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I Am Not There Anymore folgt auf das 2017 erschienene Music For The Age Of Miracles (das nach einer siebenjährigen Pause der Band erschien), wobei die neuen Aufnahmen 2019 begannen und stückweise bis 2022 fortgesetzt wurden - zum Teil wegen der Pandemie, aber auch, weil die Band den Raum für Experimente haben wollte. "Wir haben uns schon immer für andere Musik als Gitarrenmusik interessiert", sagt Sänger, Texter und Gitarrist Alasdair MacLean. Diesmal hat er - zusammen mit dem Bassisten James Hornsey und dem Schlagzeuger Mark Keen - Elemente des Post-Bop-Jazz, der zeitgenössischen Klassik und der elektronischen Musik einbezogen. MacLean meint: "Nichts von alledem war in der Lage, seinen Weg in unseren Sound zu finden, außer auf die beiläufigste Art und Weise, in der schwächsten Ausprägung." I Am Not There Anymore bestätigt die Stellung von The Clientele unter den großen Stilisten der Popmusik, indem es geschickt von Bild zu Bild, von Stimmung zu Stimmung wechselt, und zwar auf eine Weise, die sich sowohl neu als auch klassisch anfühlt, während The Clientele als Band in neue klangliche Gefilde vorstoßen. Im Laufe der 32-jährigen Karriere von The Clientele haben Kritiker und Fans ihre Lieder mit Worten wie "ätherisch", "schimmernd", "dunstig", "hübsch" und "zerbrechlich" beschrieben. Alasdair MacLean, hat seine eigene Interpretation der Wirkung, die seine Musik erzeugt. "Es ist das Gefühl, nicht da zu sein", sagt er. "Was wirklich in allen Clientele-Platten steckt, ist das Gefühl, nicht in dem Moment zu sein, in dem man sich befindet." I Am Not There Anymore evoziert regelmäßig das, was MacLean "das Gefühl, nicht real zu sein" nennt. Viele der Songs wurden von MacLeans Erinnerungen an den Frühsommer 1997 inspiriert, als seine Mutter starb.

I Am Not There Anymore folgt auf das 2017 erschienene Music For The Age Of Miracles (das nach einer siebenjährigen Pause der Band erschien), wobei die neuen Aufnahmen 2019 begannen und stückweise bis 2022 fortgesetzt wurden - zum Teil wegen der Pandemie, aber auch, weil die Band den Raum für Experimente haben wollte. "Wir haben uns schon immer für andere Musik als Gitarrenmusik interessiert", sagt Sänger, Texter und Gitarrist Alasdair MacLean. Diesmal hat er - zusammen mit dem Bassisten James Hornsey und dem Schlagzeuger Mark Keen - Elemente des Post-Bop-Jazz, der zeitgenössischen Klassik und der elektronischen Musik einbezogen. MacLean meint: "Nichts von alledem war in der Lage, seinen Weg in unseren Sound zu finden, außer auf die beiläufigste Art und Weise, in der schwächsten Ausprägung." I Am Not There Anymore bestätigt die Stellung von The Clientele unter den großen Stilisten der Popmusik, indem es geschickt von Bild zu Bild, von Stimmung zu Stimmung wechselt, und zwar auf eine Weise, die sich sowohl neu als auch klassisch anfühlt, während The Clientele als Band in neue klangliche Gefilde vorstoßen. Im Laufe der 32-jährigen Karriere von The Clientele haben Kritiker und Fans ihre Lieder mit Worten wie "ätherisch", "schimmernd", "dunstig", "hübsch" und "zerbrechlich" beschrieben. Alasdair MacLean, hat seine eigene Interpretation der Wirkung, die seine Musik erzeugt. "Es ist das Gefühl, nicht da zu sein", sagt er. "Was wirklich in allen Clientele-Platten steckt, ist das Gefühl, nicht in dem Moment zu sein, in dem man sich befindet." I Am Not There Anymore evoziert regelmäßig das, was MacLean "das Gefühl, nicht real zu sein" nennt. Viele der Songs wurden von MacLeans Erinnerungen an den Frühsommer 1997 inspiriert, als seine Mutter starb.

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Produced by Philadelphia's Legendary Sonny Hopson, Santiago is Indeed Neftali Santiago from Mandrill who took a break from the band in 1975 and did a little experimenting, this came out of a 6 hour sessions in which 3 tracks were recording, two being on this 45 and is Santiago's only lead vocal to date . The band lasted a year in that time supporting Gil Scott Heron and The Ohio Players live. A two sided disco stormer with all the right ingredients, great guitar hook, solid horn section and great vocal.Essential Disco

“As I walk between the shadows I can see my full light” is the mantra and story Anna Vs June tells on “Ersi”, her debut on Subject To Restrictions Discs.

It is about personal thoughts and experiences on topics like faith and motherhood. Beginning with “As I Walk” as the clumsy state of any beginning, it continues with “Between The Shadows” where Anna relives her years as a teenager.

Continuing the narrative with “I Can See”, we listen to what it was like to grow up, finally ending with the yearning acceptance of the unknown on “My Full Light”. Anna Vs June’s musical language is based on her exploration of traditional Greek music, which she learns and whose characteristics she reinterprets in her own production. This album was produced in Anna’s studio in Athens during the months of lockdown.

Sometime in 1984, San Diego native Anthony "Antone" Williams found himself sitting alone at Pure Sound Studios, tinkering around with a drum machine. Eventually he landed on a "sinister groove" which would lay the propulsive foundation for his hauntingly melodic tour de force, "Windows of My Mind." Released the following year as a seven-inch single on his own Unity Records label, the song features Antone's otherworldly production. Some have referred to the result as "post punk soul," but we'll let you be the judge.

Coming up in San Diego in the Seventies, part of an extensive musical family, Antone's creative fuse was lit by the sounds of Stevie Wonder, Earth Wind & Fire, and the Jackson 5.. At the age of 13, he was performing in area clubs, making a name for himself. By age 22, he had opened his own recording studio, Pure Sound. The influence of Sly and the Family Stone was decisive for Antone, who took to wearing a star-shaped gold necklace, not unlike the one famously worn by Stone on his epochal 1975 LP High on You.

"Windows of My Mind" was Antone & The Underworld's sole release. Limited to 500 copies and handed out as a promotional tool for a purported album of the same name, the single didn't get much traction. (A story as old as time.) Perhaps the music was ahead of its time and Antone's visionary message will finally sink in 2023. "I didn't want to make a song like Shake Your Booty", he says now. And yet we think that this long-lost record with its "sinister groove" is eminently danceable, almost 40 years later. We challenge you to take a listen to this home-grown 1985 7", remastered directly from the original tape, and make an assessment of your own.

"Almost two years after the multi-charted and heavily played 'Player's Paradise' EP, Lex returns to B2 Recordings, marking the milestone 10th release for Bengoa's rising Athens - based imprint.

The Greek artist has had quite a joyride since then, with releases on Delusions Of Grandeur, Samosa Records and his debut LP on Leng, which brought worldwide attention. Here we see him deliver his latest work, 'Fast Jags' - an unmistakable piece of his trademark nu-disco-meets-house excellence. Popping organic percussion, shaking funk-infused bass lines and an amalgamation of wandering trippy synthesisers and cinematic strings.

For this anniversary release, B2 Recordings could have no other than the man of the moment, prolific DJ and producer Felipe Gordon on remix duties! The highly acclaimed Colombian musician delivers an outstanding ten-minute journey into deep, funk & heart warming house music, playing along with jazz-tinged bass lines and intricately intertwined keys, strings and synth licks.

Rounding things up, label-head Bengoa adds a bit of rawness to the original, effectively bringing up natural percussion and trippy synth stabs, creating a club-ready house roller that you never want to end.

A perfect package for the anniversary tenth release by B2 Recordings.

Neue Auflage auf weißem Vinyl des 2013er Albums des englischen Ambient-Folk-Künstlers Jerome Alexander (aka Message To Bears, HIN, J.R. Alexander), das nach 3 Alben bei Dead Pilot Records in limitierte Auflage im Eigenvertrieb erschien. Mit seiner eigenwilligen und bezaubernden Mischung aus Folk, Ambient-Electronica und ätherischen Vocals teilt sich Jerome Alexander bereits mit Neoklassik-Größen wie Nils Frahm und Ólafur Arnalds.

Created In the heart of Athens, GA with their trusty- producer, Henry Barbe (Deerhunter, Drive By Truckers) You Know Who is an 11-song record that pushes the boundaries of modern country and rock n' roll music. The Pink Stones sound takes influence from recordings of George and Tammy, as well as J.J. Cale's self produced Tulsa sound. The record is also just as inspired by the windy city cuts of Curtis Mayfield, all styles that covers the band's sound in cigarette smoke and whiskey spills. The six piece band has utilized their performing chops to make a tight but soulful album with featured guests such as Nikki Lane, Jack Quiggins and Ryan Jennings (Teddy & the Rough Riders), John James Tourville (Deslondes), and Annie Leeth (Faye Webster). No strangers to friends and guests, this ramshackle unit formed together flawlessly to take the next leap into The Pink Stones deep sphere.

Bright & Findlay - James Alexander Bright und Tom Findlay (Groove Armada) - eint ihre gemeinsame Liebe zu Machine-Funk, Outsider-Soul, 70'/80'er Nautica und Basement-Disco des 21. Jahrhunderts. Auf ihrem Debütalbum 'Everything Is Slow' auf Athens Of The North präsentieren sie eine atemberaubende Bewegung und Atmosphäre, vollgepackt mit Sunshine Boogie, Cosmic Disco, einer Prise balearischem Funk und Inspirationen und Widmungen von Dâm Funk bis Metro Area.

Strut presents an exclusive new collaboration between UK jazz keyboardist Greg Foat and Venetian ambient / electronic maestro Gigi Masin on ‘Dolphin’.

Recorded remotely during 2021-2022 the album took shape in the form of mutual compositions, gradually developed and embellished online. Final recording sessions took place at the majestic Chale Abbey Studios on the Isle Of Wight with Moses Boyd (drums), Tom Herbert (bass) and Siobhan Cosgrove (flute, clarinet) adding elements to several pieces. Tracks include the reflective, wistful single ‘Viento Calido’ and drifting ambient piece ‘Sabena’, a beautiful tribute to Gigi’s wife who sadly passed away during 2022.



Greg Foat has recorded prolifically in recent years for Athens Of The North, Jazzman and Strut including acclaimed albums Symphonie Pacifique (2020) and The Mage (2019). Best known for his 1986 ambient masterpiece Wind and as a member of Gaussian Curve, Gigi Masin has enjoyed a revival in recent years through his Calypso album on R&S’s Apollo label and renewed touring. Dolphin represents Greg and Gigi’s first landmark recording collaboration together. “I first heard Gigi’s album Wind in 2016,” remembers Greg. “I was living in Miami and I heard it playing one Summer evening Since then, it has always been in my mind to be able to record together.”

Strut presents an exclusive new collaboration between UK jazz keyboardist Greg Foat and Venetian ambient / electronic maestro Gigi Masin on ‘Dolphin’.

Recorded remotely during 2021-2022 the album took shape in the form of mutual compositions, gradually developed and embellished online. Final recording sessions took place at the majestic Chale Abbey Studios on the Isle Of Wight with Moses Boyd (drums), Tom Herbert (bass) and Siobhan Cosgrove (flute, clarinet) adding elements to several pieces. Tracks include the reflective, wistful single ‘Viento Calido’ and drifting ambient piece ‘Sabena’, a beautiful tribute to Gigi’s wife who sadly passed away during 2022.



Greg Foat has recorded prolifically in recent years for Athens Of The North, Jazzman and Strut including acclaimed albums Symphonie Pacifique (2020) and The Mage (2019). Best known for his 1986 ambient masterpiece Wind and as a member of Gaussian Curve, Gigi Masin has enjoyed a revival in recent years through his Calypso album on R&S’s Apollo label and renewed touring. Dolphin represents Greg and Gigi’s first landmark recording collaboration together. “I first heard Gigi’s album Wind in 2016,” remembers Greg. “I was living in Miami and I heard it playing one Summer evening Since then, it has always been in my mind to be able to record together.”

High Roller Records, reissue 2023, blue jay/ white splatter vinyl, ltd 250, 425gsm heavy cardboard cover with 5mm spine, poster, insert, mastered and partially restored by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2023, black vinyl, ltd 250, 425gsm heavy cardboard cover with 5mm spine, poster, insert, mastered and partially restored by Patrick W. Engel at Temple of Disharmony

Repress!

It can take a while for an artist to find their musical voice. For Alex Andrikopoulos, it’s been a journey that’s taken the best part of two decades. Now he’s set to mark a major milestone in his transition from record store owner, label co-founder and DJ to producer with the release of his long-promised first solo album for Leng, Waving. The Greek artist first joined the Leng Records roster in the autumn of 2020 and has since gone in to release the acclaimed ‘Punta Allen’ EP for the imprint. Before that, he spent the first decade of the century running the popular Radical Sounds record shop in Athens, before refocusing on running Quantized Music with fellow DJ/producer Tolis Q and developing his DJ career, where his unique blends of disco, house and techno tracks earned him bookings at some of Europe’s most storied clubs.

Waving, which appears on the back of a handful of fine EPs for a variety of labels, is his boldest and strongest statement yet as a musician and producer. Created with a little help from guest musicians and collaborators including keyboardist Artis Boriss, bassist Brotha Gilla, percussionists Ilario Arnel and Harold Perez, pianist Luciano Ledesma and guitarist Alex Searle, the album brilliantly blurs the boundary between 21st century disco, afternoon-ready downtempo grooves, and the kind of dancefloor-minded Balearic fare that’s devilishly difficult to pigeonhole.

Fittingly, the set begins with previous single ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness which slowly unfurls before rising towards and gorgeous and joyous conclusion, and ends with the squelchy, slo-mo cosmic funk of ‘Patrol Di Caribe’, where trippy synthesizer lines, layered percussion and more tuneful style pan style lead ins catch the ear.

In between, highlights are plentiful, from the driving, piano solo-laden dub disco brilliance of ‘Down My Soul’ and the languid, sun-kissed, beach-ready downtempo grooves of ‘The Jamail Pass’, to the rubbery, pitched-down electrofunk of ‘Window Spells’ (featuring a fine lead vocal from Max Giovara, the flash-friend, dubwise Balearic funk of ‘Waving’, and the throbbing brilliance of ‘La Di Da Di’, whose crunchy Clavinet lines, fluid electric piano solos, snappy drums and pulsating, arpeggio-style bass encapsulate all that is good about the album.

The digital edition of the album also comes bundled with eight more tracks not featured on the double-vinyl LP. Featuring the same blend of expansive musicality, organic drums and dancefloor nous, this octet effectively extends the album via a string of similarly playable, club-ready and sofa-friendly tracks. Standouts include the non-stop, nu-disco-meets-house excellence of ‘Large Stacks’, Hammond-laced head-nodder ‘Take The High Road’, horizontal Balearic funk shuffler ‘Prezend’ and hazy, vocal-sporting dub disco roller ‘Angels of Rhythm’, which previously appeared on the flipside of Lex’s ‘Punta Allen’ 12”.

Bright & Findlay - James Alexander Bright und Tom Findlay (Groove Armada) - eint ihre gemeinsame Liebe zu Machine-Funk, Outsider-Soul, 70'/80'er Nautica und Basement-Disco des 21. Jahrhunderts. Auf ihrem Debütalbum 'Everything Is Slow' auf Athens Of The North präsentieren sie eine atemberaubende Bewegung und Atmosphäre, vollgepackt mit Sunshine Boogie, Cosmic Disco, einer Prise balearischem Funk und Inspirationen und Widmungen von Dâm Funk bis Metro Area.

Various Artists - A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006) LP + 7' + 4 page booklet insert describing the legacy of the magazine, 500 only pressed. A vinyl only release. "A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006)" is a celebratory vinyl-only release drawn from the magazine's sixteen cover-mounted compilation CDs. Across some 300 tracks, the magazine presented previously unheard tracks from its eclectic array of interviewees drawn from the worlds of the Singer Songwriter, Americana, Post-Rock, Electronica, and all things Indie. Comes With A Smile's designer/editor Matt Dornan's association with Tongue Master Records began with the first TM 7" and has continued to the present day. In some ways the association has come full circle with this curated release. The selections on this album represent the place where the worlds of Tongue Master and CWAS converge. Most remain exclusive to the magazine, and all appear on vinyl for the first time. Side one features artists who appear in the Tongue Master discography - from established masters Mark Eitzel, Mark Mulcahy and Howe Gelb to the equally idiosyncratic stylings of New York's The Scene Is Now, Athens' Sigmatropic (featuring Edith Frost) and London's cinematic The Real Tuesday Weld. The latter revisits a CWAS favourite, featuring a newly recorded vocal by Sephine Llo, exclusive to this release. Other contributions include intimate demos from Eitzel and Gelb (better known in embellished form by American Music Club and Giant Sand respectively), to standalone gems like Mulcahy's "Elephantine" (which gives this collection its title) and the bruised avant-garde blues of The Scene Is Now's "The Word". The tracks on side two and the accompanying 7" are a diverse selection drawn from the 16 CDs CWAS issued between 2000 and 2006 that reflect and complement the oeuvre of Tongue Master Records. Here you will find the dense literature-infused art-folk of Lullaby For The Working Class, the sparse acoustic balladry of Nina Nastasia and the curious Matmos-enhanced stylings of veteran polymath and fellow New Yorker David Grubbs. In their wake comes an epic jazz-tinged duel between Douglas McCombs's Brokeback and sometime labelmates Chicago Underground Duo, and the raw gothic Americana of Blanche. The LP concludes with a haunting lo-fi lament by the sorely missed Jason Molina in his Songs: Ohia guise. The 7" presents two further gems: a concise edit of the lengthy title track from a 2005 12" tour EP from CWAS regulars The American Analog Set, and an acoustic rendition of a track from the album 'The Great Destroyer' by shapeshifting veterans Low from the same year. Together the 14 tracks hint at the breadth of the CWAS archive, a treasure trove from a not-too-distant musical past. With full lyrics, a special four page insert tracing the history of the magazine, and an Alex Wharton Abbey Road cut, this quality release is a testament to the legacy of CWAS. 'Probably the best independent music magazine in the world '- ESQUIRE // Tracks: SIDE ONE: 1 The Scene Is Now - 'Words' (3:10) 2 Howe Gelb - 'Wolf Pup' (4:42) 3 Mark Mulcahy - 'Elephantine' (4:12) 4 Sigmatropic featuring Edith Frost - 'Haiku 4 (Alt)' (2:31) 5 Mark Eitzel - 'Bought A Book' (3:36) 6 The Real Tuesday Weld featuring Sephine Lo - 'Dreaming of You' (3:47). SIDE TWO: 7 Lullaby For The Working Class - 'In Defense Of Abstractions' (3:18) 8 Nina Nastasia - 'I Will Never Marry' (3:29) 9 David Grubbs- 'Aging Young Lovers' (2:53) 10 Brokeback With Chicago Underground Duo- 'Chomsk, Live!' (7:08) 11 Blanche -'Never Again (Demo)' (3:26) 12 Songs: Ohia - 'Untitled' (3:01). 7" SIDE 3: The American Analog Set - 'Everything Ends In Spring (Edit)' (4:41). SIDE 4: Low - 'Walk Into The Sea (acoustic version)' (3:07) For indie stores only!

Obwohl viele es versucht haben, ist es nur wenigen Bands gelungen, die umwerfende Formel des technischen Death Metal zu wiederholen, die während der Entstehung des Genres von den Godfathers of DEATH etabliert wurde. Bis die Italiener MISCREANCE im Jahr 2022 mit ihrem Debütalbum "Convergence" in den Ring stiegen. Im Gegensatz zu den Zeitgenossen des Genres, die für Geschwindigkeit und Extremität bekannt sind, liegt die Kunst von MISCREANCE in ihrer sorgfältig ausgeführten Präzision, die die konzentrierte Disziplin hinter der beredten Komplexität der Musik unterstreicht.

FFO: Death (späte Ära), Horrendous, Atheist, Control Denied

Obwohl viele es versucht haben, ist es nur wenigen Bands gelungen, die umwerfende Formel des technischen Death Metal zu wiederholen, die während der Entstehung des Genres von den Godfathers of DEATH etabliert wurde. Bis die Italiener MISCREANCE im Jahr 2022 mit ihrem Debütalbum "Convergence" in den Ring stiegen. Im Gegensatz zu den Zeitgenossen des Genres, die für Geschwindigkeit und Extremität bekannt sind, liegt die Kunst von MISCREANCE in ihrer sorgfältig ausgeführten Präzision, die die konzentrierte Disziplin hinter der beredten Komplexität der Musik unterstreicht.

FFO: Death (späte Ära), Horrendous, Atheist, Control Denied

Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies. Featuring the ethereal eerie dream pop of former artist commune residents Cooper Holmes and Madeline Polites, with drummer John Spiegel and Elephant 6 descendant Kiran Fernandes (keyboards, clarinets, flutes). Additional contributions come from drummer Jon Vogt who can be heard on ‘Mercy Of The Crane Folk’ and ‘Birth Of Queen Croaker’. It’s a haunting and immersive trip into the inner psyche of these nomadic soothsayers; a psychedelic dance party from a half-lit underground world; breathlessly eerie and all consuming; a salubrious sojourn that sounds like nothing else. Filled with a kind of peculiar optimistic uncertainty that any quest to make sense of a drowsy recollection of simpler and far better times would have; ‘Mercy Of The Crane Folk’ is soft and serene summoning up a fanciful folkloric place where, undoubtedly, the mysterious crane flock prosper

"Westerman — the London-born, Athens-based pop maverick — has returned with his new album, ‘An Inbuilt Fault’.

The album's nine songs took shape throughout the depths of the pandemic and soundtrack Westerman’s reckoning with two years of intense isolation, loneliness, heartbreak, and dread. The phrase “an inbuilt fault” itself is an examination of the inherent and innate flaws that make us human – a visceral response to Westerman’s disillusionment with AI and social media during this time period.

Through it all, the album is visceral and live-sounding, full of the sound of breath and the idiosyncratic gestures of acoustic instruments. It creates a spatial feeling, sounding like musicians assembled in a room, passing evolving ideas back and forth. Co-produced with producer and percussionist James Krivchenia (Big Thief), and featuring an extended crew of Los Angeles associates, 'An Inbuilt Fault' exhibits music that is heavier and more sonically daring than Westerman’s previous releases, and it is the most adventurous and unselfconscious songwriting of Will Westerman’s career.

‘An Inbuilt Fault’ follows Westerman’s acclaimed 2020 debut ‘Your Hero Is Not Dead,’ a graceful and self-reflective project which earned him a spot as one of the most talked about new artists of the year thanks to profiles from Pitchfork (‘Rising’), Stereogum (‘Artist To Watch’), and Rolling Stone (‘Artist You Need To Know’)."

Zwei weitere Deepfunk/Soul-Tracks aus dem Bandarchiv von Benjamin Robinson von Coco and Ben. 'Thumping For You' ist ein hypnotisch-schwebender, gefühlvoller Funk-Banger mit dieser eingängigen Gitarre, die den Hörer sofort an Coco and Ben erinnert, während ein lockerer Vibe auf die Tanzfläche trifft.

'Brandon's Song' hält die hypnotisch-lockere Stimmung für laue Sommernächte aufrecht.

Les Disques Bongo Joe return to the scorching Kabyle rock of Abranis, the pioneering Algerian band that blended traditional Berber music with western rock, folk, disco, and funk, all the while proudly celebrating their Kabyle heritage. Amazigh Freedom Rock is a comprehensive look into their discography, from the garage-rock experimentations of their early days to their lushly orchestrated North African fusion masterpieces of the 1980s.

The Abranis story begins in the mid-sixties, when Shamy El Baz and Karim Abdenou crossed paths in one of Paris' bohemian neighborhoods. Both were Kabyle, the Berber
people from Algeria’s northern regions, both loved rock music, and both were passionate about fostering a modern Algerian sound, as inspired by Kabyle rhythms and melodies as it was by western rock. The two musicians founded Les Abranis in 1967.
Together they experimented by mixing Kabyle vocals and melodies with garage and psych-rock but as the '70s progressed they increasingly moved away from the garage and psychedelia of their early days and began to interpret their Kabyle repertoire in more open and creative ways melting prog rock, jazz and some early electronic influences.

Over 11 electrifying tracks, Amazigh Freedom Rock 1973-1983 highlights their legacy as the underground kings of Kabyle rock.

Atheris joins the Amniotes with a 2-part egg:
ZRS-1: Instant Molting 1.0 (blue pill)
ZRS-2: Instant Molting 2.0 (red pill)

Chose one or ingest both for a wild ride at the Zion Cave #reloaded.

Presented by Julian Muller.

Atheris joins the Amniotes with a 2-part egg:
ZRS-1: Instant Molting 1.0 (blue pill)
ZRS-2: Instant Molting 2.0 (red pill)

Chose one or ingest both for a wild ride at the Zion Cave #reloaded.

Presented by Julian Muller.

Tape

Superficie is a collaborative EP composed by Ice_eyes and Sueuga.
Produced across Athens (Greece) and Distrito Federal (Mexico), Superficie emerges from two distinct artistic personalities; contortions of jungle-breaks and ferocious bursts of noise are welded
together through jagged hard-dance rhythms, begetting a dystopic glimpse into post-pandemic club music.
Through the course of sixteen minutes, the percussive and industrial, anarchic and methodical collide at blistering speed, conjuring a riveting and utterly amorphous hybrid-sound.
This hypnotic journey concludes with an enigmatic remix of "Superficie” by the exalted experimental
producer Ziúr.

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

The highly-anticipated third studio album from critically-acclaimed singer-songwriter Greyson Chance, released through Lowly. Available on black vinyl with gatefold sleeve, featuring "My Dying Spirit”, “Homerun Hitter,” "Athena" & more.

“The album comprises three acts," says Chance. "The first one is rebuilding and growth. The second is absolute pride. The third is a realization. Life will kick you in the ass no matter what happens. It feels timid at points, but there are big confident moments. At the end, the hero falls down a few pegs. I’ve been writing my own songs since I was a kid, and that’s the story behind it.”

Title paraphrase of the legendary British film the crying game, track titles that refer to stories of Philip dick or William Gibson, melancholic pads a la Derrick May and jazzy melodies compose a hybrid of acid and drum and bass that brings to mind the braindance and breakcore sound of the UK . Αthens Computer Underground's The Crying Came is a sophisticated soundtrack of hardware electronica.

Das selbstbetitelte Album von For The Fallen Dreams
kombiniert Elemente aus Hip-Hop, modernem Rock und
progressivem Metal zu der bösartigen Dynamik, für die die
Band bekannt geworden ist, und hat das Zeug zu etwas
Zeitlosem. Das selbstbetitelte Album kombiniert die Vorliebe der Band für strafende Aggression und bombastische
Breakdowns, dramatische Gitarrensoli mit erhabenen
Refrains, ätherische Atmosphäre und unvorhersehbaren,
grausamen Grooves und ist ebenso hitverdächtig und
ansteckend eingängig, wie geradezu vernichtend

Die Stoner Psychedelic Rockers von VILLAGERS OF IOANNIA CITY betören Athen!

VILLIGERS OF IOANNIA CITY wagen einen nostalgischen Blick auf die große Bühne Athens und liefert mit ihrer einzigartigen Mischung aus psychedelischen Hard Rock und klassischen Folk Instrumenten eine
explosive Bühnenshow ab. Inspiriert von der griechischen Natur und ihren kosmischen Phänomenen hat die Band seit ihrer Gründung in 2007 zwei packende Studio Alben und eine EP veröffentlicht.

Seit ihrem ersten Albums, Riza (2014), haben VILLAGERS OF IOANNIA CITY auf den größten Rock Festivals gespielt und sorgten für ausverkaufte Hallen bei den größten Shows der griechischen Musikszene.
Nach vielen großartigen Auftritten wagt die Band nun den nächsten Schritt und präsentiert ihr erstes Live Album! Basierend
auf ihrer Live Erfahrung und der kurzen aber beeindruckenden Diskographie, erscheint das Album Through Space and Time (Alive in Athens 2020) am 03. März 2023 via Napalm Records.

Die Show baut auf den Songs ihres letzten Albums, Age of Aquarius (2019), auf und wird mit weiteren Songs ihres Debut Albums und der vorherigen EP durchmischt.Through Space and Time (Alive in
Athens 2020) zeigt die unglaubliche Detailverliebtheit der Band, die sich durch die fantastische Produktion und ihre unvergleichbare Live Präsenz zeigt. Mit Gewissheit werden VILLAGERS OF IOANNIA CITY auch mit zukünftigen Shows ihren Platz im Rock Olymp sichern und ihrem musikalischen Können jedes Mal aufs Neue überzeugen.

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

Auf früheren Veröffentlichungen stellte Hulder ihre musikalische Vision in ursprünglicher Form vor, aber mit einem direkten Sinn für grimmig-melodische Motive. Doch erst auf ihrem Debütalbum "Godslastering: Hymns of a Forlorn Peasantry" begann sich Hulders ausgeprägte Vorliebe für raue Hymnen von mystischer, belebender Erhabenheit und abgrundtiefer Tiefe vollends zu entfalten.

Während des gesamten Albums verwebt Hulder die Fäden verschiedener Black Metal-Stränge miteinander und nimmt dabei Elemente heidnischer Folklore, ätherische symphonische Würde und kratzende, rauhe Melodik der unharmonischsten und grässlichsten Art auf. "Godslastering..." zeichnet ein lebendiges Bild mittelalterlicher Dunkelheit und längst vergessenen Ahnenreihen.

Im Jahr 2021 wurde Hulder zu einer Live-Band mit kompletter Besetzung. Und obwohl es Pläne gibt, mit der Band weit und breit in der ganzen Welt zu touren, bleibt Hulder musikalisch die alleinige Vision ihrer Schöpferin. Godslastering..." wurde bereits Ende 2020 veröffentlicht und erscheint nun zum ersten Mal in Deutschland - auf 20 Buck Spin, dem neuen Label der Band.

A compilation by To Pikap records diving deep into the 90's rave nostalgia. Pera Sta Ori starts with a jungle/idm track, while next Serge Geyzel contributes with a killer acid breakbeat. All 303 DimDJ's track also and ACU with a party feeling but yet sentimental track. Finally Dj Tsoug and TSEV add up a slice of braindance.

Danger, heartbreak, love & lust, over leads, lush pads & rhymes.
This is how BNC (Bruises N Cuts) unfolds the soundtrack hiding behind the perilous yet thrilling experience known as The Bonnie And Clyde Syndrome.
Named after the infamous duo, the condition of attraction to criminal minds is reflected in a ten track LP featuring some of Athens finest female acts paring alongside BNC to deliver a musical rollercoaster ride wrapped in a story of bright lights and equal dark corners.
Honing the skills from the likes of the soulful Sugahspank, IRENE and Ksenia Dania, not to mention the witty Idra Kayne & Greek indie sensation Nalyssa Green, the LP delivers a Hip-Hop electronica infused sonic meal better served warm & loud.

The Bonnie And Clyde Syndrome is available on vinyl by the label Mind The Wax as of December 16th. The album was released digitally by Sky Vector on November 14th 2022 and includes 10 tracks.

After 12 years this is the triumphant return of Hellenic darkness! Followers of Deviser all over the world who still concider their early releases as hidden gems of their collections, are in a frenzy this year awaiting the long-awaited new full length release, “Evil Summons Evil”, Greeks latest installment in the Black Metal scene and possibly the most important album of their career. An album that will surely leave its mark on the global metal community. Produced by the talented Psychon of Septicflesh who has taken over the mixing and mastering of the album and recorded exclusively at Soundabuseproductions in Athens. Deviser is a long-lasting value in the history of European Black Metal for the connoisseurs of the genre. The call of evil comes to darken the whole earth this February through Hammerheart records.