruitt where they were putting woodwinds on the song. He said, “I could just piggyback with this guy and have him put woodwinds on yours.” At this point, we’re just having fun, drinking coffee and recording. He sent the tracks back with the woodwinds, and that’s when it really clicked. I was going on a walk--I would go on three-hour-long walks every day--and I just kept listening to them over and over again. I called him and Dom and said it was something I wanted to pursue. I didn’t have any money, but we weren’t really doing anything. Jordan is a great writer, producer, and engineer, but where he really shines is in string, horn, and woodwind arrangements. There were times I would hum something I felt like would be a good piece of music for the woodwinds to do, but he wrote all of those parts. 

SILY: Which song or songs were the first two you finished?

AC: “Anna Please” and “The Ship”. It kind of makes sense. [With] “Adeline”, those three songs are really about trying to center yourself.

SILY: I wouldn’t really peg “Anna Please” and “The Ship” as tracks where the woodwinds stood out.

AC: On “Anna Please”, they stand out to me just because they’re complementary and let the chorus do its part. There’s this pad of woodwinds under it. I’m super thrilled about it. It works with the whole dry/mono thing. We thought about strings, but it felt too lush.

SILY: Why did you choose to release “(God)less” as the first single?

AC: It sort of felt like a good introduction to the record and to where my brain was at and where I felt the world was at. I’m constantly amazed by our divisiveness and lack of empathy for other people. I feel like I’m still holding out with hope and love for the world, and I feel like it’s still there, but I just wanted to talk about [it].

SILY: When you sing, “Red is the color of blood and love,” on “Anna Please”, I feel like it gets at the same idea.

AC: That’s interesting. I feel like that song is solely about a character in a movie, but that’s cool it also applies to the rest of the record.

SILY: What character is that song about?

AC: The caretaker Anna in Ingmar Bergman’s Cries and Whispers.

SILY: Are you a Bergman fan?

AC: Bigtime, yeah. Jordan got me into Bergman. Over the pandemic, I watched a lot of his films. 

SILY: How did the video for “(God)less” come about?

AC: I’m working with this guy Austin Leih. He’s a young guy from Dallas, but I met him when he was at film school in Austin at UT. He’s 24 and is just so intelligent and charismatic. We got along really well. He did a last-minute video for me for “Dry Eyes” from my last record. We hit it off, and I decided I wanted him to do all the videos for this record, and I wanted them all to be in black and white. He had just moved from L.A. to Asheville under unfortunate circumstances, and he couldn’t really get to Nashville. He had this idea about diving under the earth. I said, “Okay, we’re running out of time, but I love it.” [laughs] He built that whole set and filmed everything at his parents’ house in Asheville. He’s a phenomenal dude. Loves Bergman. Cool to talk about stuff with. But the “(God)less” idea is diving into the fertile earth. It’s all good down there.

SILY: A lot of this record is centered around where to find goodness, but also the good and bad things people are capable of. I was struck by the line on “I See Me”, when you sing, “The older and wiser build their castles / Big and strong and tall / But the children, they all laugh with joy / When their castles fall.” I don’t know if you’re talking about two distinct sides here, but I wanted to ask you where you thought you stand.

AC: I’m around my kids all the time, and I’d like to be like them. I’m constantly in awe of their ability to navigate through anything awkward, strange, or sad, and how they can bounce back, how their imagination is limitless. I’d like to think I subscribe to that side of the coin. I also think as I get older I find myself being more conservative in certain ways. Not politically, but, when I sing, “Build your castle strong and tall,” the need for structure and form. But I think the best art and creativity comes from childlike senses where you just let it go.

SILY: What’s the inspiration behind the track “Drivel to a Dream”, and the idea behind the line, “Find a way to rid of everything / Then shapes will fade from drivel to a dream”? What is that song referring to?

AC: Meditation. Letting things go.

SILY: Like getting rid of dead weight?

AC: Yes. “Drivel to a Dream” and “I See Me” are companion pieces, not only melodically. [The former] feels like more of the experience of trying and figuring out how to meditate, and “I See Me” is the end result of figuring out what good can come from [meditation.]

SILY: Was the instrumentation on “Shall We Go” meant to sound old timey, or even like Scottish folk?

AC: [laughs] I wanted to write a song that was one note. Maybe it’s hard just for me, maybe it’s hard for everyone, but it ended up sounding like a sea shanty. Jordan really wanted to do the reed organ. We originally had just a piano. It just worked out that way. I feel like it’s a nice palate cleanser on the end. Like the ending of a movie.

SILY: Overall, what’s the inspiration behind the sequencing of the record?

AC: I wanted “(God)less” first because I felt like it was a good introduction. I don’t really practice getting too philosophical about track listing. I basically want [it to] flow correctly, and I want to decide the first side on the side B if it’s going to be vinyl. I have a tendency to not want a slow song there. “Anna Please” felt like it chugged and moved after “(God)less”. I wanted “I See Me” and “Drivel to a Dream” to be next to each other because they’re companion pieces. But on the whole, there wasn’t a storyline. I wanted it to feel right for me.

SILY: What’s the story behind the cover art?

AC: It’s just an idea I had of a reflection in the mirror. Sort of cliché, I guess. But it felt right with this whole record being a journal entry or observation on transformation and coming out of a strange place. I just wanted everything to be super simple: album layout, front cover, videos. The whole record felt like a black and white short film. I wanted everything to correspond to that.

SILY: You covered “High and Dry” for a compilation by 3Sirens Music Group. Are you a big Radiohead fan?

AC: Yeah. When I first got into recording music in high school, Radiohead was pretty much all I listened to and wanted to be like. I’ve gone through phases here and there. I’ve really been digging The Smile’s record. They’re coming to the Ryman, but tickets went really fast, and now they’re really expensive. I’ve never seen Radiohead live. I’ve seen every YouTube video. My wife has [seen Radiohead live]; she says it’s a religious experience.

SILY: I don’t know if I would have thought this if I hadn’t heard your cover, but on the song “Truth and Love” from Sundays, the keyboard hue almost sounds like something from Amnesiac.

AC: Totally. That song gave us the hardest time. I wrote a bass [line]. We couldn’t figure out what to play. But that was the direction we went in the end. It felt like it could be a Radiohead kind of song.

SILY: Are you finding it a creatively rewarding experience adapting these songs to a live setting?

AC: I’m excited. Initially, I was like, “How am I gonna do all these woodwinds?” But at the end of the day, I’m a firm believer in all the arrangements, lyrics, and structures. I’m not worried about them translating if slightly or even vastly different. I think it will be a fun way to keep things fresh.

SILY: Are you always working on new songs? Anything else next for you in the short or long term?

AC: I’m recording with Dom. We’ve been fiddling around. I’d like to make an EP with him. I have little sprinkles of seeds for the next full-length in my brain, but I don’t even know how to articulate it yet. I’d like to explore doing some more stuff with film and music. I don’t know if it would be a short film or an art installation that incorporated video and music, but I’ve been thinking about that a little bit, too.

SILY: Anything you’ve been listening to, watching, or reading that’s caught your attention?

AC: The Smile record. It’s always hard for me to think of it on the top of my head. Lots of Raffi. [laughs] Francis Bebey’s Mwana O. A lot of his songs are singalong-able. My kids can listen to it. I work three days a week at a warehouse job, so I’m always listening to books. I was really blown away by the Richard Powers book Bewilderment. It left me weeping at work. I’ve been getting into George Saunders. I just read Tenth of December. I still haven’t read Lincoln in the Bardo. I’ve been meaning to do that. My Year of Meats by Ruth Ozeki. I went to a Jesuit high school, and we were required to read these sci fi books by Mary Doria Russell about a Jesuit mission to another planet, The Sparrow and Children of God. I’ve been rereading those.

Tour dates:

8/25: Railway Inn, Winchester, UK 8/26: Mid Sussex Americana Festival 2022, Hassocks, UK 8/27: The Long Road Festival 2022, Bottesford, UK 8/28: Cluny 2, Newcastle Upon Tyne, UK 8/30: St Lawrence's Church Biddulph, Stoke-on-trent, UK 8/31: The Grace, London, UK 9/1: The Angel Microbrewery, Nottingham, UK 9/3: Café "De Amer", Amen, Netherlands  9/4: Zentrum Altenberg, Oberhausen, Germany 9/6: Qbus Club, Leiden, Netherlands 9/7: Valve Records Studio, Solingen, Germany 9/8: Poppodium Metropool, Hengelo, Netherlands 9/10: NOCHTWACHE, Hamburg, Germany 9/12: El Lokal, Zurich, Switzerland 9/13: Café V lese, Praha, Czech Republic 9/14: TheaterBar Heppel & Ettlich, Munich, Germany 9/16: Privatclub, Berlin, Germany 9/17: Nashville Nights International Songwriters Festival 2022, Odense, Denmark

[heilewelt]

2020 started. Here are a few things I look forward to

Let’s focus on the positive. Nathaniel Rateliff has released a new song today! The title track to his upcoming album “And It’s Still Alright” which will be released on the 14th of February. I can’t wait. It sound more like the “old” Nathaniel, less funk, more Americana and Folk which leaves more room for the gloomy emotions.  In this song Nathaniel is dealing with the loss of his best friend and producers Richard Swift without being utterly sad. There is hope left.

Another highly emotional thing I look forward to is listening to Caspian’s new album “On Circles” for the first time on the 24th of January. Full range of emotions. I love emotions. I love Caspian. I don’t quite know what to expect  but since the first release “Flowers of Light” has an joyous element to it, it won’t too sad.

Hellas Filmbox (15.- 19. January) is the only film festival I attend regularly. It’s the Greek film festival in Berlin. Always wild, out of the ordinary and lots of food for thought. This years motto is “Feminine, sunny & blue”. Feminine like the whole festival including movies and the team behind the scenes, blue like the Greek ocean and sunny like the Greek sun which is also represented in this years poster. The opening movie “Winona” by The Boy combines all these things, except a woman named Winona but therefore some women hanging around the beach. I don’t know more yet. I look forward to it although I still quite haven’t understood the last film I saw from The Boy. Oh, and he will also play some songs live during the opening on the 14th of January. Apart from that I always, always recommend to surprise yourself. Watch some shorts.

AmericanaFest UK is my first music festival of the year. It will take place in Hackney, London, from the 28th-29th of January and an award show on the 30th. I love this festival because it not only shows the many different sides of Americana and Folk music but it takes places in many little venues, all in walking distance. During the day you can take part in the conference or just the showcase festival. I’ll get more into detail what to see in a couple of days.

And now for some tours I look forward to:

Sunset Sons – yep, I still love this band. And they’re finally coming back to Berlin….and other European countries. It will be fun and I hope they play “Alien” live, so I can sing along at the top of my lungs.

15.01. Amsterdam 16.01. Paris 18.01. Zürich 20.01. Stuttgart 21.01. Köln 22.01. Berlin

Jo Quail is one of a kind. When you see her for the first time, I promise you won’t look at a cello in the same way after she played. I remember how fascinated I was by the soundscapes she creates with her electric cello and some loops. So much experimental joy. I’m happy to see her again after many years of waiting.

19.04. Köln, Helios 37

20.04. Hamburg, Nochtwache

21.04. Berlin, Musik & Frieden

02.05. München, Feierwerk

 Ok, the gig of The Slow Show in Berlin is sold out, like half of the dates of their stripped down tour and I just can’t wait. I still have to wait until March but it’ll be worth the wait. If you have the chance to travel to one of their gigs, do so. Trust me.

Last but not least is the Tour of Tours – a collective of musicians who bring you nothing but joy and laughter and love when they are together on stage, celebrating friendship. I still get goosebumps when I hear their “Song of Songs”. Every cell in my body is vibrating for excitement, my hands want to clap in rhythm. My grin gets bigger and bigger with every word – and that just happens when I watch the official live video on youtube! Just imagine how it’s when they playing live!

05.02. Essen, Zeche Carl

06.02. Köln, Gebäude 9

07.02. Osnabrück, Kleine Freiheit

08.02. Erfurt, FRANZ MEHLHOSE

09.02. Frankfurt, Brotfabrik

11.02. München, Muffatwerk Ampere

12.02. Hamburg, Uebel und Gefährlich

13.02. Berlin, Lido

14.02. Langenberg KGB - Kultur.Güter.Bahnhof

15.02. Hannover, Indiego Glocksee

 OK, one more. Lilabungalow are back. Never completely away but they have new songs and a new show. Sort of. It’s their music, animation and whatnot in the Theater Erfurt. It’s called “Blindland//Lichten”. I don’t quite know but I love it when bands are using a different path than usual one. Unfortunately I can’t attend despite I’d love to. It’s 17th/18th of January. However, I just hope from the deepest part of my heart that they’ll repeat this performance either in Berlin or at least later this year again. I’m willing to travel for this.

I’m glad I wrote this little outlook. It’s a good reminder, I was already going down the wrong lane. But yes, 2020 will be a good music year.

Have a good week,

Dörte

P.S. Have you checked out Reuben And The Dark x AG’s new track “Hold Your Head High”, yet? It was released just yesterday. My hymn. 

[davidjonathanmusic]

Back in Hamburg! Tonight at #nochtwache Dresden Last night was awesome! #dresden #scheune #tour #hamburg #davidjonathan #ansasauermann #weisseliebetour #leipzig #spherepop #songwriter #melody #indiepop #lala #music #livemusic

[sebastianmadej]

Harrison Storm, 29.5.2018, Nochtwache / Hamburger Küchensessions / In Bed With, Hamburg

[piasgermany]

[Video] The Slow Show mit "Augustine" (live bei TV Noir)

Nachdem The Slow Show im Oktober 2019 bei TV Noir im Berliner Admiralspalast eine Live-Session gespielt haben und bereits Videos zu “Low“, “Hold My Girl (George Ezra Cover)“ und “Lucky You, Lucky Me“ veröffentlicht wurden, erscheint nun mit "Augustine" der nächste schwarz-weiße Eindruck des Abends.

...ein wunderbarer Eindruck, wie die in den August geschobenen Stripped-Down Shows aussehen werden: 17.08. Köln - Kulturkirche 18.08. Berlin - Maschinenhaus 29.08. Hamburg - Nochtwache 22.08. München - Hansa 39 23.08. Bielefeld - Sunrise Concert 25.08. Frankfurt - Zoom Booking: FKP Scorpio

[musikblog]

Gewinnspiel 12.02.2024 Nochtwache – Hamburg 13.02.2024 Nochtwache – Hamburg

https://www.musikblog.de/2024/02/gavin-james-tickets-zu-gewinnen-2/?feed_id=886

[whatsonmedia]

Music Monday: New Music Releases for November 2nd Week!

Embark on a musical odyssey with Adam Humphries' curated indie playlist, a diverse tapestry of indie gems that will tantalize your auditory senses. RHEA explore complex, ambivalent love with alt-rock single - "Creeping Through My Head"! An incredible song from start to finish and after this one song I am officially a fan of this band from Belgium. Even though the title has a suggestive sound to it the song itself absolutely reeks of rock and roll. It doesn't exactly go all punk mode but the attitude is there. Creeping is about a relationship but choosing to remain no matter how hectic  https://open.spotify.com/track/7GUuRxDcmihZblp7j9Nijy?si=df2030f837884f8f SODA BLONDE's sonically rich new single - ‘Boys' + London tour date! I have listened to quite a number of artists from Ireland, and some of them I am still listening to today. For me, Soda Blonde is amongst that. Boys by Soda is such an incredible tune not only does it have something of a hype in itself, and not to mention downright catchy, it clearly shows that there's definitely a hype about the band themselves. Watch this space  https://open.spotify.com/track/3frTwlLBB97qYztkEVZInD?si=fde11e9abfdd49fc https://youtu.be/3iAnUmsJtNw?si=us04VEDsjgsmaQXk DREAM BIG TOUR 2023/2024 Nov 22 - The Lexington - London Nov 24 - Roisin Dubh - Galway Nov 25 - Dolans - Limerick Nov 26 - Connollys Of Leap - Cork Nov 30 - Cyprus Avenue - Cork Dec 7 - The Black Box - Belfast Dec 8 - Spirit Store - Dundalk Dec 14 - Vicar St - Dublin Jan 17 - PopUp! - Paris Jan 18 - Le Botanique - Brussels Jan19 - Paradiso - Amsterdam Jan 20 - Nochtwache - Hamburg Jan 21 - Prachtwerk - Berlin TICKETS AVAILABLE AT -  https://www.sodablonde.com/#tour https://www.sodablonde.com/ https://www.facebook.com/sodablonde https://twitter.com/sodablonde https://www.instagram.com/sodablonde/ DEADSET unveil video for their heavy-hitting noise-rock single - "Bleak"! I openly admit that I was somewhat skeptical of the video but after a few seconds I actually found myself enjoying it. It's very British in the core. It has that sort of humor where it doesn't take itself seriously and where the song has nothing to do with the video. Quite a good video, actually like it, particularly when you see the band members dress up and muck about  https://youtu.be/0NgAY9NVxCA?si=fPYioDQqJnrgdbbW FERAL FAMILY - Share Searing New Single: "Deep Cuts" + Debut 'Without Motion' coming 19 Jan Now I haven't heard anything from the Yorkshire-based FERAL FAMILY so I am happy to listen to Deep Cuts. The track is one of those where even though there is no actual specific meaning behind it it does delve into more darker tones and themes of struggles and loss. I think that the genius behind this is that it's the fact that it's a somber track is what makes it great  STREAM ON ALL SERVICES  HERE  https://distrokid.com/hyperfollow/feralfamily/deep-cuts YOUTUBE  HERE https://youtu.be/Zm1cN1FmABM?si=kMFLaYPia1zk61eu FERAL FAMILY LIVE DATES 2023/4 NOVEMBER 11 BRIDLINGTON Bridlington Spa - TICKETS* https://www.bridspa.com/buy-tickets/?id=809802#buy-tickets 24 LEEDS Warehouse -  TICKETS** https://www.theleedswarehouse.com/event/the-view/ DECEMBER 01 SHEFFIELD Foundry -  TICKETS** https://foundry.seetickets.com/event/the-view/foundry/2644098 FEBRUARY 01 BIRMINGHAM The Victoria 02 DARWEN Sunbird 08 GLASGOW Nice n Sleazy 10 HULL BUDfest 16 BRISTOL Crofters Rights 17 NORTHWICH Salty Dog 18 LONDON Dream Bags Jaguar Shoes *Supporting The Lilacs **supporting The View John Francis Flynn shares new single - 'Kitty' - album ' Look Over The Wall See The Sky' out Nov 10th on River Lea For a song that it a bit longer than normal I found it to be somewhat of an interesting listen. Vocally, John Francis singing is reminiscent of legendary rockers Mark Knoplee and Shane McGowan in that it's got this gritty, almost throaty sound which actually gives it more depth. It's hard to find anything bad to say about it and I enjoy the rawness of the song  'Kitty' https://youtu.be/atheAeUuddU Single Smart URL: https://johnfrancisflynn.ffm.to/kitty Album Pre-Order Link: https://johnfrancisflynn.ffm.to/lotwsts Forthcoming In-Stores: Fri, Nov 10th – The RAGE, Dublin – 7pm – tickets here https://www.therage.ie/products/john-francis-flynn-look-over-the-wall-see-the-sky-lp-pre-order?_pos=1&_sid=51e0bd4ff&_ss=r Sun, Nov 12th – Jacaranda, Liverpool - 7pm – tickets here https://jacarandarecordstore.com/pages/john-francis-flynn Mon, Nov 13th – Vinyl Whistle, Leeds – 7pm – tickets here https://vinylwhistle.co.uk/products/john-francis-flynn-look-over-the-wall-see-the-sky Tues, Nov 14th – Rough Trade West, London – 5pm – tickets here https://dice.fm/event/vnaxv-john-francis-flynn-unplugged-signing-14th-nov-rough-trade-west-london-tickets?lng=en Forthcoming Tour Dates : Fri, Dec 1st – Set Theatre, Kilkenny Sat, Dec 2nd – Vicar St, Dublin Fri, Dec 8th – Roisin Dubh, Galway Sat, Dec 9th – St Luke's, Cork Sun, Dec 10th – De Barras, Clonakilty Thurs, Dec 14th – Dolan's Warehouse, Limerick Fri, Jan 12th – Out To Lunch Festival, Ulster Sports Club, Belfast Fri, Jan 19th – Brudenell, Leeds Sat, Jan 20th – Celtic Connections, Drygate, Glasgow Sun, Jan 21st – The Caves, Edinburgh Tues, Jan 23rd – The Exchange, North Shields Wed, Jan 24th – YES. Manchester Thurs, Jan 25th – Hare and Hounds, Birmingham Fri, Jan 26th – Clwb Ifor Bach, Cardiff Sat, Jan 27th – The Exchange, Bristol Tues, Jan 30th – Concorde 2, Brighton Wed, Jan 31st – The Dome, London Thu, Feb 1st – Point FMR, Paris Mon, Feb 5th – Paradiso Upstairs, Amsterdam Sat, Feb 10th – Silent Green, Berlin Thu, Feb 22nd – Theatre Royal, Waterford Read the full article

[theweightrock]

#powerquartett #theweight on #tour with @thewakewoods 👍 next dates: 16.11.19 Burgrieden Riffelhof 21.11.19 Hamburg Nochtwache 23.11.19 Stuttgart Keller Klub 28.11.19 Frankfurt Nachtleben 29.11.19 Twist Heimathaus 01.12.19 Klagenfurt 28.12.19 Lindau Club Vaudeville . . . Photo: @insertcoolname . #theweightrock #heavyrhythmandroll #thewakewoods (hier: Germany) https://www.instagram.com/p/B47XIeCiNHq/?igshid=s5qeutmyct23

[soundjunglefan]

IMPALA RAY veröffentlicht 3. Album - JANGWAR SUMMERS und neue Single - IMPALA CRUSH

Freiheit zu vertonen klingt super, bekommt aber nicht jeder hin. Weil dafür Studio-Skills allein nicht reichen. Man muss sie erlebt, sein Ding gemacht haben. Ray ist so einer. Einer, der unterwegs ist in der Welt. Einer, der schon lange Musik macht und sie auf Bühnen in ganz Europa gebracht hat.

https://music.apple.com/de/album/impala-crush/1477955279?i=1477955282 Seine Songs sind von den Vibes der California Bay Area genauso inspiriert, wie von der Zeit, als er in Afrika gelebt hat. Sein Sound steht für Freiheit, Sorglosigkeit und der unbändigen Liebe am Leben. IMPALA RAY ist Dein akustischer Roadtrip mit Deinen besten Freunden zu den schönsten Orten der Welt. Auf seinem dritten Album JANGWAR SUMMERS nimmt uns Ray mit nach Afrika, wo er einen Sommer lang gelebt und die faszinierende Kultur aufgesogen hat. Dabei entführt Ray den Hörer auf eine Reise durch staubige Wüsten, bunte Slums und weite Steppen. So findet man auf JANGWAR SUMMERS Sounds von Matatu-Fahrern und Slumkids, genauso wie Urwaldgeräusche, klirrende Flaschen und erzählende Menschen. Das alles verschmilzt dabei zu einem internationalen Sound mit viel Fernweh wofür man IMPALA RAY liebt. Kalifornischer West Coast Vibe trifft auf eine Fülle verschiedenster verrückter Instrumente wie Dulcimer, Xylophon, Tuba und neu eben auch afrikanische Rhythmen mit elektronischen Elementen. Das Ergebnis: Rau und groovend zugleich. Dann wieder zart, lässig und herrlich speziell. Genauso wie die afrikanischen Antilopen, die Impalas, die IMPALA RAY ihren Namen leihen. https://open.spotify.com/album/6cKbBwiyC5oibjDjbsm34d https://www.amazon.de/dp/B07X37Q77H/ref=dm_ws_tlw_trk2 https://music.apple.com/de/album/impala-crush/1477955279?i=1477955282 TOUR 14.11.19. Salzburg - Rockhaus Salzburg 15.11.19 Wien - Haus der Musik 16.11.19. Linz - Posthof 20.11.19. Darmstadt - Centralstation 21.11.19 Bremen - Tower 22.11.19. Leipzig - Numanns 23.11.19. Dresden GrooveStation 28.11.19. Göttingen - Musa 29.11.19. Berlin - Musik & Frieden 30.11.19 Hamburg - Nochtwache 05.12.19 Würzburg - Cairo 11.12.19. Fulda - Kulturkeller 12.12.19. Osnabrück - Barstard Club 13.12.19. Amsterdam - Poppodium Q-Factory 14.12.19. Köln - Arttheater 18.12.19. Luzern - Konzerthaus Schuur (CH) 19.12.19. Stuttgart - ClubCann 21.12.19. München - Muffathalle Links: https://www.facebook.com/ImpalaRay.music https://www.instagram.com/impalaray/?hl=en https://www.youtube.com/channel/UCuh2NY_vtNh-hl6FIbX1P5A Read the full article

[speakoutmymind]

About yesterdays concert 🎶

Isaac Anderson for Fingers Crossed Europe Tour 2023 at Nochtwache, Hamburg, Germany

SETLIST

Mess Me Up

Moving Mountains

Light Me In Red

St Pancras

Hanging Up

Anti-Hero (Cover by Taylor Swift)

Goodnight Darling

Change My Mind And Me

Love in Conversation

Take Me To Church (Cover by Hozier)

This Could Be Paradise

My first concert in a different city than my hometown and it was a complete joy. I would not rate Isaacs music as my all-too-favourite kind of but it was amazing to see him on stage perform.

Ps: Light Me In Red is only on stage a banger! 2/5 🖤

[ayayayayayu]

<tell me the truth >🥀🥀🥀 . . . . #lapassion #red #live #bass #newcomer #singer #welovehh #hamburg #pop #instamusic (hier: Nochtwache) https://www.instagram.com/p/BqFypdRnumd/?utm_source=ig_tumblr_share&igshid=17r3d2thrgi3h