Search:3 in key

Kolosso, a sacrilegious mix of 808, Tap, Drill, and Bastard Jazz.
Founded in 2023 under the guidance of multi-instrumentalist and producer Davide "Kidd" Angelica (who has previously worked with Inoki,
Deda, Voodoo Sound Club, and others), the group brings together some of the most visionary musicians in Bologna's underground scene.
Their music explores the chaos of contemporary life, intertwining urban sounds and jazz languages in a continuous exploration of new sonic
perspectives and narrative horizons. The result is powerful and powerful live performances, complemented by rich, layered, and meticulously
crafted album productions.
OVER is the conclusion of Phase 1 of the Kolosso project: extensive underground work, in the studio and on stage, seeking a point of collision
between jazz and urban sounds, trap, drill, and grime. Worlds seemingly distant but united by a common drive: to transform the chaos of the
present into language.
OVER is an attempt to go beyond: beyond the patterns of composition, beyond the rules of production. A huge sonic puzzle constructed with
patience, instinct, and perseverance.
OVER is the raw power of a musical collective condensed into an album. A tamed energy, yes, but still radioactive, like uranium: unstable,
dense, alive.
Featuring: DJ Craim, Awon, Lauryyn, Pasquale Mirra
CREDITS
Davide Angelica: compositions, guitar, samples
Salvatore Lauriola: bass
Giuseppe Allotta: drums
Gioacchino Allotta: keyboards, synth
Gabriele Polimeni: trumpet
Federico Califano: alto sax
Matteo Diego Scarcella: tenor sax, flute
Jacopo Trapani: compositions, recordings, mixing
Francesco Brini: mastering

Adam Green"s new album is a flamboyant synthesis of his recent creative work, compiling the three EPs he released exclusively digitally over the last three years. Houseface University, Magic Spells / Vending Machine, and Falling Around finally unite into a single, coherent project: a singular work of incisive songwriting, lo-fi psychedelic pop, and poeticirony. A key figure in the New York anti-folk scene, the singer-songwriter, visual artist, filmmaker, and poet Adam Green has influenced an entire generation since The Moldy Peaches. His songs have been covered by Regina Spektor, The Libertines, Carla Bruni, and Will Oldham; his films and installations have been exhibited at the Beyeler Foundation and acclaimedby the international press. In 2023, the tribute album Moping In Style: A Tribute to Adam Green (featuring Father John Misty, Devendra Banhart, Sean Ono Lennon, and others) confirmed his enduring influence on the global indie and alternative music scene. With this new album, Adam Green continues his unique trajectory: an instantly recognisable visual and musical universe, somewhere between quirky pop and minimalist folk. One of his most accessible and accomplished albums.

This debut 12" is a real statement of intent from The Aries Project, aka the ongoing creative collaboration of Collin Suttles and moe.BPM. The sound is rooted in house music's classical values of inviting groove, heartfelt warmth and a sense of patience, but all shot through with a modern and cosmically minded confidence. The Jules.NYC dub of 'You Need A Rock' is pure peak-time persuasion, all forward momentum and locked-in swing, while 'Someone Who Dances' keeps things closer to the body, riding a supple rhythm with soulful ease. Flip it over and 'Keep Me' (Lucky.Moe dub) strips the palette back to let deep chords and spacious keys stretch out hypnotically. 'When I See You' with Toni's Son closes on a celebratory note and Latin disco energy in a deep house framework.

Banda Black Rio is a Brazilian musical group from Rio de Janeiro that was formed in 1976. They were one of the first to undertake the fusion of Essential Brazilian Music with International Black Music. The songs are based on funk but also including samba, jazz and Brazilian rhythms. Compared to other soul-funk groups, such as Kool & the Gang and Earth, Wind and Fire, Banda Black Rio developed a particular style of instrumental soul music fusing together elements from a number of genres. With saxophonist Oberdan Magalhães, trumpet player Barrosinho, Cristovão Bastos on keyboards, Claudio Stevenson on guitars, Jamil Joanes on bass and Lucio Silva on trombone. Arrangements are from Cristovão Bastos and Claudio Stevenson. The album “Saci Pererê” was originally released in 1980.

Somewhere between jazz, progressive rock and cinematic soundscapes, Kabasse unfolds a world of intricate arrangements, bold sonic textures and heartfelt improvisation. The brainchild of Munich-based musician Sigmund Perner (also member of Carpet), this sextet blends composed structure with free exploration, layering lush harmonies, unexpected rhythms and a rich palette of wind, mallet and keyboard instruments. What began as decades of musical ideas-gathered quietly, never written down-found its shape through a group of close-knit musicians from Munich and Augsburg, including Perner's own son on drums. Together, they recorded in a live studio session, embracing risk and spontaneity. The result: a deeply personal debut album that feels both mature and raw, contemplative and gripping. Rather than demanding attention, the pieces invite it: About Sitting on Fences captures the art of waiting-for ideas to grow, evolve and resonate. Just like the name Kabasse, inspired by the calabash: a vessel, a resonator, a home for sound.

In celebration of Arrow Films' new 4K restoration of the seminal hip hop film Wild Style, Azorean-Canadian producer and DJ Jorun Bombay steps up with a specially commissioned megamix cut across two sides of a 7”. Featuring recently discovered unreleased material, cut up with sections of the remastered soundtrack, expert turntablism, and added live instrumentation, Jorun shines a new light on this pioneering piece of hip hop history.

Having released music since the mid-‘80s on labels such as Soundweight, Diggers With Gratitude, and JBOR Records, Jorun also produces and scores music for film and television in the USA. He’s been hosting his influential DJ podcast ‘Funkbox Reload’ for over a decade, regularly showcasing his DJ and remixing skills, which have landed him several key production jobs, including for the documentary ‘Mixtape’ directed by Omar Acosta on Paramount Plus.

Threewave is the complete synth trilogy from 36 and it unites three releases into a single, evolving statement shaped over five years. Spanning the Wave Variations, Symmetry Systems and Reality Engine releases, the project is rooted in self-imposed limitations and a carefully refined melodic palette that gave rise to a suite of interconnected transmissions. Minimalist sketches give way to warm, AI-era-inspired nostalgia, but always grounded by a distinctly human sensibility. Melancholic keys and glowing atmospheres balance precision with emotion before expanding into themes of perception, artificial intelligence and imagined realities. Together, these works make for a defining chapter in 36's partnership with the legendary Past Inside the Present.

Soul-Funk-Disco-grail officially reissued for the first time by Backatcha Records. Recorded and released in 1981, Stars' core line-up consisted of the musicians from Aura (‘Freex’, ‘Last Stop’, and ‘Sunshine Love’). “Stars was a band name and not a band”, explains keyboard player Steven Young. It was a studio group made up of mostly players from their neighbourhood band Hooker in Corona, Queens, that’d performed on the New York live circuit since the early 1970s. At the helm of Starbase Sounds was the Cadle Brothers trio: producer Ray Cadle, bassist Jules Cadle, and an older brother as financial backer, leading to the creation of the short-lived Starbase Sounds label. It released a total of four singles, including this rare 45 bomb, and three previous singles from The Freex Machine and Aura, all equally prized and sought after, and all reissued for the first time by Backatcha Records.

Reissue 2026

"Call Me" is an electronic/house track by DJ Dino (Dino Lenny) on Nu-Tella Records, released in 2003.

It's praised for its deep, emotional, and melodic atmosphere, occasionally shifting from darker tones to uplifting major keys,

recalling classic electronic sounds with modern touches, though specific aggregate scores are scarce.

Official 2026 reissue includes, in addition to the original and remixes by Par-T-One and Santos, the previously unreleased version by Walterino.

Mixes completely remastered by Gianni Bini at HOG Studio.

We Jazz Records kicks off their new series of archival 7" releases with Esa Pethman "In Belgium 1967" released 23 September 2022. The two-tracker is licensed from the Belgian VRT radio archives and both of the pieces are previously unreleased. Finnish jazz legend Pethman, heard here on alto flute and tenor sax, joins forces with European jazz greats such as Heinz Bigler, Uffe Karskov and Jean Fanis. This is a small but valuable piece of unheard European jazz history from the early heyday of modern jazz. The physical release is a quality "inside-out"-styled EP with 3mm spine and small center hole on the 45rpm vinyl.

An excerpt from the liner notes by Mikko Mattlar:

"Esa Pethman (b. 1938) was one of the key figures of modern Finnish jazz in the 1960s. His album The Modern Sound Of Finland was the first Finnish modern jazz album and his composition "The Flame" a true modern Fenno-jazz evergreen.

Pethman was born in Kuusankoski, 135 kilometres from Helsinki in the Kymenlaakso area. The jazz scene was active even though it was an area of rural landscapes and paper mills. Pethman discovered jazz when he heard a Charlie Parker record being played at a local music shop in the late 1940s. Following Parker, bebop became his favourite style of jazz.

Young Pethman played flute and saxophone in local bands who accompanied schlager singers. They played tangos and waltzes for dancers, but usually started a typical dance event with an hour of jazz. In 1959 Pethman moved to Helsinki to study music at the Sibelius Academy. Back then it was a strictly classical music academy, but Pethman later described the studies as crucial for his development and career. He quickly made his way to studio sessions and into the best orchestras in Helsinki.

As a student of composition, Pethman also began writing his own music. "The Flame" was a melody he just got on his mind one night, and he decided to write it down. The catchy composition was released as a 7" single in 1964, a year before Pethman's debut album. Both records stand as benchmarks for modern Finnish jazz. The album consisted entirely of Pethman's compositions, not versions of jazz standards like a lot of the Finnish jazz released until then.

In the mid 1960s, Finnish jazz was also taking its first international steps. Pethman's quintet took part in the first Montreux Jazz Festival in Switzerland in June 1967. At the Montreux jazz band competition, the quintet came in fourth of the twelve contestants. Despite not winning the competition, the band got an honourable mention, and Pethman was now recognized outside Finland.

In December 1967 Pethman travelled to Brussels. His visit was organised by the national Finnish broadcasting company Yleisradio and their jazz program producer Matti Konttinen. Konttinen was supposed to go to Brussels with Pethman, but the musician ended up traveling alone.

In the Decca recording studios Pethman played two songs. He recorded a version of his most famous composition "The Flame", where he played the alto flute and was accompanied by Belgian musicians. On Swiss saxophonist Heinz Bigler's composition "Like Steel", Pethman played the tenor saxophone. The band was now more international, consisting of Bigler, the Italian Francesco Santucci, the Dane Uffe Karskov, a Belgian rhythm section and Pethman. After 55 years, Pethman still remembers Bigler's remarkable skills as a saxophonist.

The two-day visit included the recording session, a dinner and a concert. Pethman and the other non-Belgian musicians came to Brussels mainly to play at a jazz concert organised by the European Broadcasting Union EBU. They played at the studio first, and the concert was held the following day. Pethman and all the other soloists played as members of an international big band. The studio and live session were produced by the Belgian Radio and Television jazz section leader Elias Gistelinck."

Sluta Leta first emerged in the mid-1990s with a series of EPs on legendary labels such as Mego (Fan Club, 1995), Uptight (Space Is The Place, 1996), Cheap Records (Lisa 94, 1998) and Chocolate Industries (…If You Like Champagne On Ice?, 1999). After the release of Sluta Leta's debut album “Semi Peterson” on Mego in 2003, the group somehow got lost in Second Life. Having missed a good decade and a half but not a beat, Sluta Leta unexpectedly reappeared in 2020 with a new album – “Entrée Contrôle” produced by Andi Pieper and Ramon Bauer with a little help from Gerhard Potuznik – released on famersmanual’s generate and test label.
Almost 30 years after their first release on Cheap Records (Lisa 94 in 1998), Sluta Leta returns to the Viennese cult label with their new album “Drift Dekoder”. Andi Pieper and Ramon Bauer have once again teamed up with Gerhard Potuznik to produce some crispy new songs that are bound to set the tone for the second half of the 2020s and beyond. On “Drift Dekoder”, the inherently artificial and somewhat otherworldly atmosphere of Sluta Leta’s songs is enhanced by the participation of several brilliant collaborators: vocals by Gerhard Potuznik on “Moment Eternal” and a duet with Luise Nehl on “Past In Reverse”, drums by ddKern (Past in Reverse, Björn i Fårkläder and Rymdpatrul), keys by Philipp Quehenberger (Björn i Fårkläder) as well as vocal contributions from various previous band members – Jonas Bergkvist (Tidsflayer), Bengt Liljstad (First Order) and Yngwie Moskowich (Driftstopp). A particularly noteworthy highlight of the album is the mix of “Tidsflayer” by Finlay Shakespeare.
Stop looking, start grooving! Written and produced by Andi Pieper and Ramon Bauer.
Lyrics and vocals on “Past In Reverse” and “Moment Eternal” by Gerhard Potuznik. “Tidsflayer (Finlay Shakespeare Mix)” mixed and produced by Finlay Shakespeare.

Mit Laughter In Summer präsentiert die legendäre Singer-Songwriter-Ikone Beverly Glenn-Copeland (bekannt durch das Kultalbum Keyboard Fantasies) ein zutiefst berührendes neues Werk – entstanden in Zusammenarbeit mit seiner Partnerin, der Künstlerin und Produzentin Elizabeth Copeland. Das Album ist ein musikalischer Liebesbrief, der Erinnerung, Hingabe, Verlust und Freude miteinander vereint.
In neun emotionalen Songs – allesamt in One-Takes aufgenommen – entfaltet sich eine außergewöhnliche Intimität, getragen von Glenns charakteristischer Stimme, warmen Chorarrangements und einem unverwechselbaren Gefühl spiritueller Verbundenheit. Der Sound reicht von kontemplativen Balladen wie „Children’s Anthem“ bis zu leuchtenden, hoffnungsvollen Momenten wie „Let Us Dance (Movement One)“.
Produziert wurde das Album von Elizabeth Copeland und Alex Samaras (Hotel2Tango / Howard Bilerman). Es folgt auf Glenns gefeiertes Album The Ones Ahead (2023) und seine Zusammenarbeit mit Sam Smith für Ever New (2024).
Laughter In Summer erscheint auf rosefarbenem Vinyl, als limitierte Dinked Edition auf milchklarem Vinyl inklusive Bonus-7" mit Coverversionen von Marvin Gaye – „What’s Going On“ / „Save The Children“ – sowie digital und auf CD.
Für Fans von Alice Coltrane, Terry Callier, Joanna Newsom, Sam Amidon und spiritueller Folk-Avantgarde.

Konfiguration: 140g Pink 12" vinyl, 3mm spined sleeve, Gloss machine varnish, 12" printed insert, Gloss machine varnish

A pandemic album of songs of heartbreak, virality, and dead rats, which Wood called "goodbye cruel world: the musical." The revealing chamber pop/folk album "In Case I Make it" (ICIMI), which Will Wood playfully dubbed "Goodbye Cruel World: The Musical," turned out to be a surprisingly strong followup to his chaotic and sardonic previous release, "The Normal Album." While divisive among some fans due to its gentler sounds and more traditional vocal stylings than most of his last work, ICIMI attracted new, older audiences and showed a more personal side that provided a new context to his discography. Widely considered to be some of his most powerfully emotional work, both the harshly introspective and humorous songwriting, as well as its unique delivery, are still distinctly Will Wood in their experimental nature and uncompromising unwillingness to conform to the expectations of both die-hard fans and audiences at large. In 2021, the underground singer-songwriter was suddenly the subject of unexpected online attention, which, in tandem with mental health struggles, inspired him to put out a "musical suicide note," intended to express parts of his artistic and personal identity that had gone largely unseen by a fanbase he felt misunderstood. Leading the album with intentionally algorithm-unfriendly singles and putting an eight-minute love ballad as the second track on the LP, Wood aggressively redefined himself as being more than just a handful of wacky, unwitting viral pops. Ironically, the surprise viral success of the deep cut "The Main Character," a relentless satire of online culture, drew attention to the album and its second biggest hit, the angst-ridden yet danceable "Against the Kitchen Floor." However, the immense orchestration and vulnerable writing have kept audiences coming back. Songs like "Euthanasia" and "Tomcat Disposables" have developed reputations as tearjerkers, and songs like "Cicada Days" and "White Noise" have become fan anthems in the years since.

Auf seinem neuen Album "Chopin Orbit" eröffnet Piano-Shootingstar Hayato Sumino einen ganz eigenen musikalisch Kosmos rund um den berühmten Komponisten Auf dem konzeptionell vielfältigen und emotional bewegenden Album, stellt der weltweit gefeierte japanische Pianist und Komponist Hayato Sumino (alias "Cateen") die Musik von Frédéric Chopin in den Mittelpunkt und baut seinen ganzen eigenen musikalischen Kosmos darum auf. Frédéric Chopin, der zu Hayato Suminos Lieblingskomponisten gehört, ist seit Langem eine treibende Kraft in dessen künstlerischen Leben. Diese Verbindung wurde erstmals während seiner vielbeachteten Auftritte beim Internationalen Chopin-Wettbewerb 2021 deutlich und kommt nun in "Chopin Orbit" voll zur Geltung. Zum Programm gehören Chopins Polonaise-Fantasie op. 61, Nocturne Nr. 20 in cis-Moll, Berceuse Des-Dur op. 57 und das "Regentropfen"-Prélude op. 28 Nr. 15. Daneben stellt Hayato Sumino eigene Werke wie "White Keys" und "Post Rain", als auch Stücke von so unterschiedlichen Komponisten wie Thomas Adès, Leopold Godowsky und Leoš Janáček, die Chopins Einfluss über Generationen hinweg unterstreichen. Hayato Sumino erklärt dazu: "Für mich war Chopin schon immer wie ein Idol, und seine Musik liegt mir seit meiner Kindheit sehr am Herzen. Als ich mich als Musiker weiterentwickelte, wurde mir bewusst, wie natürlich sein Einfluss in meine eigenen Kompositionen einfloss. Irgendwann dachte ich mir: Warum nicht ein Album mit Chopin als Mittelpunkt aufnehmen? Dieser Moment war der Ausgangspunkt für dieses Projekt. Meine Stücke entstanden aus der Inspiration durch Chopins Werke. Manchmal zitiere ich ein Motiv oder verwende eine Melodie, aber ich habe nie einfach versucht, 'im Stil von Chopin' zu komponieren. Ich wollte vielmehr seinen Geist mit meiner eigenen modernen Sensibilität und Kreativität verbinden."Und weiter: "Der Titel 'Chopin Orbit' spiegelt diese Idee wider. Ich habe Chopins Musik in den Mittelpunkt gestellt, und von dort aus nehmen verschiedene Reaktionen und Ableger Gestalt an - als würden sie von seiner Schwerkraft angezogen und bildeten ihre eigenen neuen Umlaufbahnen. Aus Respekt vor Chopin ist jedes meiner Stücke mit dem Original gepaart, das es inspiriert hat, sodass das Album abwechselnd seine Werke und meine Reaktionen darauf präsentiert.""Chopin Orbit" folgt auf das gefeierte Sony-Debütalbum "Human Universe" dieses außergewöhnlichen jungen Musikers, das im November 2024 bei Sony Classical erschien und auf dem Sumino mühelos ein vielfältiges Repertoire von Bach bis Zimmer sowie einige seiner eigenen Kompositionen präsentierte. Für das Album und seine herausragenden Leistungen als Pianist erhielt Hayato Sumino als erster Künstler überhaupt gleich drei Preise bei der Opus Klassik Preisverleihung 2025. Wie schon auf "Human Universe" kombiniert Hayato Sumino auch auf "Chopin Orbit" unterschiedliche Klaviere und Flügelklänge bei der Aufnahme.Das Album "Chopin Orbit" erscheint als CD und Doppel-Vinyl.

Islaja presents her new album ”Angel Tape”, her debut release on the new Helsinki-based label Other Power. Drawing inspiration from childhood epiphanies while listening to an alleged recording of angels singing, Islaja has crafted an album that stands out as a major work in her expansive and celebrated catalogue, which includes previous releases on labels such as Ecstatic Peace!, Fonal and Svart.


Islaja, aka Finnish artist Merja Kokkonen, describes her new album as a “counterwork” to her most recent albums, where the mode of composing was more song-based. This time around, she goes more in the direction of vast fields of sound where the human voice is a key ingredient of music that breaks free of strict stylistic guidelines and traditional song forms. Rough around the edges, atonal and otherworldly, "Angel Tape” is the result of a lifetime of inspiration from something beyond the immediate realm of our experience, an attempt to catch the elusive essence of musical otherness.


”As a child, I listened to the ’angel tape’ my mother played, and I never thought that the human voices I heard on it were angels singing. Instead, all the aural debris lying just beneath the surface caught my attention as I thought it was mysterious and something from a different world than ours, and so that was probably what was referred to as the ’angels’ so miraculously caught on tape”, Kokkonen explains. ”I think this was one thing that led me on this lifelong quest to find new sounds and forms in music.”



The tape she is referring to, a mid-80s church recording, was passed around in religious circles. Each time the tape was copied, it became slightly more distorted. It was believed that this recording of religious music had accidentally captured for the first time the voices of actual angels singing. The tape was rumoured to have originated in Kansas City and to have made its way to Finland.


Whereas Islaja has often thought of albums as being collections of recent songs presented together, ”Angel Tape” has a strong sense of conceptual coherence. The music comes from a place. That doesn’t mean that one must take a single path from one place to the next, as close listenings of the album reveal layers upon layers of not only sound but also of mood and meaning. From the human voice in its barest form, to the rising dense walls of sound moving and reshaping, ”Angel Tape” is a captivating album that unveils new contours with each repeated listening.

Drummer/producer Teppo Mäkynen's 3TM returns with a new album, "Lake", on 29 November on Helsinki's We Jazz Records. The album is the much awaited follow up to 2017's successful 3TM debut "Form", which was awarded as the "Jazz Album of the Year" in Mäkynen's native Finland. "Lake" was preceded by the ambient electronic album "Abyss" in August, which set the mood for what's to come next: A compact yet far-reaching body of work bringing together the trio's acoustic jazz sound and ideas rooted in abstract electronic music in a remarkably boundless way.

"Lake" is a collection of 9 Mäkynen-penned originals ranging from the looping, hypnotic compositions such as first single "Laws Of Life" to the delicacy of tracks such as "Woods". There is a sense of long form narrative here, evident in glorious, slowly evolving tracks such as "Lake" and "A Pile Of Broken Dreams". The overall sound is swinging, melodic, deep and futuristic. It's acoustic jazz and abstract electronic music understood deeply and used as the base of a new sound, which goes beyond the usual distinctions of "acoustic jazz" or "electronic music". This is music for the present day, moving forward.

3TM's "Lake" will be available as white and black vinyl versions, complete with printed inner sleeve featuring Mäkynen's essay about the theme of the album. On vinyl, "Lake" will also be available as a 2LP bundle with "Abyss", and the CD version includes both discs, "Lake" and "Abyss".

In the 3TM trio formation Mäkynen is joined by sax man Jussi Kannaste and bassist Antti Lötjönen, both Finnish scene mainstays. The band will celebrate their new release at Helsinki's We Jazz Festival on 7 December.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.