Cerca:after work

After more than a year of strengthening our bodies through workout, our poetic endeavors via the discovery of our inner worlds, and also the life of plants and mushrooms, insects, arachnids, birds and wild mammals, after a year and a half that saw us in lockdown, shattered around the planet, after one a and a half year in which we deepened our production skills and also the meaningfulness of our work, Cómeme returns to a new planet with new music.

The beginning is this unique collaboration between Medellín based musician and DJ Julianna, and Matias Aguayo aka “The Don” himself.

In this deep therapeutical exploration of rhythm and sound, these artists established a magical dialogue on distance, leading up to this EP called “Que si el mundo”, roughly translated: “What if the world”.

Between soulful industrial expressions, emotional breakdowns but also discoveries free of any grids and algorithms, Julianna and Aguayo have created a beautiful piece of work, intense as the movements that we had to experience mentally and economically. “Que si el mundo” is state of the art electronic music of today, a work that is both introspective but also extremely open to the outside world and the universe. Compositions reminiscent of Coil, Angelo Badalamenti, Closer Musik, Steve Pointdexter or Mark Broom, shaped this EP that can be considered a short album in its conceptual layout and narrative. Let’s dive into it...

A1. Hiedra
One of the more danceable tunes, ideal for both a sensual warmup or the very late night to the rising sun sensitivity, is polyrhythmical melancholy and hypnotic inevitability, slow dance, deep trance.

A2. Primer Paso
A fat, slick and modern synth sequence, accompanied by heavy drumming and celestial drops that seem to fall onto the body of the listener or dancer, this post EBM stomper is a manifestation of elegant minimalism and reason. As if Liaisons Dangereuses reincarnated in a cloudy forest, to then pause towards the end of the track, with sentimental and gloomy synth chords that open the view towards the horizon.

B1. Que Si El Mundo
The title track keeps up the more melodic approach - somewhere between ambient, avant- garde and late night jazz. Morphing melodies that are both disturbing and soothing at a time encounter smooth free jazz drumming with drums that seem to have travelled from the sixties to today’s world.

B2. Bajo Tierra
This track continues the deep drumming experience that this record means, between laid back rides and intense taikoesque drumming. Distorted dark pads and subterranean choirs build up to a heavy sadness and intensity. Again, a therapeutical track to send those demons fly.

B3. Micelio
A more hopeful conclusion of the EP is “Micelio”. Open chords, soothing and melancholic, spread over profound drum grooves of champed and house. Nothing seems as it was before. A new life has begun.

The project ( nula.cc ) is the brainchild of intermedia artist Lloyd Dunn, a founding member of the Tape-beatles, and editor and publisher of the zines „PhotoStatic“ and „Retrofuturism“. It comprises hours of sound works, hundreds of photographs, travelogue essays, and similar digital artifacts, which often reflect the artist’s frequent travels and aesthetic thinking.

BELLS: In this unmanipulated recording, a performance of the bells of the Transfiguration Cathedral Spaso-Efimeyev Monastery in Suzdal takes place. Suzdal is one of the towns on the best-known tourist route in Russia, called the „Golden Ring“.

CICADAS: An annual brood of cicadas creates a dense sonic atmosphere from their treetop feeding zone, here recorded on a hot July afternoon in a forest near Lake Lisi, on a plateau overlooking the Saburtalo district of Tbilisi, Georgia.

2024 Repress

Cool - gelassen - überraschend: Volume 15 dieser superlativen Serie wurde wieder von Compost’s Mentor Michael Reinboth zusammengestellt. Das pralle Paket birgt 21 Tracks, davon 8 exklusive unveröffentlichte Delikatessen und gibt es als 4-LP / 2xCD. Viel Vergnügen.

Die exklusiven Tracks kommen von: Area (schätze, man kennt seine brillianten Innervisions Veröffentlichungen), Arnau Obiols & KAYYAK (schwer von Gilles Peterson gefeatured, ihre EP “Chang‘an” war in seiner 2021 top 5 Liste), Ron Deacon (gehört zur Workshop-Crew mit Move D, Even Tuell and Kassem Mosse), Class Compliance, oh man was für ein Hammer Track, Mille & Hirsch (Operatoren des feinen Polish Records - Labels), All Is Well (dahinter steckt natürlich Fred Everything), Ben Sturm (ein neues Talent aus Leipzig’s viraler Underground Szene) und Oliver Kieser (bestens bekannt als Teil von Kieser & Velten mit einigen Platten auf G-Stone).

Gut, schön, wie immer, fast alle Tracks sind wunderbare Hybride, perfekt für jedes eklektische Set, aber auch für den entspannten Genuss von Wein, Bier, härterem oder grünem Zeug. Vielleicht besonders zu erwähnen wäre der Esa Williams Remix von Bantu Clan Vs Sarabi and Kevin Yost’s Original Mix von “Another World”, die gab es so in den Versionen bisher nicht auf Vinyl.

Diverse Magazine haben die Future Sounds Of Jazz als eine der besten Compilation - Serien aller Zeiten gewählt. Wir sind geschmeichelt. Mit dem Start der Reihe 1995 wurde das Genre Future Jazz quasi aus der Taufe gehoben, unetabliert.

ACCIDENT IN HEAVEN was originally released in 1987 as a hand-made micro-edition of about 40 cassette tapes. It was only the third ever release on the short-lived now near legendary SDV label which had been established that same year by Konrad Kraft, Bernd Sevens and Dino Oon in Düsseldorf.

Finally finding a more substantial and appreciative audience on vinyl over 30 years after its original limited release, ACCIDENT IN HEAVEN is a strong testament to the explorative experiments of Detlef Funder a.k.a. Konrad Kraft, whose homebuilt studio sound attempted to bridge the clinical roughness of Severed Heads and the psychedelia of Coil with the density and force of industrial, post-punk and prototechno. Concurrent with his ever-expanding production skills, KONRAD KRAFT's sound work in the second half of the 80s stayed firmly rooted within a highly stylised underground spirit. Both his music and also the freshly launched SDV label first and foremost served as a medium for communication. The vital urgency of ACCIDENT IN HEAVEN underlines the record's core narrative which arguably sounds even more futuristic today than it did 30 years ago.

Hallmarks of ACCIDENT IN HEAVEN are an 8-track tape recorder, a Yamaha DX7 synth and a Roland 707 drum computer and the late 80s’ internationally ubiquitous shift from analogue to digital music production. Whilst its predecessor ARCTICA (another cassette-only release from 1986/87, previously reissued on TAL in 2018) was significantly more experimental and almost an in-between-states affair, ACCIDENT IN HEAVEN was the point at which Konrad Kraft really began to experiment with beat structures, sequenced synth pads and the framework of 'dance' music. However, the rhythmic elements are submerged so far beneath his expertly crafted drones it's almost impossible to label these sounds as “dancefloor oriented” work at all, as the tracks on the album joyfully disrespect the rules and boundaries of that or indeed any other genre.

ACCIDENT IN HEAVEN also epitomizes the decade's ending energy and sharp momentum with its successful merging of highly individual production and irresistible rhythm tracks.

The rich wealth of references is mirrored within the silhouettes and the graphics of the album’s unique artwork, which was created by Dino Oon. The new mastering has all sounds on ACCIDENT IN HEAVEN emerge in fresh shades and three dimensional plasticity, inviting the listener not to merely revisit the full palette of KONRAD KRAFT’s creation but offering an entirely new sound experience.

10” black vinyl with download code. File under: Indie, UK. It’s been four years since we last heard from Tigercats, with the 2018 album Pig City marking the expansion of their sonic palette from indie-pop and alt-rock, to include highlife, afrobeat, and scuzzy West African psych. The New Works EP is another step into the new for Tigercats, the sound of an increasingly political band, unbound by the records they’ve made previously, and enjoying the freedom of exploring and experimenting for these 5 new tracks. “We’ve been a band over 10 years and it felt like all of our previous recordings have been leading up to this one. After Duncan switched from guitar to kalimba a few years back, and we welcomed a horn section into the line-up, the sound has been getting denser and grittier, particularly live. With this recording we’ve finally managed to capture some of that energy on record.” The opening track New Work, a song about the relentless tyranny of labour in the 21st century, grows from the synth bass riffs and riotous brass lines with production inspired by industrial techno like JK Flesh, to display lyrical ferocity not often heard. The Space came together completely improvised in the studio, and reflects on the fight for space to create art - in a world fighting for your attention 24-7, and the depletion of available arts spaces. The intensity subsides for The Picture, a track whose origins date back to the writing of the band’s second record. More reminiscent of Tigercats’ indie credentials, drawing on the textures of Low or Yo Lo Tengo, it is developed here by a band confidently hitting their stride. New Works was written in 2019 and recorded at Lightship 95 on the Thames, and at Big Jelly in Ramsgate. Originally scheduled for a spring 2020 release, we’re excited to finally bring you these 5 tracks and the promise of a return to blistering live shows from Tigercats. Tigercats are a kalimba-led psychedelic pop band from East London. Having honed his songwriting craft in the short-lived but much much-missed Esiotrot, in 2010, Duncan Barrett went about forming a new band and recruited sibling/long-time producer Giles Barrett (bass), talented songstress Laura Kovic (keys), as well as Paul Rains (guitar, of Allo Darlin’). The band have performed throughout the UK and Europe and have supported The Wave Pictures, Allo Darlin and Darren Hayman among others. They have also performed at the End of the Road and Primavera Festivals and have appeared on Spanish TV (RTVE Radio3) and Indietracks. A tour of the USA and Canada included a headline appearance at NYC Popfest. New Works harks a return to Fika Recordings, having released the debut Tigercats album Isle of Dogs back in 2012, bookending albums with Fortuna Pop! (2014’s Mysteries) and El Segell Del Primavera (2018’s Pig City). Tigercats are: Duncan Barrett - Vocals, Kalimba. Giles Barrett - Bass, Production. Laura Kovic - Keys, Vocals. Paul Rains - Guitar, Vocals. Will Connor - Drums, percussion. Seb Silas - Baritone saxophone. Meridyth Dickson - Alto saxophone. Thom Punton – Trumpet.

The acclaimed Kito Jempere joins Cherrystones and DJN4 on the label for 2020, with an album full of international minds. Working with array of collaborators across a cast of friends including Jimi Tenor, Wolfram, Hard Ton, Lipelis, Rich Thair (Red Snapper), Ruf Dug, Cedric Gasaida (Azari & III) and many more, presenting this, his third long play.

A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.

Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.

A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.

Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

Burying '60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live setup is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, Lemons is the natural next step after his celebrated self-titled 2008 debut on Castle Face.

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

Emigrate. The one-time project has become more than that. Much more. The three studio albums, EMIGRATE (2007), SILENT SO LONG (2014) and A MILLION DEGREES (2018), prove that squarely behind Emigrate stands Richard Zven Kruspe – an extremely creative mind who needs the freedom to explore his music and his vision in ways outside of Rammstein. With Emigrate there are no limits, no barriers. Everything is possible, nothing held back, and it’s this ethos that underlines THE PERSISTENCE OF MEMORY, the new studio album, set for release on November 5th. THE PERSISTENCE OF MEMORY is a special jewel indeed, with the nine featured songs bringing together ideas that Richard has collected across the last two decades. Industrial Rock, Rock with electronic elements, however you choose to describe it, there’s no question that the songs here always contain a strong sense of melody, as rousing as they are deep. At one stage, it seemed that the tracks might be part of a bigger project – a vinyl box set of the first three albums with an additional LP included. On this bonus LP would be a selection of unreleased songs dating from 2001 right through to 2018. In the end, however, this material was considered too precious to sit beneath the ‘bonus’ heading, so THE PERSISTENCE OF MEMORY was born... Richard reacquainted himself with his hard drives, coming across ideas, songs and lyrics that deserved to be brought into the light, material too good to remain in the archives. He threw himself fully into the task at hand, as he always does, working on the basis that "A good idea remains a good idea”, and if he felt that there was more to be gained he was open to taking another look at the arrangements and the lyrics; new parts were also recorded here an’ there, after which the entire mix was given a fresh polish, ensuring that the nine songs have a contemporary yet timeless coat of paint. This time, Richard tried to keep things as simple as possible, allowing the creativity to flow, keeping his sights firmly set on pure, raw Emigrate songs. Says Richard: "These songs were created at a certain point in my life, but ideas don't have an expiration date. Sounds, lyrics and themes, on the other hand, do." "Freeze My Mind", for example, is one of the first Emigrate songs ever written, going right back to 2001. Now, 20 years later, it sounds fresh, of the moment, yet Emigrate through & through, something that is true of the album as a whole. Some of the elements are forged in a familiar heat, but these are married to new ways of working, new influences and challenges.

"When I was approached to participate in Monsterland I was immediately attracted to the idea of working on a series where horror, science fiction and gore could converge. I had never done music for a project like this before and the sole idea of venturing into some new playground immediately sparked my interest. And just after reading the first two episodes I realized I had to get involved in the project.

Several things connected with me deeply. I found in the stories elements that reminded me of the “magical realism” that I grew up with in Latin America through writers like Horacio Quiroga and Gabriel García Márquez. Also, the idea of tapping into a landscape in which fear and horror have a metaphysical quality connected to the psyche of the characters appealed to me.

Working with Juan Luquí was key in making this score. His capacity to deeply understand my vision and his masterful skills add another dimension to Monsterland. A land of monsters so human in nature, that in many instances seemed extremely and frighteningly familiar."

Composed by Gustavo Santaolalla
Artwork by Matt Ryan Tobin
Manufactured in Czech Republic

First released by Britain’s then foremost folk label, Transatlantic Records in 1970, Storyteller’s first album is a forgotten gem of Psychedelic Folk Prog Rock. Warm and silky production courtesy of Andrew Bown and Peter Frampton, fabulous dual vocals and a wistful arrangement of top-drawer UK Folk Prog, make Storyteller a diamond worth digging into. Around 1969, after being a part of the band The Other Two on Decca Records, working with people like Chuck Berry, Duane Eddy and Jerry Lee Lewis, and touring with Chuck Berry and The Animals, Caroline Attard joined a new band that was being formed; Storyteller. A quintet who followed their own inclination, ignoring current fashions and just doing what seemed to come naturally, Storyteller is a crate-digger’s delight. Up there with Fairport Convention, Jefferson Airplane and Steeleye Span, Storyteller were steeped in folklore tales such as on ‘Ballad Of The Three Laps’, bringing the true spirit of folk alive in their own unique way. With songs written primarily by Roger Moon, and Terry Durham as muse of inspiration with his paintings and wonderful Yorkshire stories, Storyteller’s debut has the authentic and honest vibe of the real McCoy. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

Over the last twenty years Comeback Kid have been hailed as one of the major counterparts when it has come to shaping and pioneering both the Canadian and international modern punk and hardcore sound and scene alike.
After having released their first demo in 2002, before quickly drawing the attention of Facedown Records for the release of their debut, Turn It Around, the last twenty-one years have seen the band produce some of the most acclaimed records within the genre. Signing to Victory Records (Thursday, Refused) for 2005’s career defining records, Wake The Dead and Broadcasting, the five piece have undoubtedly over the years been able to balance a DIY ethos and dependability, with that of a humanitarian ethos, and genre defining musicianship which has broken down the boundaries of hardcore, and transcended the genre onto a global stage. With a back catalogue that would produce some of the most seismic and influential anthems to transverse across both punk and hardcore, 2017’s signing to Nuclear Blast Records (Hatebreed, Madball, Slayer) saw the release of powerhouse heavy hitter, Outsider.
Arguably noted as a record and turning point in both sound and the band’s career, this release would be a definitive moment in pioneering a new path of which an entire generation of new artists within the genre would follow, thus solidifying Comeback Kid next to the likes of NOFX, Terror, and Converge as both major headliners, and forefathers to set the course for what it means to be one of the most adverse punk bands of the 21st century. “We’re a hardcore band, but we don’t feel like we belong to any particular sect of that,” states Neufeld alongside band members, Jeremy Hiebert (guitar), Stu Ross (guitar), Chase Brenneman (bass), and Loren Legare (drums). “We don’t want to be limited in any sense and prefer to work on our own terms.”
Now one of the most volatile leaders within the global heavy music community and continuing to break down boundaries and champion new territories, Comeback Kid’s seventh studio album, Heavy Steps is solidifying the band’s revolutionary status.
Returning to their roots, literally, by recording in Winnipeg and co-producing with John Paul Peters (Cancer Bats, Propagandhi) as well as collaboration with prominent mixer Will Putney (Knocked Loose, Every Time I Die, Four Year Strong), Heavy Steps is no longer a prerequisite to realizing Comeback Kid’s influence on modern punk, but a delivery of pure anthemic chaos, sheer speed and force. It is a statement of intent. “It’s about hitting the ground running, not knowing when or where the ground could break from underneath you.” summarizes Neufeld. “It's heavy steps on thin ice. Heavy steps on hollow ground.”

Pink Vinyl

Olli Aarni (born in 1988) lives in Helsinki. He has a Master of arts (Finnish language) from the University of Helsinki in 2016, makes sounds, music, video, sound poetry and other things. Does tricks on a skateboard. Works as a publishing editor, though quite selectively these days. "Loput" is his new album after releases on Longform Editions, Mappa, Ikuisuus, Aguirre Records (Lichen Gumbo) and many other labels.

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

REPRESS!

Marcos Valle - Mentira

Valle is a Brazilian singer, instrumentalist, songwriter and record producer of the highest order. His roots lie in Bossa Nova and he was one of the youngest talents in the scene, extensively touring the USA and residing there for many years. Valle's music crosses touches many styles including samba, rock, soul, jazz, boogie and disco.

Signed by Odeon in 1963, he recorded ten studio albums for them between 1964 and 1974. He also recorded for Verve, Warner and Som Livre among others.

Mentira is a re-record of his own song 'Mentira Carioca' - released four years earlier by Odeon - and appears on his 1973 LP 'Previsão Do Tempo' on Odeon.


Toni Tornado - Me Libertei

This is the second track that we have re-issued by the one and only Toni Tornado, master of Brazilian Funk.

His career began as 'Tony Checker', lip syncing to rock 'n' roll hits and touring extensively outside of Brazil. Whilst in New York he met Tim Maia and became involved in the 'Black Rio' movement. Toni also worked with Ed Lincoln and Antonio Adolfo amongst many others. He had a successful acting career and starred in many soap opera's.

It appears alongside 'O Jornaleiro' on his sought after BR-3 LP from 1971 on Odeon. 'Me Libertei' has never been released on a 7.