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new pressing on red & black swirl vinyl. RIYL: New Order, Drab Majesty, The KVB, Black Marble, The Soft Moon. Layering synths, guitars, electronic percussion and live drums, Houses of Heaven fuses early industrial and techno rhythms with the melodicism of shoegaze and a heavy dose of dub-influenced effects on their first full-length album titled 'Silent Places.' Written against the backdrop of the Northern California wildfires, ever-growing tent cities and the continued rise of empty luxury housing in the Bay Area, the album explores the intimate experiences that transpire within the chaotic confines of modern living. Opener "Sleep" basks in the tension surrounding the album's inception with blown-out kick drums, claustrophobic verses, and deteriorating vocal effects. Sharp arpeggiated synths and woozy strings neutralize the track's subterranean anxiety with texture and sensuality. Produced by Matia Simovich (Inhalt) and with engineering credits that include Monte Vallier (Weekend) and John McEntire (Tortoise), it's a potent introduction to the muscular sound design underpinning the album. Booming taiko drums sound the beginning of "Dissolve the Floor," the album's most club-ready track. A pulsing arpeggio gives the song its industrial heartbeat while disintegrating tape delay throws menace into the hazy atmosphere. The undulating techno beat breaks and repairs itself with seductive and satisfying timing. "In Soft Confusion" doesn't stray from the album's obsidian narrative as it envisions and ponders the aftermath of human extinction. Sonically speaking, though, it's the album's most uptempo offering with Tecon's supremely infectious chorus vocal hook and Beck's dizzying guitar riffs. The intricate electronic drum programming is elevated by Ott's live drumming, which lends a refreshingly human touch to the potentially icy, and often mechanical, sonic territory of synthdriven music. Adding density to the album's shadowy allure are the unusual sounds and vintage outboard effects that Tecon and Simovich impressively maneuver into the album's tonal palette. Great care has been taken to finesse familiar pop structures with an inventive edge. It's this mindfulness of past and present that is sure to secure Silent Places as a standout album in the new decade. Also Available From Houses Of Heaven: Remnant 12" EP

Following the success of Aesop Rock's most recent solo album, Spirit World Field Guide, he returns to deliver the instrumental version of those interdimensional adventures. Aesop has long been celebrated for his talents as a lyricist, but he has continually grown and evolved as a producer as well. While the original Spirit World Field Guide was packed with insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe, the Spirit World Field Guide Instrumentals not only set the tone but also provide the roadmap for you to take your own journey. Welcome to the Spirit World. Explore with intention. "He's never before been such a commanding presence behind the boards. The beats here are the best of his career, full of torque and life." - Pitchfork "The strongest collection of beats he's ever produced." - Passion of the Weiss Official instrumentals from Aesop Rock's critically acclaimed album, Spirit World Field Guide, available for the first time. Album produced entirely by Aesop Rock, except for "Sleeper Car" produced by Hanni El Khatib. Additional album instrumentation provided by Grimace Federation and Hanni El Khatib Vinyl packaging includes 12" matte gatefold jacket, printed record sleeves, and one each of transparent cloudy effect green/blue double-vinyl, plus free digital download card. Album artwork illustrated by renowned artist Justin "Coro" Kaufman

Das neue, zweite Album des Trios Izzy Glaudini, Lola Dompé und Halle Saxon aus L.A. Produziert von Joo Joo Ashworth (Sasami, FROTH).
Auf 'Excess' entwickeln Automatic einen ganz eigenen, retrofuturistischen Motorik-Pop. Das Album bewegt sich an der imaginären Grenze, an der der Underground der 70er Jahre auf die Corporate-Kultur der 80er Jahre traf.
Es ist jener flüchtige Moment in der Geschichte, den sie als Ausgangspunkt für ihre Musik nehmen; ein Brennglas, um die Gegenwart zu betrachten und die zeitgenössische Unternehmenskultur und die ihr innewohnende Maßlosigkeit aufs Korn zu nehmen.

2023 Repress

"Fear Inoculum" ist das Grammy-prämierte Meisterwerk von Tool. Nach der Veröffentlichung der limitierten 5-Disc-Vinyl-Box mit Einzelpressung ist dieses von der Kritik hochgelobte Album nun als 3-LP-Set erhältlich, das ein neues Artwork in einem dreifachen Klappcover und ein exklusives Poster enthält. Zu den Mitgliedern von Tool gehören Schlagzeuger Danny Carey, Gitarrist Adam Jones, Bassist Justin Chancellor und Sänger Maynard James Keenan.

F-Side Special etching, NO AUDIO

Saft's X series signs up accomplished French house artist Pablo Valentino for a new EP that features Patchworks and includes a remix from Seb Wildblood. Valentino hails from East France but his work has made a global impact. He runs FACES Records and is A&R for the cult MCDE Recordings. Next to that he DJs around Europe and has produced both solo and as part of collectives such as Creative Swing Alliance and Hipster Wonkaz for labels like MCDE, Eureka and Room With A View.

Atmospheric opener "Look Deeper" is a rough and steamy deep house cut for cosy basements. The drums are raw and alive, the lead synth is haunting, and the keys bring a jazz feel while vocal coos add some serious soul. French jazz, soul and deep house artist Patchworks guests on "X Rousse", a freewheeling jam with loose-limbed drums and funky chords. It channels the spirit of Moodymann and is sure to bring heat to any party. The final original is "Bagaco"; a bubbly and percussive number underpinned by warm bass stabs. The dynamic groove never rests and raw claps amp up the energy throughout.

Seb Wildblood is a driving force in the South London scene thanks to running Church, All My Thoughts and Coastal Haze. From house to downtempo, leftfield to techno, he has a broad stylistic range that always looks forwards. His remix is a celebratory broken beat workout. It's all about big stabs, soulful smeared chords and cutting loose on the dance floor without a care in the world. Once again, The Saft X

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

Welcome to ‘STR4TASFEAR, Bluey and Gilles’ second STR4TA album released.

A collection of songs, melodies, grooves and sounds that sit perfectly in the brand new music world it’s part of. Gilles and Bluey are both men who emerged into the Brit funk world. They were both part of this truly thrilling chapter in the story of homegrown music; which manifests itself here in a sumptuous mixture of twanging basslines, spacey synth melodies, clicking beats and wispy, ethereal voices.

And for this new set, they’ve got a few like-minded souls along to join the party. Multi-talented Neo-soul Godfather Omar, and celebrated vocalist, Valerie Etienne, both represent Brit funk’s first bounce. Also welcomed in to the fold is musical polymath, Emma-Jean Thackray, Brighton duo Anushka and Floridian trumpeter/vocalist Theo Croker. ‘STR4TASFEAR’ is Gilles and Bluey’s wide-open window into a timeless, wonderful world of Brit funk (Words by Mark Webster, 2022).

STR4TA has received a rapturous reception, with standout tracks ‘We Like It’ achieving over 1 million streams on Spotify and ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist. They have been heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, CLASH, Télérama (FR), Radio Nova (FR), Rolling Stones Italy & Japan. Most recent singles “When You Call Me” & “Night Flight”, taken from the upcoming album, has already received support from Rampage (BBC 1Xtra), Jamz Supernova (BBC 6 Music), Deb Grant (Jazz FM) plus NTS, Mi-Soul, Solar Radio, KCRW (US), KEXP (US), Concrete Islands, CRACK Magazine, and Nu-Funk (Spotify).

Welcome to ‘STR4TASFEAR, Bluey and Gilles’ second STR4TA album released.

A collection of songs, melodies, grooves and sounds that sit perfectly in the brand new music world it’s part of. Gilles and Bluey are both men who emerged into the Brit funk world. They were both part of this truly thrilling chapter in the story of homegrown music; which manifests itself here in a sumptuous mixture of twanging basslines, spacey synth melodies, clicking beats and wispy, ethereal voices.

And for this new set, they’ve got a few like-minded souls along to join the party. Multi-talented Neo-soul Godfather Omar, and celebrated vocalist, Valerie Etienne, both represent Brit funk’s first bounce. Also welcomed in to the fold is musical polymath, Emma-Jean Thackray, Brighton duo Anushka and Floridian trumpeter/vocalist Theo Croker. ‘STR4TASFEAR’ is Gilles and Bluey’s wide-open window into a timeless, wonderful world of Brit funk (Words by Mark Webster, 2022).

STR4TA has received a rapturous reception, with standout tracks ‘We Like It’ achieving over 1 million streams on Spotify and ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist. They have been heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, CLASH, Télérama (FR), Radio Nova (FR), Rolling Stones Italy & Japan. Most recent singles “When You Call Me” & “Night Flight”, taken from the upcoming album, has already received support from Rampage (BBC 1Xtra), Jamz Supernova (BBC 6 Music), Deb Grant (Jazz FM) plus NTS, Mi-Soul, Solar Radio, KCRW (US), KEXP (US), Concrete Islands, CRACK Magazine, and Nu-Funk (Spotify).

Having torn up raves for well over a decade, the Detroit duo Rickers and Ted Krisko AKA Ataxia present their debut longplayer ‘Out Of Step’. Featuring guest spots from close peers DJ Minx, Andrés and Mr Joshooa, they twist house, techno, electro, breakbeat and rave into revitalized new shapes; embellished with a touch of soul, funk and hip hop. With backgrounds in hardcore and punk, Ataxia’s debut is suffused with that energy, attitude, and approach; this is raw, lean and unashamedly no-nonsense dance floor tackle that goes straight for the jugular. Heavily analogue, the album experiments with tape saturation, which harks back to the duo’s formative years in bands, recording demos to cassettes. These straight-up, in-the-red tracks give preference to overdriven drum machines, rather than generic polished sheen, but conversely, it’s all deceptively well-crafted too; ‘Out Of Step’ is a standout record that’s big in character, bringing to mind the renegade spirit of Underground Resistance, and the bombastic brilliance of The Prodigy and Chemical Brothers.

Defiantly optimistic despite the state of the world, a “life is good” vocal sample meets minor chords sliding over 808 hats on the exemplary house/techno pumper ‘Detroit Gospel’, before a lighter moment on the album, but no less impactful with its hefty low-end thump, is ‘Pine Island’ featuring Motor City hero Andrés. Together they cook up a Motown-inspired house cut awash with horn swells and backup singers, bouncing to wide swung funk bass, in classic 313 style. ‘Language’ turns the club on its head – busting out one of the most distinct basslines in recent times, and bristling with buzzy, undulating chords, whilst ‘Maxia’ features influential Detroit royalty DJ Minx. Inspired by her classic ‘A Walk In The Park’, with a fat distorted kick and stealthy bass groove, this is low-slung, stripped-back, heads-down coolness. The high-tech funk of ‘Spit In Your Percolator’, is laser-guided in its efficiency, with a strobe-like, increasingly intensifying energy, peppered with clever, tripped up vocal chops. With the next cut, conveyor belt noises and fast churning low-end gives way to a dubbed-out breakdown, on the deep breakbeat roller ‘98 Degrees’. Charged with a blistering, rave intensity, ‘Number Streets’, is a futuristic distorted techno workout that booms through the subs, whilst ‘The Formulator’ mixes filtered snippets, abstract synth noises and melodic bleeps with a bassline echoing Paperclip People’s ‘The Floor’. Closer to the UK definition of hardcore, combining 4/4 and breakbeat, ‘The Pusher’ evokes the spirit of late 80s orbital raves, adding a natty keys solo, and deadly bass used sparingly, for even deadlier effect. ‘Feels Like’ sees Rickers and Ted team up their studiomate and fellow TV Lounge resident and club booker, Mister Joshooa. Inspired by Photek but also almost UKG in style, this breakbeat session is stamped with MJ’s signature chopped vocals and intricate rhythmic interplay. The bubbling, wobbly loose swing of ‘WM’ is constructed around a classic chopped-up MTV cribs sample, with a filtered vocal creating a far out psychedelic effect – all of which is propelled apace by a huge bruising LFO. The LP concludes in fine style with ‘Dance The Bridge’, where bouncy beats and wigged-out keys meet bright, gently uplifting synth chords that bring a clear-skied mood; ending the record as it began, on an optimistic note.

‘Out Of Step’ marks another chapter in the ongoing relationship between Life and Death co-founder DJ Tennis and Ataxia. Their connection goes back to the earliest days of the label, where they played gigs together on some of Tennis’ initial visits to Detroit. It’s a friendship that’s blossomed organically over the last decade through their shared love of punk and hardcore, and led to the fruition of one of Ataxia’s most compelling projects to date. Labels to release Ataxia’s output include legendary Detroit techno imprints Planet E and KMS, plus the seminal American house label Nervous Records. Their catalogue also includes music for Visionquest, Leftroom, 20/20 Vision and Seth Troxler’s Play It Say It.

Cosmopolitanism is creeping into the bedroom studios of producers worldwide. Romanski is another agent evolving transcultural hybrids, which blend from retained folkways to modern aged club grooves. A mixture of electronic beats in a rigid machine order and handmade organic moments woven together to form an eclectic sound. With a bit of drama, the hamburg based dj & producer Romanski, invites you on a diverse journey with his unique vision of club music. Balearic groove patterns accompanied by repetitive bongo motives & dimmed synth themes flow along the 4 tracks (2 of them featured on 7" vinyl) of this EP. The title track "Karma Calling" is a passionate homage to Mulatu Astatke, "Tagh Tagh" is surrounded by an iranian children’s song, "Gaugin" features a tahitian vocoder line about the french painter and on "Ants" Romanski reflects on lyrics that came to him when resident at a sanatorium years ago. Romanski is using his custom sound range & tools to express his downbeat grooves in this well balanced release. Hide below or turn around the umbrella with devotion and delight.

There's no 123 without 4 in our beloved Speicher series. Robag Wruhme is back with two intense, low-slung monster tunes in his unique masterful fashion. "Fire" is destined to set your peak time dancefloor on fire with its killer bassline and trippy sequences. "Un-spok-en" is equally relentless and unfathomable, garnished with a haunting vocal snippet.

Es gibt kein 123 ohne 4 in unserer geliebten Speicher-Serie. Robag Wruhme kehrt mit zwei unglaublich intensiven, tiefergelegten Monstern zurück und schon ab dem ersten Beat ist klar, dass hier der Meister aus Weimar wieder mal in Hochform ist. "Fire" ist pure Primetime-Beglückung mit einer der fiesesten Basslines ever und schön trippigen Sequenzen on top. "Un-spo-ken" ist ähnlich unerbittlich und unberechenbar. Daran kann auch das zart dahin gehauchte Vocalschnipsel nichts ändern.

After his latest ‘Youth EP’ that experimented with spacious vocal chops and whimsical soundscapes, Nocow returns with a relentless flurry of blows on the heavily computerized ‘Magnit EP’ released on npm. Featuring gloriously broken melodies and hard-hitting rhythm, Nocow explores the darker, more formulaic side to his sound. Brooding acid-infused synths shimmer across the four tracks, morphing between moods as the EP progresses. ‘Magnit S’ kicks off the EP with scattered bass hits, driving dark techno arpeggios, and a hint of footwork-esque percussion. The intense atmosphere is a relatively new direction for Nocow, straying from his more meticulous, introverted beats prior. ‘Kali’ incorporates warbled synth with a more subdued rhythm, playing with a modular sound and distant echoes of robotic vocals. This fragmented track is more akin to his 2018 sound of the Voda/Vozduh/Zemlya trilogy as the kinetics of sound play a strongly defined role in the overall sonics. ‘Sputnik’ commences with a blistering arpeggio of bit-crushed synth and chimes. The rocket-propelled pacing creates a frantic, yet ultimately controlled piece, worthy of a place in a club 300 years from now. Yet, after the frenzy comes the calm. The closing track ‘Extasy’ grinds the EP to a kaleidoscopic halt. Vocoder passages drift across the dense soundscape as Nocow transports you to an other-world, filled with spacey percussion. This closer is a well-deserved return to solid ground, following the perpetual trio of dark, yet utterly compelling techno pieces. Once again, Nocow exhibits his multi-faceted approach to electronic music that truly sets him apart.

Viele Songs der Sportfreunde Stiller sind Klassiker und aus der deutschen Musikwelt nicht mehr wegzudenken: „Applaus, Applaus!“, „Ein Kompliment“, „Wunderbaren Jahren“.
Jetzt kommt also „JEDER NUR EIN X“, gesprochen Jeder nur ein Kreuz – das achte Album der Münchner
Band, sehnsüchtig erwartet von Fans und Followern.
Thematisch werden viele Facetten der Sportfreunde Stiller vereint: Der Sport, der Humor, die Haltung,
sowie Lieder, die einfach nur den Moment feiern wollen. Und wie klingt das? – Die ungehobelten Gitarrenbretter, mit denen die Sportfreunde zu Beginn ihrer Karriere das Publikum gegen die Wand klatschten, sind
weniger geworden. Das Album beginnt stattdessen mit Soundtüfteleien und Akustikgitarre, mit Off-Beats
und Bläsersounds. Und doch ist der erste Song „I’M ALRIGHT!“ – zugleich die erste Singleauskopplung
– 100 Prozent Sportfreunde Stiller. „I’M ALRIGHT!“ macht Lust auf mehr: auf der Oberfläche d ie pure
Lebensfreude – und ein paar Ebenen tiefer eben doch ein Nachdenken über die Welt.

'Songs From Planet Earth' is Deux Furieuses' third full length album, the second with Xtra Mile Recordings. Written and recorded during the last two turbulent years, Songs From Planet Earth is a beating heart signal out from this world as we fall spinning into a vortex of pandemic, isolation, avoidable deaths, political corruption, personal mourning and ultimately survival. The album documents the journey from the city to the countryside like refugees in search of sanctuary. 'Bring Down The Government' jumps on the fuzz box to demand a reckoning for all the lives. Deux Furieuses are currently members of Brix Smith (from The Fall) band, playing guitar and drums. They are touring across the UK supporting PiL throughout June; Kendal Calling, Loud Women Festival appearances and further headline and support shows in November and December.

Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. 'Wütrio' is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers. 'Wütrio', the band, originally formed in the Bavarian city of Würzburg and went through line-up changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast. The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey. From his time as one half of production duo 'A Forest Mighty Black', Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation 'Soulgliding' and co-productions with DJ Kon on the 'Kon and the Gang' album from 2016. It is worth noting that it is Rainer himself who gave the name 'Soulgliding' to a genre of certain paced and soulful groove of music that now bears that name. His selection of the 'Wütrio' album to kick off a highly collectable series of re-issues is an inspired choice.

Jozef Van Wissem- Lute, Electronics, Beats, Electric Guitar, Found Bird Sounds. In 2013 van Wissem won the Cannes Soundtrack Award at the Cannes Film Festival for Jim Jarmusch’s “Only Lovers Left Alive “. In December 2017 Jozef van Wissem was invited to perform the madrigal depicted in Caravaggio’s painting The Lute Player (1596) at the Hermitage museum of Saint Petersburg. In 2022 three of his works were used for in the soundtrack and trailer of Irma Vep (HBO). His completely unique musical world can be easily verified by his collaborations, especially that these relationships are also strengthening his own musical character. He worked together with Zola Jesus, Tilda Swinton, Jarboe as well as with his long-time collaborative partner, also his friend, Jim Jarmusch. “La Cinémathèque Française in Paris commissioned me to write and perform the score at the presentation of the restored version of Nosferatu. I was a bit overwhelmed by its success. It was sold out. I wasn’t going to repeat it. But people kept asking. In the beginning the soundtrack was more improvised and reactive to the images but after a few times the audience kind of showed me the way. To start with a few notes and building the score slowly to a dense slow metal ending. I found an old 7-inch single with recordings of extinct birds on a market, I electronically processed and added them to the score . “ Manipulating the sounds of electric guitar in alternate tuning he manages to create the feeling of fear, equal to the experience of the victims of Count Orlok. “To me Nosferatu personifies this Death Bird of the Plague. The Black Death depicted in the film offers a timeless parallel with contemporary society. The vampire Count Orlok infests the city with rats and people are infected with the plague. They must quarantaine. This provokes hysteria. Much like nowadays”. With a melodic almost medieval magic and mystery Jozef van Wissem has reignited the light through the filters of dark energy post punk and even black metal into a wondrous new melodramatic cinematic space…- John Robb (Louder Than War) Beginning with a solo played on the lute, his performance will incorporate electric guitar and distorted recordings of extinct birds, graduating from subtlety to gothic horror. – New York Times Delightfully macabre, intense and electrifying – MXDWN

16)- return with their heaviest and most devastating record to date, Into Dust. The new album, a collection of cautionary tales of survival and redemption, is set to an amalgamation of sludge, punk, metal, hardcore, and stoner riffs, that could only be built through 30 years of commitment to their dark sonic craft, which -(16)- continues to improve upon. From the frantic opening of "Misfortune Teller" to the undeniable pounding and swagger of "Scrape the Rocks", Into Dust lives up to its name, as -(16)- beat the listener into submission through the lowest of ends and the sour, palpable malaise prevalent throughout the album's dozen tracks. "There's a story arc in the lyrics that start with an eviction notice served amid the ruins of Hurricane Irma in the Florida Keys, to running aground metaphorically and drowning in midlife, bearing witness to the modern suffering of hunger and poverty on the Mexico California border," guitarist and vocalist Bobby Ferry says. The negativity persists on tracks aptly titled "Null and Eternal Void", and the dizzying, pill-induced "The Floor Wins". Elsewhere, "Born on a Bar Stool" sends the listener off with a sobering album closer; ending on a foggy and rainy jazz-tinged San Francisco night, with an anti-drinking drinking song, proclaiming "Raise your glass all things pass".

Robert Groslot's Concerto for Bass Guitar and Orchestra represents the
next step in the evolution of the bass guitar
Groslot's composition pushes the instrument to its technical limits, while creating
a unique symbiosis between the soloist and the orchestra. Although he may not
be the first composer to write for the bass guitar in a symphonic setting, Groslot
brings a level of artistry and sophistication to the composition that will continue
and accelerate the legitimation of the bass guitar within contemporary classical
music. "The idea of a concerto for bass guitar is something that I have been
dreaming of for decades. Since its invention, the bass guitar has firmly
established itself as an essential and integral part of practically every genre of
music. The bass guitar, as we now know it, was invented and produced by Leo
Fender starting in 1951. The more portable bass guitar, in comparison to the large
and unwieldy double bass, was capable of playing at higher volumes via
amplification and satisfied the new sonic demands created by the widespread
use of electrification in popular music. By increasing the overall scale of the
electric guitar and only using the lowest four strings (E, A, D, G), Fender gave birth
to a new instrument. Traditional double bassists could quickly adapt, with the
added benefit of more accurate intonation due to the frets. Hence the original
name: The Precision Bass. At the same time, guitarists could also become bass
players when called upon. As a result, many of the early bass guitarists began
their musical life as guitar players, with the most well-known example being Paul
McCartney of The Beatles.
The fact that the bass guitar had no direct lineage like the evolution of the piano
or violin over time, led to a variety of disparate playing styles without any
fundamental methodology. Unlike the more traditional instruments, the bass
guitar does not sit upon a foundation of centuries of proven methods and
established schools of playing. The evolution of the bass guitar has been a
patchwork of trial and error by active musicians. This has led to a plethora of
personal approaches and hybrid-styles, effectively leading to the rapid evolution
of bass guitar technique. Given its relatively young history, it is remarkable how
the bass guitar has grown from being an instrument taken up out of necessity, or
as an afterthought, to being as respected and vital to modern music as any of the
older, more established instruments." - Thomas Fiorini