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Mit gerade mal 17 Jahren releaste Joey Bada$$ sein erstes Mixtape "1999" welches den Sound der goldenen Hiphop-Ära der 90er Jahre adaptierte, so authentisch und selbstverständlich als sei er mit dabei gewesen.
Die Kritiker überschlugen sich in ihren begeisterten Rezensionen und es folgten Features mit Asap Rocky, Kendrick Lamar, Mac Miller & Action Bronson. Der junge Brooklynite ist schon längst mehr als nur ein Geheimtipp. Die ersten audiovisuellen Kostproben gab es in den vergangenen Monaten in Form von "Big Dusty" und "Christ Conscious". Am 20. Januar erscheint nun sein Debütalbum, das den Titel "B4.DA.A$$" trägt.

Space Ghost returns with Dance Planet – Be Free Edition, a remastered, recut and expanded edition of his beloved 2022 album. Featuring refreshed artwork, newly remastered audio, and a brand-new digital remix package from not even noticed, RAMZi, Crystalline Reality, and Space Ghost himself, this is the definitive version of a modern house classic.

Rooted in uplifting, soulful 4/4 traditions inspired by forebears like Larry Heard and Blaze, Dance Planet flows effortlessly between ambient reflection and warm, driving club cuts. The remaster brings added depth and clarity — from the lush swells of “Afterglow” and the tripped-out breaks of “Dream Weaver” to the R&B-tinged groove of “UFO. ” Dancefloor staples like “Back To The Source” and “Soul Shower” retain their warmth and punch, while “Emotional Healer” and “Be Yourself (Motivational Mix)” continue to deliver Space Ghost’s signature affirmation: don’t be afraid to be yourself, don’t be afraid to let go.

Pressed on 140g black vinyl with new artwork and including a download code for the full extended album + remixes. A timeless, feel-good house LP — restored and expanded for collectors and selectors alike

Feeling Is Structure explores the relationship between physical form and human emotion.

Across 10 spatial audio-visual works, Cooper examines how structure in sound, architecture, biology and art, shapes the way we feel.

The album is built on the idea that our inner emotional lives are profoundly connected from our lived environment. Developed from a commission to create a live show for London’s Royal Albert Hall, expanding on this idea, Max explains:

“I’m fascinated by architects who can imbue brutalist buildings with humanity, or artists who can paint a block of colour representing their soul.” says Cooper. “We have this remarkable capacity to spill ourselves into the world through form. When I began working on a show for the Royal Albert Hall, that connection between large-scale physical structures and feeling took over, and this album emerged from that process.”

Musically, Feeling Is Structure leans into Cooper’s more intricate and deliberate compositional side. Rather than improvisation, the record focuses on carefully designed systems and processes that build evolving sonic architectures. Precise at the micro level, but deeply emotive in impact.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Nur wenige Orchesterwerke erfordern so viel Präzision wie Richard Strauss’ „Alpensinfonie“. Die DeccaAufnahme von Sir Georg Solti und dem Symphonieorchester des Bayerischen Rundfunks entstand 1979 und
war eine der letzten analogen Produktionen von Decca vor der Umstellung auf Digitaltechnik. Solti kannte
Strauss persönlich und studierte die Aufnahmen des Komponisten, bevor er diese einzigartig authentische
Aufführung in München aufnahm.
Die neue audiophile Vinyl-Reihe DECCA PURE ANALOGUE präsentiert legendäre Aufnahmen aus den
Archiven von Decca und Philips in einer völlig neuen Klangqualität. Die renommierten Emil Berliner Studios haben diese in 100 % analoger Qualität (AAA) mit speziell für diese Reihe entwickelten Technologien
neu gemastert.
Jede Veröffentlichung der Serie wird auf 180 g schweren Virgin-Vinyl-Schallplatten gepresst und in einer
luxuriösen Gatefold-Edition präsentiert, mit Original-Artwork und Liner Notes, zusätzlichen Fotos und
Faksimiles der Bandboxen und Aufnahmedokumentation. Darüber hinaus enthält jede handnummerierte
Limited Edition neue Liner Notes, in denen die Geschichte der Aufnahme sowie der technische Prozess der
Neu-Veröffentlichung detailliert beschrieben werden.

Zubin Mehtas klanglich spektakuläres Album mit Orchesterwerken von Edgar Varèse aus dem Jahr 1971,
aufgenommen mit dem Los Angeles Philharmonic, wurde von Gramophone für sein „virtuoses Spiel“ und
seine „vorbildliche Aufnahme“ gelobt. Mehta wird dieses Jahr 90 Jahre alt, und diese Aufnahme – mit
ihrem beeindruckenden Artwork – erinnert uns an Mehta in seiner besten Zeit, dynamisch und mit jugendlichem Verve, als er, auch wegen der atemberaubenden Aufnahmen, die Decca in LA produziert hat,
die internationale Bühne eroberte.
Die neue audiophile Vinyl-Reihe DECCA PURE ANALOGUE präsentiert legendäre Aufnahmen aus den
Archiven von Decca und Philips in einer völlig neuen Klangqualität. Die renommierten Emil Berliner Studios haben diese in 100 % analoger Qualität (AAA) mit speziell für diese Reihe entwickelten Technologien
neu gemastert.
Jede Veröffentlichung der Serie wird auf 180 g schweren Virgin-Vinyl-Schallplatten gepresst und in einer
luxuriösen Gatefold-Edition präsentiert, mit Original-Artwork und Liner Notes, zusätzlichen Fotos und
Faksimiles der Bandboxen und Aufnahmedokumentation. Darüber hinaus enthält jede handnummerierte
Limited Edition neue Liner Notes, in denen die Geschichte der Aufnahme sowie der technische Prozess der
Neu-Veröffentlichung detailliert beschrieben werden.

Seiji Ozawas Antritt als Musikdirektor des San Francisco Symphony Orchestra im Jahr 1970 wurde später
von Barack Obama anschaulich beschrieben: „Mit seinem Mop-Haarschnitt, seinen Rollkragenpullovern
und seinen Liebesperlen sah er fast aus wie ein Beatle“. Diese Aufnahme von Dvořáks Sinfonie „Aus der
Neuen Welt“ aus dem Mai 1975 war eine der letzten, die von Philips in Quadrophonie aufgenommen und
speziell für diese Neuauflage neu abgemischt wurde.
Die neue audiophile Vinyl-Reihe DECCA PURE ANALOGUE präsentiert legendäre Aufnahmen aus den
Archiven von Decca und Philips in einer völlig neuen Klangqualität. Die renommierten Emil Berliner Studios haben diese in 100 % analoger Qualität (AAA) mit speziell für diese Reihe entwickelten Technologien
neu gemastert.
Jede Veröffentlichung der Serie wird auf 180 g schweren Virgin-Vinyl-Schallplatten gepresst und in einer
luxuriösen Gatefold-Edition präsentiert, mit Original-Artwork und Liner Notes, zusätzlichen Fotos und
Faksimiles der Bandboxen und Aufnahmedokumentation. Darüber hinaus enthält jede handnummerierte
Limited Edition neue Liner Notes, in denen die Geschichte der Aufnahme sowie der technische Prozess der
Neu-Veröffentlichung detailliert beschrieben werden.

Bernard Haitinks Mahler war schon immer einer der Höhepunkte des Philips-Katalogs, und die Aufnahme
der 5. Sinfonie und des Adagios aus der 10. Sinfonie stammt aus dem analogen Zyklus, den er Ende
der 1960er und Anfang der 1970er Jahre aufgenommen hat. Diese Aufnahme aus dem Jahr 1970 wurde
im Concertgebouw in Amsterdam quadrophonisch aufgenommen und von Gramophone für „die besondere
Klarheit, die durch eine ausgewogene Balance entsteht” gelobt.
Die neue audiophile Vinyl-Reihe DECCA PURE ANALOGUE präsentiert legendäre Aufnahmen aus den
Archiven von Decca und Philips in einer völlig neuen Klangqualität. Die renommierten Emil Berliner Studios haben diese in 100 % analoger Qualität (AAA) mit speziell für diese Reihe entwickelten Technologien
neu gemastert.
Jede Veröffentlichung der Serie wird auf 180 g schweren Virgin-Vinyl-Schallplatten gepresst und in einer
luxuriösen Gatefold-Edition präsentiert, mit Original-Artwork und Liner Notes, zusätzlichen Fotos und
Faksimiles der Bandboxen und Aufnahmedokumentation. Darüber hinaus enthält jede handnummerierte
Limited Edition neue Liner Notes, in denen die Geschichte der Aufnahme sowie der technische Prozess der
Neu-Veröffentlichung detailliert beschrieben werden.

On his fourth solo album, and debut work for Nick Klein's Psychic Liberation imprint, Henrik Munkeby Nørstebø presents »Faint Light Blackens«, a negotiation between the atomized instrumentation of the solo trombone is pushed towards a full range wall of sound over the concise sprawl of seven distinct acts on two sides of a vinyl record.

The seven acts that make up the album were developed specifically for recording within Emanuel Vigeland’s »Tomba Emmanuelle«. The fresco within the mausoleum anchors themes of existential weight, ripe with weighted imagery of love, birth, and death. The solemn space is a cavernous acoustic terrain wherein reverberant reverie makes it almost impossible to speak aloud, let alone sing through horn and electronics. This chamber's expanse is baked into the compositional directions employed on »Faint Light Blackens«.

Experientially, the record was produced in a long form performance gesture, with no overdubs. While edited to fit the record format, no additional post production coloring took place. Here Nørstebø shines as an instrumentalist, wherein the symbiosis of the site specific architecture and his sound sources are synced. At once musing and brooding, the gamut of emotive sonic landscapes is at play for a fully dynamic listening experience. The territory in Nørstebø’s vocabulary through interplay with the mausoleum is not vaulted , unlike Vigeland’s urn’ed ashes. On »Faint Light Blackens«, the spirit takes bound beyond the cavern and reanimates the listeners stereo alters for a holistic listening experience of perfectly challenging electroacoustic endeavors.

Henrik Munkeby Nørstebø – acoustic & amplified trombone, monotron, feedback, sound files.
Recorded by Espen Reinertsen October 10. and 11. 2023 in Tomba Emmanuelle, Oslo Norway.
Cover Photos and mix by Henrik Munkeby Nørstebø
Mastered by Helge Sten (Deathprod) at Audio Virus Lab

Dr. Silberman makes a welcome return to Atom Trance Force and kicks things off in 2026 with his EP 'Welcome To The Future'. Two mixes of the title track are included: The fast paced original and the trance mix. The original is a serious ode to the late 90s Hamburg hard trance sound, and you can hear the influence of labels like EDM, Tunnel & Spaceflower. For the trance mix, he brings the tempo back down to 140 and moves more towards older Positiva energy. Rounding off the EP is Friends & Enemies, keeping the energy high but the quality to match.

From Atom - we thank you for your continued trust, and bigups to those supporting this release:

1995 Trance Sessions, Adam (Last Of The Mohicans) Apple FM, Adam Bellew [Global Hard House Radio], Angie (FR), Busho, Choci, Digital Devil, Dimitri Kechagias, DJ Brisk [Stimulant DJs], DJs Present, Evolving Suns Audio [Cohesion / The Attic], Giuseppe Ottaviani, J.O.E [Tomorrows World], Jake Ayres, Jake Grace [TranceUnite / FCM Live], Jake Nicholls [Uprising], Loki [Terminal Trax], Louk / Hidden Identity, Mat Phat & Fugee Show [Newport City Radio], Mind Control [Noise Pollution], Mindflux, Paul Nineham [Brisk], Pete Morton [Harderfaster], Remnis, Renegade System, Rennz [Distorted Dreams], Rightsound [Dancesation / Timewarp], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Spektral Noise, Suzy Solar, Tjerk Coers

Part 1 in the next wave of Roof International 45 Clash Killers kicks off with Singing Melody ‘Dubplate to a Soundboy’ What sets this reissue apart is not only the murderous previously unreleased dub mix, but also the vastly improved audio quality, lifted straight from the original source. A true sound-killing classic that has become rare and sought after over the years, it remains an essential weapon in any serious 45 box arsenal. Pure Roof International energy at its finest, and presented in an original Roof International 7-inch dubplate hard sleeve.

In September 2024, Nacho Piek, Rapha Mundi, Odd Signals and Ibai Machín gathered for four days in a beautiful house in Etxeberri, a small village in Navarre with barely 50 inhabitants. Isolated from everyday rhythm and surrounded by nature, the goal was clear: to create a production camp dedicated exclusively to club music.

The result is Etxeberri EP, the debut of Buenobueno Soundsystem — a work that captures that coexistence in the form of direct and timeless music, designed for the dancefloor. An organic crossing of influences ranging from House, Techno and late-90s Minimal Trance to contemporary UK Bass.

Etxeberri EP will be released on March 13 exclusively on vinyl, in a limited edition of 200 copies. Each record includes an inlay with photographs of the creative process and private access to an audiovisual piece shot by Jesús Iriarte documenting the experience and the spirit behind the project

Austrian musician, painter, and filmmaker Kimyan (formerly Kimyan Law) combines sound and visual design in an impressively direct way to create a comprehensive artistic experience. He takes an open, intuitive approach to his compositions, connecting the
resonances of traditional instruments and rhythmic patterns from Central, North, East, and Sub-Saharan Africa with sophisticated production techniques. Kimyan's current album,
“Coloria,” in which he explores the concept of timbre in a multifaceted way, marks the pinnacle of his artistic development to date.
For his Live -concerts, Kimyan relies on the organic element of playing, using instruments such as electronic drum pads and MIDI controllers.
This gives his pieces a spontaneous, physical presence on stage that goes far beyond mere reproduction and makes his performances a lively interplay between improvisation and structure. In conjunction with his self-designed artwork and videos, corresponding audiovisual worlds are created in which cultural influences and identities, moods and timbres shine together radiantly. Kimyan's works tell stories in many colours, yet always in one language: his own.






[f] B2 Chara [Joy] 03:50

First ever vinyl release of this massive classic psychedelic black rock funk compilation. Lovingly reproduced for audiophiles on black vinyl and packaged in a fully artworked sleeve and labels and shrinkwrapped. Limited edition vinyl press! “One of the best compilations of formerly released material ever made. A classic” “The whole compilation is pretty damn sweet, but anything dug up by Iron Knowledge is essential listening”!

To celebrate reaching its 50th Anniversary, electro pioneers Kraftwerk have announced three new editions of their landmark 1975 album Radio-Activity for release on 15 May 2026. Using the original 16-track master tapes, Kraftwerk founder Ralf Hütter with engineer Fritz Hilpert have created a brand-new Dolby Atmos Mix which takes Kraftwerk’s first all-electronic album and brings vivid new shading, forensic detail and richly layered cinematic depth to the most boldly experimental album in the Kraftwerk catalogue.



The new Dolby Atmos Mix is available as a Blu-ray audio disc and digital release, and the stereo album is pressed as a stunning vinyl picture disc featuring updated artwork.

Single picture disc vinyl LP in a spined sleeve, with die-cut to front cover, shrinkwrap, mktg. sticker.

Naarm/Melbourne producer Mistr Dean delivers the first release on the city’s newest label, Lower Power, a nine-track double LP rooted in Dub influences.

The project is at its core, a journey that progresses through ambient and house adjacent soundscapes, to methodically constructed grooves. Phase Shift, Solanin, Automagic and Send Dub all exemplify the consistency and range of the record, and Dean’s clear ability to build clean tracks from the ground up.

While it has a clear cohesive identity, Phase Shift leans into a diversity of sound and feel, suitable at points, for the bar, club, couch or frankly, any function you feel.

IN2POL rounds out the record with a remix of the title track that brings its own distinct weight to the LP’s sound and, to no one’s surprise, it truly is a weapon.

Credits:
Mixed by Mistr Dean
Mastered by Brendan Zacharias at Cirius Audio

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

In ,Library Copy Do Not Remove" präsentiert JJ Weihl von Discovery Zone eine digitale Verzauberung der Realität, in der er das Materielle und das Immaterielle miteinander verwebt, um zu zeigen, dass es sich dabei tatsächlich um zwei Aspekte ein und desselben handelt. In Weihls Welt sind Natur und Technologie keine Feinde, sondern erschaffen sich gegenseitig in einem unendlichen Tanz aus Bedeutung und Reflexion. Ursprünglich als Raumsound für das Zeiss-Groß-Planetarium in Berlin geschaffen, ist ,Library Copy Do Not Remove" eine Schöpfungsmythologie für das simulierte Universum. Dabei handelt es sich jedoch nicht um eine trockene, bostromische, maskuline Fantasie einer digitalen Realität, der die Geheimnisse der Natur fehlen. Stattdessen fordert Weihl den Zuhörer auf, im Rahmen einer Simulation Raum für die beeindruckende Realität der natürlichen Welt zu lassen. Wenn unsere Welt simuliert ist, dann muss die Simulation in der Lage sein, die Schönheit und Pracht der Natur zu erschaffen. Auf diese Weise betreibt Weihl eine ambient-artige Alchemie, die eine große Versöhnung von Natur und Technologie fordert, während sie uns auffordert, darüber nachzudenken, wie und wo die Erfahrung transzendenten menschlichen Bewusstseins zwischen ihnen existieren könnte. Die Songs auf ,Library Copy Do Not Remove" entstanden, während Weihl gleichzeitig ihr zweites Album ,Quantum Web" fertigstellte, und spiegeln einen weitreichenden, inspirierenden Zustand aus Aufregung und Angst wider, der mit der Aufgabe einherging, Musik für einen so einzigartigen Raum zu komponieren. Die Songs selbst wurden durch Ambisonics geformt, ein spezielles Format für räumliches Audio, das direktional ist, anstatt auf Kanälen zu basieren (wie Stereo), und wurden über ein Mosaik aus 49 Lautsprechern übertragen. Da es für Live-Auftritte geschrieben wurde, war ,Library Copy Do Not Remove" nie als Album im eigentlichen Sinne gedacht, sondern als dreidimensionales Ereignis. Auf diese Weise spiegelte die Klanginszenierung wider, wie wir Klang in unserem Alltag wahrnehmen: uns aus allen Richtungen umgebend. Für diese Albumveröffentlichung hat Weihl alle Songs gemeinsam mit ihrem langjährigen Produzenten E/T von Grund auf neu abgemischt und die Konstellation der Tracks für ein Stereoerlebnis neu konzipiert und überarbeitet. Inspiriert von den Werken von James Gleick, LD Deutsch, Johannes Kepler und Jorge Luis Borges, erforscht ,Library Copy Do Not Remove" die kreative Spannung zwischen Realität und Wahrnehmung, Information und Mythologie, Harmonie und Unordnung. Im gesamten Album fragt Weihl, wie wir als Menschen das Universum um uns herum und den zugrunde liegenden Code, der es belebt, verstehen lernen. Was dabei entsteht, ist ein klanglicher Mythos, der von spiralförmigen digitalen Universen erzählt, die ineinander verschachtelt sind und in denen jeder teilnehmende Akteur gleichzeitig sowohl Teil als auch das Ganze der Realität ist. Auf diese Weise ist ,Library Copy Do Not Remove" ein cyber-Ausdruck zeitloser Weisheit: Anstelle von ,wie oben, so unten" könnte Weihl vorschlagen: ,wie der Input, so der Output".