Black Vinyl[25,63 €]
Lil Yachty und James Black veröffentlichen ihr kollaboratives Album ”Bad Cameo”!
Yachty und Blake beschreiben das Album als ambient, experimentell und anders als alles, was die beiden
zuvor gemacht haben. Yachty sagt,” ich glaube, James hat mit einer ganzen Reihe von Hip-Hop-Künstlern
zusammengearbeitet. Aber dieses Projekt ist für uns beide so einzigartig.“
Onsloow burst onto the Norwegian indie scene in 2022 with their self-titled debut album. They quickly transitioned from obscurity to performing concerts nationwide, garnering rave reviews, playing at festivals, and receiving increasing radio play with each new single. As is the case for many passionate amateurs with families and day jobs, this couldn’t last indefinitely. Vocalist Johanne Rimul became busy with her master’s degree and growing family, Mathias Nylenna returned to his regular job at national radio, and drummer Morten Samdal and bassist Lasse Berg pursued their own musical projects. But Onsloow wasn’t finished. They soon returned to their practice space in Trondheim, working tirelessly on new songs for over two years. The result is their second album, aptly named Full Speed Anywhere Else.
With Rimul’s commitments making further band activity impossible, Onsloow had to search for someone who could continue the band's signature sound—distinctive, melodic vocals atop jangly pop guitars and driving drums. Fortunately, Helene Brunæs, frontwoman of the emo/pop-punk sensation Lille Venn, jumped on board without hesitation. Despite her busy schedule with regular releases, a US tour, and gigs alongside pop stars like Sigrid, she found time to join Onsloow's ambitious plans. Her warm, airy vocals perfectly match Onsloow's universe of catchy power pop, quirky indie rock, and energetic pop-punk. The new album even features hints of country and Americana. Over several sessions with producer Marius Ergo, the album took shape, with the band focusing more on details and arrangements than ever before. The goal was to elevate their music beyond their self-titled debut album.
Full Speed Anywhere Else’s ten meticulously crafted tracks form a cohesive unit, allowing the band to explore various directions, moods, and expressions without losing their essence: straightforward, catchy power pop that sticks, with plenty of nuances for those who appreciate the finer points.
”Dischi Spranti - vol. 2" is the second official release for the independent label Dischi Spranti. After the first volume with some of the best producers of electronic music in Salento, "vol. 2" continues its research into the local groove, by collecting six tracks mainly dedicated to the dancefloor. The watchword is 4/4, no matter if it is house, techno, acid, tribal or deep, with an ambient finale that appeases bodies and sweat. Marco Santoro, Buck, Giorgio Luceri, Mhadan aka Daniele Marzano and the two founders Max Nocco and Marco Erroi invite you to follow their disjointed dances and, as always, to get lost in Massimo Pasca’s amazing artwork. All you have to do is turn up the volume and argue with your neighbor.
"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.
"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.
"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.
"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.
"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.
"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.
"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.
"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.
"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.
Orphx, Rrose, SHXCXCHCXSH & kareem remixing SOLARIS from kareems 1997 release CICLOP (Zhark00004)
CICLOP was released in 1997 combining a variety of different approaches ranging from Industrial Hip Hop and cinematic ambience to DubTechno. SOLARIS stood out with brutally stripped down minimalism.
Zhark0040 now assembles 4unique remixes of SOLARIS
2024 Repress
All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.
Motyl is a brand new creative coming together from DYL and Moll+ and this new cassette Noc has been conceived as a soundtrack to go with a book of 'night' themed poetry and imagery. it's an immersive and evocative blend of ambience, field recordings and moody sound collages that range from serene and peaceful to much more ominous and dark.
Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.
As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the “bang fai” - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.
However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre.
Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours). Chansons Laotiennes still remains hard to classify.
And then who’s Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.
The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, “Tuei” or “Tawai” offering (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.
For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix.
Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.
The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance,
Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.
At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.
After seven years, Japandroids have returned with Fate and Alcohol, their fourth and final full-length. Written in part while the Vancouver duo-guitarist-vocalist Brian King and drummer-vocalist David Prowse-were touring behind their 2017 ANTI- debut, Near to the Wild Heart of Life, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they"ve honed over the course of 18 years and hundreds of shows side-by-side. Their aim was simply to write songs that they"d enjoy playing live, without sacrificing any of the nuance or ambition that marked their previous effort. Nowhere on this record is that more deeply felt than lead single "Chicago," a song whose sheer momentum feels inevitable and true-from the inherent romance of its opening chords to the series of snare-led explosions that see it through. Like the rest of Fate and Alcohol, it was recorded in Vancouver with longtime collaborator Jesse Gander, who also engineered 2009"s Post-Nothing and 2012"s Celebration Rock. "The very first demo we have of "Chicago" was recorded in our jam space on February 4th, 2020," King says, "and if you listen to that, it just sounds like a rough version of what you hear on the record. But it"s all there. That, in some ways, is the most ideal circumstance for a band like us: just having something that really rips in your jam space, something that feels good, something that you"re excited about."
The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.
So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.
The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.
With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.
For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.
The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.
In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.
. By his early 20s, Kurious was already an in-demand voice on the mic. His 1994 major label debut album, A Constipated Monkey, is a classic of its style, marked by heavy beats and nimble rhymes that are razor-sharp yet frequently hilarious. Despite being hailed as one of hip-hop's most compelling lyricists, he didn't release another solo IP for the rest of that decade, but he continued to be sought after. Rap fans the world over know him for his verse on "?," one of the standout songs from his longtime friend and collaborator MF DOOM's heralded Operation: Doomsday. As he prepares for the release of his new album, Majician-the nickname his peers blessed him with a generation ago-Kurious is well on his way to establishing the legacy he's long deserved. The LP, which was executive produced by MF DOOM before his passing, is a mesmerizing blend of technical wizardry and personal introspection. Take "Eye of Horus," where the pulsing drums convey an urgency that borders on panic; Kurious weaves a complex tapestry of history and insight, but does so while ducking through and under each pocket in the beat. Produced in its entirety by Mono En Stereo, Majician is filled with songs like "Eye of Horus," which dance on the line between confession and confrontation. "Separation Anxiety" is a personal bloodletting in the form of lyrical exercise; "Par For the Course," which features the elusive Mr. Fantastik, makes drum breaks from the early Reagan era sound totally revitalized. Through the radical amount of work Kurious put into the writing and recording of this material, he's removed all ambiguity from the question of whether he can stand as one of the premier MCs of his time.
Fohn brings connection, displacement and new identities into the moment, on pastoral debut album Seanteach - informed by island life, marine folklore and musical tradition.
Connection to the land, the severing of earthly ties, explorations of environment, mythos and generational memory: under the moniker of Fohn, English violinist and producer Tom Connolly (Quade, AD93) takes to the fiddle on which he learned his craft as a child. Forging new bonds with his family’s island home off the coastal west of Ireland, their story is retold in Seanteach (Irish for ‘old house’), released on Odda Recordings.
“Seanteach explores the nature of my relationship with Ireland, and Connemara in particular, where my dad’s family is from,” explains Connolly, speaking on a long-form work that blends new compositions on traditional Irish fiddle with ambient electronics and evocative field recordings.
“It explores how the island of Maighinis became an almost mythological space for me, growing up in England - we would spend every summer there, but it felt equally present for me when we were back in the UK, a sort of mental solace that I found through music especially.”
Each track on the album is a reflection of aspects of that relationship to island life - where physical features intersect with mythology. Such as, ‘Boreen’, named after a colloquial term for rural byroads sometimes shared with otherworldly neighbours. ‘Aisling at Sea’ draws on the primal, unstoppable momentum of the water, while the folklore of ‘Immram’ reflects on generationally-kept tales of marine bravery and supernatural accomplishment.
“The compositions often sit at the fraying edges of memories I’ve inherited from my own experiences, that of family lore, or from stories that I have come across. I wanted the compositions to tread the space between documentation and fantasy that feels so reflective of my relationship with this place.”
Tying these worlds together is the presence and memory of Connolly’s ‘Mamó’ (Irish for grandmother), Bríd. Despite passing during Connolly’s childhood, this “larger-than-life character” shaped his imagination with anecdotes and stories, representing both a familiar figure, and the poignancies of potential and regret.
“Even at a young age I sensed a sadness emanating from her. Through a series of unfortunate and fortunate circumstances, she found herself leaving Ireland and settling in Boston like so many others. Under the impression she was an illegal immigrant in the US she didn’t return to Ireland for decades.”
‘Between the Shoreline and the Gorse’ channels her early childhood, born to a large Catholic family in the island’s ‘Seanteach’, and cast adrift from her old life - a severance of ties that Connolly attempts to make ethereal amends for, with the album named for her family home.
“It’s something that feels so visibly prominent in Connemara with its landscapes charcoaled with deserted ruins. It’s a feeling I also experience, despite never having lived in Ireland, which prompted me to want to explore the idea of longing for something/somewhere ‘un-experienced’, and to a certain extent, fictionalised.”
The Italian multidisciplinary collective CREA proudly presents "Crea Legacy 001" the debut release from its newly launched record label. This inaugural compilation is a powerful statement of intent, showcasing the diverse talents of CREA's resident artists from music to digital art. The record features four meticulously crafted tracks from no.name, Alarico, and Endrew, each contributing their unique sonic identity to this eclectic compilation, complemented by a 3D sculpture from 4C
Crea Legacy 001 kicks off with with Alarico's "Sleeping Dog" a percussive techno track that captures deep, primal energy perfect for peak dancefloor moments. No.name's "Tag" brings a sleek, minimalist vibe, driven by a bouncing bassline. On the flip side Endrew's "Rescue Of Airon" takes a more intricate approach, weaving in aquatic ambience with intricate sound design, while no.name's "District" rounds off the compilation with a playful and timeless hypnotic groove.
The artwork by 4C captures a personal representation of a hidden celestial body. The composition blends organic, fluid shapes with a cosmic essence, evoking the mysterious and dynamic nature of an unknown universe.
In vielen nordischen Mythen verfügen Stimmen über magische Kräfte. Unter dem Namen WHISPERING VOID erforscht und verkörpert ein Kollektiv renommierter Musiker von Norwegens Westküste auf ihrem Debütalbum "At the Sound of the Heart" diese alten Traditionen. Alle Bandmitglieder brachten einen Teil ihres musikalischen Hintergrunds in WHISPERING VOID ein: Die unverwechselbaren Stimmen von WARDRUNAs Lindy-Fay Hella und ihrem männlichen Gegenpart Kristian "Gaahl" Espedal ziehen Zuhörer mit einer enormen Bandbreite an Techniken und Tönen unwiderstehlich in ihren Bann. Gitarrist Ronny Stavestrand und ENSLAVED-Schlagzeuger Iver Sandøy kombinieren auf "At the Sound of the Heart" unter anderem Ambient, psychedelischen Prog und Rock mit Klängen aus dunklem Folk und Metal zu etwas, das im Kern nordisch klingt, aber über die vielen bereits erforschten Sounds hinausgeht. Der kreative Funke, der das Feuer von WHISPERING VOID entfachte, kam aus einer langen Zeit musikalischer Experimente von Ronny Stavestrand. Der Gitarrist hatte viele Jahre in der legendären Underground Black Metal Band TRELLDOM des herausragenden Sängers Kristian "Gaahl" Espedal verbracht. Espedal war mit GORGOROTH zu notorischem Ruhm gelangt und hat inzwischen mit GAAHLS WYRD einen weiteren eigenen Kanal für seine Kreativität etabliert. Daher lag es für Stavestrand nah, Espedal um dessen Mitwirkung bei WHISPERING VOID zu bitten. Der Sänger stimmte zu und als bei der gemeinsamen Erkundung neuer Klangdimensionen der Bedarf nach einer weiblichen Stimme aufkam, war Gaahl aufgrund seines früheren Mitwirkens bei WARDRUNA sofort bewusst, dass die charakteristische, kraftvolle Stimme von deren Frontfrau Lindy-Fay Hella, die sie auch in ihren eigenen Projekten einbrachte, perfekt zu WHISPERING VOID passen würde. Zum Glück folgte die Sängerin gerne dem Ruf des Duos. Das Quartett wurde schließlich durch Iver Sandøy als Schlagzeuger und Bassist komplettiert, der sein makelloses musikalisches Feingefühl und Timing schon vor einigen Jahren in den Dienst von ENSLAVED stellte, und sich zuvor bereits mit der progressiven Band EMMERHOFF & THE MELANCHOLY BABIES einen Namen gemacht hatte. Das Ergebnis ihrer kollektiven Studioexperimente und ihres kontinuierlichen Austauschs ist eine einzigartige Mischung aus den diversen Einflüssen, welche die Bandmitglieder repräsentieren.
"Omar Sosa's 88 Well-Tuned Drums, the soundtrack to the documentary film of the same name, is the first solo vinyl release for multiple-GRAMMY-nominated pianist and composer Omar Sosa. Presented on limited edition transparent red vinyl, these newly-remastered tracks highlight Sosa's spectacular range, from soloist to big band leader and everything in between. A must-have for fans and a perfect introduction for the uninitiated, this career-spanning LP captures a Cuban music icon in some of his best and brightest recordings. While Sosa's globetrotting sound defies easy genre categorization, fans of ambient, fusion, Latin jazz, salsa and world music will discover both freshness and familiarity in Omar Sosa's 88 Well-Tuned Drums.
(This is a 2024 Record Store Day release)"
Clear[29,20 €]
Die Londoner Experimentalisten Kinkajous releasen ihr neues Album auf dem Nottinghamer Label Running Circle. "Nothing Will Disappear" ist Ambient-Maximalismus in seiner subtilsten und zartesten Form. Anklänge an Floating Points und subtile Klangfarben-Shifts á la Jon Hopkins und James Holden sind deutlicher zu erkennen als bei anderen zeitgenössischen Jazzacts. Die beiden Vorgänger "Hidden Lines" (2019) und "Being Waves" (2021) sind Paradebeispiele für ihre Mischung aus analoger, akustischer und orchestraler Instrumentierung und schafften es beide in zahlreiche Jahresendlisten.
Von CLASH als "ein wichtiger Teil der britischen Musiklandschaft" beschrieben, beziehen Kinkajous ihre Inspiration aus Orchester-, Instrumental- und elektronischer Musik und sind für ihren fesselnden und filmreifen Sound bekannt. Angeführt von Schlagzeuger/Produzent Benoît Parmentier und Saxophonist Adrien Cau, können sie mit einer beeindruckenden Besetzung aufwarten, zu der auch Keyboarder Jack Doherty und Bassist Andres Castellanos gehören. Die mutigen neuen Räume, in die Kinkajous vorgedrungen ist, kommen gut an, mit ausverkauften Headliner-Shows im Londoner Jazz Café und King's Place, neben einer gigantischen Zusammenarbeit im letzten Winter mit dem London Contemporary Orchestra im Londoner Earth Theatre und Auftritten bei den Bluedot und EFG London Jazz Festivals.
Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!
Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!
