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GER JUNG IN WIEN - NEUE JANGLE-POP GRUPPE MIT 80ER INDIE WAVY VIBE. IHRE ERSTEN BEIDEN MINI-ALBEN "TROUBLE" & "LIGHTNING TRAILS" JETZT AUF EINER LP. "Der gerade erst volljährig gewordene Tobias Hammermüller steht für weichgespülten Bedroom-Wave und formte für sein Debütalbum auf Siluh Records die Band Laundromat Chicks." (THE GAP) - Hinter dem Namen LAUNDROMAT CHICKS verbirgt sich das Musikprojekt von TOBIAS HAMMERMÜLLER, der gerade 19 Jahre alt geworden ist. Nach dem selbstproduzierten Debüt "Trouble" haben die LAUNDROMAT CHICKS ein neues Album vorgelegt, das deutlich ruhigere Töne anschlägt. "Lightning Trails", das Band-Mastermind Tobias Hammermüller zusammen mit Martin Rupp (Jansky) produziert hat, ist ein folkiges Manifest für die leisen Töne geworden, die wir dringend brauchen. Beide Alben sind jetzt auf einer LP verewigt. Seite A mit dem eher ruppigeren "TROUBLE", auf der B-Seite das folk-inspirierte Kleinod "LIGHNTING TRAILS" "Lightning Trails" ist ein Meisterwerk an Musikalität und Zurückhaltung zugleich, eine Ode an die Verträumtheit und Nachdenklichkeit in Zeiten des Aufruhrs und der aufeinanderprallenden Ideologien. Es ist eine Einladung, aus dem Fenster zu klettern und eine aus den Fugen geratene Welt von einem versteckten Sims aus zu betrachten. Wie das Nachglühen eines Blitzes auf der Netzhaut, in der nahen Ferne." (Paul Buschnegg) Für Freunde von PASTELS, THE RADIO FIELD, THROW THAT BEAT, COMET GAIN, UK-Indie, Teen Angst, Twee-Pop...



[ENG] BEING YOUNG IN VIENNA - NEW JANGLE-POP GROUP WITH SOME 80S INDIE WAVY VIBE. THEIR FIRST TWO ALBUMS "TROUBLE" & "LIGHTNING TRAILS" ON ONE LP "Conversational lyrics depict a night on the phone amid claustrophobic misgivings and obsessive mental wanderings. Energetic, bittersweet sentiments ignite wandering clusters of shimmering strumming riffs and jangly wistful guitar melodies to weave swaying paths of vibrant nostalgia through low pulsing bass lines, skipping drumbeats, and pinpoint synth stabs to accompany heartfelt yet angsty vocal harmonies, haloed in distant echoes of doubt, through a sad discomforting timeline of uncertainty and dread." (WHITE LIGHT / WHITE HEAT) Behind the name LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 19. After their selfproducued debut "Trouble", LAUNDROMAT CHICKS has presented a new album that touches on much quieter tones. "Lightning Trails", which band mastermind Tobias Hammermüller produced with Martin Rupp (Jansky), has become a folky manifesto for the quiet nuances that we desperately need. Both albums are now immortalised on one LP. Side A with the rather rough "TROUBLE", on the B-side the folk-inspired gem "LIGHNTING TRAILS". "Lightning Trails is a masterpiece of musicality and restraint at the same time, an ode to dreaminess and thoughtfulness in times of turmoil and clashing ideologies. It is somehow an invitation to climb out the window to view an unhinged world from a hidden ledge. Similar to the afterglow of a flash on the retina, in the near distance." (Paul Buschnegg) RIYL Pastels, The Radio Field, Throw That Beat, Comet Gain, UK-Indie, Teen Angst, Twee-Pop...

Oneohtrix Point Never aka Daniel Lopatin stellt sein neues Album AGAIN vor, das für ihn zum Teil 'eine spekulative Autobiografie' ist, eine Übertragung, ein gebannter Rückfluss digitaler Sprachen und Klangparanoia, dessen, woran man sich erinnert und was vergessen wird, alles präsentiert in der für OPN typisch melodischen Note. Ähnlich wie GARDEN OF DELETE aus 2015 entstand auch AGAIN als Zusammenarbeit zwischen Lopatins aktuellem und jüngerem Ich – diesmal als Meditation über seine musikalische Identität im jungen Erwachsenenalter aus der Perspektive des mittleren Alters. AGAIN folgt auf die zahlreichen von der Kritik gefeierten OPN Alben, die ihm renommierte Kollaborationen (The Weeknd, James Blake, Ishmael Butler, Charli XCX, Kelsey Lu, Iggy Pop, Rosalia) und Produktionsaufträge (Anohni, FKA Twigs, David Byrne, Ryuichi Sakamoto, Moses Sumney, Nine Inch Nails) einbrachten.

"Creating this record took me around 2 years, I was moving quite a bit, without a steady working or living space, travelling and playing live again for the first time since the pandemic. At first there was creative insecurity and many abandoned ideas, I wanted to make something special for YUKU but everything felt dry and soulless. In my head this was supposed to be a dancefloor record, but this idea quickly became an obstruction in my creative flow.

During this time I started learning modular synthesis, and although there was definitely a learning curve this method of making music gave the record direction and refreshed my way to approach composition. It is also very fun to learn. What came out is a collage of sorts that is more honest and reflective of my emotions and those of the people and spaces that I have exchanged with. Thanks to YUKU and the amazing people that took part in this record and in my life in the past two years. Hope you all enjoy."

- Joaquin Cornejo

• It was standard practice in the 1960s for British beat groups to pepper their repertoires with American R&B songs. Formed by five music-loving schools from Blackpool, the Missfits were no exception. Although they group released no records during their time together, for two brief years they were the toast of Blackpool clubland. They played at the same veues as local bands such as the Rockin’ Vickers, including some gigs at the famous Oasis Club in Manchester and at the short-lived Blackpool branch of the Twisted Wheel.

• In February 1964, they won a recording test in a talent competition and travelled to London that summer to commit some of their favourite songs to tape. The tape reel was soon forgotten and thought lost but Janet had thankfully kept it safe, enabling the appearance of the four tracks on this 60s-style vinyl EP. Drummer Janet Baily provides lead vocals on their version of John Lee Hooker’s ‘Dimples’, and bass player Pauline Moran sang lead on Bo Diddley’s ‘You Can’t Judge A Book By The Cover’, Chuck Berry’s ‘I’m Talking About You’ and Ray Charles’ ‘What’d I Say’, with guitarists Andrea Hine, Carola Daish and Liz Hall joining in on backing vocals.

Maurice Louca & his band Elephantine announce Moonshine, shining brightly with a live, raw, collective sound. Maurice Louca's band is incredible: double drummers Tommaso Cappellato & Özün Usta, Piero Bittolo Bon on alto, Daniel Gahrton on baritone and Isak Hedtjärn on clarinet, Rasmus Svale Kjærgård Lund on tuba, Rosa Brunello on bass, Els Vandeweyer on vibraphone, Louca on guitar/lap steel/synth.

As Asher Gamedze puts it in his essay: "Abstract territories of freedom, always grounded, expansive, multiple, internally differentiated, and elephantine."

One of the most gifted, prolific and adventurous figures on Egypt's thriving experimental arts scene, Louca has in recent years garnered a global reputation through three previous solo albums and an expanding, evolving lineup of genre-defying collaborations. The Wire called his 2014 sophomore solo effort, Salute the Parrot, "remarkable music-dense, driven and splashed with colour.

For Louca, Elephantine serves as both the pinnacle of his wide-ranging experience and a bold next step in his development as a composer, arranger and bandleader, from Cosmic Jazz, African and World music to transcendental modal traditions. The music-from its pensive lulls through its stretches of hard-grooving hypnosis and moments of avant-jazz.

Although both tracks are credited to Joe Gibbs, many believe the A side “People Grudgeful” was sung by The Ethiopians whilst the B side “Pan Ya Machete” was performed by The Pioneers.

“Grudgeful” though does not really sound like The Ethiopians and according to Trojan, both sides were performed by The Pioneers.

Which makes sense for several reasons. Firstly, the sound of the song is indeed more reminiscent of the Pioneers/Joe Gibbs work of that time.

In fact The Ethiopians did not record with Joe Gibbs, with the exception of The Ring which was released in 1972, four years later,

while the Pioneers were routinely involved with Gibbs in 1968.

Last but not least, The Ethiopians had no beef with Lee Scratch Perry whilst The Pioneers songs were clearly incriminated by Scratch in his hit song “People Funny Boy”.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle.

Für das Album “Pre-Bird”, das später auch eine Zeit lang unter dem Titel “Mingus Revisited” zirkulierte, hatte Charles Mingus ausschließlich Musik aufgenommen, die komponiert worden war, bevor er das erste Mal Charlie Parker gehört hatte. Die Aufnahmen entstanden im Mai 1960 bei Sessions mit zwei Ensembles, die mit Stars gespickt waren: einem bunt schillernden 25-köpfigen Orchester und einem wendigeren Tentett.

Neben sechs älteren Kompositionen von Mingus standen zwei kontrapunktische Arrangements von Stücken aus der Swing-Ära auf dem Programm.

The mystery continues to deepen, as you hear whispers beckoning you out to the sea...

After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.

Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.

A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.

"Hate Campaign" aus dem Jahr 2000 ist das fünfte Studioalbum der schwedischen Death-Metal-Legenden DISMEMBER und war damals die letzte Platte bei Nuclear Blast. Es blieb der Tradition der Gruppe treu: Riff-getriebener, manchmal melodischer, oft grooviger, immer effizienter Death Metal der alten Schule. Mit 'Beyond Good and Evil', 'In Death's Cold Embrace', 'Patrol 17' oder dem Titeltrack enthält auch "Hate Campaign" einen ganzen Strauß starker Songs.

Mareridt (übersetzt: Alptraum) ist das mit Spannung erwartete zweite Album der renommierten dänischen Komponistin und Multi Instrumentalistin MYRKUR.

Aufgenommen zwischen Kopenhagen und Seattle mit dem Produzenten Randall Dunn (Marissa Nadler, Earth, Sunn O))), Boris, Wolves In The Throne Room), ist Mareridt eine reiche Gegenüberstellung von Dunkelheit und Licht, Mond und Mutter Erde, die Hexe und der Heiligen. MYRKUR erforscht tiefer das Mysteriöses und das Weibliche mit 11 Tracks, die ihre visionäre Mischung aus Metal mit wunderschönen, mitreißenden Melodien, düsteren Folk Passagen, Chor-Arrangements und großartiger,schauriger Schönheit beziehen. Die Texte in mehreren Sprachen, die unvergessliche Zusammenarbeit in mehreren Sprachen, eine unvergessliche Zusammenarbeit mit Chelsea Wolfe und eine Reihe von Instrumentierung, darunter Violine, Mandola, Folk-Trommeln, Nyckelharpa (eine alte schwedischeHarfe) und Kulning (ein alter skandinavischer Hirtenruf). Mareridt ist eine tiefgründige Manifestation von Albträumen, die MYRKUR als einen der wirklich außergewöhnlichen Künstlerinnen unserer Zeit etabliert.

Mit der Veröffentlichung ihres neuen Albums Folkesange hat sich Amalie Bruun auf eine Reise in das Herz der skandinavischen Kultur, die ihre Kindheit geprägt hat begeben. Folkesange verzichtet auf Black Metal für eine raffinierte und doch weitreichende Beschwörung traditioneller Folklore, die alte und neue Lieder zu einem sublimen Resonanzeffekt verschmilzt.

The South London formed in 2017 as a duo of bassist Josh Longman and guitarist Frank Wates, they then recruited vocalist Jenna Kyle before reaching their final form at the start of 2021 with the recruitment of drummer Kieran Weston.

After releasing three EPs, they are now gearing up for their debut album Lost In A Rush Of Emptiness, where the band felt free to experiment, always keeping true to their alternative nature. The songs on it are packed with widescreen, dreamy soundscapes that pushed their aesthetics forwards and continued the experimentation that exists at the heart of the project.

This album was recorded in 1983 in Copenhagen and earned superlative reviews all over the world.

"Tenorman Eddie "Lockjaw" Davis had already been a potent force in jazz for 35 years when he recorded this set but as it turned out his SteepleChase date (his next-to-last session) was one of the strongest of his career. Accompanied by a trio led by pianist Kenny Drew, Lockjaw really tears into these standards which are highlighted by "I Only Have Eyes for You," "There Is No Greater Love" (the alternate version was released for the first time on its CD reissue), "Four" and the title cut.

Davis was at the peak of his powers during this recording, making this SteepleChase outing one of his very best." - Scott Yanow, AllMusic "Nothing valedictory about this date. No signs of decline. It's hard to believe it was Jaw's last album as a leader. Just the thing if you didn't miss your water until your well went dry." - Cadence

Two tracks from that were pressed onto 7" vinyl (100 copies) - they are renamed instrumental versions of the songs 'We Are The Nut' and 'Chartreuse' respectively.

The 7"s come in alternate green or yellow discobag sleeves.

Just as Duster's landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to '70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.

Darkwave artist Harsh Symmetry returns with sophomore album "Imitation" via Fabrika Records. Los Angeles-based musician Julian Sharwarko has swiftly carved out a commanding presence with his darkwave project. Sharwarko's adeptness at bridging the gap between the past and present is palpable, as he seamlessly blends influences from genre titans such as Depeche Mode, The Cure, New Order, Echo and the Bunnymen, The Teardrop Explodes, and Human League, while also incorporating elements from contemporary acts like Twin Tribes and Boy Harsher. Harsh Symmetry's second album, "Imitation," spans the chasm of darkwave and synthpop, a world-weary modern album, warmed by the solid embrace of nostalgia. Astonishingly, the entire album was entirely recorded and performed by Shawarko, in a remarkably quick turnaround from his last year's critically acclaimed debut album, 2022's "Display Model." Releasing a new album every year during the 1980s was par for the course with bands like The Cure and Siouxsie and the Banshees, as well as other highly prolific bands such as his labelmates Lebanon Hanover, but this level of artistic output is rarely matched today. "A lot of the material was informed by isolation and struggling with the paradox of wanting to be original yet feeling like your entire identity is built on mimicry," he admits. "The album was recorded as I was preparing to move out of the city I grew up in, I guess that kind of nudged me to think about what I'm doing more, and the place my work might have in the world." That mindset led to a pleasant surprise during his recent tour, which he describes as a 'really interesting and exciting experience.' This year, Harsh Symmetry graced the stages of Wave Gotik Treffen and the Grey Scale Festival in Munich, to much audience acclaim, cementing the project's status as an essential artist in the international darkwave scene. Genre: Alternative / Post-punk / Darkwave

“La Settima Donna” (1978), also known as “The Last House On The Beach”, is a disturbing thriller directed by Franco Prosperi and set in a secluded cottage overlooking the Tyrrhenian sea, starring Florinda Bolkan, in the role of Sister Cristina, governess of five female students on a short vacation, rehearsing their Shakesperean end-of-year play. The unfortunate inhabitants of the house became soon hostages of three vicious criminals looking for a hiding place after a bank robbery, but the psychological and sexual violence ends when the nun abandons her vows. And the victims decide to get justice. Roberto Pregadio's brilliant music is not surprisingly, functional and almost disconnected from the bloody images: there is no overwhelming sense of disturbance for the listener.

The soundtrack of “La Settima Donna” was published only once, in cd format, attached to the rare dvd of the film, gaining new life on vinyl thanks to Musica Per Immagini. Some of the eleven tracks of the score are characterised by an easy listening mood and united by a psychedelic feel, in harmony with the progressive atmospheres found in albums such as “A Saucerful Of Secrets” (1968) and “Meddle” (1971) by Pink Floyd. However, the English band is not the only reference for the jazz pianist, who quotes a piece by Bryan Ferry, entrusting it to the voice of Ray Lovelock, one of the three kidnappers. After that, the Sicilian composer remodels an international hit by Donna Summer, background of the sequence in which the nun is forced to strip naked in front of her tormentors.

GAF are back!!! This time under their Estrella de la Muerte configuration and with a gateway musical behemoth double album into the cosmic unknown.
The prolific project, helmed by local Canarian anchorman Mladen Kurajica, dwells deep into esoteric rock genres and this time, they waste no time in plunging the listener into their brave new type of cosmic rock with a deeply influenced krautrock voyage of 70’s jamming and psychonautic exploration.
Recorded over three days in the cultural space of El Tanque, Santa Cruz de Tenerife, at the height of the covid pandemic of 2020 and during one of the hottest summers to date, the band entered the space with no plan in mind deciding instead to approach the recording sessions without any preconceived ideas or pre-composed songs. Clean out of external influences and ready to experiment they loaded in all their available gear, including an array of modular synths, in order to create a new approach to song writing and flesh out some ideas for a future album in situ. The very process of that search, through pure improvisation and jamming, became the album we’re presenting here.
No overdubs or subsequent edits were done, except for cutting some songs so that they could fit on the album. Almost 5 hours of recordings in total, finally reaching a 7 track, 69-minute double LP. All the reverb heard on the record is the natural reverb of El Tanque, a 16 second tail natural reverb recorded with several room mics at different locations in the venue. Eventually this became the first fully instrumental album by the Estrella de la Muerte configuration, with a line up of 7 musicians (Gaf y Estrella de la Muerte are normally a sextet).
Enter then, this inspired selection of psychedelically damaged tunes, 70’s space rock, psychoacoustics and Kosmishe inspired jamming. This is healing music for your mind altering journeys. The titled Pyramids here serving not only as a gateway to the cosmic unknown but also as an exploratory symbol of the bands willingness to freely embrace their subconscious inner flows into a cosmic collective. Ecstatic music for our times!

Limited BioVinyl 2023 repress, which provides an ecological alternative to the conventional vinyl record with strictly no sound or visual compromises.
“We all dance away our lives to the tune of the sovereign pleasure-pain axis.” – David Pearce, The Hedonistic Imperative

Pleasure-seeking and pain-avoidance as a rave metaphor fits the music of Sam Barker. The Berghain resident and Leisure System co-founder has spent the last few years exploring the euphoric potential of altering key variables in dance music formulas.

This was especially true on his 2018 Ostgut Ton debut EP Debiasing, which was flush with unconventional rhythmic chord stabs, melody and percussion but devoid of kickdrums. What seemed like an experimental exercise on paper was in reality equally geared towards the club: tracks that worked for the floor but resisted the genre categorizations that kick drums often provide. This has come to define Barker’s sound.

Now, on his debut solo LP Utility, Barker turns his focus toward melding experimentation and dancefloor pragmatism with the psychology behind the musical decision making process. In his own words: “After ‘Debiasing’ it occurred to me that my musical decisions were often unintentionally utilitarian, following an instinct to maximize pleasure in one way or another. It’s sort of unfashionable to admit, but by removing elements that have strong genre associations, this became a natural consequence.”

Accordingly, Utility is a playful but non-ironic musical approach to a whole spectrum of utilitarian and transhumanist ideas: from models for quantifying pleasure and “gradients of bliss” to abolishing suffering for sentient beings (not just people) through the ethical use of drugs and nanotechnology. Over nine tracks, Barker’s vision ebbs and flows through waves of deeply psychedelic musical vignettes; free-floating and futuristic melodies and rhythms as targeted brain stimulation. The sound draws heavily on modular synthesis, as well as self-built mechanical instruments and plate reverbs to create atmospheres that are at once alien and emotionally recognizable, functional and utopian.

Utility is by no means a concept album. Instead, it is an honest take on music as both pleasuremaximizer and consciousness-expander.

“We all dance away our lives to the tune of the sovereign pleasure-pain axis.” – David Pearce, The Hedonistic Imperative

Vergnügungssucht und Schmerzvermeidung als Rave-Metapher – das passt zur Musik von Sam Barker. Der Berghain-Resident und Leisure System-Mitbetreiber hat im Laufe der Jahre das euphorische Potenzial der Veränderung von Variablen in der Dancefloorschablonisierung erkundet.

Das traf besonders auf sein Ostgut Ton-EP-Debüt Debiasing zu, das nur so sprudelte vor unkonventionellen rhythmischen Akkordfolgen, Melodien und Percussion – die Kickdrum aber wegließ. Was auf dem Papier wie eine experimentelle Übung wirkte, war tatsächlich gleichermaßen für den Klub gemacht: Stücke, die auf dem Dancefloor funktionieren, sich dem oft vorgegebenen Kickdrumdiktat und damit einhergehender Genrekategorisierung aber verweigerten. So hat sich Barkers Klang definiert.

Auf seinem Solodebütalbum Utility widmet Barker seine Aufmerksamkeit nun aber der Verschmelzung von Experiment und Dancefloorpragmatismus mit der Psychologie hinter dem musikalischen Entscheidungsfindungsprozess. In seinen eigenen Worten: „Nach Debiasing kam mir in den Sinn, dass meine musikalischen Entscheidungen oft unbeabsichtigt utilitaristisch sind, einem Instinkt folgen, Glück auf die eine oder andere Art zu maximalisieren. Das einzugestehen ist recht unmodisch. Aber durch die Auslassung von Elementen mit starken Genreassoziationen, wurde dies eine recht natürliche Konsequenz.“

Dementsprechend ist Utility eine spielerisch-neckische aber unironische musikalische Betrachtungsweise eines ganzen Spektrums utilitaristisch und transhumanistischer Konzepte: Von Modellen zur Quantifizierung von Wohlergehen und Verläufen von Glückseligkeit („Gradients of Bliss“) zur Abschaffung von Leid für fühlende Wesen (meint: nicht nur den Mensch) über die ethische Nutzung von Drogen und Nanotechnologie. Im Laufe von neun Stücken ebbt und schwillt Barkers Vision durch Wogen zutiefst psychedelischer Musikvignetten; freifließende und futuristische Melodien und Rhythmen als gezielte Hirnstimulation. Der Klang gründet stark auf modularer Synthese, ebenso wie selbstgebaute mechnische Klangerzeuger, Instrumente und Plate Reverbs Atmosphären schaffen, die gleichermaßen fremdartig als auch emotional vertraut wirken, funktional und utopisch.

Utility ist keinesfalls ein Konzeptalbum. Vielmehr ist es eine aufrechte Auseinandersetzung mit Musik als Freudenmaximierung und Bewusstseinserweiterung.

Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This second in the series pays homage to the unique sound of the Mirage releases. The influence of these releases on the SD sound that followed has often been overlooked, principally because it was assumed that the ‘Mirage’ moniker was simply another pseudonym for Source Direct, when in actual fact it was a lethal combination of the powerful engineering and arrangement skills of Jim Baker (Source Direct) and the sound selection and co-production of Odysee’s founder, Tilla Kemal (T-Mirage).

Face In The Shadows immediately opens with that slightly darker feel, with tracks like Feel My Dreams and Stonekiller in mind. The trademark SD style of break switches (aptly named ‘call & response) are immediately evident, although the Funky Mule gives the track its primary momentum. The sound selection is eerie, focusing on the 70’s Film-Noire, and deep Electro in line with Tilla’s particular preferences. The spoken word quotes are also unmistakably ‘Mirage-esque.’

Regenesis is a classic Odysee B-side track; lighter, more experimental and Jazzy in it’s feel. It showcases intricate and crisp rolling break work, and a beautifully refined selection of real stand- out musical quotes; from the sweet R&B-esque vocal ad-libs to the lush 70’s style sleaze of the Rhodes rolls. The interaction of these elements is the glue that holds this tune together.

The Darkness Within is the final track of the E.P. and it is the arrangement of samples that really emulates the ‘Mirage’ sound. Tilla & Jim were very particular about grouping sounds to work with & answer each other in each section of a tune. Samples were often sourced from obscure Film OST’s or rare electro albums which had sample diggers scratching their heads for many years! This track is dubbed out deeper, with a punching & rolling Soulpride features as the hero break and a repetitive deep chord stab forming the foundation of the tune.

Look out for the final instalment Volume III, where we will be focusing on the dystopian Jazz sound of the Hokusai releases!

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

Johann Sebastian Bachs Cellosuiten sind ein Prüfstein und eine Quelle der Inspiration für Yo-Yo Ma, seit er im Alter von vier Jahren die ersten Noten der Suite Nr. 1 kennenlernte. Zum 40jährigen Jubiläum veröffentlicht Sony Classical die 1983 entstandene Einspielung der Suiten - seine allererste - in einer neuen Ausgabe mit drei LPs: "J.S. Bach: The Six Unaccompanied Cello Suites - The 1983 Sessions" Die Edition umfasst drei neu gepresste Picture-Discs in einem Trifold Jacket mit exklusiven, noch nie gezeigten Fotos der damaligen Aufnahmesitzungen sowie einem Essay des Produzenten Richard Einhorn.J.S. Bachs Suiten für Violoncello, die zwischen 1717 und 1723 komponiert wurden, stehen an der Spitze des Solocello-Repertoires, seit Pablo Casals sie vor weit über einem Jahrhundert wiederentdeckte und aufzuführen begann. In drei Aufnahmen für Sony Classical und in Dutzenden von Live-Aufführungen auf der ganzen Welt sind die Suiten zu einer Art künstlerischer Signatur für Yo-Yo Ma geworden, der für die Aufnahme von 1983 den ersten seiner 19 GRAMMY®-Awards gewann. Obwohl er die Suiten noch zwei weitere Male an entscheidenden Momenten seiner Karriere aufgenommen hat, war es diese Aufnahme von 1983, die der Welt die singuläre Weite wie Tiefe seines künstlerischen Anspruchs und Könnens versprach. Der Produzent Richard Einhorn schreibt in seinem Begleittext zur neuen Ausgabe: "Als ich mir die Suiten jetzt anhörte, verliebte ich mich erneut in Yo-Yo Mas Interpretationen. Das erste Wort, das ich für diesen Aufsatz notiert habe, war 'Überschwang', ein Überschwang, der von Anfang an in Hülle und Fülle vorhanden war ... Yo-Yo hat die Bach-Suiten später sowohl als Audio- als auch als Video-Aufnahmen neu eingespielt; sie sind alle gleichermaßen bemerkenswerte Leistungen. Aber natürlich bleibt diese Version mein Favorit: Ich höre so viel von der überschwänglichen Persönlichkeit meines langjährigen Freundes in diesen wunderbaren Interpretationen einiger der größten Musikstücke, die je geschrieben wurden."

Everything becomes fluid when you can pass through time and space like a ghost, a story, a melody. Boy Golden manifests all three on For Jimmy. When listening to his music, it feels easy to dissolve into the ether. Everything flows. From classic country to psych-folk, Alternative to roadhouse pop to Appalaichan bluegrass, Boy Golden’s music is easy, breezy, warm and gritty. And don’t it just feel good to listen to it. Since releasing his debut album, Church of Better Daze, in 2021, he’s played every summer festival on your list, produced a number of albums with friends, released a dozen videos, curated and directed an art show and music video for “KD & Lunchmeat”, the Seth-Rogenesque hit single that charted to #1 on Alternative Radio, and toured with The Sheepdogs on their most recent North American tour. Introspective and vulnerable, traditional and queer, hard-headed and sensual, Boy Golden’s everyman-aesthetic can appeal to all of us. This ability lies in his songwriting: the songs your friends tell you about, the stories you hear from your neighbours, your community. He’s comfortable both in the spotlight and just outside it, sharing the moments with other artists, lifting others up along with him. He’s a genuine student of Townes Van Zandt and Willie Nelson as much as Dwight Yoakam and Stevie Ray Vaughan . Plus his C.O.B.D philosophy, “You can blaze and still get paid” might help us all to blur borders and old definitions of genres we thought we knew, like Steve Lacy or Justin Vernon do for Pop music. Boy Golden is able to maintain his own unique blend of Boy Golden using whatever frame of mind he’s in to fit us into this time. We’re here right now.

Amy Dabbs might be one of the hardest working artists in the game right now. Making it in the current electronic music landscape is not an easy thing, which might be why this talented artist is so heavily invested in her musical output. With releases on Aus Music, Shall not Fade and her own Dabbs traxx, a monthly residency on Rinse FM and a tour schedule that seems to get busier by the minute, we’re happy to see her hard work is paying off. Add to that some support by artists such as Special Request, The Blessed Madonna, Jaguar and Cinthie and you know this Berlin-based artist is right where she belongs: in the spotlight.

With a love for all things high energy – including, but not limited to house music and breaks – Amy knows how to set fire to a dancefloor (or record for that matter). Her music has been described by Resident Advisor as “Elegant and soulful drum & bass, that’ll still catch the ears of house heads.” So here you go, house heads: Amy Dabbs on Heist. The ‘Only breaks can love your heart’ EP is packed with feelgood energy and comes with a Dam Swindle remix that has the duo laying down some pleasantly unexpected breakbeats on an altogether rush-inducing record.

Right from the start, you know you’ve got an anthem on your hands with ‘Everything alright’. The gorgeous vocals by Aika Mal give you that right amount of emotive, ravey energy and come wrapped in a package of solid breaks and mesmerizing chords. With a hint of acid and a couple of meticulously crafted breakdowns you’ll be singing along with this track before you know it.

The Dam Swindle remix drops the tempo a little bit, but with its 140 bpm, warm broken beat and UK bass, the duo delivers a curveball of a track with a lot of crossover appeal. They went for a more stripped back approach that combines introverted percussion with bouncy keys that complement the vocals perfectly for an altogether irresistible remix.

‘Crush’ is a signature Amy Dabbs tracks, with driving 909 percussion, female vocal chops, ethereal pads and classic strings. It’s a warmhearted affair laced with Amy’s feelgood DNA. On the flip you’ll find ‘Eleven eleven twenty two’; a classic deep house track with subtle hints of UKG in its sampling and bass. The pads and leads are moody and the skippy percussion gives this track the kind of energy you’d welcome when pulling an all-nighter.

Rounding off the EP, we’ve got the ep title track ‘Only breaks can love your heart’; another showcase of Amy’s knack to make house aficionados dance to drum and bass. There’s a certain contrast in pace – raging drums versus dreamy chords that makes you feel at ease listening to a fast-paced track like this. The vocals are equally hazy with a subtle 90’s and 00’s RnB feel. Bassface guaranteed on this one!

Das neue Album, welches auf das 2018 erschienene Debüt "Embody" des dänischen Liedermachers folgt, wurde erneut in Sebbersund in der Nähe von Ross' Elternhaus mit John Wood aufgenommen. Wood, der vor allem für seine Arbeit an der Seite von John Martyn, Cat Stevens, Nico, Nick Drake, Pink Floyd und anderen bekannt ist, bat dieses Mal seinerseits um eine Zusammenarbeit mit Hjalte, nachdem dieser den legendären Produzenten vor seiner ersten Platte um Rat gebeten hatte. Nach der zerbrechlichen und zurückhaltenden Schönheit des Debüts, gibt es nun ein neues Gefühl des Selbstvertrauens, einen zusätzlichen Biss in den Texten, eine zusätzliche Tiefe in dieser besonderen Stimme. "Ich bin ein besserer Songwriter, ein besserer Sänger und ein besserer Gitarrist geworden", betont Hjalte. "Ich habe jedoch die gleiche Absicht wie beim letzten Mal beibehalten und mich darauf fokusiert, ein Album in voller Länge zu machen und mich dabei absolut und gänzlich auf die Musik zu konzentrieren. "Waves of Haste" ist eine subtile und gleichfalls mutige Erweiterung seines Sounds. Das Album besteht aus neun fesselnden Songs und wurde nach der Begegnung in New York mit Daniel Goodwin von diesem gemischt und gemastert, einem Produzenten, der für seine Arbeit mit Künstlern wie Kevin Morby und Whitney und vielen anderen bekannt ist. Diese Paarung bringt das Beste in Hjaltes Songwriting zum Vorschein, hebt die Gegensätze von Norwegen und New York hervor, gelangt dabei zu etwas gemeinsamen Größerem "Waves Of Haste" klingt gleichzeitig modern und elegant alt(modisch), erinnert an den gefühlvollen Sound der 70er Jahre und ist außergewöhnlich grandios. Die LP - gepresst bei Optimal - kommt als klassich schwarzes Vinyl in aufwendig gestaltetem Klappcover inklusive Prägedruck. Das Artwork wurde entworfen vom erfolgreichen dänischen Maler/Bildhauer Kasper Eistrup (auch ehemals von der Band Kaschmir bekannt). Für Liebhaber der Genres Singer/Songwriter, Folk, Independent, für Fans von Nick Drake, Kevin Morby, José Gonzales, Robert Wyatt, John Martyn, Leonard Cohen...

When South Korean balearic prodigy Mogwaa came to MM Discos with an idea for his rst full-length album, we were a bit surprised.
He said, ‘I want to do an album of bossa tracks with synths, a drum machine and my guitar’. We obviously had to take him up
on that deal.

Fresh from the recent Bandcamp feature on his own brand of danceoor-ready modern boogie, Seungyoung Lee (aka Mogwaa)
arrives back on MM Discos with his - and our - rst full length exercise. With six tracks per side of 80s inuenced synth and bossa
badness, ‘Hazy Dreams’ is an exercise in simplicity, and more proof of the ever-expanding musical horizons of one of the scene’s
most virtuosic instrumentalists.

Pairing a sensitivity to the construction of ambient, funk, bossa and cassette-tape 80s experiments with his own cinematic subtlety,
‘Hazy Dreams’ takes a gentle, minimalistic approach, crafting its own escapist world that oers a welcome diversion from the
steady ow of busy balearica and downtempo.

Opening track ‘Full Bloom’ paints a picture of midsummer at dawn, some clear-skied island where lush vegetation climbs through
hibiscus gardens. ‘Nacimiento’ is an AOR/bossa crossover evoking West Coast yachting in full afternoon, and A3, ‘Soothing’, adds
a touch of wistfulness with reverb-doused guitars over meandering bass motifs.
The easy kick-and-snare combo of ‘Levitation’ sets the scene for a drum machine love aair, unrequited love on the rocks, and
‘Flashback’ plays with short delay trails and o-kilter melodic sequences, where you feel the soft presence of the nebula approaching
at the break of day. Closing out the A-side, ‘Dispatching’ reaches out even further into the imagined cosmos of Mogwaa’s
picture-perfect world, portraying an ambience at dusk, observing, calmy, as pued-up pink clouds melt into the evening canvas.
On the other side, Mogwaa explores quiet corners with ‘Illusions’, a slow meditation on the nature of simple presence, and ‘Echoes
of You’, a stream of subdued brush strokes that crescendo into higher frequencies on gently undulating pads. B3, ‘Moondance’,
ups the tempo and recalls classic Mogwaa with its sideways shue and starry melodic refrain, pivoting through folk-dance
moods and surprising chord changes.
Nearing the end of the album, ‘Footprints’ wades through tall grass in search of altered states, innite and hypnotic, changing
course only to crouch down and study the landscape, and B5, ‘It always comes and goes’, pictures the to-and-fro of jetstreams and
comets in the blinding midday sky. Finally we have the closing credits of ‘Swingin’ that looks o into the horizon, jaunty and exalted,
a guitar-led tribute to an easy-going world, and ultimately mindful of the power of dreams.
We’re humbled to have such a special record for our rst full-length release on the label.

A defining album of the 90s, Last Splash by The Breeders turns 30 this year. To celebrate, the band have returned to the original tapes to give it its first-ever remaster, and by doing so have also unearthed two lost tracks that will delight fans. Recorded by the "classic" Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson and featuring singles "Cannonball" and "Divine Hammer", Last Splash was "an alt-rock classic" (Pitchfork"s Top 100 Records of 1990s) on release; a fast seller too, quickly attaining Platinum status in the US. Despite having had the boxset treatment on its 20th birthday, the album was still left to be remastered so 10 years on, the original y" tapes were taken out of the archives and have been lovingly worked on by Kim Deal, Benjamin Mumphrey and Miles Showell (Abbey Road). Never sounding so good, the album for its 30th anniversary, it"s getting the ultimate vinyl pressing. Entitled Last Splash (the 30th Anniversary Original Analog Edition), this new version has been cut at half speed at Abbey Road by Miles Showell, now spanning two LPs and running at 45rpm. A Japanese cd edition will also be available. This edition contains an exclusive, one-sided etched 12" which features two previously unreleased tracks - "Go Man Go" and "Divine Mascis" ("Go Man Go" is a track that Kim co-wrote with Black Francis while "Divine Mascis" is a different version of "Divine Hammer" with Dinosaur Jr."s J Mascis on lead vocals). Both tracks originate from the original sessions and were left forgotten until the sessions were exhumed to create this new master. The attention to detail continues to the album"s art, which equally celebrates Vaughan Oliver"s iconic sleeve. With Vaughan sadly no longer with us, his long-time design partner Chris Bigg has gloriously reimagined the album"s sleeve for this new version.

Hydrants beware! Furfriend is back!

Dingo Tush & Das Uberdog have awakened from their well-deserved hibernation and are itching to tell you all about the sweet dreams they had. Dreams that they thought would be best told in a trilogy of earworms which would eventually feed on your brain.

When the news of their awakening broke out, Void+1 Laboratories, against better judgement, made it their mission to log the dreams from these mythical beasts. Regretfully, they did not anticipate that the celestial voice of Dingo Tush could infect the minds of all of their employees and cause a chain reaction that would in matter of days make a whole universe sing in unison for eternity. Although V+1 did learn a valuable lesson (not really), that universe had to be "abandoned" and the exit-point plugged (to answer the question that just popped up in your mind: yes).

After applying Das Uberdog's custom-built, quantum censorship filters (totally not sci-fi gibberish, foogle it) to the original recordings, they were modified into 3 interdimensional, techno megahits that are now safe to be presented to the public (As far as we know... But don't worry, plugs in all sizes are ready for just in case).

'Can I Go Again?', das Debütalbum von Benét (Benét Nutall) aus Richmond, VA, ist eine abwechslungsreiche Sammlung nachdenklicher, dicht gepackter Indie-Pop-, Rock- und Soul-Tracks, die ebenso emotional mitschwingen wie sie unmittelbar und ansteckend sind. Diese Tracks sind es gleichermaßen wert, Herzschmerz zu verarbeiten, mit Freunden zu spielen oder Kraft in der Einsamkeit zu finden. Die Debüt-EP von Benét, "Game Over" (2021), war ein ehrlicher Versuch der Selbstreflexion durch elektronische Dance- und Disco-Atmosphären - die titelgebende Frage ihres Debütalbums dient als Neustart des Arcade-Spiels mit mehr Wissen, Reife und Sicherheit, während Benét sich zu organischerer Instrumentalbegleitung und raffiniertem Songwriting bewegt. Die überschwänglichen und scharfen Gitarrenriffs und die treibende Bassline von "Insensitive" heben Benéts Gesang an, wenn sie über Gefühle von Nervosität, Sehnsucht und die letztendliche Überwindung von beidem mit Selbstsicherheit singen. In "Overpowering" können Benét über einer sanften Bassline und einem stolpernden Beat ihre persönliche Entwicklung zur Schau stellen. "No Alarm" bietet einen weiteren Einblick in Benéts lyrische Verwundbarkeit, die sich zwischen Selbstbewusstsein in den Strophen und einer flirrenden, stringent betonten Sicherheit im Refrain hin und her bewegt. Die Musik von Benét wurde schon immer von der Umgebung und den Menschen, mit denen sie zusammenarbeiten, beeinflusst. Das Album ist das Ergebnis von etwa drei Jahren des Schreibens und Aufnehmens zu verschiedenen Zeiten mit verschiedenen Gruppen von Freunden und musikalischen Partnern - in Richmond, VA mit Jacob Grissom, Christian Lewis, Neal Perrine und John Trainum, in Philadelphia mit Kyle Pulley und Danny Murillo und in New York mit Carlos Truly. In "Can I go again?" geht es darum, sich Zeit zu nehmen und zu erkennen, bewusst zu wachsen und Freude und Nervosität selbstbewusst auszudrücken. Benét nutzt "Can I Go Again?" um ihren eigenen Platz inmitten inspirierender, verwirrender, schwieriger und schöner menschlicher Verbindungen zu verarbeiten und diese unvergesslichen, eingängigen, emotionalen Lieder zu präsentieren, in der Hoffnung, dass das Publikum zuhören und dasselbe tun kann.

'Can I Go Again?', das Debütalbum von Benét (Benét Nutall) aus Richmond, VA, ist eine abwechslungsreiche Sammlung nachdenklicher, dicht gepackter Indie-Pop-, Rock- und Soul-Tracks, die ebenso emotional mitschwingen wie sie unmittelbar und ansteckend sind. Diese Tracks sind es gleichermaßen wert, Herzschmerz zu verarbeiten, mit Freunden zu spielen oder Kraft in der Einsamkeit zu finden. Die Debüt-EP von Benét, "Game Over" (2021), war ein ehrlicher Versuch der Selbstreflexion durch elektronische Dance- und Disco-Atmosphären - die titelgebende Frage ihres Debütalbums dient als Neustart des Arcade-Spiels mit mehr Wissen, Reife und Sicherheit, während Benét sich zu organischerer Instrumentalbegleitung und raffiniertem Songwriting bewegt. Die überschwänglichen und scharfen Gitarrenriffs und die treibende Bassline von "Insensitive" heben Benéts Gesang an, wenn sie über Gefühle von Nervosität, Sehnsucht und die letztendliche Überwindung von beidem mit Selbstsicherheit singen. In "Overpowering" können Benét über einer sanften Bassline und einem stolpernden Beat ihre persönliche Entwicklung zur Schau stellen. "No Alarm" bietet einen weiteren Einblick in Benéts lyrische Verwundbarkeit, die sich zwischen Selbstbewusstsein in den Strophen und einer flirrenden, stringent betonten Sicherheit im Refrain hin und her bewegt. Die Musik von Benét wurde schon immer von der Umgebung und den Menschen, mit denen sie zusammenarbeiten, beeinflusst. Das Album ist das Ergebnis von etwa drei Jahren des Schreibens und Aufnehmens zu verschiedenen Zeiten mit verschiedenen Gruppen von Freunden und musikalischen Partnern - in Richmond, VA mit Jacob Grissom, Christian Lewis, Neal Perrine und John Trainum, in Philadelphia mit Kyle Pulley und Danny Murillo und in New York mit Carlos Truly. In "Can I go again?" geht es darum, sich Zeit zu nehmen und zu erkennen, bewusst zu wachsen und Freude und Nervosität selbstbewusst auszudrücken. Benét nutzt "Can I Go Again?" um ihren eigenen Platz inmitten inspirierender, verwirrender, schwieriger und schöner menschlicher Verbindungen zu verarbeiten und diese unvergesslichen, eingängigen, emotionalen Lieder zu präsentieren, in der Hoffnung, dass das Publikum zuhören und dasselbe tun kann.

Auf ihrem Solo-Debütalbum brilliert die ex-Friends-Frontfrau Samantha Urbani mit ihrem unwiderstehlich lockeren, retro-orientierten Alt-Pop. Ihr perfekter Kompromiss zwischen berauschenden Popmelodien und uneingeschränktem Experimentieren macht das Album zu einer überzeugenden Sammlung zahlreicher Referenzen - von Disco und 80er Freestyle, über Jam & Lewis und Santigold, bis Blondie, LCD Soundsystem und Talking Heads. Das von ihr und Nick Weiss (Nightfeelings) produzierte Werk ist eine zutiefst erhebende Platte, ein Beweis für Spontanität und Überlebensgeist.

These sonic stories emerged from a gathering of artists concerned with alternative uses of everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the Earth's orbit. It was a performative celebration of entangled audio-visual events that enabled us to learn once again how to tune in to a place: with our eyes, with our ears, with our minds. While listening to the record, I remember what it sounded like in the space. I remember monologues of chairs that were given voice, phones eavesdropping and speaking back to us, cassettes falling on the floor (intentionally): some visions unfolding in front of our very eyes and others in our minds. Try to imagine all that these short pieces might still contain. As Peter Fengler exclaims in his chorus: it will all work out. Just choose a bicycle, low on emissions and also better for the tummy and the legs! (Lucija Gregov)

Nur 1 Jahr nach ihrem erfolgreichen Album „Kreatura“ und einer ausverkauften ersten Headliner-Tour durch ganz Deutschland, sind MANNTRA mit ihrem neuen Album„War of the Heathens“ zurück!

Das epische neue Meisterwerk erscheint am 22.09.2023. Voller Energie, mit niederschmetternden Riffs und gewaltigen Melodien, die nicht aus dem Kopf gehen, sind MANNTRA zurück mit dem, was sie am besten können: einer einzigartigen Mischung aus Metal, Industrial und Folk.

Die vier kroatischen Musiker, die vom dämonischen Barren King unterstützt werden, vereinen die Energie und die Atmosphäre des Meeres der Adria und der Berge ihrer Heimat auf ihrem neuen Album. Lasst Euch entführen in die Welt der alten Legenden und Schlachten, die ganz Europa geprägt haben.

Mit der ersten Single „vampire“ läutete die dreifache GRAMMY Gewinnerin Olivia Rodrigo das zweite Kapitel ihrer Karriere ein – und nimmt ab sofort Kurs aufs zweite Album: GUTS erscheint am 08. September!

Emotional noch intensiver und extrem abwechslungsreich arrangiert, setzt die 20-Jährige für „vampire“ auf eine ähnliche Dynamik wie bei ihrer Single „drivers license“, mit der sie 2021 den internationalen Durchbruch schaffte. Kein Wunder also, dass „vampire“ sofort als „Monster Power Ballad“ (Pitchfork) gefeiert wurde. Zeitgleich kündigte Olivia Rodrigo mit GUTS ihr zweites Album an. Zum Teil auch in den New Yorker Electric Lady Studios geschrieben, entstand das neue Album größtenteils mit Dan Nigro in dessen Garagenstudio in Los Angeles, mit dem die 20-Jährige bereits für ihr Debütalbum SOUR zusammengearbeitet hatte. Während Olivia in den vergangenen 24 Monaten selbst „gefühlt 10 Jahre“ reifer geworden sei, klingt auch ihr Songwriting sehr viel ausgereifter und selbstbewusster als zuvor: „Dieses Mal ging’s viel mehr ums eigentliche Songwriting – was manchmal auch bedeutete, dass ich mich selbst gar nicht so ernst nehmen durfte. Wir haben wahnsinnig viel ausprobiert und sind schließlich bei einem Sound gelandet, der viel mehr Rockeinflüsse hat als meine älteren Sachen“, so Rodrigo. ”GUTS” erscheint auf CD und Vinyl in diversen Formaten.

High Roller Records, 180g black vinyl, ltd 400, insert, poster, Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!

DFL is an American punk rock band founded in 1991 in Los Angeles, California, by Tom Davis, Monty Messex, Adam (Ad-Rock) Horovitz, and Tony Converse. The band, which included a noted skateboarder, a first wave punk rocker, and a Beastie Boy, turned heads by kicking out raw and ragged hardcore at a time when punk rock was becoming slick, poppy, and safe. Slamming riffs and lyrics that alternated between serious issues, such as depression, and the silly, like why pizza is so tasty, garnered them critical acclaim and a loyal fan base that continues to exist through to today. Now available for the first time ever on 12-inch vinyl, the entire album was remastered by Mario C with the band’s input. The deluxe reissue also includes a 20-page full-color oral history, a massive full color zine packed with unpublished flyers and, the pièce de resistance, a complete, totally unreleased, live show that was recorded at a huge party at G-Son studios the day after album tracking was completed.

Susan Tedeschi ist eine der am meisten gefeierten Blues- und American Roots-Musikerinnen ihrer Generation. Ihr unnachgiebiges Engagement für ihr Handwerk - sowohl als Solokünstlerin als auch in der Tedeschi Trucks Band - hat ihr mehrere GRAMMY-Nominierungen und die Bewunderung des Publikums auf der ganzen Welt eingebracht. Alles begann bescheiden bei Blues-Jams in ihrer Heimatstadt Boston in den frühen 90er Jahren und führte zu bedeutender regionaler Anerkennung, aber mit der Veröffentlichung ihres Solodebüts Just Won’t Burn im Jahr 1998 machte Tedeschi der breiten Musikwelt klar, dass sie eine echte Kraft ist, mit der man rechnen muss.

Zur Feier des 25-jährigen Jubiläums des Albums wird Fantasy Records am 22. September 2023 Just Won’t Burn (25th Anniversary Edition) veröffentlichen. Diese spezielle, erweiterte Ausgabe mit 16 Titeln enthält das Originalalbum sowie fünf bisher unveröffentlichte Bonustracks: eine alternative Aufnahme von ”Looking For Answers”, zwei neue Outtakes des Albums und zwei Live-Versionen von Just Won’t Burn, die mit der Tedeschi Trucks Band im New Yorker Beacon Theatre aufgenommen wurden.