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Alternative en Indie - Verschijnt op 11 december 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 18 november 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 17 november 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 12 november 2020 | Anti - Epitaph

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Country - Verschenen op 30 oktober 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 29 oktober 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 28 oktober 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 27 oktober 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 26 oktober 2020 | Anti - Epitaph

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Rock - Verschenen op 23 oktober 2020 | Anti - Epitaph

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Being in a job for 28 years changes a man. It often pushes you to return to simpler, calmer things. In Ben Harper’s case, it’s been ten years since he explored his folk and blues roots. It’d be difficult to make Winter Is For Lovers any more unpretentious. The singer no longer sings. He plays guitar. We only hear his lap-steel guitar and it takes us all around the world, as the tracks’ titles suggest.A song, a place, an idea. Ben Harper creates an atmosphere that he develops, repeats and varies without ever losing its core essence. Each song does just that. There are those that play with silences, like The Joshua Tree or Lebanon and those that give way to arpeggios and bigger chords, like Inland Empire and London. They all have one thing in common: that simple, intimate sound that focuses your attention solely on the instrument and Ben Harper’s hands. You hear the sound of the bottleneck on the strings and all the perfect inaccuracies... Between Americana à la Ry Cooder and tributes to the genre’s pioneers such as Leo Kottke, Winter Is For Lovers brings us incredibly close to the artist while at the same time managing to propel us towards other spheres. © Brice Miclet/Qobuz
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Alternative en Indie - Verschenen op 22 oktober 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 21 oktober 2020 | Anti - Epitaph

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Country - Verschenen op 16 oktober 2020 | Anti - Epitaph

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The world is no longer recognisable, extremism is on the rise, a pandemic is in full swing and racism is thriving. Jeremy Ivey paints a sombre picture on his second album. Especially with the single Waiting Out the Storm which he cowrote with his wife Margo Price, a major figure in today’s americana scene as well as this record’s producer. After a modest debut in 2019, (The Dream and the Dreamer), the Nashville songwriter pursues his narrative art with similar precision. Positioned between folk rock (with some very heavy hints of Dylan, clearly his main influence) and city rock (his shifty phrasing reminds one of Lou Reed) as well as some country traits, Ivey manages to prevent the album from being overly anchored in the past. His classic sound and melodies quickly create a timeless effect. This is even more the case when Ivey really gets the ball rolling and lets himself loose rhythmically speaking (Hands Down in Your Pockets). A most charming voice albeit not the most original… © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 15 oktober 2020 | Anti - Epitaph

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Country - Verschenen op 14 oktober 2020 | Anti - Epitaph

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Country - Verschenen op 8 oktober 2020 | Anti - Epitaph

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Rock - Verschenen op 1 oktober 2020 | Anti - Epitaph

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Wereldmuziek - Verschenen op 29 september 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 25 september 2020 | Anti - Epitaph

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Alternative en Indie - Verschenen op 22 september 2020 | Anti - Epitaph

Hi-Res Onderscheidingen Pitchfork: Best New Music
The world changes. Fleet Foxes doesn’t. Which isn’t such a bad thing, seeing as Robin Pecknold and his hairy band members have mastered their craft. With this fourth album, coming fifteen years into their career, the sound is still the same for the Seattle-based harmonies-obsessed neo-folk group. Pecknold carries on the legacy of Crosby Stills Nash & Young, the Byrds and the Beach Boys on this album. More than he ever has before. But his distinguishable voice - and the almost spiritual reverb that surrounds it - is now a recognized and rather unique hallmark of his era. To prove he’s not a dictator, he hands the mic over to the young and little-known 21-year-old Uwade Akhere on the opening track Wading In Waist-High Water for a delicate and delicious antipasti. Though what follows, for the next hour, is pure Robin Pecknold. It’s a symphony that combines a solid Brian Wilson production with subtle songs with David Crosby-esque harmonic overtones (from the If I Could Only Remember My Name era, his crazy solo album). Shore doesn't change a thing. It simply comforts Fleet Foxes’ fans... and their foes at that. © Marc Zisman/Qobuz