Death Row Records

The seeds of Pacific Gas & Electric were sown in Los Angeles back in 1966 when self-taught guitarist Tom Marshall formed Bluesberry Jam, whose ranks included drummer Charlie Allen. Allen turned out to be such a fine vocalist that he ended up becoming the frontman; his drum chair was filled by Adolfo de la Parra in 1968. Later that year, de La Parra left to join Canned Heat, replacing Frank Cook who then joined Bluesberry Jam. After adding guitarist Glenn Schwartz and bassist Brent Block later in 1968, the group changed their name to Pacific Gas & Electric.
Their first album, Get It On, was released by Kent in 1968, but failed to make much of an impact. However, following their appearance at the Miami Pop Festival in late 1968, Pacific Gas & Electric signed with Columbia, who released Pacific Gas & Electric in 1969…

The seeds of Pacific Gas & Electric were sown in Los Angeles back in 1966 when self-taught guitarist Tom Marshall formed Bluesberry Jam, whose ranks included drummer Charlie Allen. Allen turned out to be such a fine vocalist that he ended up becoming the frontman; his drum chair was filled by Adolfo de la Parra in 1968. Later that year, de La Parra left to join Canned Heat, replacing Frank Cook who then joined Bluesberry Jam. After adding guitarist Glenn Schwartz and bassist Brent Block later in 1968, the group changed their name to Pacific Gas & Electric.
Their first album, Get It On, was released by Kent in 1968, but failed to make much of an impact. However, following their appearance at the Miami Pop Festival in late 1968, Pacific Gas & Electric signed with Columbia, who released Pacific Gas & Electric in 1969…

KAMBRIUM are not bound by stereotypes within the metal genre; they prefer instead to tread between these expectations and find themselves equally and comfortably at home within each of the styles that they have chosen to embrace. The result is a sound, crafted with elements of death, melodic and symphonic metal – everything the heart of a metal fan desires. …

We don’t normally expect prisons to play a role in the history of music. But with the blues, it’s not just drinkers, ramblers and vagrants who take a starring role, but also convicts. The blues grew up not only in plantations but in prisons.

Ever since the band's founding in late 2004, AHAB have been exploring the deep dark sea, while becoming the true masters of solemn melancholy. Not only did the four-piece create their very own subgenre, Nautic Funeral Doom, but never has pessimism sounded so beautiful. AHAB's impressive live show at Death Row Fest 2017 in Jena, Germany was recorded by the festival's in-house sound engineer, who handed the band their footage on a USB-stick after their intense and memorable gig. Now, and as a special highlight in the band's history mastered by Role Wiegener at Tonmeisterei, AHAB have chosen a finest selection of live tracks, originally released on their pathbreaking, 2006 album, The Call of the Wretched Sea! Live Prey, the first live release by the nautical doom heavyweights, is gracefully nestled in between slow-motion grooves, big riffs, and haunting melodies accented by the angelic but guttural vocals of Daniel Droste, in an apocalyptic live sound as you would experience it only from the front row at an AHAB show. Featuring five blackened doom anthems such as “Below the Sun”, the majestic beast “Old Thunder”, or the almost 17-minute long magnum opus “The Hunt”, Live Prey is the ultimate live record by the undisputed sailors of slow heaviness! An indispensable must-have album that belongs in every well-sorted Doom, Black Metal, and especially AHAB record collection.

A young couple is brutally killed, and the convicted murderer, Joseph De Rocher, sits on death row. Sister Helen Prejean agrees to be his spiritual adviser. As she meets his family, and the families of his victims, she begins questioning every attitude she has about how human beings treat each other. Based on real-life events, Jake Heggie’s music and Terrence McNally’s libretto explore the nature of friendship and forgiveness in the most profound ways. Hugely acclaimed in major houses internationally, Dead Man Walking is widely acknowledged as one of the most riveting operas of the 21st century. It simply demands to be seen.