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Summer of 2023: Koralle wants to escape the heat of Bologna for a few weeks. He is heading south and rents a small hut by the sea near Ravenna. One night he meets Francesco Giampaoli, a seasoned jazz & world musician at a bar on Bassona beach. The two had worked on music before and Koralle visits Francesco the next day at his studio which is stuffed with analogue gear and instruments. He stops by every single day for the next weeks and the duo creates some incredible strange music.
As a special treat, they’ve invited a talented lineup of artists, including Twit One, The Offline, Slim, Mr.Käfer, Midan, Opek, and Darius Heid, to offer unique reinterpretations of their tracks.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Just as his basslines never stay within the limits of the obvious, so Joe Sanders" life as a bassist, composer, band-leader and educator has never followed the single, most discernible pathway. A Midwest native, he"s studied and played jazz on the opposite coasts of California and New York: a master of the acoustic bass, he"s equally at home producing in the digital realm; embedded deep in the living tradition of American jazz; and living, teaching and creating in Europe. All these separate strands come together on his third headline release, "Parallels". The album presents a set of live recordings from a dream line-up that matches the leader"s full-bodied acoustic bass presence with Seamus Blake, Logan Richardson and Gregory Hutchinson in performances that capture all the daring and drive of the East coast scene. Alongside them is a set of studio self-productions with guests Jure Pukl and Taylor Eigisti that capture the laid-back dreamy adventurousness of the West Coast.

The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.

We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.

As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.

'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.

You didn't expect something straight-forward, did you?

Volume 4 of the Make Up series is another doozy and this one brings together accomplished house heads Camille, Chez Damier, and Nico Lahs in a celebration of underground disco classic "through the lens of 60's and 70's underground comix." Similar to these rebellious reads, the tracks on this release carved their niche with purists seeking distinct and thrilling sounds. Across the double album, Camille's contributions include Mystic Pleasure's 'Back Door (Getting Down)' and Cold Fire's 'Badder Than Bad' which both bring soulful melodies and infectious rhythms, Chez Damier adds Fascination's 'Shine My Love' and Bileo's 'You Can Win' with shimmering vocals and funky basslines and together, they make for an exhilarating mix of disco brilliance.

Die ursprünglichen Smashing Pumpkins-Mitglieder Jimmy Chamberlin, James Iha und Billy Corgan kehren mit diesem Album zu ihrer Form zurück.
Aghori Mhori Mei" wurde unmittelbar nach dem 33-Song-Konzeptalbum "Atum" aufgenommen und knüpft an den Stil der Band aus den frühen 90er
Jahren an, in dem Gitarren, Bass, Schlagzeug und markanter Gesang dominierten.
Die Smashing Pumpkins sind eine der berühmtesten und einflussreichsten Bands aller Zeiten und haben die alternative Musik und Kultur geprägt. Seit
ihrer Gründung 1988 in Chicago hat die Gruppe weltweit über 30 Millionen Alben verkauft und wurde mit zwei GRAMMY® Awards, zwei MTV VMAs
und einem American Music Award ausgezeichnet.

Soap & Skin kündigt mit dem Cover-Song 'Mystery Of Love' (im Original von Sufjan Stevens) ihr erstes Cover-Album 'TORSO' an, das am 22. November über Play It Again Sam erscheinen wird. Anja Plaschg alias Soap&Skin hatte schon immer ein besonderes Talent dafür, Songs mit einem ganz eigenen Ansatz neu zu interpretieren. Als das Donau-Festival sie 2022 einlud, an einem Abend sämtliche über die Jahre entstandenen Cover-Stücke aufzuführen, kam ihr die Idee zu einer festen Sammlung - die jetzt gebündelt als Album 'TORSO' erscheint.

The work of GMM carries the echo of folk wedding melodies inspired by Oskar Kolberg's collections, interpreted in modern arrangements with electrifying sound.The trio, consisting of Michał Górczyński, Michał Marecki and Patryk "TikTak" Matela, explores the roots of the Mazovian tradition, translating them into the language of contemporary music. Oskar Kolberg's descriptions and a collection of melodies specific to the Polish region of Mazovia give the GMM band a foundation for creative existence in this old world and transferring it to the modern world.The freshly recorded album opens the traditional wedding gates in an unexpected way, where folk nostalgia meets contemporary avant-garde. The contrabass clarinet weaves deep, warm sounds into the compositions, adding them mystery, while the spinet boldly carries a note of baroque sophistication, creating a pleasantly contrasting texture. The modernity of synthesizers and dynamic beatbox balancing between stillness and dense, dirty tones, gives the whole mix a modern touch.In this characteristic journey full of rhythmic complexity and harmonic discoveries, you will find depth, a cynical smile and plenty of room for your own reflections.Michał Górczyński - specializes in playing the double bass clarinet, in 2004 he graduated from the clarinet class at the Fryderyk Chopin University of Music in Warsaw. Composer, soloist and chamber musician. Co-founder of Kwartludium - a band specializing in performing contemporary music. Member of the band Bastarda. Author of music for theatre performances.Michał Marecki - instrumentalist, producer, composer. Collector of electronic and electroacoustic instruments. Associated with the bands Warsaw Village Band & Bassałyki, Mamadou & Sama Yoon, T.Love, Sidney Polak, among others. He is interested in creativity in artistic processes. Master of social sciences.Patryk TikTak Matela - beatboxer and beatbox activist. For over 20 years he has been giving concerts and teaching the art of vocal percussion. He conducts workshops for preschoolers, students, young people from orphanages and community centers. Author of the first book in Poland about beatbox (Human Beatbox -Personal Instrument!), organizer of the Polish Beatbox Championships, promoter and musician in film and theater. Creator of advertising and reportage films, megafan of Lego Technic.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

The ever prolific Teffa is back on LoDubs, albeit for his first Vinyl EP.

As just alluded to, this is the second meeting of the Far West Ruler and the Low End Master from Leeds, although one might be forgiven for blinking and missing the highly sought after (sold out in 5 minutes) Poly DubPlate cut released in early 2023, which was a matter of course in a year where pressing turn times quadrupled. As glad as we are that those days are in the past it also still left the inkling that a full release was necessary once the time and tunes presented themselves.

..And as such, here we have a total of 6 now-ting Grime hybrids (4 on the vinyl, and 2 vinyl-only bonus tracks in the DL and details on how to get those as a poly Dub, only for owners of the vinyl EP), Containing the elastic basslines of a true UKG and Dubstep Stalwart, whilst stretching those elements over syncopated, at time staccato-esque riddims, all beneath a novel modernization of the stilted, subharmonic and eski-esque synth bass pads that are quintessentially Grime. There truly is more to these with each listen, all the while grabbing you at first go.

State of the art: From the one and only Teffa.

Dark Evergreen VInyl. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. Despite Che's initial unfamiliarity with Dunn's musical output, their personalities bridged any and all gaps_both Che and Dunn share a flair for the comically absurd and musically adventurous, a mindset that shines throughout See You at the Solipsist Convention. Che has become legendary for his calculated polyrhythms and undeniable physicality, while Dunn is known for relentless experimentation and productivity akin to a freight train. Quickly, the unlikely pair transformed into destined collaborators. Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion_uncategorizable yet reverent to the altar of instrumental rock. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other - our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

Continuing the theme of bringing through up and coming talent, Western Lore snaps up rising Manchester star, WDDS for his very first vinyl release.

After continuous support for his expertly crafted beats (previously digitally self released and via Repertoire Music) on Dead Man’s Chest’s SWU & Kool FM radio shows, Lore LTD sees the release of a trio of WDDS’ most heavyweight tunes on wax. Spaceship Riddim Jungle Tool is an utter dance floor destroyer. With an instantly recognisable and energy lifting hook and an all out assault of bassline heaven and amenisim to match, this rhythm is guaranteed to make a rave lift off.

Track A2 steps into Footwork territory, with a dance floor weapon of an entirely different ilk, pairing looped up vocal cuts with swung out and percussive drum machine rhythms, while the B side drifts back into rugged amen territory, this time drenched in deep sub and organic ambience

'Can Live in Keele 1977' ist die neueste Veröffentlichung in einer Reihe von Live-Alben, die aus den Tresoren von Spoon Records und aus Fanaufnahmen ausgegraben und dann von Gründungsmitglied Irmin Schmidt und Produzent/Ingenieur René Tinner sorgfältig zusammengestellt wurden.

Live in Keele 1977 ist ein dynamisches Dokument der Spätzeit von Can. Die im März 1977 aufgenommene Kernbesetzung bestehend aus Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay wird durch Rosko Gee (Traffic) am Bass ergänzt. Gees kürzliche Ergänzung des Line-Ups bedeutete, dass Holger Czukay von seinen Bassaufgaben entbunden wurde, um „Waveform Radio und Spec“ zu spielen. Sounds“, die sich hier als jenseitige Klänge, Samples und das manifestieren, was ein Rezensent einer späteren Show als „Mondgespräch mit einem weißen Kontinentaltelefon“ beschrieb.
Das neue Album ist die letzte Veröffentlichung in der aktuellen Reihe von Live-Dokumenten, die 1975 mit „Can Live in Stuttgart“ starteten (Uncuts Reissues of the Year, Platz 2 in MOJOs Reissues of the Year, Platz 7 in The Wire's Archive Reissues of the Year und mehr). ), gefolgt von „Can Live in Cuxhaven 1976“ (das erneut eine große Rolle in den Neuauflagen des Jahres spielte); „Can Live in Brighton 1975“ („Pure Dynamit… Keep They Coming“ – MOJO); „Can Live in Paris 1973“, das erste der Reihe mit dem verstorbenen Damo Suzuki („eine lebhafte Hommage an eine der besten Improvisationsgruppen des Rock“ – Financial Times), und „Can live in Aston 1977“ (The Quietus's Reissue of the Week – „ Es ist zweifellos Musik zur Erweiterung des Geistes, aber sie dehnt das Gehirn auf eine Weise, die einzigartig bleibt – „Can waren schon immer Anbieter von Inner-Space-Rock, und jede Reise ins Unbekannte war so anders wie ihre Shows“).

Vinyl The project is the work of a collaborative team headed by Tommy Henriksen - veteran rock session bassist/guitarist, creative director for Alice Cooper and current member of Hollywood Vampires (Rock supergroup featuring Joe Perry, Alice Cooper and Johnny Depp). Henriksen worked alongside the legendary Diamond-certified producer Mutt Lange (AC/DC, Def Leppard, Bryan Adams, Shania Twain) who emerged from retirement to executive produce the project. Combining elements of David Bowie’s apocalyptic vision, The Who’s bombastic fury, and ZZ Top’s power blues, the dynamic album boasts features from Phil Collen of Def Leppard and Nikki Sixx of Motley Crue.

'Oase' ist das zweite Album des in Berlin ansässigen Progressive-Rock-Kollektivs Weite, und der Nachfolger des 2023 erschienenen Debütalbums der Band. Mit einer Laufzeit von fast einer Stunde nimmt das Album die Zuhörer mit auf eine komplexe und vielschichtige Reise, die vom Pioniergeist des Psychedelic Rock der 1970er Jahre inspiriert ist und Einflüsse aus "Canterbury Scene"-Prog, Krautrock, früher Electronica, Postrock und Americana vermischt. Man möge sich hierzu nur die über 10-minütige Vorab-Single 'Roter Traum' anhören.
Das neue Album zeigt Weites Fähigkeit, das Alte mit dem Neuen zu verschmelzen und einen eindringlichen, forschenden Sound zu schaffen, der von kontemplativ und pastoral zu riffig und düster wechselt, ohne jemals die Melodie zu opfern. 'Oase' zeichnet sich durch längere, weitläufige, atmosphärische Kompositionen aus, ist aber zweifellos kompositorisch durchdachter als das Debüt der Band. Mit dem Fokus auf Melodie, Textur und Stimmung - wenn auch nicht unbedingt immer in dieser Reihenfolge - kreieren Weite einen komplexen und meditativ klingenden Sound, der den Hörer einlädt, sich auf eine Reise durch wechselnde Klanglandschaften und sich entwickelnde musikalische Erzählungen zu begeben. Weite wurde im Winter 2022 in Berlin von Bassist Ingwer Boysen (delving) gegründet, der Schlagzeuger Nick DiSalvo (Elder, delving) und die Gitarristen Michael Risberg (Elder, delving) und Ben Lubin (Lawns) rekrutierte. Ursprünglich als einmalige Aufnahmesession gedacht, erkannten die vier eine offensichtliche musikalische Chemie und Gemeinsamkeiten und beschlossen, das Projekt in eine richtige Band umzuwandeln. Keyboarder Fabien de Menou (Perilymph) kam 2024 dazu. 'Oase' ist auf 180Gr. Pink-marmorierter Doppel-LP erhältlich.

10 years after their debut, City Of All Times audio-visual enquirers John B McKenna and Richard Greenan re-appear as Devonanon, to share the findings of a decade-long sonic experiment. Like its predecessor, Richard & John is a living, breathing collection of field recordings and compositions, gathered gradually from remote corners of the pair's lives. Familiar waypoints - interwoven microtonal synths, regurgitated live performances, polite whispering, and the gurgling hum of vehicles (land and sea) - all fold into the perpetual stew.

Where City read like a crumpled postcard account of fraternal reportage, Richard & John is a tone poem on something more amorphous, and out of time - a garbled history of human closeness, upheaval and mark-making, that seems to buckle and creak like a tapestry with no beginning or end. No two spoonfuls are the same, as our story reels through kosmische library stylings ('Wilderness Engine'), to cortex-quieting free association ('Generate Countryside'), and baroque instrumentation ('Blood Laughing', which features beautiful turns from Masayoshi Fujita on vibraphone, and Rosa Juritz on bassoon).

Die Post-Punk Sensation SPRINTS aus Dublin mit ihrem Debut-Album bei City Slang! Das Album enthält den 2022 Hit 'Literary Mind' und neue Singles wie 'Up And Comer' und 'Adore Adore Adore'!

Die Post-Punk Sensation SPRINTS aus Dublin, bestehend aus Karla Chubb (Gesang/Gitarre), Gitarrist Colm O'Reilly, Schlagzeuger Jack Callan und Bassist Sam McCann, reiste in 2023 ins französische Loire-Tal, um das Album in zwölf Tagen mit Daniel Fox von der Gilla Band aufzunehmen. Das Ergebnis ist ein umwerfend kraftvolles Album mit der Botschaft für mehr Selbstakzeptanz.

Abschließender Teil 3 der NICHTS-Deluxe Reissue-Serie: Endlich gibt es das fast vergessene dritte Nichts-Album "Aus Dem Jenseits" von 1983 neu aufgelegt! Aufgrund von Umständen damals untergegangen und unerfolgreich, aber deshalb auch rar und zum Kult geworden. Enorm unterschätzt sowieso! NICHTS stellten sich 1983 neu auf und hauten mit Seite A der LP eine ungebrochene Reihe von sechs deutschsprachigen New Wave-Powerpop-Super-Hits raus, garniert mit den schon immer guten Postpunk-Texten von Sängerin Andrea Mothes. Deren Echos finden sich auch heute noch im aktuellen Gitarrenpop, New Wave oder der Neuen Neue Deutsche Welle. Mindestens Single "Venus Schenkt Dir Schöne Stunden (Horrorskop)" hätte ein NDW-Klassiker der besseren Sorte sein sollen. Seite 2 ist kaum schwächer. Nachdem die Band im Herbst 1982 nach zwei erfolgreichen Alben sowie den NDW-Hits "Radio" und "Tango 2000" ihre Tour beendet hatten, stiegen Gründungsmitglied und Gitarrist Meikel Clauss sowie Bassist Scarbeck aus. Doch Sängerin/Texterin Andrea Mothes und Schlagzeuger Tobias Brink waren noch nicht fertig mit NICHTS und spielten in neuer Besetzung das dritte Album "Aus Dem Jenseits" ein. Liveauftritt bei Mal Sondocks Pop Explosion, geplante Single-Auskoppelung und gebuchte Tour schienen den Erfolg fortführen zu können, doch es kam anders: Aufgrund einer Verletzung Brinks musste die Tour abgesagt werden, die Single wurde nicht weiter promotet, die Band löste sich alsbald auf und das Album wurde in der Folge zum Kultobjekt der Fans. Das von den ehemaligen Bandmitgliedern begeistert aufgenommene und abgenickte Remastering des Albums wurde in der Düsseldorfer Skyline-Tonfabrik von Kai Blankenberg gefertigt, dessen Dienste sonst u.a. von International Music, Boy, Madsen oder regelmäßig Udo Lindenberg in Anspruch genommen werden. Neben Bonustrack (Horrorskop 2024 Single Edit) gibt es auch wieder ein 16seitiges Booklet im CD-Format mit Fotos der Zeit und den Texten dabei! Farbige Vinyl-Versionen, klassisch schwarze LP sowie erstmals auf CD überhaupt erhältlich! Für Fans von Bärchen und die Milchbubis, Mia., Paula Carolina, Ideal/Neonbabies, Gwen Dolyn, Östro 430, frühe Extrabreit, späte Hans-A-Plast, Nils Keppel Nichts 1983 waren: Gesang - Andrea Mothes/Gitarre - Stephen Keusch/Bass - Peter Szimanneck/Schlagzeug - Tobias Brink

Abschließender Teil 3 der NICHTS-Deluxe Reissue-Serie: Endlich gibt es das fast vergessene dritte Nichts-Album "Aus Dem Jenseits" von 1983 neu aufgelegt! Aufgrund von Umständen damals untergegangen und unerfolgreich, aber deshalb auch rar und zum Kult geworden. Enorm unterschätzt sowieso! NICHTS stellten sich 1983 neu auf und hauten mit Seite A der LP eine ungebrochene Reihe von sechs deutschsprachigen New Wave-Powerpop-Super-Hits raus, garniert mit den schon immer guten Postpunk-Texten von Sängerin Andrea Mothes. Deren Echos finden sich auch heute noch im aktuellen Gitarrenpop, New Wave oder der Neuen Neue Deutsche Welle. Mindestens Single "Venus Schenkt Dir Schöne Stunden (Horrorskop)" hätte ein NDW-Klassiker der besseren Sorte sein sollen. Seite 2 ist kaum schwächer. Nachdem die Band im Herbst 1982 nach zwei erfolgreichen Alben sowie den NDW-Hits "Radio" und "Tango 2000" ihre Tour beendet hatten, stiegen Gründungsmitglied und Gitarrist Meikel Clauss sowie Bassist Scarbeck aus. Doch Sängerin/Texterin Andrea Mothes und Schlagzeuger Tobias Brink waren noch nicht fertig mit NICHTS und spielten in neuer Besetzung das dritte Album "Aus Dem Jenseits" ein. Liveauftritt bei Mal Sondocks Pop Explosion, geplante Single-Auskoppelung und gebuchte Tour schienen den Erfolg fortführen zu können, doch es kam anders: Aufgrund einer Verletzung Brinks musste die Tour abgesagt werden, die Single wurde nicht weiter promotet, die Band löste sich alsbald auf und das Album wurde in der Folge zum Kultobjekt der Fans. Das von den ehemaligen Bandmitgliedern begeistert aufgenommene und abgenickte Remastering des Albums wurde in der Düsseldorfer Skyline-Tonfabrik von Kai Blankenberg gefertigt, dessen Dienste sonst u.a. von International Music, Boy, Madsen oder regelmäßig Udo Lindenberg in Anspruch genommen werden. Neben Bonustrack (Horrorskop 2024 Single Edit) gibt es auch wieder ein 16seitiges Booklet im CD-Format mit Fotos der Zeit und den Texten dabei! Farbige Vinyl-Versionen, klassisch schwarze LP sowie erstmals auf CD überhaupt erhältlich! Für Fans von Bärchen und die Milchbubis, Mia., Paula Carolina, Ideal/Neonbabies, Gwen Dolyn, Östro 430, frühe Extrabreit, späte Hans-A-Plast, Nils Keppel Nichts 1983 waren: Gesang - Andrea Mothes/Gitarre - Stephen Keusch/Bass - Peter Szimanneck/Schlagzeug - Tobias Brink